[NEohioPAL]Berko reviews: The Fix, World Goes Around, 2nd City, Stomp

[Roy Berko]

ON STAGE WITH BECK CENTER, THE ACTORS’ SUMMIT, THE
SECOND CITY, and STOMP

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

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


ASTOUNDING ‘FIX’ AT BECK CENTER!

Several years ago I saw the Washington, D.C. Signature
Theatre production of John Dempsey and Dana Rowe’s
political musical, ‘THE FIX.’  The production won 10
Helen Hayes Awards, the DC area Tonys.  I thought the
production was very good, the script somewhat wanting.
 

Beck Center is presently staging ‘THE FIX.’   THE BECK
PRODUCTION IS BETTER THAN THE DC STAGING! 

In ‘THE FIX,’ the pillars of democracy are ready to
collapse. These columns literally teeter as
politicians, strategists, and mafioso scramble to win
at any cost. 

‘THE FIX’ follows the Chandler family, whose members
seem to be a composite of the Kennedy dynasty and the
Clinton clan.  Before the musical has time to get past
its first few notes, Reed Chandler, a front-runner for
the White House, dies--while in the throws of having
sex with his mistress.

We follow Chandler’s wife and brother as they plot to
place Chandler’s son, the wayward, pot-smoking son
Cal, in his place.  Cal surprises few by continuing to
be the baddy, but gets away with it because of charm
and "honesty." The ending is right out of "The
Sopranos."  The musical’s seriousness and the
overblown premise doomed the musical when it was done
last year in London.

The score could be called contemporary eclectic,
drawing its inspiration from a variety of sources. 
There’s rock, pop, gospel, country and show-biz flash.
 Many of the songs are excellent. 

Director Scott Spence has pulled out all the stops to
make this a polished production that overshadows the
quality of the writing.   He is blessed with an
astounding cast with singing voices that far exceed
what is heard in local productions.  There is not a
bad voice in the ensemble.  

Dan Folino, who found local fame, and won a Times
Tribute Award  as the lead character in ‘HEDWIG AND
THE ANGRY INCH’ at Cleveland Public Theatre, is
amazing as the son, Cal.  This young man is everything
you’d expect of a star...a phenomenal singing voice,
acting finesse, good looks, and a sparkling
personality.  His may well be THE local musical
theatre performance of the year!

The rest of the cast are also splendid.  Paul Floriano
as Cal’s crippled uncle is totally compelling.  Watch
for the name Matthew Wright in future local
performances.  This area newcomer plays Cal’s father. 
He has a powerful singing voice and acting ability to
match.  Jessica Cope has a dynamic voice and is
completely believable as Tina, Cal’s mistress.  Tracee
Patterson is properly loathsome as Cal’s Lady
Macbeth-like mother.

Don McBride’s excellent set design helps develop the
plot.  One can feel the pillars about to tumble around
us.

The newsreel inserts which feature the likes of local
newsman Adam Shapiro, added greatly to the realism of
the show.   Alison Hernan’s costumes aided in creating
just the right visual images.

Larry Goodpaster has done a wonderful job as musical
director.  The vocal blends are excellent and the
orchestra plays well and does not drown out the
singing.

Unfortunately the lighting and sound didn’t work as
well as the rest of the show’s elements.  There were
many dark spots on stage and the follow spot work was
inconsistent.  There were distracting audible thuds
and fading in and out while lines were sung and
spoken.

CAPSULE JUDGEMENT: ‘THE FIX’ is an outstanding
production of a less than perfect script.  Go see it
to hear the wonderful voices, see the fine acting, and
experience a wondrous performance by Dan Folino.

For tickets to ‘THE FIX,’ which runs through October
12, call 216-521-2540.  Show times Thursdays, Fridays
and Saturdays are 8 p.m. with Sunday matinees at 3:00.
 There will be no performance on October 2nd.


ACTORS’ SUMMIT PRESENTS PLEASURABLE, BUT UNPOLISHED
REVIEW


What do ‘THE HAPPY TIME,’ ‘ZORBA,’ ’‘CHICAGO,’ ‘THE
RINK,’ ‘KISS OF THE SPIDER WOMAN,’ and ‘CABARET’ all
have in common?  Didn’t know the answer?  Well, that’s
not surprising.  They are all musicals written by the
team of John Kander and Fred Ebb, the best known
musical writing team that you’ve probably never heard
of.  John Kander and Fred Ebb not only are one of the
greatest songwriting teams on Broadway, but they
presently are the longest-running music-and-lyrics
partnership in Broadway musical history. 
Unfortunately, their names do not trip off the tongue
like Rogers and Hammerstein, Sondheim, and Lerner and
Loewe.

Their works have been blended together into the
musical review, ‘AND THE WORLD GOES ROUND,’ now on
stage at Actors’ Summit.  This is a difficult review
to get right.  Kander and Ebb write complicated music.
 Many of their songs don’t do well out of their
original plot-driven context and don’t seemlessly fit
into the review context.  Often their songs are long
and strain the musical abilities of the singers.  And
their songs often require gimmickry, such as singing,
dancing and acting while on roller skates, the
hallmark of their ‘THE RINK.’

Actors Summit, the professional theatre located in
Hudson, has put together an acceptable if unpolished
production.  Most of the cast just isn’t strong enough
to carry the vocal requirements of the songs.  
Singers need full-ranges to sing the likes of "Colored
Lights,""Maybe This Time," and "Kiss of the Spider
Woman." There is a vocal and physical sizzle that
needs to be present in "All that Jazz." "Marry Me"
needs a special appealing approach.  Unfortunately,
these elements weren’t present.  There was a need for
masterful vocal blendings for ensemble numbers.
Musical Director Michelle Makhlouf needed to spend
more time working on vocal sounds and timing.  

On the other hand, some things worked well.  The songs
"Coffee In A cardboard Cup," and "The Grass is Always
Greener" were delightful.    Mary Jo Alexander’s set
is beautiful.

Sasha Thackaberry, the show’s choreographer, wisely
used mostly cross-over steps and wandering, with a
limited kick-line thrown in.  The attempts for more
complicated and stylized movements were thwarted by
the limited dancing abilities of the cast.   The
highlight of the movements was a rollerskating
sequence from "The Rink."

Director Neil Thackaberry has incorporated some clever
staging gimmicks into the production.  He also has
added many set and props changes which slow down the
flow of the show.

Tricia Bestic displayed a nice Liza Minelli-style
voice and mannerisms.  Her "And the World Goes Round"
was very well done, as was "Isn’t this Better?." Dana
Hart won the audience with his rendition of "Mr.
Cellophane" which was properly pathetic and endearing.
 Thomas R. Cummings and the audience had a ball
chomping on "Sara Lee."

CAPSULE JUDGEMENT: If you attend ‘AND THE WORLD GOES
ROUND’ at Actors’ Summit expecting a polished,
well-sung, well-danced review, you’ll  be
disappointed.  If you go to just listen to some of the
best music that has come from Broadway, you will have
a pleasant time.

Actors’ Summit’s next production will be Tennessee
Williams ‘THE GLASS MENAGERIE’ presented from October
23-November 9.  For tickets to the theatre’s
productions call 330-342-0800.


THE SECOND CITY MATURES WELL!!


The first show presented by Cleveland’s The Second
City several years ago was an acceptable, if not
totally satisfying production of improvisation and
scripted humor.  Their latest show, ‘NO SHIRT, NO
SHOES, NO WEAPONS OF MASS DESTRUCTION, is much, much,
much better. 

The title may indicate that you’ll be hearing a lot of
anti federal administration put downs.  And, though
that group in DC deserves it, they only get a small
bashing.  Most of the humor is aimed at Cleveland, but
not the local politicians, with the exception of our
own presidential candidate Dennis Kucinich.  Too bad
the cast wasn’t in tune with local goings-on like the
convention center fiasco; Queen Jane’s do-nothing
reign; the three stooges, otherwise know as the county
commissioners; the pitiful Indians; the score-nothing
Browns and the pre-LeBaronCavs.  TV newsman Ted Henry
did get his due, however.

What is presented is mainly funny stuff.  Highlights
included the group getting stuck on the elevator
during the blackout, Giant Eagles push for getting
people to sign up for  bonus cards, being fixed-up on
a date by one’s ever-present mother, life with a
windup girl friend, the birth of a baby and his desire
to return to the womb, the chat room date, the
metrosexual, and an all guys weekend at a cabin minus
the much needed beer.  

Several weak segments slowed down the proceedings
including a lame skit about a personal trainer, a
totally misguided piece centering on a pool noodle
which continued to surface in an attempt to get some
laughs from the bad idea, a portion about an
accountant, and a misguided smoking segment. 

Only one of the original Cleveland cast remains.  And,
that one, Cody Dove, is still the strongest member of
the ensemble.  He frowns, grimaces, and looks
spaced-out in the best of comedic ways.   He delivers
lines with the right punch.  Don’t be surprised if you
see him appear on "Saturday Night Live" where such
Second City alumni as Dan Aykroyd, John Belushi, Gilda
Radner, John Candy, Rick Morani and Martin Short
eventually emerged.  Yes, he’s that good.  Lauren
Dowden is also excellent.  She adjusts well both
physically and verbally to the goings-on.  The rest of
the local cast (Kiff Vanden Heuvel, Katie Caussin,
Randall Harr, Nathan Cockerill) is fine, a long step
up from most of the original local neophytes.

The first two acts of semi-scripted material is
normally followed by an audience participation unit.  
It was disappointing that on opening night, that
latter, popular and potentially funny segment, was
omitted.  This is where the viewers really find out,
who is a quick thinker and who can hold his or her own
in the midst of potential disaster.  It can only be
hoped that at future productions the improv segments
are returned.

CAPSULE JUDGEMENT: If you were disappointed by
previous productions, it is now time to return to THE
SECOND CITY CLEVELAND and see the new, better version.
 If you liked past shows, you’ll love this one!

For information about The Second City Cleveland visit
www.secondcity.com.  For tickets, show dates and times
call 216-466-2222.  


‘STOMP’ STOMPS THE AUDIENCE


What else can be said of an all-engrossing show that
has won the Olivier Award for Best Choreography, the
Obie Award, the Drama Desk Award for Unique Theatre
Experience?  

What else can be said about a show that has been
playing to sold-out crowds for over nine seasons and
continues to pack them in world-wide? 

What else can be said about a show which is the
longest-running show in Off-Broadway history and has
been called "a sensory delight," "amazing," "a romp"
and "a sure fire crowd pleaser."?

‘STOMP’ which recently appeared on the stage of the
Palace Theatre in Playhouse Square for eight
performances, uses trashcans, plastic bags, plungers,
hubcaps, brooms, water, poles, sand, mop heads,
hatchet handles, and hammers, among others, to make
sounds that inspire dancing feet, clapping hands, and
an audience that screamed for more.

If you missed the show in its latest return to the
area, you missed a fun, exciting and amazing evening. 
Too bad...it was well worth your being there! 
Hopefully it will return again.

Upcoming Play House Square productions are: ‘DEFENDING
THE CAVEMAN,’ ‘LES MISERABLES,’ ‘CHICAGO,’ and ‘THE
TIM CONWAY AND HARVEY KORMAN SHOW.’ For tickets and
information call 216-241-6000 or 800-766-6048 or go on
line to www.playhousesquare.com.


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