MACBETH @ GREAT LAKES THEATER

Through April 15, 2018

(216) 241-6000

Or www.greatlakestheater.org

Bob Abelman

It’s back to basics with Great Lakes’ "Macbeth." 

To see a full review of this show, go to: 

www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

The staging is exciting, the story line is paced to build to the forewarned conclusion, the language is easy to understand, the characterizations are well-etched, the acting is superb, the technical aspects are excellent, the fight scenes are theatrically real, the creative development of the Three Witches is groundbreaking.  All in all, this is a “Macbeth” to be treasured and is a must see production!  
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

Leave it to Great Lakes Theater to raise the bar to immeasurable heights in their stunning reproduction of this epic Shakespearean work. It is a great work taken to even greater heights by its faithful attention to detail. All fans of the Bard must see this and feel free to bring friends along who are unfamiliar so that they can see how truly magnificent live theater can be.  

To see a full review of this show, read Mark Horning's Review here.

Christine Howey

Even while there are stretches of dialogue that are difficult to follow, this production of Macbeth—augmented by Kim Krumm Sorneson’s period costumes and Matthew Webb’s well-accented sound design—has enough blood lust and evil to satisfy old Mac friends as well as newcomers.

To see a full review of this show, read Christine Howey's blog Rave and Pan
To see a full review of this show, read Christine Howey's review at Cleveland Scene

Laura Kennelly

Tony Soprano and his gang were sissies compared to Macbeth and his thugs. In its latest presentation of the gory tragedy that is Shakespeare’s Macbeth, Great Lakes Theater has once again semi-transformed  into a “mini-Globe” theater, paying homage to Shakespeare’s own London stage. ...BOTTOM LINE: This straight-forward, rapid-fire production of Macbeth touches all the bases, reminding us that ambition is destructive and psychological warfare (what the witches waged against the would-be ruler) kills.

See Cool Cleveland for the whole review.
To see a full review of this show, read Laura's posts at Cool Cleveland.

MY FIRST TIME @ THE BECK CENTER FOR THE ARTS

Through April 29, 2018

(216) 521-2540

Or http://www.beckcenter.org

Bob Abelman

The Beck Center’s tiny Studio Theater, sequestered to the far back corner of the performing arts facility cattycorner to the men’s bathroom, is the place where subversive works like “Evil Dead:  The Musical” are staged. 

And now, with this current production of “My First Time,” add naughty to the type of Studio Theater offerings as well.

To see a full review of this show, go to: 

www.clevelandjewishnews.com/columnists/bob_abelman/

Mark Horning

As in anything dealing with humans this show is rife with the contrariness of life. For some it was the best of times, for others it was the worst of times and for still others it left no indelible mark whatsoever. No matter what the response whether from the website or the audience submitted cards it was still their first time and highly entertaining.

To see a full review of this show, read Mark Horning's Review here.

Christine Howey

Warning: You won’t get a boner, theatrical or otherwise, from watching this fragmented, fractured exercise in terminal tedium.

To see a full review of this show, read Christine Howey's blog Rave and Pan
To see a full review of this show, read Christine Howey's review at Cleveland Scene

Laura Kennelly

If you like funny, hot and  steamy chatter about losing your virginity (80 minutes straight, no intermission), you will likely have a great time. Caution: I’d not take the younger kiddos unless I wanted to “have that talk” with them.

To see a full review of this show, read Laura's posts at Cool Cleveland.

ADVENTURES OF A BLACK GIRL IN HER SEARCH FOR GOD @ KARAMU THEATRE

Through April 15, 2018

(216) 795-7070  

Or www.karamuhouse.org

Roy Berko

The commentary, “The Adventures of a Black Girl in Her Search for God,” as evidenced at the Shaw Festival, can be a compelling hour production.   Unfortunately, in spite of a valiant effort, this isn’t the case at Karamu. 

To see a full review of this show, read Roy Berko's blog here.

Mark Horning

While this whirlwind performance may seem confusing to some at its core there are some very deep ideas that bear thinking about. Enjoy a powerful and energetic evening of live theater with a high energy cast. 

To see a full review of this show, read Mark Horning's Review hehttps://www.talkinbroadway.com/page/regional/cleveland/cleve236.htmlre.

Christine Howey

As expertly directed by Nina Domingue, this American premiere of the script is a frequently involving and satisfying romp through Shavian wit and wisdom, highlighted by some intense and amusing performances. 

To see a full review of this show, read Christine Howey's blog Rave and Pan
To see a full review of this show, read Christine Howey's review at Cleveland Scene

THE OLDEST PROFESSION @ CONVERGENCE CONTINUUM

Through April 14, 2018

(216) 687-0074

Or convergence-continiuum.org

Bob Abelman

There’s a musical theater remake of the film “Pretty Woman” in the works.  Consider Paula Vogel’s “The Oldest Profession,” currently being staged by convergence-continuum, its sobering sequel.

To see a full review of this show, read Bob Abelman's blog at www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

Though “The Oldest Profession” is one of Paula Vogel’s lesser plays, it gets a humorous staging.   The script, which is more character study than plot driven, doesn’t have much to say, but it does entertain.

To see a full review of this show, read Roy Berko's blog here.

THE LATE HENRY MOSS @ NONE TOO FRAGILE

Through March 31, 2018

(330) 671-4563

Or http://www.nonetoofragile.com

Bob Abelman

“The Late Henry Moss” is a comparatively minor work by Shepard, for sure.  But it is given a significant staging at none too fragile.

To see a full review of this show, read Bob Abelman's blog at www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

As in almost all Sam Shepard blunt, hard hitting plays, the questions of what’s true, what’s fiction, what is family history and what is mythology pervade this tale of dysfunctional relationships in this character-driven tale.  The acting is generally superb, the pace intense, and the over-all effect is unnerving.  If you like good acting and can endure Shepard’s cage-boxing style of writing, this is a production you won’t want to miss.

To see a full review of this show, read Roy Berko's blog here.


Kerry Clawson

The dynamics between Derry and None Too Fragile newcomer Carroll — whose work has included Broadway, TV and film — are electrifying as Earl tries to dance around their painful past and Ray cruelly forces the truth out of him. We see that both brothers have inherited their father’s violent streak as these actors knock each other around the small stage in some nastily realistic fight scenes.



To see a full review of this show, read Kerry Clawson's review at http://www.ohio.com/akron/writers/kerry-clawson
 

Christine Howey

Henry Moss is a less successful example of this playwright’s work, and it’s given a production that doesn’’t reach the high bar of quality that None Too Fragile has set for itself.

To see a full review of this show, read Christine Howey's review at Cleveland Scene

David Ritchey

Is Henry Moss dead?  Or is Henry Moss teasing his sons and playing dead?  Sam Shepard, one of the best playwrights to write for an American stage, wrote a wonderful script, which challenges audiences to find truth or pretend on the stage.

To see a full review of this show, read David's posts at Talkin' Broadway

RENT @ PLAYHOUSE SQUARE

Through March 25, 2018

(216) 241-6000

Or www.playhousesquare.org

Bob Abelman

Tired, non-Equity tour of "Rent" makes it difficult to forget regret.

To see a full review of this show, read Bob Abelman's blog at www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

The 20th anniversary tour of “Rent” disappoints.  In spite of the wonder of the Pulitzer Prize winning script and score, this staging lacks the intensity and dynamics need to make Larson’s ideas ring true.  

To see a full review of this show, read Roy Berko's blog here.

Mark Horning

RENT was groundbreaking when it first hit Broadway after years of rewrites and theater shops but with this cast it still truly grabs your emotions and will not let go even after 20 years of touring. Your emotions run the full gambit as the story unfolds. Sure to be another Playhouse Square sellout.

To see a full review of this show, read Mark Horning's Review here.

Christine Howey
Unfortunately, this 20^th Anniversary Tour of Rent might be more accurately titled Squat, because the performers on the Connor Palace stage seems like interlopers who are unlawfully occupying this iconic theatrical territory. 

To see a full review of this show, read Christine Howey's review at Cleveland Scene

Andrea Simakis

Like Miranda, we owe a lot to Larson [Jonothan Larson, author of "RENT"].  That's why his glorious masterpiece deserves a more powerful reprise than this road company give it.

To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

SCAPIN @ OHIO SHAKESPEARE FESTIVAL

Through March 18, 2018

(330) 673-8761

Or http://ohioshakespeare.com

Bob Abelman

OSF’s hilarious ‘Scapin’ finds the play amidst the playfulness.

To see a full review of this show, read Bob Abelman's blog at www.clevelandjewishnews.com/columnists/bob_abelman/

Kerry Clawson

Ohio Shakespeare Festival’s 'Scapin' cast so energetically and skillfully embraces the play’s over-the-top, slapstick comedy, it leaves audience members in riotous laughter throughout the show. 
Leading the way in this classic laugh fest by Moliere is the charismatic Ryan Zarecki in the title role of the witty and manipulative servant Scapin, who has both the play’s foolish masters and viewers eating out of his hand.

To see a full review of this show, read Kerry Clawson's review here.

THE EFFECT @ DOBAMA THEATRE

Through March 25, 2018

(216) 932-3396

Or dobama.org

Bob Abelman

Style salvages substance in Dobama’s engaging production of "The Effect."

To see a full review of this show, read Bob Abelman's posting at www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

Though the Dobama production aspects are quite good, and the performances are top notch, the experience is not without angst.  One leaves asking, “What does Prebble want us to gain from the script?  The ending, two incomplete conclusions, doesn’t help to answer the question.
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

Often jarring and at times a bit pedestrian, Dobama Theatre manages to make this bitter pill of a show easier to swallow. Chalk it up to good directing and exceptional acting. Worth seeing if for nothing more then something to talk about on the way home.

To see a full review of this show, read Mark Horning's Review here.

Christine Howey

The risks that are taken here are often surprising, and the immersive intellectual challenges continually tweak and tantalize. The result is a theatrical experience that is far from a placebo.

To see a full review of this show, read Christine Howey's review at Cleveland Scene

SWEENEY TODD @ BLANK CANVAS

Through March 10, 2018

(440) 941-0458

Or www.blankcanvastheatre.com

Bob Abelman

Despite the show’s eccentricities, productions of it still require the same core components found in all musicals:  talent on stage and talent behind it.  The current production of “Sweeney Todd” at Blank Canvas Theatre has the former in spades but is woefully lacking in the latter.

To see a full review of this show, read Bob Abelman's blog at www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

“Sweeney Todd” gets a strong and meaningful performance and should please even the most critical of Sondheim aficionados.
 
To see a full review of this show, read Roy Berko's blog here.

Christine Howey

As difficult as Sondheim can be to sing, these folks do all the songs justice, helped immeasurably by the nine-person band under the direction of Matthew Dolan. And even when the action on the tiny stage has all the elegance of 17 cats fighting in a sack, this Sweeney Todd is pungent enough to keep you involved and even moved.

To see a full review of this show, read Christine Howey's blog Rave and Pan
To see a full review of this show, read Christine Howey's review at Cleveland Scene

THE INVISIBLE HAND @ CLEVELAND PLAY HOUSE

Through March 11, 2018

(216) 241-6000

Or www.clevelandplayhouse.com

Bob Abelman

If this play occasionally loses the attention of theatergoers disinterested in geo-political drama and short-selling on the stock market, its brilliantly penned diatribes on these matters and the craftsmanship with which they are delivered will most certainly reel them back in.

To see a full review of this show, read Bob Abelman's blog at www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

In spite of some technical issues, “The Invisible Hand” is an unnerving and compelling production at CPH.  The tale of how the economy works and can be manipulated, as well as placing the spotlight on Islamic terrorism, makes this a vital contemporary play.  The cast is outstanding and the pace and tone are tension-inducing.  This is a production which is required seeing by anyone interested in fine acting and the reality of the world around us.
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

Sometimes in America we are given just one side of a story in order to manipulate our feelings against a particular ethnic group. The Invisible Hand shows us both sides of the coin so that we can become familiar with the cause and effect that happens daily in the Middle East. The show does not pass judgment of right or wrong but simply presents the situation thus allowing us to come to our own conclusions. Brilliantly written, performed and executed. This is intense theater at its best.

To see a full review of this show, read Mark Horning's blog.

Christine Howey

Akhtar, who won the Pulitzer Prize for Drama in 2013 for his play Disgraced, assembles a play with the same precise attention to detail of a master craftsman, and the result is an experience that is sometimes terrifying, sometimes amusing, but always riveting.

To see a full review of this show, read Christine Howey's blog Rave and Pan
To see a full review of this show, read Christine Howey's review at Cleveland Scene

MISERY @ GREAT LAKES THEATER

Through March 11, 2018

(216) 241-6000

Or www.greatlakestheater.org

Bob Abelman

This play is dull and drowsy – two words rarely associated with Stephen King – and, to borrow from Annie’s limited but colorful vocabulary, this production is cockadoodie. 

To see a full review of this show, read Bob Abelman's blog at www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

In spite of some technical issues, “Misery” is well worth seeing!  The acting is of the highest level and it’s nice to see Andrew May on a CLE stage once again.

To see a full review of this show, read Roy Berko's blog here.

Christine Howey

This is the second time in consecutive years that the good folks at GLT have tried to turn a film thriller into a stage play, and lets hope they’ve gotten that urge out of their system. 

To see a full review of this show, read Christine Howey's blog Rave and Pan
To see a full review of this show, read Christine Howey's review at Cleveland Scene

Laura Kennelly

Well played, Great Lakes Theater! Misery, Stephen King’s 1987 best-selling thriller, is anything but misery-inducing, thanks to William Goldman’s dramatic adaptation now playing at the Hanna Theatre. Bravo to Charles Fee’s insightful direction, the fine cast and some terrific special effects. Misery had opening night viewers wincing in sympathetic pain one minute, terrorized another and laughing in the next (yes, there’s humor there).

To see a full review go to Kennelly Review of Misery at Great Lakes/

David Ritchey

"Misery" murder holds our attention when the story takes us on a new journey. The audience becomes a fan as some people become a movie fan or a performer's fan.

To see a full review of this show, read David's posts at Talkin' Broadway
 
Andrea Simakis

Despite a fine cast, "Misery" just isn't very interesting as a play, the terror and tar-black comedy of both the book and film duller by its translation to live theater.

To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

RIVERDANCE20 @ PLAYHOUSE SQUARE

Through February 18, 2018

(216) 241-6000

Or www.playhousesquare.org

Roy Berko

“Riverdance 20” is an innovative and exciting blend of dance, music, and telling of tales that well-deserves the large audiences flowing into the Key Bank State Theatre.  
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

What can only be touted as a nearly perfect show, you will need to remind yourself to alternate your feet tapping between your two clogs as you will find yourself keeping time through the entire show and you may not wish to over-exert yourself. This is a superbly executed collection of dance performed by some of the worlds greatest. Shows are selling out rapidly so you need to hurry to get tickets. 

To see a full review of this show, read Mark Horning's blog.

TWELFTH NIGHT @ RUBBER CITY THEATRE

Through February 25, 2018

(234) 252-0272

http://www.rubbercitytheatre.com/

Kerry Clawson

Tania Benites is very likable as heroine Viola, who falls for Orsino on the spot, and Katie Wells is humorous as Olivia, who is immediately smitten with Cesario, the young man Viola is posing as. The story presents a bit of a complicated love triangle as Viola refuses Orsino’s amorous advances.
 
Added to the mix are an assortment of servants, friends and relatives, chief among them Olivia’s scoundrel uncle Sir Toby Belch (Sean Taylor) and his ridiculous sidekick, Sir Andrew Aguecheek (Matthew Wheeler). Taylor is humorous when his Toby goes on a drunken tear but the actor tends to yell too much.

To see a full review of this show, read Kerry Clawson's review here.

SASSY MAMAS @ KARAMU

Through March 4, 2018

(216) 795-7070  

Or www.karamuhouse.org

Bob Abelman

Mid-life men should seriously consider dropping off their wives at the theater entrance, finding safe-haven elsewhere for two hours, and returning with a new-found interest in gardening.

To see a full review of this show, read Bob Abelman's blog 

at www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

Karamu’s “Sassy Mamas” has the right balance of laughs, pathos, visual excitement and empathy to delight.  It’s a fluffy romantic comedy that fully satisfies!  Huzzahs!
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

Sassy Mamas manages to turn the older-pursuing-younger concept right on its head in hilarious fashion (and quite fashionably). The acting is tight and on cue and the comedy is laugh out loud funny. Tickets will be hard to come by for this gem of a show. It sparkles! LIVE,LOVE AND SHINE!

To see a full review of this show, read Mark Horning's blog.

Christine Howey

In short, it is a tight and enjoyable ride, augmented by a classy scenic design and drop-dead gorgeous costumes, all of which is designed by Inda Blatch-Geib. 

To see a full review of this show, read Christine Howey's blog Rave and Pan
To see a full review of this show, read Christine Howey's review at Cleveland Scene

JELLY BELLY @ ENSEMBLE THEATRE

Through February 25, 2018

(216) 321-2930

Or www.ensemble-theatre.com

Roy Berko

The 90-minute play sends out chilling messages on the grim reality of drugs, guns, and the plight of the American Black man in the modern world. This is a production which commands to be seen!  It’s not a pleasant sit, but it is definitely one worth the effort!

To see a full review of this show, read Roy Berko's blog here.

Christine Howey

Thanks to an exceptional cast, under the direction of Ian Wolfgang Hinz, and a darkly comic script by the playwright, there’s a real fire in this Belly.

To see a full review of this show, read Christine Howey's blog Rave and Pan
To see a full review of this show, read Christine Howey's review at Cleveland Scene

AMERICAN DREAMS @ CLEVELAND PUBLIC THEATRE

Through March 3, 2018

(216) 631-2727

Or www.cptonline.org

Mark Horning

With all the talk going on about Dreamers, the wall and deportation this is a work that truly hits home. It is not only a wake-up call of how precious our citizenship is but also how those freedoms should be shared with those wishing to join us and who could be useful members of our society. Bravo CPT…Bravo.

To see a full review of this show, read Mark Horning's blog.

Christine Howey

By taking some bold chances this 90-minute play, augmented by a great deal of audience participation, succeeds in throwing a spotlight on the values we supposedly hold dear—such as freedom and democracy. 

To see a full review of this show, read Christine Howey's blog Rave and Pan
To see a full review of this show, read Christine Howey's review at  Cleveland Scene

Andrea Simakis

The smart, provactive play deserved to go on to e poduced in as many US. cities as are on the map.  It's what we the people deserve --art that spurs thoughtful, intelligent deliberation about immigration rather than the  empty, overheated rhetoric we hear from our leaders.
 
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

HAIR @ BECK CENTER FOR THE ARTS

Through February 25, 2018

(216) 521-2540

Or http://www.beckcenter.org

Bob Abelman

Like “Rent,” a brave alt-rock and grunge musical that transplanted the Parisian bohemians of Puccini's “La Boheme” to the grime of 1989 New York and tackled the defiant aftermath of the first wave of the AIDS crisis, “Hair” was a cultural phenomenon in its day but is now a beloved relic. 

To see a full review of this show, read Bob Abelman's blog at www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

See “Hair?”  Of course! The overall effect will leave you “Walking on Air,” asking “What a Piece of Work is Man!” and cause you to exit humming, “I Believe in Love.”  Bravo!

To see a full review of this show, read Roy Berko's blog here.


Kerry Clawson 
 
Theatergoers can kick back and enjoy the wild party that is "Hair" at Beck Center for the Arts, a collaboration with Baldwin Wallace University’s Music Theatre program.

Led by director Victoria Bussert, 30 vocally gifted students bring an extremely high level of youthful energy and spirit of rebellion to this 1967 rock musical, which follows the Tribe — a group of young adults who are part of the 1960s hippie counterculture protesting the Vietnam War.

To see a full review of this show, read Kerry Clawson's review here.

Mark Horning

Hair was groundbreaking in its time but over the years it has been watered down to a sanitized version that barely resembles the original. It is still worth coming to see for the songs and the great performance but without the drugs, free love and nudity something is loss in the translation. This is not your mom and dad’s version but still worth buying a ticket.

To see a full review of this show, read Mark Horning's blog.

Christine Howey
Due to a number of curious decisions by director Victoria Bussert and her team of designers, a play that should have lots of sharp edges, wild hairs and surprising turns comes off as slick and smooth as a hardboiled egg. Welcome to Nair.

To see a full review of this show, read Christine Howey's blog Rave and Pan
To see a full review of this show, read Christine Howey's review at  Cleveland Scene

Laura Kennelly

Fifty years ago Hair shocked audiences with its brash attitudes (and nudity). With song and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot, it portrayed life lived by New York City hippies who urged the virtues of “turning on and tuning out.” It has aged moderately well, but thumbing one’s nose at authority, freely expressing sexuality, resisting is all so commonplace today that even the delightfully anachronistic slogans carried in the current Beck Center production just don’t carry the punch they did. We’re pretty hard to shock these days.

To see a full review of this show, read Laura's post at Cool Cleveland.