Pipeline at the Cleveland Play House

THEATER REVIEW: “Pipeline” @ Cleveland Play House by Laura Kennelly

Photos by Roger Mastroianni

Through Sun 11/3

Dominique Morisseau’s Pipeline, now at the Cleveland Play House’s Outcalt Theatre, looks at today’s world and doesn’t like what it sees. Director Steve H. Broadnax III and an outstanding cast show a quick-changing social scene propelled by a clash between ideals and the fragile humans who must live up to them.

The strong-willed Nya (Suzette Azariah Gunn) teaches in the inner city. It’s a dangerous place to work, one where students attack each other and their teachers. Early on we see just how dangerous when we meet Nya’s fellow teacher, the fragile and dedicated Laurie (Rachel Harker). Laurie has just returned to teaching after being seriously injured during an outbreak of in-school violence.

Her friend Nya feels she’s needed in the school, but refuses to send her son Omari (a conflicted Kadeem Ali Harris) there and insists he go to an exclusive upstate boarding school. It’s a place foreign to him. He resents that others there assume things about him just because he’s African-American. Despite the consideration and kindness shown to him by fellow student, Jasmine (a winning Jade Radford), he’s depressed and very angry.

Now, add to that mix the men in Nya’s life. She and Omari’s father Xavier (a commandingly distinguished and very angry Bjorn DuPaty) live apart. We see her spurn fellow worker Dun (Eric Robinson) so it seems that whatever might have happened between them that made Xavier jealous is in the past.

When Omari pushes a teacher  in boarding school, Nya feels overwhelmed with fear (and guilt). She worries that her son is doomed, like so many others his age, to move into the “pipeline” that funnels young black men into reform school and then serious crime and then prison.

It’s a strangely paced production, with monologues and dramatic exchanges (sometimes with long pauses) on the set interspersed with videos of chaos in school hallway shown on a large screen behind the stage. Often, what should be intimate — the talk between loved ones — moves too quickly from one trauma to another. The stage’s rising center platform doesn’t always retract fast enough, so we have, for example,  a bed in the middle of the stage slowly sinking while a new scene set elsewhere begins.

BOTTOM LINE: Despite a good effort by the talented Cleveland Play House team, it’s not enough to smooth over distracting dramatic elements inherent in the play itself. Pipeline tries to cover too many important social topics — public and private education, divorce, single parents, social reform — all at once. It takes a village to make a mess? I don’t think that’s what the playwright had in mind, but that seems to be what she shows us. Morisseau, a MacArthur Foundation Genius Grant awardee for 2018, offers 90 minutes of pain about marriage, schools, responsibility and assumptions.

[Written by Laura Kennelly]

THEATER REVIEW: “The Member of the Wedding” @ Beck Center by Laura Kennelly

Through Sun 11/3

Carson McCullers’ The Member of the Wedding, now at the Beck Center, builds slowly, scene by scene, to give a true and tender glimpse of lives intersecting in a small southern town. Director Eric Schmiedl and an excellent cast make everything they do to bring us into their world seem simple and easy (it is not) as we slip into August 1945 and a welcome post-war era.

The set, designed by Walter Boswell, boasts an ice box refrigerator, a basic kitchen sink, and a stove (with oven) as well as a kitchen table — all suitable to the era. It’s the space where pre-teen Frances (Frankie) Addams (Ellie Ritterbusch) finds food and comfort. And yes, there’s a screened-in porch just off to the side, a necessity of life where the summers are long, hot and mosquito-filled.

Almost everyone ends up in that kitchen because that’s where Bernice Sadie Brown (Lisa Louise Langford), dispenses love and support. As the Southern family’s African-American housekeeper, Langford seems completely at ease, just the way Bernice herself would have been. Langford, recently seen in the Beck’s King Lear as Regan, Lear’s fire-breathing dragon daughter, plays an entirely different sort of woman, a woman whose wisdom, love and charity offers a refuge. It’s a challenge to show goodness, but Langford’s Bernice does so in an impressive performance.

As Frankie, the growing-up livewire little tomboy who hasn’t yet reconciled herself to being a girl, Ritterbusch is captivating. She makes us see the chatterbox who shares every thought that comes into her mind, the energetic and (yes) bossy preteen, and the little girl who misses the mother who died giving birth to her.

As John Henry West, Frankie’s one real friend, the six-year-old cousin she tells what to do, Chase Oberhaus is absolutely convincing. He’s the sort of likeable little kid that you don’t know how much you will miss until he’s gone.

Other cast members include David Dolansky, Baird Bracken, Fred Gloor, Peter Lawson Jones, Corin B. Self, Audrey McNulty, Audrey Morrison and Madelyn Voltz.

BOTTOM LINE: The Beck Center’s The Member of the Wedding presents a nuanced and finely-acted portrait of the struggles and joys of growing up. Maybe you don’t need a reminder of that time in your life, but maybe you do. If you let it, this tender show will win your heart.

[Written by Laura Kennelly]

THEATER REVIEW: “Julius Caesar” @ Great Lakes Theater by Laura Kennelly

Photos by Roger Mastroianni

Through Sun 11/3

Sarah Bruner, director of Julius Caesar now at Great Lakes Theater, brings grim reality (and a bit of modernity) to Shakespeare’s classic tale about politics, changing rulers, and trusting sycophants.

Nothing good happens to Caesar.

The cuts were well-done (Shakespeare always must be cut unless it’s a mini-series), but the pace was so brisk that if one didn’t know the plot (but likely most do), one might wonder why the killers of Caesar turned on each other so quickly.

The night I was there, Shelby Griswold stepped in at the last minute as Caesar because regular player Carole Healey was unable to perform the role. Griswold’s Caesar proved as regal as they come and seemed quite comfortable as Rome’s possible dictator-in-waiting. When Caesar ignored the  soothsayer (an eerie and creepy Jodi Dominick), as we knew he would, it was clear that pride blinded him.

The simple set by Russell Metheny employed scaffolding with a shaded second story where shadows and characters drifted past cutout windows. It was a practical solution that allowed us to imagine Rome’s close columns and public areas. Leah Piehl’s costumes seemed dark, as if togas were uniformly grubby. (Who knows? Maybe they were.) One iffy costume touch was the red ribbons that were pulled out as characters were stabbed. They were supposed to represent blood, but at times they turned bizarrely comic.

One unexpected highlight turned out to be when Caesar’s false friend Brutus (played as indecisive, yet forceful by Lynn Robert Berg) and his partner-in-crime Cassius (shown as facile and properly conniving by Laura Welsh Berg) disagreed about the need for murder and later how to cope with the fallout of the assassination. They seemed to echo mannerisms married couples (as the Bergs are) might recognize when Brutus and Cassius argued and when they agreed. It’s quite possible that close political allies might indeed have such a co-dependent relationship and the Bergs made that point.

As Mark Anthony, an engaging Nick Steen, barely disguised his character’s duplicitous nature. It’s amazing that Brutus and the others trusted him to speak at Caesar’s funeral. As Brutus’ wife Portia Jillian Kates shines, but briefly, since no one heeds her warnings.

The mob scenes provided a terrific demonstration of how easily crowds may be swayed by a good “spin.” Anyone who knows about social media knows how that works, but it was darkly amusing to see characters dashing about the stage as they turned quickly from one emotion to its opposite.

OK. Now to the elephant in the room. Gender-blind casting is not surprising anymore (is it?), and the actors in this Great Lakes production carried it off beautifully. What did seem patronizing and unnecessary was changing Shakespeare’s pronouns to fit the gender of the actor playing the character. At times it threw the rhythm of the speeches off. And it was inconsistent too — how could there be worry that Caesar wanted to be “King” as they said? Why wasn’t that changed to “Queen?” Let Shakespeare be Shakespeare and damn the consequences.

BOTTOM LINE: A well-acted timely and tidy summing up by an excellent Great Lakes cast of one of Shakespeare’s great tragedies.

[Written by Laura Kennelly]

Summer: The Donna Summer Musical at Playhouse Square

THEATER REVIEW: “Summer: The Donna Summer Musical @ Playhouse Square by Laura Kennelly

Photo by Matthew Murphy

Through Sun 10/27

This song-packed show at Playhouse Square’s Connor Theatre is designed to combine a tribute to Donna Summer, the “Disco Queen,” and the music she created. It delivers on the music. Anyone who grew up to the disco beat and the pop rock that followed might enjoy remembering “back in the day.” Certainly some in the audience opening night seemed to enjoy sharing smiles — perhaps remembering times past.

Directed by Des McAnuff, the musical features over 20 hit songs from disco and pop rock, strung together by a superficial bio of the superstar. An icon for decades, Summer died at age 63 in 2012. She was posthumously inducted into the Rock and Roll Hall of Fame the next year, so Cleveland seems a fitting location for the official media preview of the 2018 Broadway show’s national tour.

Bright lights and a pulsing beat, glittering costumes, and an impassioned team of dancers highlight the show. Three actress/vocalists convincingly portray Donna Summer and sing up a storm. There’s Dan’yelle Williamson, as the world-famous Diva Donna (when she’s not putting on a shawl and being Mary Gaines, Donna’s mother); Alex Hairston as the younger on-her-way-up-in-the-world Disco Donna; and Olivia Elease Hardy as Duckling Donna, the choir girl who learns about life the hard way. All three sing like angels — well, sexy angels in some cases, as when Summer records her first big hit, “Love to Love You Baby”). Other familiar songs include “Hot Stuff,”  “Bad Girls” and “She Works Hard for her Money.”

But all that is not enough to make Summer anything more than a paper-doll cut-out puppet display featuring old hits and young dancers. Donna Summer must have been a complex woman, but this book by Colman Domingo, Robert Cary and Des McAnuff only offers a Cliff’s Notes version of her resilience and talent. It’s not enough.

The sets were minimal (scenic design by Robert Brill) and the glittery costumes (by Paul Tazewell) usually outshone them. The three Donnas almost always wore blue so they were easy to spot. (Sorry to criticize the color, but Summer’s quoted in an interview for her 2008 album, Crayons, as saying that her favorite color is green. It would have looked better than the rather tired old basic primary color blue used in the show.) Sound design by Gareth Owen featured an appropriately throbbing bass (and wasn’t too loud — a big plus). I’m not sure whether it was sound design or real life, but early on cheers from the balcony sounded pre-recorded (and the diva’s response to them seemed rehearsed). No problem, just interesting.

BOTTOM LINE: It’s light as a feather (despite lip service to women’s rights and equal pay) compared to biographical musicals such as Funny Girl or Gypsy that make us care about their subject. However those who really enjoyed Jersey Boys or Motown may find themselves loving it and dancing. (BTW: There’s a party next door to the theater after every show.)