Sunday, September 21, 2014

Edward Albee’s OCCUPANT


No, it’s not Occupant by Edward Albee. The playwright’s name comes first in this title, which may indicate a slight insecurity with the material, a desire to make sure everyone knows the writer is that icon of American theater and not some schlub off the street.

Even though his name is above the title, marquee-wise, this play is not an ego-driven work. Instead it is an almost gushing tribute to Russian-born, groundbreaking sculptor Louise Nevelson, a long-time friend of Albee and a figure of imposing importance in the art world.

The structure of the piece is simply an interview, a historian with an encyclopedic knowledge of la Nevelson is asking questions of the admittedly long-dead artist. They both seem mildly amused by that situation, but they then launch into a Q & A that covers the entirety of Nevelson’s colorful life.

Everything, it seems, is touched on: her hard-working immigrant family, her unpleasant marriage, her sexual dalliances, her son, and finally her art.

With apologies to Mr. Albee, the best thing about this production is the acting. Under the precise direction of Greg Cesear, the two actors spin a sublimely hypnotic world. George Roth plays the sometimes challenging, often fawning interviewer with just the right touch of deference and devotion.

And as Nevelson, Julia Kolibab is a dark eyed force (Nevelson was famous for wearing multiple sets of sable eyelashes), dispensing truths and fictions about her existence with the same assuredness. Kolibab is a stunning presence, and you wish she’d go on talking for much longer.

This is not exactly a flawless production, however, since the script often seems like a glorified Wikipedia entry, albeit written with the wit and deft conversational feints that only Albee can concoct. And the insights, such as they are (“If you’re lucky enough, you become the person you are inside.”) are not exactly Earth-shaking.

And one wishes that more time was spent on the struggle of this inspired woman to work her way through the male-dominated art scene, and on her particular artistic vision.

Ah well, we’ll take what we can get. On a handsome set design by Laura Carlson Tarantowski, replete with Nevelson-like artifacts featuring detailed monochromatic black and gold boxes, the show manages to retain one’s attention throughout.

Ms. Nevelson would have appreciated that.

Edward Albee’s OCCUPANT
Through October 12 at PlayhouseSquare, Kennedy’s, 1516 Euclid Avenue, 216-241-6000..




Tuesday, September 16, 2014

Forever Plaid, Beck Center

(Plaids L to R: Brian Altman as Smudge, Shane Patrick O'Neill as Frankie, Josh Rhett Noble as Sparky, and Matthew Ryan Thompson as Jinx)

Time was, four clean-cut young lads could sing “Heart and Soul” in close harmony and make teenage girls scream and swoon. Sixty years before One Direction, groups such as the Four Aces and the Hi-Lo’s were laying out young female audiences with their lyrical takes on classic songs.

And the evergreen show Forever Plaid, now at the Beck Center, brings back that era of crooning post World War II innocence. As directed and choreographed by Martin Cespedes, this is an entertaining and endearing representation of the Plaid franchise, even if some of the songs don’t fly as high as they might.

The conceit of the book, written by Stuart Ross, is that the four high school vocalists were snuffed out by a school bus before their career took off. So through a cosmic harmonic convergence, the heavens have opened and brought them back to life to perform the concert they never performed in real life.

Each of the Plaids has his own little quirks, and these are brought to life nicely by Brian Altman (nerdy Smudge), Josh Rhett Noble (lively Sparky), Shane Patrick O’Neill (focused Frankie) and Matthew Ryan Thompson (fragile Jinx). Despite having names that sound like Snow White’s backup team of dwarfs, the boys get their act together in short order.

The song list is hefty and includes old-time faves such as “Three Coins in the Fountain” and “Catch a Falling Star.” And the comedy bits, such as a 3-minute mash-up of all the acts that used to appear on The Ed Sullivan Show, come off without a hitch. Even if you weren’t around for the original, it never gets old seeing jugglers and stupid dog tricks—even if it’s a stuffed dog being tossed through a hula hoop.

Of course, the music is the reason for this show to exist, and the four performers fashion some sweet blends. However, the exacting demands of close harmony forces them to lower their volume on a number of songs. As a result, the glorious soaring notes many remember when the Four Aces crooned “Love Is a Man Splendored Thing” are not there.

Sure, many of the dance moves are just as they were when Ross directed and choreographed the original production of his show in 1990. And they can get repetitive (lean left, lean right, move the floor mic in a circle, etc.) Still, Cespedes and musical director Bryan Bird compose a crisp and nicely-paced production that keeps its foot on the pedal of musical memories.

As you might expect, there is precious little edgy material here, unless you get a tingle when one of the boys, in marketing mode, innocently says, “We’d like to work your private functions.” And that is true to the era when rock and roll was just beginning. Indeed, people back then were so clueless that pioneer rocker Bill Haley and His Comets’ first albums were called “foxtrots with vocals,” perhaps to appease the old folks.

But everyone knew what those masters of harmony in guy and girl groups were up to. And this Forever Plaid is a fitting tribute to that music of the Eisenhower years.

Forever Plaid
Through October 12 at the Beck Center, 17801 Detroit Avenue, Lakewood, 216-521-2540






Sunday, August 10, 2014

Henry IV, Part I, Ohio Shakespeare Festival

It’s hard for a father to watch an apparently wayward son find his way in life, and that parental angst forms the personal core of the “history play” Henry IV, Part One.

That is the problem King Henry faces as he muses on his son, the wastrel “Prince Hal.” Hal spends his time drinking with the dissolute Sir John Falstaff and thinking up pranks to play. His dad wishes he were more like the son of his rival Thomas Percy (Ross Rhodes), the hot-blooded, laser-focused young “Hotspur.”

HIVPI is a long play loaded with all kinds of political details, but as usual the talented Ohio Shakespeare Festival company manages to sort it all out.

As the two sons, Andrew Cruse and Joe Pine draw clear distinctions, as Hal and Hotspur. Each is intense in his own way and yet oh so different, and both display a clarity of diction that is immensely satisfying. Cruse is aided by an energetic Geoff Knox as Hal’s wingman (okay, gentleman-in-waiting) Poins, and Pine finds succor in the arms of his wife Lady Percy (Tess Burgler in a small but impactful turn).

In the title role David McNees frets nobly, and convincingly shows this man’s political acumen and his vulnerable personal side. Also, Derrick Winger is appropriately full of himself as the gasbag Owen Glendower.

Once the fighting starts, Ryan Zarecki stars in two roles: as the Likes-To-Fight–Guy, the Scottish Earl of Douglas, and as the fight director. These aren’t the tippy-tappy fight scenes you’re used to, as the actors often seem to swing for the fences with their axes and such.

In the highlight role of Falstaff, director Terry Burgler offers a mostly comfortable version of this boozy whore hound. It’s an audience pleaser, but his interpretation doesn’t delve very deeply into Falstaff’s clear and present contradictions. Still, Burgler is amusing in a fat suit that seems lifted from Martin Short’s intrepid celebrity interviewer, Jiminy Glick.

As for the introductory greenshow, a long send-up of Cymbeline as done by the Disney Studios has its moments, but overall the concept seems funnier than the execution. This observer missed the shorter pieces, with one usually tweaking a selected Shakespearean trope. Still, the greenshow—directed by Tess Burgler with Jason Leupold as music director—is not to be missed. It starts a half hour before the main event. “Huzzah!”

Henry IV, Part One
Through August 17, produced by the Ohio Shakespeare Festival, Stan Hywet Hall & Gardens, 714 N. Portage Path, Akron, 330-673-8761.


Monday, August 4, 2014

The Wedding Singer, Mercury Summer Stock

(Left to right: Dan DiCello as Sammy, Will Sanborn as Robbie, and Brian Marshall as George)

Some decades are easy to identify at a glance. And once you see a mobile phone the size of a shoebox, you know you’re in the 1980s. (As the TV commercials said at the time, “It weighs only two pounds!”)

Well, that phone and lots of other ‘80s detritus is on display in The Wedding Singer, now being produced by Mercury Summer Stock. This song-heavy adaptation of the Adam Sandler flick features music by Matthew Sklar, lyrics by Chad Beguelin, and a book by Tim Herlihy and Beguelin. None of those individuals is credited in the program—either an unforgivable oversight or a detestable decision.

Of course, the trouble with adapting an Adam Sandler movie is that you don’t have Adam Sandler to carry the comedy load. And that becomes evident as Will Sanborn takes on the unenviable task of doing the title role as Robbie Hart. He’s a singer who’s been jilted at the altar by his party-hearty fiancée Linda (a sizzling Michelle Ireton), and starts taking his frustrations out on his two band members and any of the subsequent weddings he’s booked into.

Sanborn has a nice boyish quality and sings reasonably well, but his occasional attempts at channeling a Sandler-esque delivery fall well short of the mark. As a result, we never quite warm up to Robbie and his marital plight.

However, there are other cast members who are ready and willing to pick up the slack. One of Robbie’s band members is Sammy, a hefty and sweaty fellow played to the hilt by Dan DiCello. And the other guy is (Boy) George, a flamingly gay Brian Marshall who shows off a rather coquettish falsetto singing voice in “George’s Prayer.”

After Robbie’s dreams are shattered, he falls in love with wedding reception waitress Julia (Melissa Sills in an endearing and very well-sung turn). But she’s engaged to marry Glen (Jimmy Ferko), a junk bond broker who covets only money.

And so, the stereotypes abound as the play lurches from one derivative meme to the next. But once you look past that, several of the songs are quite catchy, such as Robbie’s lovesick anthem “Casualty of Love” and Glen’s tribute to bucks in “All About the Green.” Plus, Cindi Verbelun as potty-mouth grandma Rosie and Dani Apple as Julia's cousin Holly chip in with some laughs.

Placed on a Let’s Make a Deal set featuring three curtains, the large and pumped-up ensemble performs admirably under the guidance of director and choreographer Pierre-Jacques Brault and music director Eddie Carney. In short, the show steamrolls over all the material’s inherent bumps and turns this sack of fluff into an enjoyable (if overlong, at 2½ hours) summertime fling.

The Wedding Singer
Through August 16, produced by Mercury Summer Stock at Notre Dame College, 1857 S. Green Road, South Euclid, 216-771-5862.


Friday, July 25, 2014

One Flew Over the Cuckoo’s Nest, Blank Canvas Theatre


Interesting, how time changes our perceptions. Back in the 1960s, when Ken Kesey wrote the book on which this play is based, mental institutions were an accepted fact of life. Sure, they were probably awful, but at least there were places to put people suffering from mental deficits of one sort or another. 

Now, in the enlightened 21st century, we let many people with severe mental disorders live amongst us, in communities that are rife with firearms. And we’ve wept through some of those consequences. 

Still, the denizens of this particular mental hospital, in Dale Wasserman’s adaptation, seem remarkably passive and medicated. Until the outrageous and extroverted Randle P. McMurphy shows up and starts to roil the waters, angering the day room dominatrix, er, Nurse Ratched. 

Things don’t start well in this production, as the first act is larded with so many long pauses, lingering beats and languorous low-volume line readings (other than McMurphy) that one begins to feel drugged. 

But the second act snaps into shape nicely under the direction of Patrick Ciamacco. As McMurphy, Daniel McElhaney opts for a lot of grinning and yelling early on. But he finds more variety as the show progresses, ultimately shaping a character to care about. Underplaying her role well (at times almost too well), Anne McEvoy gradually compiles a fearsome presence as Ratched. 

Among the strong supporting actors, Perren Hedderson is exquisitely frail and damaged as the stuttering Billy Bibbit and Aaron Patterson is solid as Chief Bromden (even if the staging of his pre-recorded interior monologues feels clumsy). Plus, Michael N. Herzog as Martini crafts a mostly silent portrait of hallucination that is at once amusing and deeply touching.


One Flew Over the Cuckoo's Nest
Through August 2 at the Blank Canvas Theatre, 78th Street Studio, W. 78th Street, 440-941-0458

Sunday, July 20, 2014

Romeo and Juliet, Cleveland Shakespeare Festival

(Miranda Coble as Juliet and Cody Kilpatrick Steele as Romeo)

If you’ve ever watched a production of Romeo and Juliet and thought that the lead actors really didn’t look the age of their characters (13 for Juliet, maybe 16 or 17 for Romeo), then this staging by the Cleveland Shakespeare Festival should be a treat.

Chronological purists will appreciate that Miranda Coble, a soon-to-be high school senior, plays Juliet and the not-much-older Cody Kilpatrick Steele is her main squeeze Romeo. Their evident youth gives the play a raw, adolescent quality that brings a freshness to the familiar yarn of a terminal teenage crush, even if their line readings sometimes tend to be a tad abrupt and un-nuanced.

Older actors handle most of the other parts, such as Robert Hawkes as the helpful yet conflicted Friar Lawrence and Carol Laursen as a fairly one-note, grumbling Nurse.

But director Tyson Douglas Rand allows his actors to bulldoze many beats, squashing many familiar moments. Indeed, the beloved balcony scene virtually disappears in a rush of hurried emotional turns. And other scenes are read by the assembled actors more dutifully than meaningfully.

Hillary Wheelock is a spitfire as Romeo’s devoted pal Mercutio. But she seems to have visited this outdoor stage from another play entirely, sporting a hell-for-leather attitude that doesn’t quite jibe with the rest of the production.

One witty touch in this modern dress version is glowering Ryan Edlinger’s appearance as the Apothecary, er, drug dealer in a hoodie.

On this night, there were also issues with the sound amplification that made some of the early scenes hard to hear. But regardless of quibbles, CleveShakes offers free Shakespeare, an outdoor setting, and cool CSF t-shirts for cheap. That should be enough to recommend a visit.

Romeo and Juliet
Through August 3, produced by the Cleveland Shakespeare Festival. Go to cleveshakes.org for details.

Monday, July 14, 2014

Sunset Boulevard, Mercury Summer Stock

(Helen Todd as Norma Desmond)

The shallowness of Hollywood in its heyday is exposed in Sunset Boulevard, the Andrew Lloyd Webber musical now playing at Mercury Summer Stock.

And thanks to ingenious and imaginative staging by director Pierre-Jacques Brault, this musical rendition of the famous 1950 movie starring Gloria Swanson (“I AM big, it’s the pictures that got small!”) and William Holden is a feast for the eyes and ears. Even though there is one significant performance element missing, this is a show that compels attention at all times.

Norma Desmond is a washed up silent movie star who now lives a secluded life in her Sunset Blvd. mansion, attended by her devoted servant (and former director) Max von Mayerling. When down-on-his-luck, cynical screenwriter Joe Gillis is trying to avoid car repossession thugs (because, in L.A., “You lose your car, it’s like getting your legs cut off.”), he ducks into the garage of the Desmond estate, and both of their lives change in dramatic ways.

The production is handsome and riveting in a number of ways. Brault keeps the large ensemble of actors on stage for most of the piece, using them as supporting characters as well as walls and stairways. To wit, since there is no staircase on this stage, Brault creates one by having Desmond enter for the first time (and again at the end) by walking on a line of wooden chairs with the other actors providing their arms as a continuous railing.

Also, Brault employs cinematic touches, such as “extras” moving in the background of some scenes when only two people are talking. And the costumes (uncredited) are stunning, especially Desmond’s long and flowing robes of various opulent designs.

Continuous projections, designed by Rob Wachala, dance on the proscenium and on the side walls. These include clips from an actual silent movie, and these close-ups and graphics are totally mesmerizing. By reshaping the stage space with actors and fabric panels, Brault maintains an open feel that can instantly become claustrophobic with the use of lighting, strobes and fog.

As Gillis, Brian Marshall bites off his character’s lines with appropriate bitterness, although he lacks the age and/or dissipation to really come off as cynical and downtrodden as he should be. And, as always, he handles his songs with professional aplomb.

Jackie Komos brings some feisty zest to her role as Betty, Joe’s gal pal at the studio, and adds her capable singing voice to the duet “Too Much in Love to Care” with Marshall. Although Jonathan Bova starts out shakily in his Act One song “Greatest Star of All,” he regains his foot later in a reprise of “New Ways to Dream.”

Of course, the major role in this show is Desmond, and Helen Todd contributes a well-trained, rich voice to her songs, particularly on “With One Look” and “As If We Never Said Goodbye.” But Todd never takes enough chances in portraying Desmond’s advanced state of self-delusion. Moving about with a placid-face and noble sort of grandeur, Todd doesn’t convey the crumbling façade of this woman’s psyche until very late in the second act. And that void creates a vacuum at the center that can’t be filled.

Another disappointment, given the production’s many remarkable visual flourishes, is the absence of an effective nod to the most famous image from the original movie: a body floating face down in a pool.

That said, this show features a wonderful score by Webber, with lyrics by Christopher Hampton and Don Black. When you add that to the acrid whiff of unhinged ambition, and Brault’s impressive staging, you’ve got one fine show.

Sunset Boulevard
Through July 26, produced by Mercury Summer Stock at Notre Dame College, 1857 S. Green Road, South Euclid, 216-771-5862.