[NEohioPAL]Berko review: NO PAS CONNIN @ CPT

[Roy Berko]

‘No Pas Connin’ AT CPT; NATIONAL BALLET OF CANADA ;
GROUNDWORKS DANCETHEATER

Roy Berko

(Member, American Theatre Critics Association, Dance
Critics Association)

--THE TIMES NEWSPAPERS--

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

‘NINA THE DEVINE’ MAKES ‘No Pas Connin’ AN ENTHRALLING
EXPERIENCE AT CPT

“We too poor to be depressed, we just pressed!”  This
humorous but poignant statement is but one of many
thought-provoking ideas that fill the stage at
Cleveland Public Theatre during ‘MO PAS CONNIN OR
TORMENT, Nina Domingue’s one woman show.  

Nina Domingue is one of the finest actresses in
Cleveland.  As evidenced by ‘MO PAS CONNIN OR
TORMENT,’ she is also a talented playwright.

The experience (it is more than a play) is set in New
Orleans.  It centers on Miriam Waters, a 65-year-old
former priestess of the goddess Mami Wata and her
attempt to reconcile with her family.  In the process
we meet 8 other souls whose own stories are interwoven
with Miriam’s.  We also learn a lot about the Big Easy
before the hurricanes destroyed much of the culture of
the city.  

Domingue is a native New Orleanian.  She is black,
Catholic and the daughter of a woman who committed
suicide when Domingue was 4.  The twenty-something
Domingue relates that the play is based on the ghosts
that populate her life.  As the beginning line of the
script states, “I don’t know what it is that torments
me so.”  That torment is contained in the title of
show which translates from Creole as “I don’t know.”

It is interesting to note that in New Orleans, the
word “black” does not connote the same as it does in
the north.  There is or were 152 classes of “colored
folks” in that city.  Many have experienced
institutional racism in the schools, churches, and in
their daily lives.  For example, Jasmine, a young
school child, is called “colored” by her teacher.  She
reacts with the statement, “Everybody is a color, ”
which gets her sent from the room for being
disrespectful.  Her mother, a college professor, is
talked down-to when she comes to discuss the matter
with the “white” teacher, even though the mother has a
higher education.

Domingue creates all the characters with quick
fragmented costume changes and different hair
arrangements.  At no time is there any difficulty
understanding who she is portraying as she also has a
wonderful gift for adapting her vocal sounds and body.

As has become the expectation of “Nina The Divine,” a
multi-Times Tribute Award winner and last year’s
Cleveland Theater Collective’s “Best Actress in a
Play,” this is a masterful performance.    There are
many highlights, but a major one is when she stands
weeping on stage while portraying Christine, the
character most like the actress and author, and
relates the death of her mother.  She intones, “In the
Catholic Church, everything is the devil, and suicide
is this great sin.  After her death, nobody could even
talk about her, and she couldn’t be buried in sacred
ground.   She is buried where no one knows.”  (Her
mother suffered from post-partum depression.)

The play is directed by Hassan Rogers, Domingue’s
father-in-law, with total understanding,  an eye for
small details, and proper pacing of what could be a
confusing experience.

Richard Morris, Jr.’s scene and lighting designs and
Allison Garrigan’s costumes all add to the total 
positive effect.

CAPSULE JUDGEMENT:  There are few actress in the
country who could carry off this magnificent
performance.   If Domingue doesn’t present it, the
odds of seeing it are remote.  My recommendation--GO
SEE ‘MO PAS CONNIN OR TORMENT.’  I GUARANTEE, YOU WILL
BE AWED!

‘MO PAS CONNIN OR TORMENT’ runs through February 26 at
CPT’s Levine Theatre.  For tickets, which range in
price from $15 or $19 for general admission, $12 or
$15 for seniors and $10 for those under 25,  call
216-631-2727.

THE NATIONAL BALLET OF CANADA

One of the world’s great companies, THE NATIONAL
BALLET OF CANADA, appeared a short time ago at
Playhouse Square as part of the Rainbow Babies and
Children’s Hospital Ballet Series.  The program opened
with an impressive production of THE FOUR SEASONS,
choreographed by James Kudelka.  It was danced to the
music  of Antonio Vivaldi.  From the very first
moment, the piece contained magically compelling
movements.  Aleksandar Antonijevic was in command of
the role of A Man.  His partnering, leaps, and stage
presence were impressive.  Stacey Shiori Minagawa
(Spring), Greta Hodgkinson (Summer), Rebekah Rimsay
(Autumn) and Victoria Bertram (Winter) all displayed
excellent point movements.  The choreography
effectively created the youthful promise of spring,
the passion of summer, the mellow warmth of autumn and
the chill of winter, to the year’s untimely death. 
All in all, the performance was a perfect blend of
costumes, music and dance.

The second piece, THE FIREBIRD, was disappointing. 
Though the costumes and sets were exquisite, Jennifer
Fournier, in the key role of the Firebird, lacked the
passion needed for the role.  Though Stravinksy’s
score was ravishing, the dancing, as a whole, was not.
 The applause at the end of the piece was polite, not
enthusiastic.  

The next performance in the Ballet Series is American
Ballet Theatre (ABT) performing ‘LE CORSAIRE’ (‘THE
PIRATE’) from March 16 through the 19.  For tickets
call 216-241 6000 or go to www.tickets.com.

GROUNDWORKS DANCETHEATER

David Shimotakahara’s GROUNDWORKS DANCETHEATER is by
far the best of the smaller dance companies in the
area.  Their most recent performance at the Cleveland
Botanical Garden, featured choreographer Gina Gibney’s
meditation work, ‘RETURN.”  The dance, which is not
story based, featured original contemporary musical
sounds composed by Ryan Lott.  The non-melodic sounds
were mirrored by the entire company--Felise Bagley,
Amy Miller, Mark Otloski and Shimotakahara.  As
always, the dancers displayed amazing body control to
interpret the angst-driven choreography. 

‘THE BOOK OF WATER’ featured Shimotakahara doing the
type of choreography which he does best...serious
toned, gymnastic centered jumps, turns, lifts, rolls,
whirls, leaps, cartwheels often done in slow motion. 
A perfect vehicle for his powerful and
well-disciplined dancers.

GROUNDWORKS next public performance will be as part of
Cleveland Public Theatre’s DANCE BREAK, THE DANCE
WORKS ‘06.  The company will perform from March 23 26.
 Other dance offerings are: ANTAEUS DANCE, March 2-5;
INLET DANCE THEATRE, March 9-12; COMING OF AGE &
FAMILY OUTING, March 16-19; CLEVELAND CONTEMPORARY
DANCE THEATRE, March 16-19; and SRISHTI DANCES OF
INDIA, MARCH 25-26.  For tickets call:  216-631-2727.

DANCE CLEVELAND AND CUYAHOGA COUNTY COMMUNITY COLLEGE

Dance Cleveland and CCC will present Garth Fagan
Dance, on Saturday, February 25 at the Ohio Theatre. 
The program will center on “LIFE: DARK/LIGHT,” with
music by jazz violinist Billy Bang.  From April 7
through April 9, Alvin Ailey American Dance Theatre
will appear at the Palace Theatre showcasing their
gospel-inspired “REVELATIONS.”  For tickets call
216-241-6000 or go to www.tickets.com.


Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.

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