[NEohioPAL]Berko Review: Kallipoe Stage's A GRAND NIGHT FOR SINGING

[Roy Berko]

KALLIOPE STAGE, THE NORTH COAST’S NEW MUSICAL THEATRE

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

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

It’s always a dangerous undertaking to start a new
theatre.  It is even more tenuous in these times of
economic wariness.  In spite of the odds, the
Cleveland area has seen the birth of several new
theatrical enterprises in the last year or so.  The
newest is Kalliope Stage which has settled into a
space at the corner of Lee and Cedar Roads, diagonally
across from the Cedar Lee movie theatre.  Kalliope has
a unique role in the area…it is the only venue
dedicated exclusively to the American musical.

The American musical, for all practical purposes is
the child of Richard Rodgers and Oscar Hammerstein. 
They conceived ‘OKLAHAMA!’ the first true book
musical, in which the music, the lyrics and the
storyline all melded into one.   In contrast to
previous musicals, the dancing, the singing, the
spoken lines of ‘OKLAHOMA’ were all integral to the
story, which cannot be told if any of the elements is
missing.  The Rodgers and Hammerstein scheme gave
birth to works by Lerner and Loewe (e.g., ‘MY FAIR
LADY’), Steven Sondheim (‘FOLLIES’), Stephen Schwartz 
(‘PIPPIN’), Leonard Bernstein (‘WEST SIDE STORY’) and
a number of others. 

It is only fitting that Kalliope Stage open its doors
with a tribute to the fathers of the American musical.
 Their production of ‘A GRAND NIGHT FOR SINGING’ is a
review which blends together songs from such hit shows
as ‘CAROUSEL,’ ‘THE KING AND I,’ ‘SOUTH PACIFIC,’ and
‘THE SOUND OF MUSIC.’  The title comes from the song
“It’s a Grand Night For Singing, written for ‘STATE
FAIR’ the  only movie musical the duo wrote.

Kalliope’s theatre is a spanking brand new, intimate
space, consisting of about 50 comfortable seats,
placed in three rows.  The audience is right up front
and there isn’t a bad seat in the house.  The box
office personnel, ticket taker, ushers and theatre
staff are warm and welcoming.  They even hand out
chunks of home made chocolate “thingies” to every
patron.

It would be wonderful to say that Kalliope Stage’s
opening production was superlative.  Unfortunately, it
wasn’t, but it was entertaining.  It was extremely
well sung.  The music was well played.   The
production is filled with some very fine moments. 
But, there are also some problems.  

On the plus side, all five cast members individually
sing extremely well.  Unfortunately, because they are
all essentially soloists, the choral sounds were not
as blended as they could have been.   

The women, both in their acting and singing, were
fine.  Lisa Spinelli was a total delight flashing her
sparkling eyes and playing perfectly the fallen
innocent in “I Cain’t Say No.”  She captures the stage
as soon as she makes an entrance.   

Joan Ellison’s “Something Wonderful” was wonderful.  
She does a nice job of altering her presentational
style to fit the mood and ideas of each song. 

Allison Hedges has a beautiful voice but needed more
glee in “A Wonderful Guy” and more passion in “If I
Loved You.”   Joan and Allison did a delightful
version of “Stepsisters’ Lament” from ‘CINDERELLA.”  

Robert Burian has a full and powerful voice. 
Unfortunately, has not learned to visualize images of
the things he is singing about.  When he sings a love
song, he has to feel the love, we have to see it in
his eyes and observe it in the way he looks at and
touches his partner.  Often he sings off in space,
eyes blank, his gestures automatic, not powered by
emotion.  It’s too bad because he has a gorgeous
voice.  His ‘We Kiss In A Shadow” for example, had a
wonderful vocal sound.

Though he doesn’t have Burian’s vocal abilities, John
Paul Boukis does have a pleasant voice.  
Unfortunately, as with Burian, he seldom makes
emotional contact with the person with whom he is
singing.  His finest moments were during “All At Once
You Love Her” and “Maria.”

Reviews often get bogged down in song after song with
little variation.  Paul Gurgol, the show’s director,
made sure this didn’t happen by adding some very
creative moments to the show.  Having males sing
traditional female songs and vise versa was a nice
touch.  “Kansas City” was delightfully staged as was
“It’s Me.”    Unfortunately, some of the “schticks”
were over-the-top.  The twister game in “Don’t Marry
Me” put singers in positions where singing was nearly
impossible.  The constant moving of the hay
wagon/table was distracting.   In fear of falling into
the “bogged down trap,” he over directed, trying to
make too much of songs that may have done with less
trappings.

Technically, the lights and set were nicely conceived.
 Especially effective were the trees, with trunks in
the form of human bodies and branch like arms reaching
out to enfold the audience.  On the other hand, Kim
Brown’s costume designs detracted rather than added. 
The costumes often drew attention to the clothing
rather than assisting the performer to develop his or
her character.

CAPSULE JUDGEMENT:  Kalliope Stage is a welcome
addition to the Cleveland theatre scene.  It takes
guts and determination to give birth to a new theatre.
 The theatre’s directors, John Paul Boukis and Paul F.
Gurgol, can only be wished the very best.  Their ‘A
GRAND NIGHT FOR SINGING’ was a pleasant way to start
the season.  

Tickets for ‘A GRAND NIGHT FOR SINGING,’ which runs
through April 4 can be purchased by calling
216-321-0870.  For more information about the theatre
go on-line to KalliopeStage.com.  Their next
production will be ‘CAROUSEL.’  The tentative opening
date is May 14.


__________________________________
Do you Yahoo!?
Yahoo! Finance Tax Center - File online. File on time.
http://taxes.yahoo.com/filing.html