[NEohioPAL]Reviews of HAIRY APE, WAVERLY PLACE, MOON FOR THE MISBEGOTTEN

Mon Mar 25 16:58:00 PST 2002

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Attached are reviews of HAIRY APE, WAVERLY PLACE, MOON
FOR THE MISBEGOTTEN.

Roy Berko

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TWO O'NEILL PLAYS AND A LOOK AT AGING GRACE LOCAL STAGES<P>
Roy Berko<BR>
(Member, American Theatre Critics Association)<P>
THE TIMES NEWSPAPERS<BR>
<I>Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview Times<P>
<BR>
MOON FOR THE MISBEGOTTEN</I> A MUST SEE AT GLTF<I><P>
<BR>
     </I>Eugene O'Neill is the only American ever to be awarded the Nobel Prize for
Literature. His writing raised American dramatic theater from frothy escapism to
meaningful messages.  Ironically, both the Great Lakes Theatre Festival and Cleveland
Public Theatre have chosen to present O'Neill plays simultaneously.  The plays and
productions are quite different.  <BR>
     O'Neill's works spanned the genres of realism and expressionism.  <I>MOON FOR
THE MISBEGOTTEN</I>, the script Great Lakes Theatre Festival chose to produce is one of
his realistic plays and considered to be his finest work.  <BR>
     GLTF has wisely decided to edit and shorten the autobiographical play which
concerns the ill-fated love affair between the guilt-ridden and alcoholic Jamie (modeled
on O'Neill's real life brother) and Josie, a shy woman who hides her real feelings by
feigning to be something she is not.  The play paints life in harsh colors with an
overstroke of light as represented by underlying love and respect of father toward
daughter and the brilliance of sunrises.<BR>
     The production, under the able direction of James Bundy, works extremely well.  
He shows an understanding of the script, its message and how to get the meaning
across.   <BR>
     Vincent Dowling, the former Artistic Director of GLTF, returns to portray Phil
Hogan, the drunken lout of a father.  He is, as the script describes, "As spry as a
yearling and nasty as a wasp."  His performance is acting at its finest. Derdriu Ring,
who does not physically fit the supposedly physically unattractive large boned
daughter, none-the-less overcomes that by emotionally fleshing out the role.  Sean
Haberle has some shallow moments as Jamie but generally is convincing.<BR>
     John Ezell's set design is wonderfully realistic and Matthew Frey's lighting helps
develop the proper moods.<BR>
     GLTF'S <I>MOON FOR THE MISBEGOTTEN</I> is O'Neill at its finest!  The production
has been honed to perfectly develop the drama, pathos and humor of the script.  This is
a must see for any real theatre-lover!<BR>
     <I>MOON FOR THE MISBEGOTTEN</I> runs through March 30 at the Ohio Theatre. 
For tickets call 216-241-6000 or visit www.playhousesquare.com.<BR>
     <I><BR>
HAIRY APE </I>AT CPT MORE STYLE THAN SUBSTANCE<P>
<BR>
     After seeing <I>THE HAIRY APE</I> at Cleveland Public Theatre no one will accuse
guest director David Herskovits of not being creative.  His imagination in staging is
evident throughout.  But, as happens with productions which stress style over
substance, the production fails to fully develop the author's intent and purpose.   So
much effort was placed on visual images that acting nuances, vocal projection, and idea
development were lost.<BR>
       <I>THE HAIRY APE</I> is Eugene O'Neill's major expressionist play.  It draws heavily
on the philosophy of Freidrich Nietzsche and from the concepts of psychologists
Sigmund Freud and Carl Jung.<BR>
     <I>THE HAIRY APE</I> centers on a depiction of the suffering caused by societal
attitudes.  O'Neill conjures up a nightmare in which Yank, a steamship stoker, searches
for a place to belong, only to end crushed in the arms of a zoo gorilla.  <BR>
     Herskovits, the Artistic Director of the Target Margin Theatre in New York, has
conceived a vivid production.  He manipulates his actors like chessmen, every move
programmed.  He uses all parts of the Gordon Theatre, a former movie theatre which is
in the process of being refurbished.  The partially destroyed balcony, the underbelly of
the balcony,  the open staging area, and the aisles are all fair game.  Unfortunately, lost
in the staging is a lack of attention to presentational detail.  Jimmie D. Woody as Yank
lacks a clear idea of the meaning of his lines.  His final speech, which should be
wrenching, makes little sense.  Many of the cast are hard to understand due to garbled
pronunciation and poorly conceived accents.  Performers feign characterizations rather
than developing ideas.  Sound is often lost under the balcony overhang and actors
presenting lines with their backs turned to the audience create sound vacuums.<BR>
     If you are interested in seeing a visually compelling production, and are willing
to set aside the playwright's intended meaning, CPT'S <I>THE HAIRY APE</I> will satisfy you.<BR>
     <I>THE HAIRY APE</I> runs at Cleveland Public Theatre, 6415 Detroit Avenue, through
April 7. For reservations please call 216-631-2727. <P>
PLAY HOUSE'S <I>THE WAVERLY GALLERY</I> MEANINGFUL BUT MISSES THE MARK<P>
     It is sad indeed to watch those around us get old and lose their sense of dignity
and purpose.  The question facing many, in the era of the longer life spans, is how to
deal with those who lose their memories and physical strength, becoming shadows of
their former selves.  This, basically, is the situation explored by Kenneth Lonergan in his
memory play, <I>THE WAVERLY GALLERY</I>.<BR>
     Gladys Green, a former lawyer, activist and small art gallery owner has come to
the stage of her life when her faculties are abandoning her.  She runs a small art gallery
in Greenwich Village and lives in a near-by building also inhabited by her grandson
Daniel.  We watch as her family struggles to find the balance between allowing Gladys
to maintain her dignity and keeping their own lives in balance.<BR>
     Lonergan's script is lacking.   The writing doesn't clearly separate the pathos
from the humor.  Audience members giggled at what seemed inappropriate moments
causing discomfort for those around them.  What is funny about seeing a once vital
person become lost in a sea of confusion?  Should we laugh or cry?  Lonergan often
gives us no help.   Shouldn't we expect that the elderly woman's daughter and son-in
law who are both psychiatrists to be better be able to handle their loved one's demise? 
Problems can overwhelm, but shouldn't we expect these experts to have more
understanding?<BR>
     Peter Hackett's direction gives us little help.   The actors come out shouting and
the decibel level continues throughout.  There is little real empathy, just over-wrought
frustration and yelling.  Even Daniel, the supposedly compassionate grandson, is forced
into what would appear to be uncharacteristic rage.<BR>
     It's worth seeing the production to experience the acting wonders of long-time
television performer Ann Guibert.  Guibert, who portrayed Millie on <I>THE DICK VAN
DYKE SHOW </I>and Grandma Yetta in <I>THE NANNY</I>, gives understanding to the role as
we watch her fall deeper and deeper into the chasm of chaos.  Andrew Katz, as her
grandson, has many wonderful moments.  The script and the direction fail him at times
causing the character to portray seemingly uncharacteristic acts.  Darrie Lawrence and
Mike Hartman as the daughter and son-in-law spend too much time yelling and
fretting.   Is this the fault of the writing or the directing?  Gregory Northrop portrays a
painter whose presence is irrelevant to the story line.<BR>
     <I>THE WAVERLY GALLERY</I> is disappointing.  In this age when the topic of aging
is so important, a meaningful, well performed play could have been a gift.  As is, it's an
opportunity to see a wonderful performance in a less than pleasing production.<BR>
     <I>THE WAVERLY GALLERY </I>plays at the Cleveland Play House through April 7. 
For tickets 216-795-7000.  CPT'S "Under 25" ticket deal, which allows those 5-24 to
attend any performance for $12 is valid for this show.

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