[NEohioPAL]VG Woolf; Hamlet, the Ballet; Groundwork

Sun Apr 7 21:59:10 PDT 2002

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Reviews of Who's Afraid of Virginia Woolf, Hamlet the
Ballet and Groundworks

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WHO'S AFRAID OF VIRGINIA WOOLF; HAMLET, THE BALLET; & GROUNDWORKS<BR>
 ADD UP TO FINE ENTERTAINMENT<BR>
Roy Berko<BR>
<I>(Member, American Theatre Critics Association)</I>--<BR>
Times Newspapers--<BR>
<I>Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview Times</I><P>
     Edward Albee's play <I>WHO'S AFRAID OF VIRGINIA WOOLF?</I> opened on
Broadway on October 13, 1962.   That same month, the world seemed poised on the
edge of a nuclear war when the United States faced off against the Soviet Union over
the presence of nuclear weapons on Cuba.  Much like the missile crisis, George and
Martha, the play's protagonists, hurl threats, epitaphs, and fight a battle of wills.  <BR>
     Interestingly, though the play is considered to be one of modern America's
classics, the script did not win the Pulitzer Prize.  The committee actually selected it as
the winner. However, the award is overseen by Columbia University, and the trustees
decided that the explicit language, interest in "taboo" subjects, and controversial public
reception made it the wrong choice. Nonetheless, it won the New York Drama Critics
Circle Award and the Tony Award for Best Play that year.<BR>
     In this era of Jerry Springer and similar television shows which are embraced by
the public, the profanity and hateful words between George and Martha that so
shocked audiences in the 1960's, now seems commonplace.<BR>
     The story concerns the relationship between George, a history professor, and his
wife, Martha, the daughter of the college's president.  It depicts a series of battle games
with escalating stakes upon which George and Martha have built their marriage.  The
proceedings encompass a young couple, Honey and Nick, who are guests in the house.<BR>
     Director Neil Thackaberry, in a master stroke of interpretation, decided to pull
away from the oft-used device of George and Martha constantly shouting at each other. 
Instead, using a clue from the script in which the characters comment on the fact that
they are "numbed enough," he chose to have them underplay their lines.  This is not to
say the venom is not present.  Much like snakes, the couple strikes quickly and often,
subtly, with deadly results.<BR>
     Paula Duesing and Tom Fulton's performances are both astounding and
outstanding.  They totally understand the nuances of Albee's lines and live their roles. 
     Though his lines are effectively delivered, Peter Voinovich doesn't have the
physical presence to play Nick, the young professor who is described as a stallion.   In
addition, he sometimes feigns feeling with exaggerated facial expressions.  <BR>
     Susanna Hobrath shrilly whines her way through the role of Nick's wife Honey,
making her spaced out rather than pathetic.<BR>
     Robert Stegmiller's light and set designs are excellent.<BR>
     Actors' Studio should be justly proud of their mounting of <I>WHO'S AFRAID OF
VIRGINIA WOOLF.</I>  If you like fine modern theatre at its best, see this production.<BR>
<I>     WHO'S AFRAID OF VIRGINIA WOOLF </I>runs through April 21  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. <P>
OHIO BALLET'S <I>HAMLET, THE BALLET</I> VISUALLY EFFECTIVE<P>
     Earlier this year the Ohio and Dayton Ballet companies combined to present a
wonderful dance version of <I>PETER PAN</I>.    Their newest joint venture is the full-length
balletic version of Shakespeare's <I>HAMLET</I>.    Though the production does not reach the
excitement level of <I>PETER PAN, HAMLET, THE BALLET</I> makes for an enjoyable
evening of dance.<BR>
     Choreographing to contemporary composer Phillip Glass's composition,
choreographer Stephen Mills wisely chose to stylize the production.  Mills, the Artistic
Director of Ballet Austin, was hailed by <I>Dance Magazine </I>for his sleek and sophisticated
version of <I>HAMLET, THE BALLET</I>.  And sleek and sophisticated it is.  Except for the
repeated device of using vertical leaps to portray anguish, the choreography showed
texturing and integration of music and movement.<BR>
     The ballet follows the Hamlet story closely enough that viewers familiar with the
Shakespearean piece have no trouble in understanding the danced story.  In general,
Hamlet's father is killed by his uncle Claudius.  Claudius marries Hamlet's mother. 
Hamlet broods, sees visions, and is visited by the ghost of his dead father who asks him
to revenge his death.  In the process of plotting revenge, more murder, intrigue and
finally the destruction of Hamlet's world, as we know it takes place.<BR>
     Kirk Henning, who portrayed Hamlet on opening night, danced with ease but
he lacked the physical and emotional presence needed to portray the great brooding
and bigger-than-life character.  Rachel Carmazzi was lovely as the emotionally tortured
Ophelia.  Mary Beth Hansohn danced and portrayed the role of Gertrude with strength
and power.  Dmitry Tubolstev, as he has done in previous performances, continues to
feign emotion.  Though adequately danced, his Claudius was overacted.  Brian Murphy
exerted his usual strong presence as Laertes.  The sword fight between Murphy and
Henning was extremely effective and well staged.<BR>
     Tony Tucci's lighting design, Christopher McCollum's contemporary costumes,
and Jeffrey Main's scenic design added a strong visual dimension to the production.<BR>
     <I>HAMLET, THE BALLET</I> which was performed on April 5 & 6  at the State Theatre
in Cleveland, will be performed on April 12 and 13 at Akron's E. J. Thomas hall..  For
Akron tickets call 330-972-7570.  <P>
GROUNDWORKS DANCE THEATER--A SPECIAL TREAT<P>
     Anyone in Northeastern Ohio who appreciates dance and has not had the
experience of attending a performance of GROUNDWORKS DANCETHEATRE, has
missed out on one of the country's most exciting companies.  Headed by Artistic
Director David Shimotakahara the group performs in various settings.  Their latest
offerings were staged at Actors' Summit in Hudson.  Performing to well-deserved near
sold-out audiences, the combination of dance and musical performances by pianist
David Fisher and guitarist Stephen Aron, was an emotionally fulfilling evening.  <BR>
     Because the performances will not be repeated individual selections will not be
reviewed, but readers are encouraged to call 216-932-0222 for information about future
programs or to go online to www.grounworksdance.org.

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