Holiday Jazz Revue, Karamu House

Evidently, the “War on Christmas” is now in full effect, since this show opts for “Holiday” in its title, the word some Fox News wackos love to hate. While the alt-right fumes at this choice, the rest of us who prefer acknowledging the existence of multiple religions can sit back and enjoy some festive song frolics.

The idea of a Holiday Jazz Revue is great, and this two-hour show at Karamu House delivers well, especially when the emphasis in on jazz interpretations of favorite Christmas songs, some of which have been made famous by Ella Fitzgerald, Nat King Cole and others. Working with just a three-person band, the show fairly glows when jazzy interpretations of faves, such as “Jingle Bells,” fill the air.

However, the voices in this eight-person company  (Sean Dubois Day, Eric Floyd, Joshua McElroy, Molly McFadden, Mary-Francis Renee Miller, Rebecca Morris, Miguel Osborne, Clarissa Walker) tend to work better when singing as a group, since there are some vocal flaws with most of the soloists.

Conceived by Tony F. Sias, Nicole Sumlin (who doubles as music director) and Nathan A. Lilly (who doubles as musical stager), the highlights include a nice basso profundo take on “You’re a Mean One, Mr. Grinch” by Osborne, a lovely “Lo, How a Rose ‘Ere Blooming” by Miller, and McFaddden’s “Sweet Little Jesus Boy.” The gentlemen also do a respectable job with an acapella turn on the 17^th Century Catalan carol “Fum, Fum, Fum.” And as mentioned, the choral pieces are just fine.

But if Karamu decides to do this Revue in the future, they might want to consider drafting some stronger solo voices and rethinking a couple of the staging decisions. In particular, turning “Baby, It’s Cold Outside” into a glancing sexual harassment situation tarnishes the naughty-but-nice attitude of that song. And if you’re going to do a reading of “The Night Before Christmas,” it might be advisable do more with it than a bland, traditional reading from a book. (Think of the John Malkovich classic on SNL. Or, you know, think of something).

In any case, the performers are warm and welcoming, and it’s the holidays! So chug another spiked eggnog and have a blast!

Holiday Jazz Revuew

Through Dec. 23 at Karamu House, 2355 East 89 St., 216-795-7070, karamuhouse.org.

Urinetown, Blank Canvas Theatre

Is it juvenile? Yes. Is it Silly? Of course. And is it universal? Well, there’s nothing more all-encompassing, never mind your ethnicity or politics, than the need to pee. And while it may seem farfetched that the government would like to stop some people from peeing where they wish (transgender people may chuckle ruefully here), this show is a hoot.

Urinetown has been making a splash for some years, and now Blank Canvas Theatre is giving it a go on its tiny stage—and succeeds for the most part. Under the direction of Patrick Ciamacco, who also quadruples as set/lighting/sound designer, the 19-person cast conveys the problem of peeing-for-a-price with gusto.

It helps that there are strong performers taking on the major roles.  The dystopian songfest is narrated with smug arrogance by Rob Albrecht as Officer Lockstock (always accompanied by Officer Barrel, played by Jason Salamon). As the man in charge of enforcing the town’s draconian law, instituted for supposed ecological reasons due to a crushing drought, the large and in charge Albrecht gives the show a strong core.  He reels off efficient and meta narration as he sort of explains the need to ban private toilets to Little Sally (a wide-eyed Dayshawnda Ash):: “You’re too young to understand it now, Little Sally, but nothing can kill a show like too much exposition.”

He is matched nicely by John J. Polk as Caldwell B. Cladwell, president of Urine Good Company and the guy who owns all the public toilets. And Polk is gifted with one of the most enjoyable songs in recent musicals, “Don’t Be the Bunny,” which carries a warning for those who get bulldozed by the powerful entities of big business and a government that punishes people who are poor and weak (“You’re born to power/You’re in the money…don’t be the bunny!”).

These pee police don’t go unchallenged since Bobby Strong (a forthright and upstanding Daryl Kelley) takes on the role as the leader of the forces rebelling against the law.  And his romance with Hope Cladwell (an achingly naïve Stephanie Harden), the daughter of the pee magnate, registers effectively.

In the role of Penelope Pennywise, the harridan who runs an amenity in the poor part of the city, Bernadette Hisey sings well but never becomes the hateful presence she must be to give the show its gut punch. Pennywise is on the front line of the pee ban, so she needs to be a real badass. If Cladwell is the Gordon Gekko of pee, she must be the Terminator.

The ensemble offers great support—Trey Gilpin and Kristy Cruz in particular—and the small band under Matthew Dolan’s baton delivers solid accompaniment. And the music soars particularly in the up tempo “Run, Freedom, Run,” which features a harmonizing choir of singers.

The premise of this show makes no sense, of course, since people could always find a way to pee on the sly. Plus, the idea of a government stopping people from peeing makes about as much sense as giving tax breaks to the rich while raising taxes on the poor. Like that could happen.

Urinetown

Through December 16 at Blank Canvas Theatre, West 78 Street Studios, 1300 W. 78 St., 440-941-0458, blankcanvastheatre.com.

Sherlock Holmes: The Baker Street Irregulars, Dobama Theatre

Every parent is always is always in search of appropriate and fun entertainment for their kids. So it’s good news that Dobama is presenting the family-friendly show Sherlock Holmes: The Baker Street Irregulars. It’s a fun show for children, since it features lots of running around, some wonderfully-staged action sequences, and just enough Message to give it some feel-good heft.

Local playwright Eric Coble has based his script on the eponymous graphic novels by Tony Lee and Dan Boultwood, about a gaggle of kids who worship Mr. Holmes and take it upon themselves to protect Victorian London against evil-doers in his absence.

And damned if scenic designer Ben Needham hasn’t brought that “comic book” look to the stage, using dramatic silhouettes and other graphic tricks to mimic the cartoonish elements of the source material. For example, a scene where a good guy and a bad guy are fighting on the roof of a speeding train is exhilarating, thanks to splendid projection design by the wizard of those things, T. Paul Lowry.

This is all great stuff for any rug rats in attendance. However, by jamming together a couple different story lines the plot is hard to follow, requiring the detective brilliance of, say, Sherlock Holmes. Unfortunately, even though his name leads the title, Holmes is mostly missing from these proceedings. You see, he and his arch enemy, the dastardly Moriarty, plunge over a waterfall at the very start, supposedly to their joint demise.

This leaves the show in the hands of a rotating cast of six kids, who display varying degrees of potential. On this night, among the most accomplished were Colin Frothingham as Wiggins, the Holmes-like leader of the Irregulars and Elise Pakiela as Pockets, the crew’s expert pickpocket.

The others Irregulars (Patrick Hensel as Chen, David Gretchko as Tiny, Adler Chefitz as Ash and Miranda Leeann as Eliza) have nice isolated moments. But overall the young actors, try as they might, aren't able to keep the pace of the dialog clipping along as rapidly as that train. The result is a lot of pregnant pauses that slowly seep the energy out of the show.

The five adults in the cast do what they can to keep the production humming. Among them, Christopher M. Bohan turns in a steady job as both Dr. Watson and Sherlock, and Ray Caspio is a snarly study in nastiness as two different villains, Morris Wiggins and Moriarty himself. It’s just a shame these two fine actors don’t have more juicy scenes together.  As the clueless Inspector Lestrade, Ananias J. Dixon nearly devours the impressive scenery on Dobama’s vast stage, drooling and chomping into each of his lines to cadge some laughs. Hey, you can’t blame him.

In short, this Sherlock is a sure lock for kids and their parents.  For everyone else, deductive reasoning might suggest a different entertainment choice.

Sherlock Holmes: The Baker Street Irregulars

Through December 30 at Dobama Theatre, 2340 Lee Rd., Cleveland Heights, 216-932-3396, dobama.org.

The Lyons, Chagrin Valley Little Theatre

If you like your comedies dark, they don’t come much blacker than Nicky Silver’s The Lyons. And this production in the River Street Playhouse, part of the Chagrin Valley Little Theatre complex, gives this nasty script a nice ride.

The set-up couldn’t be starker: Old Ben Lyons is in a hospital bed dying of cancer and his wife, Rita, is sitting bedside planning a renovation of their home.  If that sounds cruel, it is—that’s who these people are. There are plenty of zingers darting back and forth, and most of the humor lands with a wince.

Once their two grown kids Lisa and Curtis arrive, things don’t improve much, since Lisa  (Catherine Remick) is a barely recovering alcoholic and Curtis (Sean McCormick)  is a closeted gay man with daddy, mommy and sister issues.

This production, under the direction of Yvonne E. Pilarczyk, starts off well as a bitter John Q. Bruce as Ben and a sharp-tongued Mary Jane Nottage as Rita spar with each other, each trying to draw blood from the rock their longtime spouse has become. But as the first half of the show progresses, the pace bogs down since the three ambulatory characters in this hospital room aren't blocked to reflect their respective attitudes, giving the first act a static feel. It should feel like a 3D chess match where the players are armed with knives and bedpans.

The proceedings pick up steam in the second act, when we’re thrown into an entirely new setting where Curtis flirts with real estate salesman Brian (Justin Steck). After that encounter ends on an unexpected note, we’re back in the hospital,where things have changed. And eventually, some rays of hope shine forth.

Overall, the performances are on point, even in the smallest role of the nurse, played with appropriately exhausted good will by Lisa Lee Lazarczyk. As she says at one point, “The way I see it, there are no answers. Some people are happy, and some people are just lonely, mean and sad. And that’s the world.” Indeed.

The Lyons

Through December 9 at the River Street Playhouse, Chagrin Valley Little Theatre, 40 River Street, Chagrin Falls, 440-247-8955.