[NEohioPAL]Berko reviews: Vote for 31, CHARGE (TITLEWave), Ohio Ballet

[Roy Berko]

VOTE FOR ISSUE 31, TITLEWave PRESENTS ‘CHARGE,’ OHIO
BALLET PERFORMS

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

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


ISSUE 31 VITAL FOR INVIGORATING THE ARTS ON THE NORTH
COAST

Cleveland is the only major city in Ohio which does
not have an arts council nor public funding for the
arts.  Research has shown that municipalities become
great cities not only because of their financial base
and athletic teams, but because of the arts.  The
Cleveland area has long been recognized for such
wonders as The Cleveland Orchestra and the Cleveland
Museum of Art.  To a lesser degree the small
professional theatres, while no match for those in
Chicago, have also been feathers in the pride cap. 
Last year the ceiling fell in and several theatres cut
their seasons short.  The orchestra, Cleveland Play
House and others are in financial trouble.  The area
lost its ballet company several years ago due to
financial difficulties.  The same fate may confront
other arts venues.

Many arts funding problems can be taken care of by
taxpayers who are being asked to pass a $2 per month
issue.  This is a bold, new plan to protect and create
jobs not only in the arts, but for economic projects. 

This is not a frivolous donation of money, it is an
investment.  THE ARTS PROVIDES NEARLY 4000 JOBS IN THE
REGION AND GENERATES $1.3 BILLION IN REGIONAL ECONOMIC
ACTIVITY.  

This will probably be the one-and-only chance for the
arts to get financial backing.  PLEASE VOTE FOR ISSUE
31!  


‘CHARGE’--ACTING AND DIRECTING EXCELLENT AT TITLEWave
THEATRE 

Last fall introduced the Cleveland area to a new
performance group...TITLEWave Theatre.  The company’s
first production was the much praised ‘WAIT.’  My
review stated, “In spite of the play, the production
is worth seeing for the performances and Vovos’s
directing skills.” That, again, summarizes my views of
the group’s newest offering, ‘CHARGE.’

Authors pen plays for various reasons.  William Inge
asked his audiences to look in the hidden recesses of
their souls and find the dark places.  Arthur Miller
continues to tell of a better way to live.  Tennessee
Williams gave us tales of people who found themselves
in societies that didn’t understand them and they, in
turn, didn’t understand the society around them. 
Lerner and Loewe’s musicals painted a picture of the
perfect time, the perfect place, and the perfect love
story.  Edward Albee and Albert Camus both asked
viewers to probe into why they exist.  

Since Eric Kaiser, the author of ‘CHARGE’ now being
staged at Cleveland Public theatre, is noted as an
absurdist, he would fall into the Albee and Camus
group.  Unfortunately, unlike Albee and Camus, Kaiser
does not craft a well-conceived play.  As one theatre
goer said as he exited the production of ‘CHARGE’
which I attended, “What in the hell was that about!”
His companion said, “Who cares.” Unfortunately, that
was my sentiment.

In spite of the vehicle, ‘WAIT’ is worth seeing. 
Seeing that is, if you are willing to invest in the 80
minutes of intermissionless dialogue, to see a very
good cast operating under the guidance of an effective
director.

Jill Levin, Kato Buss, Marni Task, Joe Milan and
Perren Hedderson let loose all the cannons in creating
their characters.  Director Gregory Vovos knows his
way around a stage and gets his actors to create his
vision of what the playwright has given him to work
with.  He is aided by an excellent sound design by
Zach Humes.

CAPSULE JUDGEMENT: The program for ‘CHARGE’ states,
“Sometimes a play strikes so hard that you can’t shake
off its blow.  And on the rarest of occasions, a play
can do this and leave you laughing.  For some people
in the audience laughing was the order of the day. 
For many others, including this reviewer, the
production values were high, the insight values low.

Be aware that CPT has combined ticket sales and
distribution for both of its theatres into the lobby
of the Gordon Theatre.  On Saturday night long lines
of people waited to get their tickets.  Hopefully, CPT
will smooth out the operation and the audiences won’t
have to wait fifteen minutes beyond curtain time for
shows to start as people scurry to get to their seats.

‘CHARGE,’ which is a co-production with Cleveland
Public Theatre, continues until February 28 at CPT’s
Upstairs Theatre, 6415 Detroit Avenue.  Call 
216-631-2727 for tickets. 


OHIO BALLET PRESENTS FULL EVENING OF WELL
CHOREOGRAPHED DANCING

Dance is composed of four elements: choreography,
movement, music and message.  When the four come
together it makes for an exciting evening.  Ohio
Ballet’s ‘WINTER REPERTORY PROGRAM’ had three of the
elements consistently present...choreography, music
and message.  The movement, the dancing, was
inconsistent.

The program opened with a light, sprightly, South
American beat.   “Bossa Nova,” consisting of four
short pieces, was given its world premiere in this
program. They were well choreographed by Leslie Cook. 
The very talented Amanda Cobb was wonderful as the
lead dancer in all the segments.  She was ably backed
by Kristin Knapp, Alicia Pitts and Eva Trapp.  Brian
Murphy’s facial expressions, pelvic thrusts and quick
feet picked up the beat and created a perfect feel.  
Unfortunately, the other males were often flat footed
and appeared to be laboring rather than enjoying
themselves.

“Wanders Night Song” was a classic ballet whose
choreography was the weakest of the evening.  Toby
George was acceptable, if not spectacular as the
soloist.  He displayed nice leaps and good flow, but
lacked the charisma needed to capture the audience.  

“Etudes” was performed to ear jarring modern music.
The choreography of Jean-Pierre Bonnefoux didn’t
always fit Gyorgy Ligeti’s tonal intentions.  In spite
of this, the piece was superbly danced by Alicia
Pitts, whose toe work was wonderful, Eva Trapp and
Kristin Knapp.

Chung-Fu Chang’s “Traveling in the Frost”was danced to
pianist David Fisher’s live piano accompaniment and
the poetic messages of Wilhelm Muller and Peter
Hartling.  Chang challenged the five male dancers with
interesting choreography, pushing the performers to
their limits.  Though some of the unit timing was off,
the overall effect was generally positive.  Especially
effective was Dennis Dugan’s lighting in a segment in
which the dancers’ shadows were projected onto the
back curtain.

Bennefoux also choreographed “Chaconne” which was
danced to violin soloist Amy Barlowe Bodman’s
interpretation of composer Johann Sebastian Bach.  The
piece was very nicely performed by Amanda Cobb.

The world premiere of “Transformation!” by Ohio
Ballet’s Artistic Director Jeffrey Graham Hughes was
highlighted by the outstanding singing and musical
sounds of the group Divine Hope.  Damien Highfield,
portraying Paul,  stood out in the story taken from
the “Bible,” Acts 6: 1 through 9:19.  Eric Carvill was
effective as Stephen.   Though no great piece of
ballet, the overall effect was positive.

CAPSULE JUDGEMENT: Ohio Ballet continues to draw small
but appreciative audiences.  The group needs to take
steps to make people want to come through more
innovative programming and improved presentation,
especially by their male dancers.  

On Friday, March 5 at the Greystone Hall Theater on
High Street in Akron, seven months of learning
experiences will culminate with the presentation of
five world premiere ballets by Ashley Bowman, Larissa
Freude, Damien Highfield, Brian Murphy and Pamela
Reyman.  For tickets and information call
330-972-7905.


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