[NEohioPAL]Berko: Where Art Though CPH-Revisited!

[Roy Berko]

WHY FOR ART THOU CLEVELAND PLAY HOUSE?--Revisited!

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

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

A short time ago I wrote a commentary entitled, "Why
for art thou Cleveland Play House?" I indicated that
though the Cleveland Play House advertises itself as
America’s oldest professional theatre, I thought there
were areas of concern about the operation of the
organization.
	
Among other things, I questioned the use of the
facilities, the plays selected, the lack of use of
local actors, and the viability of the facility if it
continues on its present track.   The response to my
views was long and loud.  Almost everyone who sent
e-mails and spoke to me in-person agreed with much of
what was put forth.  Of course, that is not unexpected
as individuals who react to commentaries do so because
of strong beliefs, positive or negative.

Shortly after the publication and my comments on
"Action Talent Live," the WERE-AM radio show on which
I appear regularly, I was contacted by CPH’s Artistic
Director Peter Hackett requesting a meeting.  He
wanted to discuss my comments.  The meeting was very
amicable.  He presented his views.  I listened, asked
questions and requested some additional information.  
 With that background, I’d like to both explain
Hackett’s view and reexamine my stand.

Hackett believes that "the Play House is a nationally
recognized theatre company." He backs up his claims by
the reviews of ‘LOST HIGHWAY’, the Hank Williams
inspired musical, which appeared at CPH and has
received positive reviews in New York.  CPH is in the
show’s program for its role in the development of the
production.  He also alludes to the success of ‘LOVE
JANIS’ in the Big Apple and its forthcoming national
tour.   He further states, that the CPH developed
‘SMELL OF THE KILL’ which is "on the rosters for
theatres across America."

 Julie Fogel, the Public Relations Manager of CPH, was
kind enough to supply information regarding matters
about which I needed more information.  For example, a
Baxter Stage survey, which was based on audience
feedback forms placed in the programs of the 2001-2002
season opener, ‘FRANK LANGELLA’S CYRANO’, were
returned by about 36% of those who attended.  As she
indicated, the nature of the survey did not allow for
a reaction of pleasure or displeasure with the
facility, but based on the information received Fogel
states, "we added floor mics to amplify the actors; we
also re-recorded the pre-curtain announcement to
indicate the theatre’s two fire exits.  We improved
the appearance of the entryway to the Baxter, as well
as added rope lights to increase visibility and better
illuminate the walkway into the theatre."

As for the number of local actors/designers/directors
hired by CPH she states, "During the 2001-2002 season,
we had 60 Equity roles and 7 non-Equity roles
available for a total of 67 roles.  Overall, 27 local
actors were contracted last season--i.e. 40% of
available roles went to local actors.  Furthermore, 20
of the Equity roles went to local actors, i.e., 33%;
all non-Equity roles were filled by local actors, 
i.e., 100%."    She went on to say, "Of the
2001-2002’s 8-show season, local directors were used
to stage 6 shows (75%).  Of the 32 design positions
available during the 2001-2002 season 8 were
Cleveland-based.  (25%)." She explained
"Cleveland-based refers to those who call Cleveland
home/consider Cleveland their main residence for more
than one year."

Fogel indicates that the number of subscription seats
sold has dropped from 62,508 in 1995/96 to 44, 739 in
2001/2002.   But, according to Fogel, the seating
usage has increased from 66% in 1997/1998 to 78% in
2001/2002.

CPH has increased its use of performance space by
inviting Ohio Dance Theatre to be a resident company
and the Lyric Opera Cleveland to use some of the
facilities in the summer.  

I commend Peter Hackett and Julie Fogel for their
openness in discussing the matters, subjecting
themselves to my questions, and supplying answers to
my questions.

With this said, though some of my views have changed
for the better, I still contend that CPH’s productions
are not of the high quality that local audiences
deserve.  So far, of the regular season’s productions,
I have found only ‘PROOF’ to attain what should be the
script and production quality.  

I still find the Baxter Theatre a problematic
performance space.   Does the  configuration cause
concerns for safety, whether perceived or real?  Is
the lack of ease of access for those with walkers and
wheelchairs, the lack of intimacy for those who are
sitting in the upper rows of the center section, and
the elimination of the use of a theatre while the
Baxter is in use, equate to the expenditure of sparse
dollars?   Was it worth the money to get a less than
desirable facility?  Has it allowed CPH to chose
scripts that it ordinarily couldn’t produce?  Has it
equated to an increase of audience size becauseot is a
facility that demands attendance?

I still think more of the space could be used on an
on-going basis.  However, applause for decisions
regarding Ohio Dance Theatre and Lyric Opera
Cleveland.   Another excellent use of space is the
"Next Stage Festival" which has given birth to some
thought provoking and fine play scripts.   It could
only be hoped that additional performances of these
productions could be added.  Now, before the word can
get out, the stagings and educational opportunities
are gone.

I can only wish that the Cleveland Play House will
find ways to add to its audience base, attract younger
attenders.  That it will reach out even more to
Hispanic and African American audience.  That is will
fill its space with exciting and quality scripts and
productions, and bring to Cleveland the fame and glory
of The Cleveland Orchestra and The Cleveland Museum of
Art.



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