[NEohioPAL] Berko review: WAITING FOR LEFTY @ Ensemble Theatre

[Roy Berko]

*Ensemble initiates its new home with classic WAITING FOR LEFTY*



Roy Berko



(Member, American Theatre Critics Association)



--THE TIMES NEWSPAPERS--

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



--COOLCLEVELAND.COM—



In this era of Wall Street sit-ins and the politicizing of unions, as
represented by Kasich’s administration’s passing of a non-negotiation bill,
a return to examining the reason for, and the rise of unionism, is
appropriate.  Probably no play better looks at the subject of U. S. union
confrontation then Clifford Odets’ WAITING FOR LEFTY.



Based on the true story of the 1934 unionization of New York City cab
drivers, the organizing efforts, dubbed by opponents as “the promotion of
the communist revolution in America,” is a vivid example of “agit-prop”
theatre.  Agit-Prop was a form of writing  with the intent of agitating,
propagandizing and spreading ideas, which was popularized by Bertolt Brecht
and U. S. social action writers, such as Clifford Odets.



Odets’s writing style, as is that of others of his era, is somewhat outdated
by modern standards, due to its stylized language and over-dramatized
situations, but it is appropriate to highlight the rage that was seething
during the depression in the United States.  This was an era of using the
power of drama and the other arts to push a specific political cause and
create what has commonly been dubbed in drama history as “people’s theatre.”
And, since theatre is representative of the era from which it comes, it is
only appropriate that Odets’ words spew forth and be heard in this, a decade
of parallel social unrest.



The story centers on a hotly-contested strike vote in which a corrupt union
leader (Harry Fatt) tries to discourage the membership from walking out.  His
motives are anything but pure, and definitely not in the interest of the
membership.  In a series of 8 vignettes, the tale is told through the words
of union members. The climax of the play comes when word arrives that Lefty
Costello, the leader of the strike faction, has been killed.  This pushes
the assemblage over the top, and cries of, “strike,” “strike,” “strike” are
heard as the play comes to a shattering conclusion.



In the analogues of theatre history, “Waiting for Lefty is seen as an
important dramatic work that offers historical evidence of the social power
and aspirations of theatre.



Ensemble’s production, being performed on a thrust stage in their new home
in the reconfigured gym of the former Coventry Elementary School, lends
itself to the up-close and in-your-face format of the script.



The performance, under the direction of Ian Hintz, is generally excellent.  The
pacing is even, the idea development clear, the use of graphics to bridge
the various eras of history are creative, and the music is appropriate.   The
ending, however, which didn’t quite build to the desired climax, could have
been more frenetic and emotionally keyed, adding to the cry for change, for
action.



The large cast, only two of whom are professional actors, does a very
creditable job of generally creating the right atmosphere.    Especially
strong performances were presented by Skip Corris, Layla Schwartz and James
Rankin.



*CAPSULE JUDGEMENT:   WAITING FOR LEFTY is an important American play which
reflects not only the depression era, but is relevant in today’s chaotic
times.  Odets’ script gets a strong performance at Ensemble Theatre.*
* *

WAITING FOR LEFTY runs through October 30 at Ensemble Theatre now housed in
Coventry School, 2843 Washington Blvd, Cleveland Heights .  For tickets call
216-321-2930 or go online to www.ensemble-theatre.org

Coming up at Ensemble:  ST. NICHOLAS, staged November 18-December 11 finds
an aging jaded theatre critic recounting his obsession with a young actress,
and how that obsession leads to a journey into a macabre world of vampires
from which he almost can’t escape.
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