[NEohioPAL]Berko's reviews: Dobama's THE MAI/Cleveland Opera's JULIUS CAESAR

[Roy Berko]

THE MIA AT DOBAMA/JULIUS CAESAR AT CLEVELAND OPERA

Roy Berko

(Member, American Theatre Critics Association)

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


THE MAI AT DOBAMA IRISH THROUGH AND THROUGH

The Irish are known for their telling of tales which
are often long in the relating, center on
dysfunctional families, and wander into the maudlin. 
Think O’Casey, Beckett and Synge and you have a feel
for Irish writing.  Though Marina Carr, the author of
THE MAI, now having its Ohio Premiere at Dobama
Theatre, doesn’t consider herself to be in a direct
line from all the great Irish playwrights of the past,
her play does follow their traditions.  

THE MAI is an examination of love and obsession.   The
play concerns a four generation Irish family who find
themselves in constant angst, conflict, and fighting
for a sense of self, while being consumed by passion. 
It takes the view that the greatest love is to be
found in another, and supports the myth of finding a
soul mate to whom one is completely and eternally
bound.  In order for that to happen, a person must be
willing to let go of her own self.  As in much of
Irish lore, it is an all or nothing effect, with
strong melodramatic underpinnings.

The main character, Mai is a woman consumed by her
love of a philandering musician.  The love defines her
and it controls her.  For five years she has survived
in his self imposed absence.  To entice him back she
has built a beautiful home on the shores of Loch Owl. 
Here, her Robert can compose his music, inspired by
her adoration and devotion. It will be a shrine to
their love.  He returns, but her dreams that he will
never leave her again and will be eternally faithful
are soon dashed.

Mai's sixteen-year old daughter Millie recounts the
story, which parallels an Irish legend of tragic
lovers who once supposedly lived on the lake where the
play takes place. Carr pits myth against reality,
illusion against truth, and basic human need against
desire.  As is the case in most Irish tales, the
ending is not one of happiness.

The play is long and has little in the way of
emotional texturing except for the actions of Mai’s
grandmother.  The long speeches and lack of dynamic
action are broken by cello interludes which help
enhance the mood.

As Mai, Bernadette Clemens never quite convinces of
her obsessive love toward Robert.  The shadings needed
to develop the character are on the surface rather
than deep in the soul.  Andrew May gives his usual
competent performance as Robert.  He has to dig to
find depth in the character as the part is not written
with the same quality as the author uses in developing
her women.   Sherri Britton and Mary Jan Nottage give
fine portrayals as Mai’s aunts.  As Millie, Tyler
Postma gives a surface level performance.

Dorothy Silver is perfect as Grandma Fraochlan.  Her
drug induced scene with Tracey Field, who portrays
Mai’s sister Beck, is hysterically delightful. 
Silver, along with the marvelous cello interludes by
the very talented Joshua Roman, are reason enough to
attend the production.

THE MAI continues at Dobama Theatre through December
22.   For tickets call 216-932 6838.  Their next
production is the razor sharp comedy THE TALE OF THE
ALLERGIST’S WIFE, coming to Cleveland directly from
Broadway.  It is a three-time Tony Award-nominated
play that was cited as being, "The funniest play I
have ever seen in my life!" by Rosie O’Donnell.

HANDEL’S JULIUS CAESAR AT CLEVELAND OPERA

George Frederick Handel's JULIUS CAESAR is a Baroque
opera that tells the story of Caesar's affair with
Cleopatra that resulted in her being made queen of
Egypt.   It was first produced in 1724 in London and
is the most popular of Handel's 35 operas. The story,
which is based on actual events, is a tale of
political intrigue and a woman's use of her charms to
gain power.

Traditionally, the Baroque opera has a very strict
form that brings out character through the music and
not the words and treats the cast as actors, not
singers.  As is the case of baroque operas, the
costumes are designed to fit the characters rather
than reflect accuracy and the scenery is conceived to
bring the center of the production to the audience. 

Considered to be one of the most beautiful of all
Baroque operas JULIUS CAESAR  belongs to the genre of
"opera sera," tragic or heroic operas of the 18th
century featuring a cast of mythological/noble/royal
characters.

David Bamberger’s directing followed the Baroque style
regarding stressing music, costumes and scenery.  The
voices were generally fine, the orchestrations superb.
 His staging, however, did not stress acting. 
Character development was not the strength of the
production.   The performers sang to the audience
rather than to each other, failing to create illusions
of interaction and the performers were often not
always believable.
	
As Cleopatra Sandra Moon was not only lovely, and has
a fine voice, but displayed fine acting strengths as
she teased and taunted.  She portrayed well the
concept, "a beautiful woman can do anything with an
amorous smile and the blink of the eye."
	
Mark S. Doss sang the role of Julius Caesar
effectively, but his character development lacked
depth.   This was not an all-powerful Caeser.  Laura
Pudwell was also vocally strong, though she did not
fit the physical needs of the role.
	
Sextus, the son of Pompey and Cornelia, was performed
by Layna Chianakas, a female.  This casting may be
part of the history of using "castratos," men who had
been castrated as boys, for specific roles.  That not
withstanding, the audience questioned the use of a
female as the boy.

Matthew White demonstrated that he has a fine
counter-tenor voice; however, his Tolomeo, Cleopatra’s
brother and rival for the throne, lacked the meance
need to make the character the hub of the story.
	
The stylization of the dancing of fights, the
beautiful sound of the chorus, and Ming Cho Lee’s sets
provided additional positive aspects of the
production.

Cleveland Opera’s next production is Giacomo Puccini’s
comic opera DON PASQUALE on February 21, 22 and 23,
2003.


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