THEATER REVIEW: “Ken Ludwig’s Sherwood” @ Cleveland Play House by Laura Kennelly

Photos by Roger Mastroianni

Through Sun 2/24

Ken Ludwig’s Sherwood: The Adventures of Robin Hood, now at the Cleveland Play House’s Allen Theatre, sets a snappy pace. As seen in previous CPH Ludwig comedies (such as Baskerville, A Comedy of Tenors and The Game’s Afoot), farce rules in this capsule sketch of the triumph of Robin Hood and his Merry Band. It’s directed by Adam Immerwahr.

While nothing is safe from Ludwig’s gentle mockery, it’s all in good fun. Arrows fly (see if you can figure out how they do that without killing each other), towers are scaled, bad guys are trounced, and new love comes for Robin (yes, it’s Maid Marion, but it was a surprise for Ludwig’s Robin).

There’s likely no point in reviewing the plot — everyone knows the tale of Robin Hood’s resistance to tyrannical authority way back in 1194 England,  don’t they? Ludwig’s play touches familiar legendary aspects of this (perhaps) mythological rebel who resisted injustice, was popular with the peasants (most of us were peasants back then) and lived in the woods (sometimes).

Zack Powell portrays Robin Hood with the charismatic flair one needs for heroic deeds (and for charming others into following his schemes to save the country). Maid Marion (Amy Blackman) became his self-confident (and independent) love interest. (Of course, this is 2019 so she has to be her own woman, not some delicate flower.)

My favorite character was Jonah D. Winston’s John Little, but (as he tells us), he quickly got to be called  “Little John” by Robin’s crew. Winston’s large frame lent itself perfectly to typecasting, but it didn’t hinder him from keeping up with the crazy antics that Robin instigated.

As the diminutive Sheriff of Nottingham, a hilariously self-important Steven Rattazzi made the most of his character’s size and idiosyncrasies. Another funny fellow, Prince John (Price Waldman),  managed to speak almost as eloquently as a Shakespearean hero (and as the play revealed, that’s no accident).

Other ensemble members include the stalwart Friar Tuck (Doug Hara), the oft-flustered Sir Guy of Gisbourne (Josh Innerst) and the unlucky Deorwynn (Andrea Goss). The ensemble cast plays more than their primary roles, pitching in as needed to fill out the story. There’s no lack of small asides, jokes and hammy poses from every side of the stage.

The set is a delight that (sometimes) includes a flowing stream (with lilies and plunking water sounds) and a giant all-purpose tree trunk built into a two-story castle. Scenic designer Misha Kachman and sound designer Nick Kourtides cleverly used both set and sound to enhance. The characters raced around without mishap, thanks to choreographer Robert Barry Fleming, who mapped out seemingly complex transitions.

Jess Goldstein’s costume design enabled quick changes necessary to the story. Lighting designer Nancy Schertler made sure our eyes followed the paths that enhanced the special effects. The arrows that flew across the set and stuck into walls, trees, etc. were especially well-designed to fool the eye.

BOTTOM LINE: Sherwood Forest is still a terrific place to visit for an evening of good-natured fun.

[Written by Laura Kennelly]

Through Sun 2/24

Once is a deeply spiritual work though that might not be obvious from its completely secular environment (a Dublin street, a bar, a vacuum repair shop, a hillside). We see love, charity and hope manifested in this tender story that never descends to sentimentality (or religiosity for that matter).

Once began as a film (it’s on Amazon right now), written and directed by John Carney. The musical came later, with book by Enda Walsh, and music and lyrics (also heard in the film) by Glen Hansard and Markéta Irglová. The adaptation won a stack of awards, including the Tony Award for Best Musical, a Grammy Award for Best Musical Theatre Album, and four Drama Desk Awards including Outstanding Musical.

I was lucky enough to see Once on Broadway, and I thought then how wonderful it was to find a cast that could “do it all” — actors, instrumentalists, and vocalists — and pull off such a show. It’s still wonderful here in the Beck Center production starring fourteen Baldwin Wallace students under the guidance of director Victoria Bussert. Musical direction by Matthew Webb,  choreography by Gregory Daniels, stage design by Kellie Green Fox and Jordan Janota all contributed to one of the best shows I’ve seen at the Beck.

When Once opens, a Dublin street musician called “Guy” (the only names we have for the two leads are generic, as in “the guy” and “the girl”) sings a mournful song, “Leave.” Guy (Jake Slater) thinks that he’s alone and it seems clear that he’s seriously depressed. We know this because he sets his guitar down and begins to walk away. No musician I’ve met would leave a precious instrument behind.

But Girl (Kelsey Brown) has been watching, and before he can leave, she speaks directly to Guy with a series of questions (in convincingly accented English). There’s a no-nonsense vibe about her when she wonders what he is doing. Girl is an immigrant from the Czech Republic. She is dragging a broken Hoover vacuum cleaner that “doesn’t suck.” Guy’s father just happens to own a repair shop. Bingo!

Brown’s captivating portrayal of Girl, manifests hope and radiates love. Girl’s flat-footed practicality contrasts with Slater’s nuanced portrayal of Guy’s self-destructive, self-pitying behavior. His Irish accent reminds us that some of the most romantic writers were Irish (such as William Butler Yeats and James Joyce). But by story’s end, thanks to their interactions through music (and a Hoover), both characters, especially Guy, seem transformed. Although Guy tries to show his gratitude to Girl, via a material present, we suspect that his greatest gift to her is that she can see he has regained confidence in his music.

Brown and Slater make a such dream duo, both strong and confident, that it’s hard to believe they are still college undergraduates. (Well, all right, they are undergrads at Baldwin Wallace and part of its select musical theatre program, but even so ….) The strong supporting cast also contributes mightily to creating a world for Guy and Girl to sing their way around. The musical numbers fit perfectly into the story. “Falling Slowly,” “When Your Mind’s Made Up,” “If You Want Me” and even the comic “Broken Hearted Hoover Fixer Sucker Guy” stand out, but all are enjoyable.

The functional and simple set resembled the Broadway set. Various changes to switch to different places modeled the art of cooperative stagecraft as cast members moved chairs and other props in well-rehearsed steps. Everyone stayed on stage most of the time and, when needed, served as an orchestra playing a wide range of instruments.

BOTTOM LINE: A strikingly wonderful production of an amazing show with a great cast. (I may have to see it again.) It’s the perfect antidote to February — but really any other season as well.

[Written by by Laura Kennelly]