Richard III, Ohio Shakespeare Festival

(The multi-tasking Terry Burgler)

It’s always fascinating to see how a director and actor approach the title role in Richard III. This bent and misshapen man is so fully evil and malevolent, he can conjure interpretations that echo Nazi Germany (such as in the Royal National Theatre’s production starring Ian McKellen that then became a movie). Under artistic director Terry Burgler, the Ohio Shakespeare Festival doesn’t fiddle with such contemporary spins and pirouettes, and that hewing to original time and place is to their credit.

But in this production, Terry Burgler is also the person playing Richard. And as an accomplished actor, he should be picketing outside Stan Hywet Hall, protesting the fact that his director never once watched him do a single scene in rehearsal. Perhaps this demonstration would shake the resolve of that immensely talented director, Terry Burgler.

While many productions opt for making Richard a gleeful and even charming psychopath, Burgler swings the other way with Richard underplaying many of his speeches and scenes. It is rather bold choice to portray the banality of evil, if that is his aim. Of course, this choice runs the risk of simply delineating the banality of banality. The second level of banality might have been eliminated had Burgler not been directing himself.

That said, Burgler the actor adopts a fine, dark look for his menacing character, with his shoulder hump firmly in place. And some scenes register with chilling overtones, as when Richard verbally seduces Lady Anne (played by Tess Burgler, Terry’s daughter, the pair thus executing a Freudian/thespian double back flip with aplomb).

But Burgler’s casual and at times off-handed demeanor blunts the edge of other scenes, while much of the violence is also soft-pedaled. As a result, this Richard doesn’t slice so much as shove and buffet—resulting in a kinder, gentler rendition that is interesting but not compelling.

Excellent performances are turned in by several individuals in the large cast. Anne McEvoy brings her riveting stage presence to the role of Margaret, who has been pushed aside following the death of her husband. If you ever want to cuss somebody out but don’t want to do it yourself, definitely give Ms. McEvoy a call.

Derrick Winger seems entirely at ease as Hastings, which makes his later fate ,when he joins the pile of off-stage bodies, even more affecting. Robert Hawkes is deliciously craven as Buckingham, Richard’s doomed flack, conning the populace and the court as his boss machetes his way to power. And Lara Knox simmers and snarls with style as Queen Elizabeth.

By making Richard defiantly non-charismatic, Burgler the director takes a big chance. Unfortunately, Burgler the actor does not have the wise counsel of a director who is observing these dynamics during rehearsals and then suggesting different and possibly more rewarding attacks on this juicy material.

Richard III

Through August 14, produced by the Ohio Shakespeare Festival at Stan Hywet Hall and Gardens, 714 North Portage Path, Akron, 330-673-8761

Dr. Dolittle, Mercury Summer Stock

(Pierre-Jacques Brault as Dr. Dolittle, with non-puppet versions of his on-stage pals)

Although most pet owners already fancy themselves capable of engaging their domestic creatures in conversation, talking to animals has always been troublesome beyond the basic statements: “Sit,” “Fetch,” and “Oh, God, not my cashmere sweater!”

That’s why the Dr. Dolittle story, originally written in a series of children’s books by Hugh Lofting, has the ability to entertain youngsters and all the rest of us still in touch with our childlike selves. And this production by Mercury Summer Stock has plenty of fun in store for the little ones, although it may be a tougher slog for those who have advanced past puberty.

The musical features book, compositions and lyrics by Leslie Bricusse, the renowned collaborator with Anthony Newley on The Roar of the Greasepaint—the Smell of the Crowd and Stop the World—I Want to Get Off. But aside from the famous “Talk to the Animals” there are precious few toe-tappers. Indeed, some of the melodies seem strained and a bit random.

Still, the fun here resides with the animals and the presentation, in the form of hand puppets and a two-person costume (the Pushmi-pullyu), is charmingly simple. This makes the animals less a technological marvel, as in The Lion King, and more accessible for the kids.

As for the slim plot, Dr. D is brought up on charges of murdering a woman by throwing her off a cliff into the sea. He claims it was a seal and he was just following the seal’s clearly stated wish to rejoin her seal hubby in the waters up north. Of course, the judge is less than accepting of this explanation, and soon most of the animals in town, from plow horses to mice, enlist in Dolittle’s efforts to free himself.

Mercury artistic director Pierre-Jacques Brault plays the title role, which turns out to be a mixed blessing. Brault exudes great charm on stage and sings well enough. But since Brault and Brian Marshall (who plays Matthew Mugg) share staging duties, some directorial details go unattended.

Brault never quite builds the good, animal-whispering doc into a full-blown character. Instead of the befuddled goodness this man should embody, we sense in Brault’s Dolittle an unfocused distraction. This is shown at various times when Brault is smiling at moments when his character should be registering another expression entirely.

As Mugg, Marshall shows off his singing chops but seems to be playing himself more than the rough and tumble, hard-drinking Irish palooka that his character name implies. Dolittle’s love-hate relationship with a local lady goes well, thanks to Jennifer Myor’s crisp, well-sung portrayal of Emma Fairfax.

The puppets, provided by PJ’s Puppets, are mostly adorable in their unaffected construction, and a couple are quite funny (an enthusiastic dog, a pig gifted with super olfactory senses). One exception is Polynesia, the 200-year-old parrot who is doc’s animal linguistics coach. This puppet is virtually expressionless and barely opens its mouth, problems that may stem from the puppet or from the puppeteer.

Dan DiCello and Neely Gevaart nibble freely on the scenery in their stint as circus owners who fall head(s) over heels for the Pushmi-pullyu. And Kelvette Beacham shines in the second act as Straight Arrow, the surprisingly erudite inhabitant of a floating island where an on-the-run Dolittle eventually lands. Her song, “Save the Animals,” is a huge highlight and one only wishes Beacham had a much bigger role.

While some musicals do fine with only piano accompaniment, this production feels quite threadbare musically, even with music director Ryan Neal’s best efforts.

In all, this is a doctor visit the kids are sure to enjoy. As for the adults, watching the kids’ faces light up is a treat in itself.

Dr. Dolittle

Through July 2, produced by Mercury Summer Stock at the Brooks Theatre, Cleveland Play House, 8500 Euclid Avenue, 216-771-5862

Next to Normal, PlayhouseSquare

(Alice Ripley as Diana.)

Her voice at first has the smooth gloss of a Broadway star. But it isn’t long before another vocal quality becomes apparent. This voice sounds as if it’s been extruded, pushed through the remorseless calendar-die cross-sections of daily life. A voice both blessed and tortured. And the finished product housing that voice, although polished to look at, is brittle and liable to shatter under stress.

This is Diana as played by the magnificent Alice Ripley, who won a Tony for her performance in the original Broadway production of Next to Normal, now at PlayhouseSquare. It is a portrayal that cuts through a bold rock music score to plant an indelible impression of bipolar trauma. With a pounding and exuberant score by Tom Kitt, and book and lyrics by Brian Yorkey, this is a production that dives feet first into a delicate subject area and emerges triumphant, although simultaneously downbeat.

Diana is a suburban mom in every jot and tittle, except for the fact that she has a not-easy-to-diagnose mental disturbance. Showing aspects of manic depression and obsessive-compulsive behavior, Diana is a trial to her loving family: husband Dan and children Natalie and Gabe.

Following a familiar pattern, Diana decides to stop taking her pills, encounters a talk therapist, and then spirals down into more serious issues and more extreme outcomes. And, as we learn the trigger for Diana’s troubles, more layers are added to this intense family drama.

If all that sounds like heavy lifting for the audience, fear not. This muscular production directed by Michael Greif is thoroughly captivating from start to finish.

In addition to Ripley’s tour-de-force performance, she is abetted by actors who sing powerfully and contribute clear and convincing characters. Asa Somers as Dan holds his own as the supportive spouse who is entirely out of his depth. Emma Hunton manages a nice mix of empathy, frustration and scorn as she deals with a mother who is rarely there for her. And Curt Hansen’s Gabe floats through the proceedings, always jabbing Diana with his inescapable presence.

In smaller roles, Preston Sadleir is amusing as Natalie’s improv piano playing boyfriend and Jeremy Kushnier renders both doctors with style.

Indeed, the often-enervated casts of the last two Broadway Series productions (especially West Side Story) should sit in this audience and observe how a touring company should perform: with passion and immediacy.

Adding to the powerful overall effect is the set by Mark Wendland that features an industrial three-tiered structure where the rock musicians and the actors do their thing. Accented by projections of house’s bland siding, and a woman’s face, the many lights on the spare crossbeams gleam and are extinguished like the uncertain synapses in Diana’s brain.

And on top of all that, there are trenchant thoughts that glitter amidst the dark turbulence of Diana’s struggles. Such as, “Most people who think they’re happy just haven’t thought about it long enough.” And, “The price of love is loss, but still we pay.”

If the subject matter gives you qualms, overcome them. There’s a reason why Next to Normal won the Pulitzer Prize for Drama plus a Tony for the original score. This is a complete theatrical treat, stimulating and profound, and it is not to be missed.

Next to Normal

Through June 19 at the Palace Theatre, PlayhouseSquare, 1518 Euclid Avenue, 216-241-6000

West Side Story, PlayhouseSquare

(Michelle Aravena as Anita and Ali Ewoldt as Maria in their dazzling duet)

Some ideas just never outlive their original power. And when it comes to West Side Story, we can happily report that the juice is still worth the squeeze.

Now at PlayhouseSquare, this is the touring production of the 2009 Broadway revival that was directed by original book-writer Arthur Laurents. The story of the Sharks and the Jets is well known, as is the retelling of Romeo and Juliet from the perspective of two gangs on the mean streets of 1950s New York City. But with music by Leonard Bernstein, lyrics by Stephen Sondheim, this is one piece of theater that will likely live forever.

While much of the staging and dance moves are the same, one new twist is the partly bi-lingual presentation: Some dialog and lyrics are delivered in Spanish by the Puerto Rican Sharks. This works beautifully, since many in the audience will be able to translate these very familiar words in real time.

Even if you can’t, the meaning behind the scenes is never obscured. And there is a resulting credibility that lends a raw energy to this street conflict between two cultures.

The one soft spot in this staging centers around the two leads. The touring company apparently has three women and three men who respectively share the roles of Maria and Tony. On opening night, Ali Ewoldt fashioned a girlish and pert Maria, and applied her muscular soprano to her songs. Indeed, this is a voice that could cut steel ingots like butter.

But her Tony for that evening, Cary Tedder, was virtually trampled by her vocal chops. Looking more like a grown-up Opie than a street-tough kid, Tedder also seemed tentative in his singing, not coloring his held notes and failing to fully act his lyrics. As a result, the chemistry between the two never developed.

Although she’s no Chita Rivera (and who is?), Michelle Aravena provides plenty of laughs and sparks as Anita, and her duet "A Boy Like That/I Have a Love" with Ewoldt in the second act soared. Also, the "almost rape" scene in Doc’s candy store, where Anita is cornered, still chills to the bone. As Riff, Joseph J. Simeone has a good look but his voice sounded tired in places.

Action (Drew Foster) and the Jets have fun with “Gee, Officer Krupke,” and the Shark gals dance up a storm in “America,” even though their words at times were hard to understand over the orchestra.

The biggest visual treat is when the stage transforms to the under-the-highway site of the pivotal rumble, with the highway descending and a chain link fence lowered to cover the entire proscenium. The symbolism of these kids trapped in the cage of their own tangled destinies is vital and memorable.

With a stronger love match between Tony and Maria, this show could be marvelous. As it may be, at times, during the remainder of the run.

West Side Story

Through May 15 at the Palace Theatre, PlayhouseSquare, 1518 Euclid Avenue, 216-241-6000

Underneath the Lintel, Chagrin Valley Little Theatre

If you have a mystery to solve, who’s the first person you call? A librarian, of course! Well, maybe not. But the librarian in Underneath the Lintel, now at the Chagrin Valley Little Theatre, turns out to be a super sleuth who tracks his prey all the way back to the crucifixion.

This play by Glen Berger is loaded with a dense thicket of clues about the borrower of a library book that is 113 years overdue, a density that could defeat lesser actors. But Robert Hawkes is nearly flawless in this one-man performance, playing the script and his audience like a virtuoso.

Our hero is a Dutch librarian who is addressing a gathering in a rented hall, a man afflicted with all the petty concerns the stereotype of his occupation suggests. He has issues with his co-workers, especially when they mooch some of his lunch. But he saves his ultimate scorn for those who drop off books without paying their dues. So you can imagine his feelings when he finds a book past due by more than a century.

Pursuing the slimmest of clues, including a laundry ticket, he relates how he pursued this scofflaw from China to Germany and from the United States to Australia. Ultimately, he entertains the theory that the person he’s hunting is actually the Wandering Jew of legend, who was doomed to walk the Earth until the second coming of Christ.

Hawkes unfolds this intricate story with immense patience while keeping the audience riveted at every moment through deft pacing changes and thrown-away laugh lines. Whether we believe the librarian's story, or if we decide he's just imagining it all, the impact is the same. He and director Susan Soltis develop a character beset not just with obsessions but with a desire to explore the meaning of life beyond daily rituals and, yes, the Dewey Decimal System.

After watching this production, you may want to discuss the ideas lurking behind the simple expression “I was here.” But whether you do or not, you will know you were in the presence of an actor functioning, gloriously, at the peak of his craft. And that’s worth a good deal more than the price of this ticket.

Underneath the Lintel

Through May 14 at the Chagrin Valley Little Theatre, River Street Playhouse, 56 River Street, Chagrin Falls, 440-247-8955

Circle Mirror Transformation, Dobama Theatre

For my review, go to: clevelandheights.patch.com

Thanks!

Two Gentlemen of Verona, Great Lakes Theater Festival

While love and friendship are two very desirable conditions, when they conflict with each other the participants can get seriously bent out of shape. That’s what happens to the four principals in The Two Gentlemen of Verona, now at the Great Lakes Theater Festival.

This early play by Shakespeare is a fairly slight affair, as young Will was still trying out the dramatic techniques he would use later in his career with such skill. Therefore, either the staging or the performances have to fill some gaps to make this play soar. And even though this GLTF production has some pleasant moments, it never really catches fire.

The two gents in question, Valentine and Proteus, fall in love with Silvia, with Proteus leaving his former gal Julia in the lurch. But Julia decides to disguise herself as a page and is assigned by Proteus to woo Silvia on his behalf. Of course, there are more complications intertwined until the happy and strangely abrupt conclusion.

Lacking much of the dense beauty found in other Shakespeare plays, this piece begs for imaginative staging or actors who can bring something extra to their roles.

Initially, it seems that director Charles Fee is on the right track with a clean and modernistic set designed by Russell Metheny. Plus, Fee utilizes two singers and a small combo to introduce scenes with snatches of indie music, such as the haunting tunes of Nick Drake, the moody “bleak” rocker circa 1970.

As it turns out, however, that faint window dressing can’t make up for a staging that feels flat and perfunctory. Fee approaches the material as if it requires deep respect, not as a loose and spirited comic romp. Although Fee has been chided in the past for taking too many liberties, here he errs in the opposite direction.

The situation isn’t helped by individual performances that range from bland to capable. Neil Brookshire is a handsome cipher as Valentine and Paul Hurley neatly skates around many opportunities to turn Proteus into something more than a pain-in-the-butt grind.

As Silvia, Nica Ericson exudes a dark and threatening sexuality but never builds that into anything interesting. Only Lee Stark as Julia, among the four leads, ever generates any sparks, especially in her cross-dressed moments when she interacts with Silvia..

Reliably, David Anthony Smith comes riding to the rescue as Proteus’ servant Launce. His scenes with his faithful mutt Crab are funny and endearing, perhaps even more so in this arid landscape. And Sara M. Bruner, Jodi Dominick and Robert Williams add some fun as the second act outlaws.

Overall, however, these Two Gentlemen are much too mannerly to make this play crackle with anything approaching comedy delight.

The Two Gentlemen of Verona

Through April 23, produced by the Great Lakes Theater Festival at PlayhouseSquare, the Hanna Theatre, 2067 East 14^th Street, 216-241-6000