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<P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt; BACKGROUND: white"
class=dropcapquote align=center><SPAN class=bodysmallbold><B
style="mso-bidi-font-weight: normal"><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>CPH’s
‘The Little Foxes’ a graceful, gorgeous bit of family dysfunction<?xml:namespace
prefix = o ns = "urn:schemas-microsoft-com:office:office"
/><o:p></o:p></FONT></SPAN></B></SPAN></P>
<P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt" class=MsoNormal
align=center><SPAN style="FONT-FAMILY: 'Arial','sans-serif'"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt" class=MsoNormal
align=center><SPAN style="FONT-FAMILY: 'Arial','sans-serif'"><FONT size=3>Bob
Abelman<o:p></o:p></FONT></SPAN></P>
<P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt" class=MsoNormal
align=center><I style="mso-bidi-font-style: normal"><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'"><FONT size=3>Cleveland Jewish
News<o:p></o:p></FONT></SPAN></I></P>
<P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt" class=MsoNormal
align=center><SPAN style="FONT-FAMILY: 'Arial','sans-serif'"><FONT
size=3>Member, International Association of Theatre Critics </FONT></SPAN></P>
<P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt" class=MsoNormal
align=center><SPAN style="FONT-FAMILY: 'Arial','sans-serif'"><FONT
size=3></FONT></SPAN> </P><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'"><FONT size=3>
<P style="TEXT-ALIGN: center; LINE-HEIGHT: normal; MARGIN: 0in 0in 0pt"
class=MsoNormal align=center><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 12pt">This review will
appear in the <I style="mso-bidi-font-style: normal">CJN </I>on
9/26/14<o:p></o:p></SPAN></P><o:p></o:p></FONT></SPAN>
<P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt" class=MsoNormal
align=center><B style="mso-bidi-font-weight: normal"><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: black"><o:p><FONT
size=3> </FONT></o:p></SPAN></B></P>
<P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt; BACKGROUND: white"
class=dropcapquote align=center><SPAN class=bodysmallbold><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=dropcapquote><SPAN
class=bodysmallbold><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>It is
near impossible not to like everything there is about Lillian Hellman’s 1939
classic “The Little Foxes” and Cleveland Play House’s delectable production of
it.<o:p></o:p></FONT></SPAN></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=dropcapquote><SPAN
class=bodysmallbold><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=dropcapquote><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>Full of
sharp-witted, southern-fried family dysfunction that is as repulsive as it is
alluring, “The Little Foxes” revolves around what remains of the predatory
Hubbard clan – ruthless and cunning Regina, her wily brother Ben, and impulsive
brother Oscar – who live in <SPAN class=bodysmallbold>the Deep South at the
start of the 20<SUP>th</SUP> century.<SPAN style="mso-spacerun: yes">
</SPAN><o:p></o:p></SPAN></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=dropcapquote><SPAN
class=bodysmallbold><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=dropcapquote><FONT
size=3><SPAN class=bodysmallbold><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222">The three siblings
fall into a business partnership that will allow them to rise from the
privileged 1% to the highly coveted 0.1%.<SPAN style="mso-spacerun: yes">
</SPAN>Their </SPAN></SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black">forbearers
harvested their sizable merchant profits by heartlessly taking advantage of
newly freed slaves.<SPAN style="mso-spacerun: yes"> </SPAN>The Hubbards of
1900 are looking to expand the family dynasty by embracing this family legacy
and exploiting poor Blacks willing to work at their new Cotton Mill for paltry
wages.<SPAN style="mso-spacerun: yes">
</SPAN><o:p></o:p></SPAN></FONT></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=dropcapquote><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=dropcapquote><FONT
size=3><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black">The
Hubbards are based on lower branches of Hellman’s own family tree: her maternal
</SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222">grandmother Sophie
Marx – a German Jew who settled in New Orleans in the 1850s – and Sophie’s
scheming and cheating brothers.<SPAN style="mso-spacerun: yes">
</SPAN>However, the siblings in Hellman’s play are </SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black">willing
to eat their own for a greater share of the profits, and smile while doing so.
<o:p></o:p></SPAN></FONT></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=dropcapquote><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><FONT size=3><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222">The play i<SPAN
class=apple-converted-space>s infused with the subtle social commentary that
helped land Hellman on the U.S. government’s blacklist in the 1950s.<SPAN
style="mso-spacerun: yes"> </SPAN>It gives </SPAN></SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black">voice
to Marxist disapproval of the predatory capitalism that Hellman felt threatened
the American ethic in the 1930s. <SPAN
style="mso-spacerun: yes"> </SPAN><SPAN
style="mso-bidi-font-style: italic">“There are people who eat the earth and eat
all the people on it like in the Bible with the Locusts,” says Regina’s cook,
Addie, referring to the Hubbards.<SPAN style="mso-spacerun: yes">
</SPAN>“Sometimes I think it ain't right to stand and watch them do it.”<SPAN
style="mso-spacerun: yes"> </SPAN>Hellman, in her play, does not. <SPAN
style="mso-spacerun: yes"> </SPAN><o:p></o:p></SPAN></SPAN></FONT></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black; mso-bidi-font-style: italic"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><FONT size=3><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black; mso-bidi-font-style: italic">The
playwright also </SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black">calls
attention to the obstacles faced by women seeking financial independence and
social equality, best personified by Regina.<SPAN
style="mso-spacerun: yes"> </SPAN>Hellman does not stand idly by for this
injustice either. <o:p></o:p></SPAN></FONT></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><FONT size=3><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black">The
role of Regina </SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222">was a star vehicle for
Tallulah Bankhead in the original Broadway production and for Bette Davis in the
1941 film.<SPAN style="mso-spacerun: yes"> </SPAN>In this CPH production,
the marvelous Maggie Lacy’s Regina is every bit as present, prominent and
powerful.<SPAN style="mso-spacerun: yes"> </SPAN>However, the actress
allows fleeting moments of vulnerability to peek through her character’s
interactions with her brothers.<SPAN style="mso-spacerun: yes">
</SPAN><o:p></o:p></SPAN></FONT></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>Regina is
still venomous – and Lacy plays this to the hilt – but the occasional exposure
of her soft underbelly opens up creative opportunities for others, which turns
this play into more of an ensemble piece.<SPAN style="mso-spacerun: yes">
</SPAN>And the ensemble is wonderful.<o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>Donald
Carrier is superb as Regina’s estranged husband Horace Giddens, a wealthy
businessman weakened by a serious heart condition.<SPAN
style="mso-spacerun: yes"> </SPAN>His character’s good character helps
showcase Regina’s ruthlessness by offering a viable counterpoint.<SPAN
style="mso-spacerun: yes"> </SPAN>Their young daughter Alexandra, played
with great charm by Megan King, and Regina’s genteel sister-in-law Birdie,
played with delicate pathos by Heather Anderson Boll, serve the same function
and do so brilliantly.<o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>Cameron
Folmar gives flesh and blood to ever-scheming brother Ben and adds a disarming
sense of calm resolve.<SPAN style="mso-spacerun: yes"> </SPAN>This
penetrates Regina’s aggressive game face and, for the audience, is recognizable
as a viable characteristic of early-20<SUP>th</SUP> century opportunists and
modern-day corporate executives.<o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>Jerry
Richardson, as the boorish and explosive Oscar, does a wonderful job of
devaluing his family in an effort to enforce old fashioned family values.<SPAN
style="mso-spacerun: yes"> </SPAN>Absorbing much of his wrath is Oscar and
Birdie’s morally weak son, Leo, well played by Nick
Barbato.<o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>Very
strong support comes from Sherrie Tolliver as Addie, Robert Ellis as Chicago
businessman William Marshall, and Kim Sullivan as Regina's butler Cal.<SPAN
style="mso-spacerun: yes"> </SPAN><o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>As is
often the case at the CPH, the scenic design in this production is
breathtaking.<SPAN style="mso-spacerun: yes"> </SPAN>The Allen Theatre
stage is filled from wings to rafters with Lex Liang’s rendering of the Gidden’s
grand southern drawing room, where all the play’s action takes place. <SPAN
style="mso-spacerun: yes"> </SPAN>It comes complete with exceptionally tall
walls, a sweeping carpeted staircase, a massive fireplace, an arched hallway and
a formal dining room in the rear that is partitioned off by glass doors.<SPAN
style="mso-spacerun: yes"> </SPAN><o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>At odds
with this gorgeous set design and the period in which it exists is its simple
décor.<SPAN style="mso-spacerun: yes"> </SPAN>The set has expensive
furnishings but is void of artwork, wall hangings and other blatant artifacts of
wealth, which undermines the exhibitionism so clearly on display in the classic
costuming Liang also designed.<SPAN style="mso-spacerun: yes">
</SPAN><o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>Yet, this
lack of clutter accentuates the effortlessness with which director Laura Kepley
has her characters move through their world and gracefully engage one other…even
when the intention is back-stabbing or subterfuge.<SPAN
style="mso-spacerun: yes"> </SPAN>As with everything Kepley brings to this
production, this works as well.<o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=body><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: #222222"><FONT size=3>The CPH
opens its 2014-15 season – the theater’s 99<SUP>th</SUP> season of operation –
on a high note.<o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'"><o:p><FONT
size=3> </FONT></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"
class=MsoNormal><SPAN style="FONT-FAMILY: 'Arial','sans-serif'"><FONT
size=3>WHAT:<SPAN
style="mso-tab-count: 1">
</SPAN>“The Little Foxes<SPAN
style="mso-bidi-font-weight: bold; mso-bidi-font-style: italic">”<o:p></o:p></SPAN></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"
class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-bidi-font-weight: bold; mso-bidi-font-style: italic"><FONT
size=3>WHERE:<SPAN style="mso-spacerun: yes"> </SPAN><SPAN
style="mso-tab-count: 1"> </SPAN>The Allen
Theatre, PlayhouseSquare in downtown Cleveland<o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"
class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-bidi-font-weight: bold; mso-bidi-font-style: italic"><FONT
size=3>WHEN:<SPAN style="mso-spacerun: yes"> </SPAN><SPAN
style="mso-tab-count: 1">
</SPAN>Through October 5<o:p></o:p></FONT></SPAN></P>
<P style="MARGIN: 0in 4.5pt 0pt 0in; tab-stops: 1.0in 5.25in"
class=MsoNormal><FONT size=3><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-bidi-font-weight: bold; mso-bidi-font-style: italic">TICKETS:<SPAN
style="mso-tab-count: 1">
</SPAN></SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-ansi-language: CS" lang=CS>$15 -
$79, call</SPAN><SPAN style="FONT-FAMILY: 'Arial','sans-serif'"> 216-241-6000 or
visit to clevelandplayhouse.com</SPAN></FONT><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 11pt">
<o:p></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt; BACKGROUND: white" class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; BACKGROUND: white; COLOR: black; FONT-SIZE: 11pt"><o:p> </o:p></SPAN></P></FONT></DIV></BODY></HTML>