[NEohioPAL]Berko reviews: Crumbs Left on Table at CPH/Ohio Ballet Dances

[Roy Berko]

CRUMBS WON’T FILL YOU UP AT CPH/OHIO BALLET DANCES

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

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


CRUMBS WON’T FILL YOU UP AT CPH

A review of ‘CRUMBS FROM THE TABLE OF JOY,’ as
produced in another city, stated that the production’s
"engagingly brisk pacing and energetic staging keep
this consistently tense production from lapsing into
too much negativity.  While the subjects are tough,
and the emotions run high, he [the director] has kept
the relationships true, the battles broad, the
surprises unexpected, and the resolutions
encouraging."

Unfortunately, the Cleveland Play House production of
the play, as directed by Chuck Patterson, cannot make
those claims.  This is rather surprising as
Patterson’s deft hand crafted last year’s CPH’S  ‘AMEN
CORNER’ to be one of the highlight productions of that
season.

For some reason Patterson decided to stylize the
production and give it a slow methodical pace.  This
decision emphasized the overly talky and fragmented
nature of the script.  It also made his actors often
appear to be charicatures rather than real people,
losing the reality that would allow us to truly
understand and appreciate the writing of the author
who has been said to write like a cross between
Tennessee Williams and Lorraine Hansberry.  

‘CRUMBS FROM THE TABLE OF JOY’ tells the story of a
widower who moves from rural Florida to Brooklyn with
his two nearly grown daughters.  It’s the 1950s and we
learn about the complexity of the post Second World
War years when Black life changed with the Civil
rights movement, integration, and the presence of
charismatic religious leaders such as Father Divine,
who pioneered integrated worship.  The tale is told
through the eyes and voice of 17 year-old Ernestine.

Ayanna Silveris’s Ernestine lacks the emotional
involvement to aid us to understand the depth of her
feelings.  Instead of moving swiftly between narrator
and participant, she has been directed to be hesitant
and pensive.  Zinab Jah, portraying Ernestine’s sister
Ermina is a delight.  Terry Alexander is much too
stilted as their father Godfrey.  Vivian Reed, as
their aunt, is both entertaining and properly
pathetic.  She clearly allows us to know the conflict
that is going on within her, though, at times, she too
is the victim of the stylized directing.  Meg Kelly
Schroeder has difficulty with the required German
accent and stays on the surface of the role of the
Caucasian woman who, for some unexplainable reason,
marries Godfrey. 

Scenic designer Felix Cochren has created a functional
set.  He frames with frame within frame to create a
visual image, much like the movie-centered version of
Ernestine’s world.   Robin Heath has selected music
that aids in our understanding of the era. 
Unfortunately, the volume of the sounds sometimes
drowns out the dialogue.

The CPH production of ‘CRUMBS FROM THE TABLE OF JOY,’
leaves too much of the joy on the table.  It continues
through March 9 at the Drury Theatre.  For tickets,
which run cost $40 or $47.50 call 216-795-7000 or go
on line to www.clevelandplayhouse.com.  Those under 25
years old may obtain tickets for any production for
@12.


OHIO BALLET CELEBRATES THE MAGIC OF DANCE


One of the cues to how effective a performance has
been is to listen to the audience "buzz" as they exit
after the final curtain.  If the topics center on
what’s just been experienced it usually means that the
audience has had a moving encounter.  That movement
may have been either positive or negative, but, they
have been affected.  Unfortunately, the "buzz" after
many Ohio Ballet performances has been missing.

Does this mean the performances have been bad?  No. 
They just don’t distinguish themselves, excite the
audience.  They don’t bring prolonged applause, let
alone a standing ovation.  The company is acceptable
if not outstanding.  On the male side, there is no
Raymond Rodriguez, no David Shimotakahara, though
there is Brian Murphy, who comes close and youthful
Eric Carvill seems to be coming into his own.   The
women are stronger, but still no Karen Gabay or
Cynthia Graham.  Jesica Salomon is developing into a
potential star.  Eva Trapp showed much promise in the
winter program.

With that said, let’s examine ‘OHIO BALLET CELEBRATES
THE MAGIC OF DANCE: WINTER PROGRAM."   The opening
number, "Nell Amore E La Devozione" examines the
phrase "in love is devotion." Due to an injury changes
were made in the partnering and the second segment was
cut.  The piece opened with "Canto Della Terra" which
featured intricate partnering danced to soaring music.
A beautifully performed solo piece followed.  "Sogno"
was the highlight of the set, featuring the excellent
partnering of Alicia Pitts and Brian Murphy, though
the frenetic choreography didn’t fit the classical
music.  "Tremo E T Amo was nicely danced by Larissa
Freude and Eric Carvill, though, again, the
choreographed movements didn’t always fit the mood of
the music.  "The Prayer" featured excellent female
dancing but group movements were often not
coordinated.

Danced to the wonderful dual pianos of Margaret
Baxtresser and David Fisher,"Spring Waters"is a
revival of acrobatics period in Soviet ballet. 
Choreographed by Asaf Messerer, the very brief piece
featured nice performances by Amanda Cobb and William
Hoppe.

"GHOST TOWN," which features the music of Richard
Rodgers, was staged as part of the National Centennial
Celebration to the famous theatre writer of such shows
as ‘SOUTH PACIFIC’ and ‘CAROUSEL.’  This is the only
ballet music written by Rogers.  Mary Beth Hansohn and
Damien Highfield performed the piece as part of ‘SHALL
WE DANCE--A DANCE TRIBUTE TO RICHARD RODGERS’ at the
City Center in New York on October 21, 2002.  For the
Ohio Ballet’s winter program Brian Murphy replaced
Highfield.  Performed to the excellent live piano
music of Margaret Baxtresser and David Fisher, this
was a playful piece, featuring many gymnastic
movements.  Hansohn and Murphy were excellent.  

The grand pas de deux from "Don Quixote,"was  a
company premiere which featured Alicia Pitts and
Dmitry Tubolstev.  The work debuted in 1869 at the
famed Moscow Bolshoi Theatre.  Pitts sparkled.  Her
performance featured fine toe work and excellent solo
moves.  Tubolstev is the company’s highest leaper and
does an excellent job of executing flying circles. 
Unfortunately, his partnering skills are lacking and
he draws attention to his technique rather than to his
dancing.  He postures, poses and feigns involvement
instead of actually being involved in his performance.
 

The final number was the "Firebird Suite," based on
the music of Igor Stravinsky.  The futuristic approach
to the fairy tale examines the contrast between
desolation and hope, the conflict between machine and
humankind.  After a compelling opening, which featured
flashlights, fog, a mechanistic set, and sensational
light effects, the piece ground to a chaotic but
technically compelling conclusion complete with snow
and spectacular lighting.  Part of the problem
centered on using many young children from local dance
schools.  The youngsters just did not have the dancing
skills to carry their load.  The timing of the adult
dancers was also often off.   The over-all concept was
not defined enough to make for clarity.

The Ohio Ballet’s winter program was an acceptable, if
not outstanding evening of dance.  It’s too bad the
company hasn’t picked up the challenge and filled the
void left by the Cleveland San Jose Ballet.  Our area
needs and deserves a world class ballet company.


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