Review of Tiny Houses @ the Cleveland Play House

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

Photos by Roger Mastroianni

Through Sun 4/14

Ever want to run away? Leave city stress behind? Chelsea Marcantel’s comic new play, Tiny Houses, at the Cleveland Play House, shows one witty take on this impulse in a perfectly paced production directed by Laura Kepley.

The set, constructed while we watch in the Outcalt Theatre, consists of a vacant lot plus a trailer big enough to support a small house. During the course of the play, the actors (and their assistants) assemble a real tiny house. This solves a familiar challenge playwrights face — what to have their characters doing while they deliver the dialogue and actions that really run the story. Marcantel has come up with one perfect solution, at least in the hands of Cleveland Play House technical directors Devin Gallo and Liam Roth; carpenters Cayla DeStefano, Andy Rowland, and Kaleb Yandrick; and scenic artists Brendan Kelly, Jennifer Hitmar Shankland. Other members of the design team included Arnulfo Maldonado, Elizabeth Mak and Joanna Lynne Staub.

The uniformly convincing and persuasive cast adds the necessary element of delight as we watch New York City native and financial diva Cath (Kate Eastman) and her boyfriend Bohdi (Peter Hargrave) after they move to the far west. Why do they move? Bohdi (who has little money) has convinced Cath that they should move back to his hometown in Oregon so that they can live a more authentic life in the woods. In a tiny house.

Lucky for them Bohdi’s old friend (Michael Doherty) lets them live with him while they build the house. Soon Ollie’s former girlfriend Jevne (a delightfully ditzy Nandita Shenoy), appears — all eager to help (and, as one might expect when old girlfriends meet new ones, complications ensue).

To combat her feelings of helplessness Cath soon hires Jeremiah, a construction supervisor (aka the handyman one always dreams of having around). The handsome, athletic James Holloway, playing the only one on stage who has the slightest idea about building a house, soon becomes indispensable to the inept housebuilders. He’s like the hero in a western who appears just in time to rescue the pioneer settlers (in this case not from hostile elements, but from themselves). We fall for him.

Amy Clark’s clever costumes amplify the characters’ personalities. For example, unlike Eastman (whose Cath wears practical NYC clothes and colors), Shenoy’s Jevne gets to  sport colorful outfits, including leggings which feature Frida Kahlo faces.

BOTTOM LINE: As it turns out, building a tiny house may be as complicated as building a huge house. One thing for sure: both always take longer, require more decision, and complicate life in unimaginable and (for an audience), entertaining ways.

THEATER REVIEW: “Lady Day at Emerson’s Bar & Grill” @ Beck Center by Laura Kennelly

Through Sat 4/14

Attention! Attention! Ladies and gentlemen, the Beck Center proudly presents Ms. Nicole Sumlin, songstress and actress extraordinaire! Lady Day at Emerson’s Bar and Grill gives a glimpse of the late chanteuse Billie Holiday’s last days as a singer. It also offers a great chance for a vocalist with acting chops to entertain, move and impress an audience. Enter Sumlin, who, as Holiday, does just that.

Scott Spence directs this Studio Theater production written by Lanie Robertson. Cameron Michalak designed the perfect set for the cozy space. There’s even a bar in the corner (genially managed by Leonard Goff as Em) and five tables for patrons close to the stage. (Despite the wine glasses and the bar, only Lady Day took a drink — or five — during the show.)

There are songs galore sung in Billie Holiday style (“What A Little Moonlight Can Do,” “Strange Fruit,” “Tain’t Nobody’s Business If I Do,” etc. Check her out on YouTube) — jazz club stylings — romantic, sexy, and (increasingly) boozy. Born in 1915, raised in poverty, she managed to create her own style before she died of liver disease when she was 44. When the play opens, she’s just out of a brief stint in jail and performing in a Philadelphia club. As dramaturg Leonar Inez Brown tells us in the program notes, there is “no happy ending, there is no redemptive moment,” but the glimpses we get of Holiday show us “moments [that] depict personal triumph.”

Sumlin shows us all that and, in a credible imitation of Holiday, sings with loving conviction while revealing, as the show continues, that the star is still addicted to booze and drugs. She’s supported in her show by pianist Ed Ridley as Jimmy Powers and Bradford McGhee as groovy bass player Ray Carter. Ridley (who is also music director of the show) plays a mean piano and (in a different sense of “playing”) a good friend to the failing Holiday. It’s a touching show about the fragility of success and the power of music.

It’s also a long show, and some had trouble staying in the bleacher seats for 90 minutes, making a big clatter as about five left at once. What might have been irritating turned into “Oh yes, that’s how it is at a club” and for me, added a dash of reality to the experience.

BOTTOM LINE: A fine ensemble effort headlined by Sumlin.

[Written by Laura Kennelly for CoolCleveland.com]]

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THEATER REVIEW: “School of Rock” @ Playhouse Square by Laura Kennelly

Through Sun 3/24

School may be classified as “work” for children, but that doesn’t mean it can’t be fun. School of Rock, now playing at Playhouse Square’s Connor Palace Theatre, offers a raucous musical treatise about how to have a blast in school, fool parents and teachers, and learn to be a hot rock star — at least if you have the right substitute teacher.

Directed by Laurence Connor, School of Rock follows the 2003 film version with an original score by Andrew Lloyd Webber (trademark melodies seep out at odd times), raucous lyrics by Glenn Slater, and a simple storyline by Julian (Downton Abbey) Fellowes.

If you saw the film, you know the plot. If you didn’t, don’t worry— it’s easy. Poor Dewey Finn (Gary Trainor) can’t find success as a rock star. His antics in the opening “I’m Too Hot for You” show his total lack of talent as he tries to upstage the sexy lead singer of No Vacancy, the rockers he’s playing with. After they kick him out, he’s desperate enough for money to fake his credentials and hustle a job as a substitute teacher for a fifth-grade class.

Dewey, who has expertise and interest in only one thing — rock music — creates a band. He selects the talented ones to star and finds roles for the others as well. Camille De La Cruz, as the seemingly shy Tomika, gives us all a thrill when we see her suddenly transform (the way contestants on The Voice sometimes do) as she powers through “Amazing Grace.” The 12 children in his class are all adorable scene-stealers (like all children onstage). Choreography by JoAnn M. Hunter spotlights each young actor and helps us see them as recognizable individuals.

Principal Rosalie (Lexie Dorsett Sharp), like the rest of the school faculty, fails to notice what’s happening in the classroom until it’s too late, but she does get to sing the woeful “Where Did the Rock Go?” Song titles such as “Stick It to the Man” and “I’m Too Hot for You,” indicate the show’s stress on music as a medium of liberation and joy.

And for those of us who might doubt that youngsters could play so well, a recorded announcement by Andrew Lloyd Webber before the show assures that “Yes, the kids are actually playing their instruments.” Not badly either. They do have an occasional framing and back up by a small orchestra directed by keyboardist Martyn Axe, but four — guitarist Zack (Mystic Inscho), keyboardist Lawrence (Julian Brescia), drummer Freddy (Cameron Trueblood) and bassist Katie (Leanne Parks) — shine as young musicians. While she admits she lacks talent as an instrumentalist, the assertive fifth-grader Summer (Sami Bray) puts her bossy skills to use as band manager.

Opening night there were problems with scene changes, but it was interesting to see how professionally everyone handled it. The actors were told to leave the stage and after about 10 minutes, the show started again right before the point of “scene disaster.” No problem.

Bottom Line: A light-hearted, feel-good musical that may spark a few good memories in grown-up hearts. Well done, students!

[Written by Laura Kennelly]

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]

The Iliad

An Iliad @ Cleveland Play House, Playhouse Square, January 12 to February 10, 2019

Review by Laura Kennelly

How about a war story? Stomping across the bare floor of the Outcalt Theatre, the seemingly
indefatigable Tarah Flanagan as The Poet calls upon the muses to sustain and inspire her as she recounts
An Iliad. Her version, crafted by Lisa Peterson and Denis O’Hare, is based on the Robert Fagles
translation of Homer’s classic.

Co-directed by Flanagan and Andrew Carlson, the tale plucks key incidents (usually tumultuous ones)
from the Greeks’ ten-year battle to conquer the beautiful city of Troy. It’s a story of tragedy
if you are rooting for Troy) and one of triumph (if you are for the Greeks) as woven into Homer’s epic
of battle and death.

Although Homer has been described as--among other things--a blind poet who recited from memory,
here we have no old man telling the story; instead it’s told by a robust speaker with fine dramatic gestures,
including fist-waving, weeping, waving swords, drawing lines with colored sand, and vaulting up ladders.

Flanagan talks directly to the audience, singling out members to address and even bounding up into the
seats to rest briefly as she turns to ask rhetorical questions or relate narrative elements. Flanagan’s skill
and energy as a master storyteller makes everything flow and holds our attention for some one hundred
minutes. Whew! (You may remember Homer’s Iliad and Odyssey as ancient Greek verse, composed
as early as 725 B. C. If you were required to read it in school, I can only hope your teacher’s account
was as dramatic and moving as Flanagan’s.)

After a short while a muse does indeed respond to The Poet’s opening cries for help. Eva Rose
Scholz-Carlson, composer, suddenly appears as a mute muse, sits down, and begins to accompany
The Poet with quietly appropriate and dramatic responses as she draws her bow across
the cello she has brought with her.

The play stays true to the promise of Fagles’ opening lines--“Rage--goddess, sing the rage of Peleus
son Achilles,/ murderous, doomed, that cost the Achaeans countless losses,/
hurling down to the House of Death so many sturdy souls….”
Death and rage are movingly described. When The Poet lists the soldiers who die of plague or injury
by the ships or outside the fortress, she makes it personal, interspersing references to lads from Dallas,
Akron, from Cleveland, from Parma, etc. as she does later when she lists hundreds of wars in
chronological order from the Greeks to Syria (hence, today).

Her lists suggest the utter futility of trying to “settle” anything via war and emphasizes Homer’s
conversation between Achilles and Priam near the end of the epic when Achilles says
“So the immortals spun our lives that we, we wretched men/ live on to bear such torments….”
It’s not optimistic about humans ever ending wars and fighting, and yet, it credits efforts at
reconciliation as exemplified by Achilles releasing Hector’s body to be buried in ceremonies in Troy.
The war is put on hold for twelve days. But, of course, it continues later.

Other notable elements: Creator Flanagan’s clever costume design allowed The Poet to remain
onstage while suddenly shifting into different outfits. (I counted four from rough coat to pretty yellow
Grecian dress.) Scenic designer Ian Stillman provided an ingenious setting for The Poet to spin her
story.

Bottom Line: An engaging performance in the grand tradition of epic story-telling.
I’d advise a quick review of Homer’s epic (try wiki) and not having a drink before the show to avoid
sleepiness or having to exit before it’s over.

Shrek:The Musical

Shrek the Musical @ The Beck Center, December 7 through January 6

Review by Laura Kennelly

The spirited Shrek at the Beck (isn’t it cool that it rhymes?) mixes a perfect combination of fairy tale characters, monsters, and music to kick off the holiday season. In this well-executed production (well, maybe not opening night since there was a brownout and a 45-minute wait before things got started), Director Scott Spence and his merry crew offer a treat for children and the adults that bring them.

With book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori, the show is based on the DreamWorks Animation Motion Picture, which in turn was based on the children’s book by William Steig.

Like so many fairy tales, very bad things set the story moving. Poor seven-year-old Shrek gets tossed out of his home by his parents. They are ogres and that’s the way ogres act. He’s a bit shocked, but philosophical (and his parents seem rather glad to have their place to themselves again). Once out into the “Big Bright Beautiful World” Shrek adapts, making his home in a swamp and, while knowing he is ugly, his great green face topped by funny little horn-knobs reflects contentment.

Until! Until a host of famous storybook characters (Pinocchio, The Three Bears, The Three Little Pigs, a Wicked Witch, The Big Bad Wolf, Peter Pan, Ugly Duckling, Fairy Godmother, The White Rabbit, Mad Hatter, Sugar Plum Fairy,  Humpty Dumpty, and an Elf) shows up in his swamp.

Lord Farquaad has forced them to leave their homes in the Kingdom of Duloc. In order to restore his peaceful isolation, Shrek agrees to rescue Princess Fiona, who--coincidentally, was (like Shrek) sent away at age seven--in her case, to live in a tower. The evil Farquaad intends to make her his bride.

As with many good stories, things happen along the way.

Four strong leads created joy and kept us engaged. As Shrek, local favorite Gilgamesh (G. A.) Taggett presented a goofy grump so loveable that we soon forget his green face and that he is, indeed, quite ugly. Equally appealing is Remell Bowens as Donkey, Shrek’s travel companion and true friend. Bowens’ broad comic gestures and (let’s face it) donkey manners, brought laughs and grins whenever he appeared.

Natalie Steen brought charm (and always tasteful comic vulgarity) to the ladylike demeanor of Princess Fiona, a beauty seeking to kiss her one true love and thus remove the terrible spell she had been cursed with.

As the very short Lord Farquaad, Brian Altman ruled supreme in his role, one which required significant physical effort, especially when he danced.

The ensemble (consisting of the aforementioned fairy tale characters) moved impressively to a generous helping of tuneful song and dance numbers. Cheers to both musical director Larry Goodpaster and choreographer Martin Cespedes for creating plenty of fun--especially at the curtain call.

After a rocky start (as mentioned above) the scenic design by Don McBride, projection design by Brittany Merenda, and sound design by Carlton Guc all contributed to our delight.

Bottom Line: Absolutely no reservations in suggesting that those who might be looking for a fun way to share holiday celebration time with family (especially children) and friends should look into a visit with green monster Shrek and his motley crew.