[NEohioPAL]ROAR Reviewed at ACTORS' SUMMIT

Mon Oct 1 07:44:06 PDT 2001

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PLAYHOUSE, ACTORS' SUMMIT DEBUT NEW STAGES WITH DIFFERENT RESULTS
Roy Berko
(Member, American Theatre Critics Association)--
Times Newspapers--
Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview 
TimesThe Cleveland Play House and Actors' Summit both opened their 2001 
seasons in new facilities. CPH, America's first permanently established 
professional theatre company, presented Frank Langella's CYRANO on its Baxter 
Stage, while Actor's Summit, which has been searching for a permanent home 
for many seasons, has established itself in downtown Hudson. Their opening 
production is THE ROAR OF THE GREASEPAINT THE SMELL OF THE CROWD. Ironically, 
both facilities feature thrust stages in which the audience encloses the 
action on three sides. The similarities between the facilities and the 
productions ends there.
Ironically, the much less funded Actors' Summit has the more audience 
pleasing facility and a better opening production.
The Baxter's 300-seat facility is supposed to provide an intimate setting 
where no audience member is more than 8 rows from the stage. Unfortunately, 
though it might be fine for those in the first 5 rows, those seated on the 
sides of the center sections (C &D) will probably feel confined, almost 
trapped. Comments from those seated there concerned their safety regarding 
the long time needed to exit the facility and the feeling of claustrophobia, 
plus their needing to turn in their seats to watch the action. The risers 
aren't tall enough between the rows to allow for ease of seeing for the 
shorter members of the audience. The single entrance to the facility, which 
is actually the stage area of the Brooks Theatre makes for long waits in line 
to enter and leave, especially at intermission when everyone goes and comes 
at the same time.
The Actors' Summit facility is much more pleasant. It's more intimate..150 
seats, and there are at leas! t two aisles for easy access to seats for each 
section. An added attraction is the theatre's connection to an antiques mall 
which is open before curtain and at intermission. Free parking is immediately 
adjacent to the theatre.

ROAR ENCHANTS AT ACTORS' SUMMIT

ROAR OF THE GREASEPAINT THE SMELL OF THE CROWD glistens. One of the two smash 
hits penned by Leslie Bricusse and Anthony Newl! ey (the other is STOP THE 
WORLD, I WANT TO GET OFF), the seldom-done show takes a special set of 
leading actors to make it come to life. And, in Wayne Turney and Greg 
Violand, the theatre has found the perfect duo. 
Written in the mid-60s the story centers on the lead characters playing the 
Game of Life and asks the question "is the game played on stage actually a 
metaphor for real life, or, is it really just a game?" It does so with humor, 
pathos, and a combination of enchantment and drama. The wondrous score 
includes "On a Wonderful Day Like Today" which receives a rousing production 
number, "Where Would You Be Without Me," "My First Love Song," and "Nothing 
Can Stop Me Now." The most famous song from the show is the poignant "Who Can 
I Turn To." 
Wayne Turney, who plays Sir, the game's rule setter, is well known to area 
audiences. He was a long time member of the Cleveland Play House's acting 
company. He is nothing short of perfect as Sir. The twinkle in his eye, his 
ability to pull the audience in through direct comments, winks and smiles, 
makes Sir live. He has a pleasant singing voice and commands the stage.
Greg Violand is his equal. Violand, who has made a career out of playing 
leading men in such local productions as SIDE SHOW, A LITTLE NIGHT MUSIC and 
THE MUSIC MAN transforms himself into a pathetic, almost comic character as 
the taken-advantage-of Cocky. He is the perfect Hardy to Turney's Laurel. 
Each of his vocal solos was met with strong audience applause. 
Special attention must be give to C. J. Bonde, Lora Eves, Caitlin Morris, 
Jason Brown, Dale Kennedy and Eryn Murman, the youngsters playing the 
Urchins. Often children on stage are puppet-like. These kids, under the adept 
direction of Neil Thackaberry, are wonderful. Also wonderful was Sasha 
Thackaberry's choreography which was both intricate and creative. Darryl 
Miller's brief appearance as The Black was highlighted by a powerful 
rendition of "Feeling Good."
! Praise also to musical director Evie Morris and set and lighting designer 
Robert Stegmiller.
One suggestion. The orchestra, which does an excellent job of backing up 
rather than drowning out the singers, should have been listed by name in the 
program credits. 
THE ROAR OF THE GREASEPAINT THE SMELL OF THE CROWD, Actors' Summit version, 
is a delightful, entertaining, enchanting evening of theatre. What a way to 
premiere a new home!THE ROAR OF THE GREASEPAINT THE SMELL OF THE CROWD runs 
through October 7 at Actors' Summit, 86 Owen Brown Street in downtown Hudson. 
Call 330-342-0800 or go online at www.actorssummit.org for tickets and 
directions.

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<HTML>PLAYHOUSE, ACTORS' SUMMIT DEBUT NEW STAGES WITH DIFFERENT RESULTS
 Roy Berko
 (Member, American Theatre Critics Association)--
 Times Newspapers--
 Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview TimesThe Cleveland Play House and Actors' Summit both opened their 2001 seasons in new facilities. CPH, America's first permanently established professional theatre company, presented Frank Langella's CYRANO on its Baxter Stage, while Actor's Summit, which has been searching for a permanent home for many seasons, has established itself in downtown Hudson. Their opening production is THE ROAR OF THE GREASEPAINT THE SMELL OF THE CROWD. Ironically, both facilities feature thrust stages in which the audience encloses the action on three sides. The similarities between the facilities and the productions ends there.
 Ironically, the much less funded Actors' Summit has the more audience pleasing facility and a better opening production.
 The Baxter's 300-seat facility is supposed to provide an intimate setting where no audience member is more than 8 rows from the stage. Unfortunately, though it might be fine for those in the first 5 rows, those seated on the sides of the center sections (C &D) will probably feel confined, almost trapped. Comments from those seated there concerned their safety regarding the long time needed to exit the facility and the feeling of claustrophobia, plus their needing to turn in their seats to watch the action. The risers aren't tall enough between the rows to allow for ease of seeing for the shorter members of the audience. The single entrance to the facility, which is actually the stage area of the Brooks Theatre makes for long waits in line to enter and leave, especially at intermission when everyone goes and comes at the same time.
 The Actors' Summit facility is much more pleasant. It's more intimate..150 seats, and there are at leas! t two aisles for easy access to seats for each section. An added attraction is the theatre's connection to an antiques mall which is open before curtain and at intermission. Free parking is immediately adjacent to the theatre.
 
 ROAR ENCHANTS AT ACTORS' SUMMIT
 
 ROAR OF THE GREASEPAINT THE SMELL OF THE CROWD glistens. One of the two smash hits penned by Leslie Bricusse and Anthony Newl! ey (the other is STOP THE WORLD, I WANT TO GET OFF), the seldom-done show takes a special set of leading actors to make it come to life. And, in Wayne Turney and Greg Violand, the theatre has found the perfect duo. 
 Written in the mid-60s the story centers on the lead characters playing the Game of Life and asks the question "is the game played on stage actually a metaphor for real life, or, is it really just a game?" It does so with humor, pathos, and a combination of enchantment and drama. The wondrous score includes "On a Wonderful Day Like Today" which receives a rousing production number, "Where Would You Be Without Me," "My First Love Song," and "Nothing Can Stop Me Now." The most famous song from the show is the poignant "Who Can I Turn To." 
 Wayne Turney, who plays Sir, the game's rule setter, is well known to area audiences. He was a long time member of the Cleveland Play House's acting company. He is nothing short of perfect as Sir. The twinkle in his eye, his ability to pull the audience in through direct comments, winks and smiles, makes Sir live. He has a pleasant singing voice and commands the stage.
 Greg Violand is his equal. Violand, who has made a career out of playing leading men in such local productions as SIDE SHOW, A LITTLE NIGHT MUSIC and THE MUSIC MAN transforms himself into a pathetic, almost comic character as the taken-advantage-of Cocky. He is the perfect Hardy to Turney's Laurel. Each of his vocal solos was met with strong audience applause. 
 Special attention must be give to C. J. Bonde, Lora Eves, Caitlin Morris, Jason Brown, Dale Kennedy and Eryn Murman, the youngsters playing the Urchins. Often children on stage are puppet-like. These kids, under the adept direction of Neil Thackaberry, are wonderful. Also wonderful was Sasha Thackaberry's choreography which was both intricate and creative. Darryl Miller's brief appearance as The Black was highlighted by a powerful rendition of "Feeling Good."
 ! Praise also to musical director Evie Morris and set and lighting designer Robert Stegmiller.
 One suggestion. The orchestra, which does an excellent job of backing up rather than drowning out the singers, should have been listed by name in the program credits. 
 THE ROAR OF THE GREASEPAINT THE SMELL OF THE CROWD, Actors' Summit version, is a delightful, entertaining, enchanting evening of theatre. What a way to premiere a new home!THE ROAR OF THE GREASEPAINT THE SMELL OF THE CROWD runs through October 7 at Actors' Summit, 86 Owen Brown Street in downtown Hudson. Call 330-342-0800 or go online at www.actorssummit.org for tickets and directions.
 
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