[NEohioPAL]Reviews of Blast!, Betrayal, Sat Night

Sun Apr 14 21:49:16 PDT 2002

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Here are review of Blast!, Betrayal and Saturday
Night.  

Roy

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</B></I></U></STRIKE></FONT SIZE></FONT SIZE></FONT SIZE></FONT SIZE></FONT SIZE><I>BLAST!</I> EXPLODES WITH ENTERTAINMENT AT PALACE<BR>
<I><BR>
     </I>Roy Berko<BR>
<I>(Member, American Theatre Critics Association)<BR>
</I>--<BR>
Times Newspapers--<BR>
<I><BR>
Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview Times</I><BR>
<BR>
     It has been dubbed "a novel art form, " "a musical spectacular," and a "new
artistic genre."   In reality, BLAST!, now on stage at the Palace Theatre, is an undefinable
piece of entertainment.  How many adjectives and adverbs are there to explain
perpetual motion and sound, a visual explosion of pleasure, audience glee, and
enthusiastic appeal?  No matter the number, they can all be used to describe <I>BLAST! </I><BR>
     <I>BLAST! </I>has no story line.  It is a series of musical numbers, accompanied by a
flag show, musicians sitting on chairs hanging from the ceiling, cast members twirling
rifles and sabres, performers sitting next to audience members, musicians marching up
the aisles, and drummers playing in the lobby during intermission.  Add to that the use
of grass blades, bells, wings, scalenes, double sticks, media flags, poles, techno flags,
techno sabres, glow rifles, glowing light rods, whistles and whirly gigs.   The drummers
are dynamic, the dancers excellent, the music foot-tapping, the musicians competent.  <BR>
     The rendition of "Gee Officer Krupke" from <I>WEST SIDE STORY</I> found cast
members running, writhing, and interacting with each other in a delightful parody. 
"Color Wheel" was emblazoned by a flag team using material of varying hues. 
"Tangerinamadidge" was a song played on didgerydoos.<BR>
     Jim Mason, the creative force behind the show, developed the concept in 1985.  A
life-long veteran of drum and bugle corps he set out to transform the squads into a
complete theatrical experience.  As he says, "BLAST! is almost like a Disneyesque
animation, only in BLAST! the animation comes to life with real people playing the
music and interpreting it visually."<BR>
     Even non-enthuiasts can be won over by the presentation.  As one audience
member said, "I was expecting to come out with a headache from the loud noise.
Instead I came out humming, whistling, dancing, and wishing that I could entertain like
those kids!" (The average age of the cast is 23.8 years.) Yes, it's impossible not to have a
blast at<I> BLAST!</I>.<BR>
     For tickets to <I>BLAST!</I>, which runs through April 21 call 216-241-6000 or 800-766
6048, visit online at www.playhousesquare.com or stop at the Play House Square box
office.<P>
<I>BETRAYAL</I> FAILS TO CAPTIVATE AT PLAYHOUSE<P>
     Harold Pinter is a first class poet.  His plays and films are masterfully crafted
word songs.   He is multi-talented.  His plays include <I>THE BIRTHDAY PARTY</I>, <I>THE
DUMB WAITER</I>, <I>PARTY TIME</I> and <I>CELEBRATION</I>.  His film credits include <I>THE
FRENCH LIEUTENANT'S WOMAN</I>, <I>THE HANDMAID'S TALE</I> and <I>BUTLEY</I>.  Television
credits are <I>THE HOTHOUSE</I>, <I>PARTY TIME</I> and <I>LANDSCAPE</I>.  He has appeared as an
actor in numerous plays, films, tv and radio.  His bio lists over 25 international awards. 
This is one very, very prolific man.<BR>
     <I>BETRAYAL</I>, now on stage at the Cleveland Play House, was first presented in
1978 in London.  It contains biographical material, but is not autobiographical.  The
story, which is written in a backwards tunnel of time, starts with a meeting between
adulterous lovers, Jerry and Emma, two years after their seven year affair has died.  In
nine scenes the play moves back through the stages of the affair, until the play ends
with its beginning in Emma and her husband Robert's house.  In the process we see
Jerry and Emma's love for each other and the interactions between best friends Robert
and Jerry.  We are eavesdroppers in a series of betrayals.<BR>
     This is a world of poetic tone.  Unfortunately, the Play House production, under
the direction of Peter Hackett fails to fully orchestrate those rhythms.  The play, written
as a two act script, is performed without intermission.  The slow pace, the lack of setting
up many of the humor lines, and the physical setting of the Bolton Theatre, all add up to
a less than satisfying enactment of a wonderful script.  <BR>
     The Bolton, which was envisioned as CPH's answer to an intimate space doesn't
serve the purpose well.  This is an intimate play, we need to feel close to the action.  The
depth of the stage, the fact that much of action takes place near the rear of the stage,
doesn't allow the audience to become involved.<BR>
     Paul Vincent Black's Robert doesn't make us feel his cause for betrayal.  Anne
Torsiglieri's Emma doesn't project the pain that leads to her affair and betrayal.  Even
the always competent Andrew May fails to dig into the bowels of Jerry.  They all just
seem to be saying words, not beautifully crafted words.<BR>
     Pavel Dobrusky's sterile set doesn't help in creating the necessary intimacy.<BR>
     All in all, the Cleveland Play House's <I>BETRAYAL</I> misses the theatrical mark. 
Bad?  No.  Not to be seen?  No.  Wonderful?  No.<BR>
     <I>BETRAYAL</I> runs through May 5.  For tickets call 216-795-7000 or go on-line to
www.clevelandplayhouse.com. <P>
<I>SATURDAY NIGHT</I> SONDHEIM'S TOOTH CUTTING MUSICAL<BR>
     <BR>
     The musical <I>SATURDAY NIGHT</I> was Steven Sondheim's first attempt at a
musical.  It began as a play by the authors of the screenplay for <I>CASABLANCA</I>.  Money
was secured for a staging, but the producer died suddenly and the project was
abandoned.   Individual songs were published and became part of Sondehim lore. 
Then, in 1997 a London theatre company, with the blessing of the composer, staged the
show.  It then had a short off-Broadway run and found its way to the Beck Center
stage.  <BR>
     Having completed its run, the odds of your ever seeing it again are remote.  This
is not the Sondheim of <I>WEST SIDE STORY</I>, <I>SUNDAY IN THE PARK WITH GEORGE</I>,
<I>COMPANY</I>, or <I>INTO THE WOODS</I>.  This is a Sondheim who writes such lyrics as, "a girl
is a thing that is made of glass lace." This was Sondheim who wrote about a group of
Brooklyn male friends who spent most of their waking hours complaining because they
didn't have dates and the attempt of one to become a "swell."<BR>
     Fortunately for Beck audiences, director Fred Sternfeld decided not to take the
script seriously.  He wisely played much of the action as if he were doing a 1930 MGM
"let's go out to the barn and do a musical" complete with exaggerated line
interpretations and stylized dance movements.<BR>
     Several cast members stood out.  Rebecca Borger was a delightful as the ditzey
Celeste and Kenneth Bently made the role of Ray fun.   The multi Times Tribute award-
winner Craig Recko was somewhat miscast in the lead role.   He seemed uncomfortable
with the stylized dancing and stilted lines.<BR>
     It is always interesting to see new theatre pieces...even if they are not of the
highest literary quality.   This was a good lesson in seeing Sondheim before he matured
into one of America's greatest contemporary lyricists.

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