[NEohioPAL]CPH'S INFINITE REGRESS & CPT'S KAEJA D'DANCE--TO BE SEEN!!!

Sun Feb 10 22:04:15 PST 2002

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Reviews of CPH's INFINITE REGRESS  OF HUMAN VANITY AND
CPT'S KAEJA D'DANCE.  TWO MUST SEES!

ROY

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<I>REGRESS OF HUMAN VANITY</I> FUNNY TO THE VERY END AT CPH<P>
Roy Berko<P>
(Member, American Theatre Critics Association)--<P>
THE TIMES NEWSPAPERS--<P>
<I>Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview Times</I><BR>
<BR>
     When I first saw <I>THE INFINITE REGRESS OF HUMAN VANITY</I> when it was
workshopped at the Cleveland Play House as part of the 1999 Next Stage Festival of
New Plays, I called it "one of the funniest plays I've ever seen." In its present enactment
I still think it is one of the funniest plays I've seen, but I'll also add that along with its
deep humor the playwright has imbedded a very thought-provoking message.  It's a
toss-up as to which is most pleasurable about the play.<BR>
     The story supposedly concerns Nathan Pine, a playwright who comes to see his
new play presented at a play festival, not unlike the experience of writers who are
invited to have their plays showcased at the CPH New Play Festival.  Pine who has a
history of unusual experiences in the theatre, including having killed a producer when
the man was accidentally shoved off a theatre balcony by an upset Pine, again runs into
strange theatre people and the roadblocks placed in the way of a show going from
script to stage.  <BR>
     Author Murphy Guyer, who is the CPH's Associate Artist, has a wonderful way
with words.  He throws out one-liners like Neil Simon.  But, unlike many of Simon's
shows, Guyer bases his scripts on a set of philosophical principals and questions.  In this
play Guyer states, "Self interest is the essence of life itself" and "Our vanity is our
mind's immune system." That philosophical bent makes <I>THE INFINITE REGRESS OF
HUMAN VANITY</I> more than just a comedy, but a very funny play that makes an
important point.<BR>
     Cleveland is blessed with many fine actors.  Andrew May is one of them.  May is
wonderful in this production.  No one has a more mobile face than May, no one can
look as pained as May, no one can key a laugh with an open-eyed expression as May
can.  He is perfect in his role.  Liz Hazel as the women's libber dramaturg is hysterical. 
Christie Butter, as the beautiful young assistant, is engaging.  <BR>
     Unfortunately, some of this cast isn't as convincing as the workshop production. 
Jonathan Partington doesn't quite convince as the playwright in the play within the
play, Ben Nordstrom skims the character's surface as the young hip kid, and Paul
Floriano doesn't break the emotional plane as the producer.     <BR>
     Go to see <I>THE INFINITE REGRESS OF HUMAN VANITY</I> expecting to laugh.  Go
to see <I>THE INFINITE REGRESS OF HUMAN VANITY</I> expecting to be moved to think
about about self interest and the ego.  Go see <I>THE INFINITE REGRESS OF HUMAN
VANITY</I> because, as the script says, "A true comedy is funny to the very end."  Go to
see <I>THE INFINITE REGRESS OF HUMAN VANITY</I>.<BR>
     <I>THE INFINITE REGRESS OF HUMAN VANITY</I> will be performed at the Cleveland Play
House through March 3.   Tickets, which range in price from $30 to $45 may be obtained by calling 216
795-7000 or on-line at clevelandplayhouse.com.  If this is your first ticket purchase at CPH mention
that fact and get a 10% discount.<P>
 CLEVELAND PUBLIC THEATRE PRESENTS AWARD WINNING KAEJA d'DANCE<P>
     The Cleveland Public Theatre often goes where other local entertainment centers
dare not tread.  The theatre had the nerve to present the likes of HEDWIG AND THE
ANGRY INCH.  It allows its facilities to be used to present a play where all the actors
wind up nude.  And, now, they present an innovative dance series that runs through
March 3.  <BR>
     Unfortunately, programs are only scheduled for short runs.  For example, Kaeja
d'Dance was only presented for three performances this past weekend.  It's too bad
there wasn't time for word to spread about this creative, innovative, fascinating
Canadian company.   This award winning dance ensemble is led by Allen Kaeja, a
Jewish choreographer.  His ethnic background and family experiences gave birth to his
powerful piece <I>Resistance</I> which chronicles the Jewish struggle that took place against
the Nazi.  Composed of gymnastic, synchronized, powerful movements, the
performers use four benches which are so synchronized into the patterns that they
often take on the role of dancers.  The furniture pieces are slammed, stacked, balanced
on, swung, and spun to create awesome effects.  The variety of musical accompaniment
spans pinging beats, Hebraic melodies, plaintive pitches and the roar of engines.  The
movements are perfectly choreographed to fit the tone and feeling of the music. 
Though it may be difficult for the uninitiated to understand the connection of the piece
to the Holocaust, the overall effect of violence, intimacy and reflection are crystal clear. 
The dancers are suburb.  They work as a well polished machine to create a highly
emotional performance. <BR>
     The opening piece was an improvisation in which the dancers were randomly
chosen to perform, with and without music, with no rehearsal and no theme.  Working
like a perfectly honed machine the company created an exciting experience for the
audience.<BR>
     The only regret of the evening was that so few people attended this enticing
dance program.  Let's hope that in the future CPT asks this wonderful company back.<BR>
     On February 15 and 16 <I>Sumida River</I>, a contemporary dance interpretation of a 15th century
Japanese Noh drama about a woman's spiritual and emotional transformation during a search for a lost
child will be presented.  For tickets call 216-631-2727.<P>

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