[NEohioPAL]Reviews of THE INTERVIEW (Halle) & AIDA (Palace)

Thu Mar 14 23:03:00 PST 2002

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Here are my reviews of THE INTERVIEW and AIDA.

Roy Berko

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<I>INTERVIEW</I> LEAVES AUDIENCE CRYING, <I>AIDA </I>BRINGS THEM TO THEIR FEET<P>
Roy Berko<P>
(Member, American Theatre Critics Association)--<P>
Times Newspapers--<P>
<I>Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview Times</I><P>
<BR>
POWERFUL SCRIPT BRINGS AUDIENCE TO TEARS AT HALLE<P>
     <BR>
     Every once in while a script is so powerful, so well written, that even when give
a mediocre production, it brings the desired effect from an audience.  This is the case
with <I>THE INTERVIEW</I> at the Halle Theatre.  <BR>
     Local write Fay Sholiton has crafted a play that delves the emotional depths.  On
the surface it might be viewed as another Holocaust play, but it is more, much, much
more.  It examines survivor guilt, mother/daughter issues, rejection, generativity (what
happens to one generation as they receive the traditions from the previous generation),
what happens when one person wants to share and another doesn't want to receive the
message and vice versa, and what it feels like to walk in someone else's shoes.  That's a
lot of stuff to unload in an hour-and-a-half.  But Sholiton manages to weave it well!<BR>
     Unfortunately, the Halle production is not of the same quality as the material.  
Tom Fulton's direction just doesn't delve deeply enough.   In general his characters are
saying lines, not experiencing emotions.  Yiddish (the Jewish language) contains many
very descriptive words.  One of these is "<I>taum"</I> which is defined as<I> "taste</I>."   It really
means the shadings of taste that make foods or events extra special.  This production
lacks "<I>taum</I>."     <BR>
     Ann Meshenberg as the interviewer comes closest to delivering a stirring
performance.  Her meek, bird-like personality in the first act gives way in Act II to an
overwhelmed woman who has suffered the emotional loss of not being allowed to
share her mother's experiences, to understand the depths of her torment.<BR>
     Marji Dodrill, as Holocaust survivor Bracha Weissman, gives a serviceable
performance, but fails to lay bare the underlying depth of the woman's hurt.   Dodrill
uses anger instead of agony as her acting catalyst resulting in some audience alienation
rather than understanding.<BR>
     Kathryn Wolfe Sebo's words lacked the depth and nuances needed to display her
frustration and bitterness fully.<BR>
     Michael Roache gives a nice reading of his part as the youthful photographer.<BR>
     <I>THE INTERVIEW</I> is worth seeing.  It is a powerful script that left the audience
with tear-soaked wads of Kleenex.  <BR>
     <I>THE INTERVIEW</I> runs through March 24 at the Halle Theatre of the Jewish Community
Center, Mayfield and Taylor Roads, Cleveland Heights.   For tickets call 216-382-4000, Extension 274. 
Free parking is available adjacent to the theatre. <BR>
<BR>
<I>AIDA </I>BRINGS THEM TO THEIR FEET AT THE STATE THEATRE<P>
<BR>
     Several weeks ago a Disney production of <I>BEAUTY AND THE BEAST</I> graced a
Playhouse Square Theatre.   From now until March 24th another Disney production is
being seen in Cleveland.  Though <I>AIDA </I>is aimed at a very different audience, it contains
all the Disney elements...grand sets and costumes, fanciful dancing, creative lighting
effects, lush music and a competent cast.  The pleasure of the audience was displayed on
opening night by an immediate standing ovation.  In actuality, the applause was
probably more for the singing of the lead actors than the production as a whole.  <BR>
     This contemporary version of AIDA starts and ends in the Egyptian room of a
modern museum.  Amneris, once a queen of an ancient kingdom, invites the audience
to witness the tale of love and a struggle for power during the era when war raged
between Egypt and its neighbor Nubia.  The story relates how an Egyptian army
captain, Radames falls in love with Aida, one of the Nubians he has captured. 
Unknown to him, she is a princess.  Their love is fraught with numerous obstacles.  The
story's ending leads us to believe that Aida and Radames will spend eternity together
entombed beneath the sands of the Egyptian desert.  Their tomb has been transported
to a museum where, in their reincarnated forms, they meet once again. <BR>
     Paulete Ivory captivates as Aida.  Her voice is glorious.  The huge sound that
comes from such a tiny woman is amazing.  Patrick Cassidy, a cousin of the famous
Partridge family Cassidy's, has a strong singing voice and a powerful physical presence
which the costumer has accented by having him appear shirtless in numerous scenes. 
Local audiences may well remember him for his wonderful portrayal several seasons
ago in <I>JOSEPH AND HIS AMAZING TECHNICOLOR DREAMCOAT</I>.  Kelli Fournier, for
some unknown reason other than the show needed some comic relief,  plays Amneris
as a Fran Dresher nasal sounding clothes horse.  Her wonderful singing voice makes
up, however, for the questionable character development.<BR>
     The dancing is proficient.  The costuming is confusing.  The Nubians are dressed
as native Africans, the Egyptians, however, are in mixed contemporary garb which is
not ethnically identifiable.<BR>
     Typical of Disney productions, no cost has been spared on this show.  The tour
travels in 13 semi trucks.   There are 29 cast members, 9 musicians, 23 backstage crew
and 3 stage managers.  The pyramid at the opening of Act 2 is formed by two laser
lights.  One hundred twelve yards of Chinese silk are used to form the Nile River in one
scene and  80 yards of silk form the sails on Radames' ship.  To create the night stars 17
fiber optic sources are used.  The swimmers in the palace pool (yes, there is a vertical
swimming pool) are each flown by use of a waist harness.<BR>
     The score, though by Elton John and Tim Rice, fails to produce a memorable
song.  The story line is forced and slightly hokey.  But when those elements are
combined with Disney grandeur, it produces a pleasing evening of theatre.  Not great,
but enjoyable.<BR>
     <I>AIDA</I> runs through March 24 at the State Theatre in Playhouse Square.  Tickets, which range
from $20 to $65 may be obtained by calling 216-241-6000 or 800-766-6048 or go on line at Tickets.com.

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