[NEohioPAL]Reviews: JacquesBrel (Actors' Summit)/Joseph (JCC-Halle)

[Roy Berko]

JACQUES BREL AT ACTORS’ SUMMIT/JOSEPH AT HALLE

	Roy Berko

	(Member, American Theatre Critics Association)

	--THE TIMES NEWSPAPERS--

	Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	

	    Every once in while a theatre-goer has an
experience that makes all future exposures pale by
comparison.  Sometimes its seeing a single
performance: Richard Kiley in MAN OF LA MANCHA, Zero
Mostel in FIDDLER ON THE ROOF or Barbara Steisand in
FUNNY GIRL.  Sometimes it’s a total production that
blows the mind, such as the Broadway versions of WHO’S
AFRAID OF VIRGINIA WOOLF, CHORUS LINE, or WEST SIDE
STORY.  Such an experience was the Cleveland area
production of JACQUES BREL IS ALIVE AND WELL AND
LIVING IN PARIS many years ago which started in the
little theatre at Berea Summer Theatre, moved to
Playhouse Square before the theatres were all
renovated, and held the record for the longest
continuous run of any production until it was recently
eclipsed by TONY N’ TINA’S WEDDING.  That show, which
starred Cliff Bemis, David Frazier, Providence
Hollandar and Terri Pieto and was directed by Joe
Garry, with musical direction by David Gooding, was an
unmatchable experience.  I once heard someone describe
that show’s rendition of “If We Only Have Love,” the
show’s final selection, as making her “toe nails
curl.”
	     The memory lingers on.  It was with that mind
set that I attended Actors’ Summit’s production of
Jacques Brel.  It doesn’t match up.  This is not to
say that the present production is bad, it’s not.  It
is quite enjoyable as evidenced by the extended
applause at the curtain call.  It’s just that this
rendition does not have the emotional depth, the
perfect blending of voices, the seamlessly smooth
staging, and the full musical sound of Cleveland’s
classic production.
	     JACQUES BREL IS ALIVE AND WELL AND LIVING IN
PARIS is not the typical musical review.  The cast
can’t just sing, dance, and go on to the next song. 
Jacques Brel was a poet and singer.  But, most of all,
he was a song writer whose creations each told a story
with a beginning, middle and end.  He told tales of
life, death, relationships, war, class struggle,
loneliness and love.  In presenting Brel’s work each
piece stands alone.  Each piece has an attitude, a
tone, a purposefulness.   It is here that the Actors’
Summit proeduction lacks.  Songs are sung.  Most are
not experienced by the performers and, therefore, not
experienced totally by the audience.  
	    The strongest renditions are “Fanette” powerfully
sung by Scott Plate, “Next” by Plate and the ensemble,
and “Carousel” by Sally Groth and the ensemble, though
the necessary emotional enchantment in the latter was
somewhat missing.  There are special touches in this
show.  In “The Girls and the Dogs,” Plate and Wayne
Turney are accompanied on stage by two adorable and
well-trained dogs who beg, heel and exit on cue. 
Turney has a wonderful time in “Funeral Tango.”
	    The cast gives their all.  Plate has a big voice,
which sometimes causes problems as the other voices
are much more subtle and he sometimes drowns out the
other performers.  Sally Groth sings well, but is
somewhat shallow in the upper registers, especially in
the song, “Alone.” MaryJo Alexander has a pleasant if
not commanding sound.  Turney does best in songs where
he can clown. 
	    All in all,  JACQUES BREL IS ALIVE AND WELL AND
LIVING IN PARIS at Actors’ Summit is a serviceable
show that audience members should enjoy.  And,
obviously they have, and have spread the word , as the
show has been extended for another three weeks.  Call
the theatre at 330-342-0800 for details.

	HALLE’S JOSEPH’S DREAMCOAT AIMED AT THE KIDS AND
THEIR PARENTS

    	Every production of JOSEPH AND HIS TECHNICOLOR
DREAMCOAT is uniquely.  Because it is a series of
songs, with no script or stage directions, each
director does his or her own thing.  I’ve seen the
show at least 15 times and I’ve never seen the same
concept.  
	    Years ago Beck Center did a smashing
professional-level adult-centered production starring
local actor/director Rob Gibb.  Playhouse Square
brought in a professional production several years ago
that was so outstanding that it made the Biblical
story glisten.  Last year Berea Summer Theatre did a
production which starred the always terrific Craig
Recko as Joseph.  Now, the Halle Theatre has taken its
turn.  
	    Director Jacqi Loewy decided to make her
production kid-oriented.  It is short, has some nice
gimmicks, incorporates a large children’s chorus, and
is aimed at the parents and grandparents of the
children in the cast and the less-sophisticated
theatre goer.  My five and six -year old grandsons
laughed when the brothers turned their “butts” toward
the audience and for some odd reason found the prison
scene to be “fun.” Go figure!
    	Andrew Kay sings well and makes an acceptable
Joseph.  Sheri Levy Gross, portraying the Narrator,
has a nice voice.  Tom Wang’s Pharaoh needed more
abandonment in his Elvis imitation.  The very talented
Greg Violand seemed wasted with the minor roles of
Jacob and Potiphar.   The kids chorus sings well and
are kids...how bad can that be?
	    Don’t go to see this production expecting
anything close to a polished show. Take your kids,
enjoy the wonderful music and expose them to the
theatre.  It’s family theatre.  No one even minded the
exits for “potty” breaks by some younger audience
members or the kid who wandered the aisles for most of
the production.  As a cute blue-haired elderly lady
sitting next to me said as we exited, “It’s a nice
show.”
	    JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT runs
at the Halle Theatre, 3505 Mayfield Road, Cleveland
Heights until June 2.  For tickets call 216-382 4000.

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