If you would like me to visit your theatre and review your production or special event, please leave contact information in the comment section.
I appreciate all of the positive feedback so far.
Regards,
Kevin Joseph Kelly
Wednesday, February 26, 2014
Monday, February 24, 2014
THEATRE REVIEW BLOG - ONCE UPON A MATTRESS AT MIGHTY GOLIATH PRODUCTIONS (MGP)
There is a very special community theatre in Avon Lake
MGP has a unique approach to casting and rehearsing. The ensemble
is open to everyone, regardless of experience. They look for singers/actors,
but if you show up, you're in, thus eliminating a high pressure audition
process that might dissuade someone from participating in the show. The lead
roles are cast in a more traditional manner. Also, they only rehearse on Friday
nights. But the magic is pulled together during the final week before opening
night. Truly a remarkable feat. On this, MGP stands alone.
The current production of “Once Upon A Mattress” is pleasantly
directed by Ian Atwood, and skillfully produced by Jessica Atwood, who
concurrently produced an Atwood heir, Neil Francis. “Once Upon A Mattress” is
the hysterical tweaking of the fairy tale, “The Princess and the Pea.” The
kingdom is an unhappy one because Queen Aggravain has ruled that none may marry
until her son, Prince Dauntless, marries a princess of royal blood. However,
she has managed to sabotage every princess that comes along. When Sir Harry and
Lady Larken learn that they are going to be parents, wed or not, Sir Harry goes
off to the swamps and brings back an ungainly, brash Princess Winnifred, ("Fred"
to her friends). The queen is horrified and immediately begins to scheme.
However, Winnifred, with some help from Sir Harry, the King, and the Jester,
isn't going to be quite so easy to get rid of. The original show was the break
out vehicle for Carol Burnett as Winnifred.
The 21 piece orchestra, led by its director Jim Lucas, starts the
evening off with delicious instrumentation flowing from a formal pit, that
saturates the space with energy and anticipation. Atwood updates a more modern approach, which is reflected in the costumes (designer Joann
Sarvas) and references to modern media like Facebook. The same conundrum of
"first impressions" and the resistance of our kids leaving the nest
are relevant in any time period.
Kristen Jones as Queen Aggravain delightfully chews more scenery
than a flood of carpenter ants. With comedic chops in tow, she dominates her
family, struggles to let go, and eventually gets her comeuppance. Winnifred the
Woebegone and Prince Dauntless, Brittney-Jade Colangelo and Lucas A.
Scattergood, remind me of Carol Burnett and Harvey Korman. Colangelo deftly
handles the prime role with chaotic charm and a set of pipes that commands
attention. Scattergood plays the mama's boy well, infusing laughter everywhere
in his quest for a wife. There is a great connection between these two that
evokes rooting for the jocular couple. Lady Larkin and Sir Harry, Amanda Isula
and Brett Hall, utilize their good looks and strong voices, to enhance their
fertile love story with great chemistry and Disney moments for days.
At one moment during the show, it clicked. Three Stooges. Three
Musketeers. Minstrel, Jester, and King Sexitmus (Douglas F. Bailey II, Steve
Schuerger and Jerry Popiel). Three actors who should always travel together and
create havoc as a job. Their shtick is ineffable. Bailey provides gorgeous
vocals, blessed with clarity and control. Schuerger utilizes his physicality to
great aplomb with comedic skills. Popeil is a beautiful hot mess of vocal
distress. Unable to speak as a result of a curse, he gesticulates a lot, creating
a hilarious interpretation of the birds and the bees along the way.
Matthew Cuffari as the Wizard, Aggravain's sidekick, provides
deleterious delightful moments, while possessing a strong voice that gets to
glimmer once but, unfortunately, not more in the script. As the Nightingale,
Grace Penzualto is a flapping, operatic, feathered creation of paradise, working
the cage like a pro, and providing hilarious results.
As chorographer, Jessica Atwood moves the ensemble well by
providing steps for the novice, and slick moves for the hoofers, managing the
large cast in good order. Nice work is done by Musical Director James Kotora.
The ensemble voices provide luscious vocals. Kudos to Scenic Designer Gary
Fischer for the multi-colored cracker jack bed, that holds quite a surprise.
MGP is pure community theatre at its best, standing the test of
time and providing the community and the actors with boundless rewards.
Kevin Joseph Kelly
2/24/14
Staff and Cast:
Director: Ian Atwood
Music Director: Jim Kotora
Cast:
Winnifred the Woebegone…Brittney-Jade Colangelo
Prince Dauntless…Luke Scattergood
Lady Larken…Amanda Isula
Sir Harry…Brett Hall
Minstrel…Douglas F. Bailey II
Jester…Steve Schuerger
King…Jerry Popiel
Queen…Kristen Jones
Wizard…Matthew Cuffari
Nightingale…Grace Penzvalto
----------------------------------------------------------------------------
February 21 - March 1
Showtimes:
7:30pm Fridays
7:30pm Saturdays
2pm Sunday
Tickets:
$12-$15 General Admission
Order Tickets Online
Location:
Avon Lake High School
175 Avon Belden Road
Avon Lake, OH 44012
Sunday, February 23, 2014
THEATRE REVIEW BLOG - BREATH AND IMAGINATION AT CLEVELAND PLAY HOUSE
Roland Hayes (June 3, 1887 – January 1,
1977) was an American lyric tenor. He is considered the first African-American
male concert artist to receive wide acclaim both at home and internationally.
"BREATH AND IMAGINATION" by Daniel Beaty, opened downtown at the
Allen Theatre, produced by the first professional regional theatre in the
country, the Cleveland Play House. It is a soaring tale of Roland Hayes and his
rise from the fields of Georgia, to performing at Fisk University, Buckingham
Palace, and then on to international acclaim.
Author Marva Carter summed up Hayes' life and career:
"Hayes' life of almost ninety years reveals a remarkable
story of a man who went from the plantation to the palace, performing before
kings and queens, with the finest international and American orchestras, in
segregated communities before blacks and whites alike. He was of small stature,
dignified manner, and non-violent persuasion. He chose to overcome racism by
example and in doing so became a trailblazer. When he sang, art became more
than polished excellence. It appealed to something universal, something beyond
the emotions, and something beyond the intellect, something one could call the
soul."
This production, beautifully crafted by director May Adrales,
delivers one powerful moment after another, illuminating Haye's spirit, drive
and resolve. The story is set upon a stage (brilliantly designed by Rachel
Hauck) adorned with classical columns, a piano, and a grandiose tree that glows
with the essence of wisdom, illuminates divinity, and with its metallic puffs
of leaves, provides comfort for the turbulence of a ground breaking life.
At first, we find Hayes announcing a decision to close a music
school, as a result of his family being arrested for sitting in a white-only
section of a shoe store, and then being beaten while trying to defend
them. Flashbacks allow us to follow Hayes' (magnificently embodied by Cleveland
native Elijah Rock) journey from a young child, being reared by his mother
Angel Mo' (beautifully played by Daphne Gaines), as he transcends the racist
south to become a role model for young blacks everywhere. It is a fascinating
story of courage and drive as he faces his father’s death at 11, moving to
Chattanooga at 14, and then, at 16, experiencing self-actualization of purpose
listening to Caruso for the first time. At 18, Hayes is at Fisk University,
receiving the professional training that will transport him to eventual
international acclaim. There are many lessons to be learned. Watching them be taught,
lived and interpreted is mesmerizing.
Rock and Gaines turn in spectacular performances. They create a
tremendous love story that enters your heart and continues to grow through the
entire performance. Hayes, who is equipped with an instrument from above, sings
with adept passion, interpreting the
storytelling and performance pieces with classical aplomb. Gaines provides her
own sizzle by providing enough soul and vocal comfort food to placate the
hardest of hearts. Each one delivers over and over again, but I will admit that
"Over My Head" by Rock, and "Don't You Weep When I'm Gone"
had me emotionally raw.
Throughout the play, there is another actor and musician (the
clever and accomplished Tom Frey), knocking it out of the park. He takes on a
myriad of roles that include: Accompanist/Officer/Preacher/Pa/Mr. Calhoun/Miss
Robinson/Frenchman/ King George V. Quite an undertaking, but Frey makes each
character different and entertaining, whether providing levity, racism, or
unsettled emotion, and his deft musicality comes across loud and clear from the
keyboard.
Watching this play, I realized I was watching several love stories
unfold: The love between a mother and her son, constantly reinforcing him to
"Keep Your Focus.” The love between a son and his mother, so strong he
takes her with him when he moves to Boston so she won't be alone. The love
between an artist and his craft, an undying passion driven by the soul to
embrace a melodic expression that only music can provide.
It is a grand evening supported by great designers of Sound (James
C. Swonger), Projections (Jared Mezzocchi), Costumes (Jennifer Moeller), and
Lighting (Jeff Nellis), and Music enhanced by the proficient work of Arranger
Mike Ruckles and Musical Director Rahn Coleman.
Embrace Playhouse Square, visit Cleveland Play House at the Allen Theatre. You will
leave enlightened.
Kevin Joseph Kelly
2/23/14
Staff and Cast:
Director: May Adrales
Cast:
Daphne Gaines: Angel Mo'
Elijah Rock: Roland Hayes
Tom Frey: The Accompanist
------------------------------------------------------------------
February 14 - March 9
Showtimes:
7:30pm Tuesdays
8pm Wednesdays
8pm Thursdays
8pm Fridays
2:30pm and 8pm Saturdays
2:30pm Sundays
Tickets:
$15-$55 Reserved Seating
(216) 241-6000
Order Tickets Online
Location:
Cleveland Play House at Playhouse Square
Allen Theater Complex
1407 Euclid Avenue
Cleveland, OH 44115
-
Friday, February 21, 2014
THEATRE REVIEW BLOG - DEATHTRAP AT GREAT LAKES THEATER
At the height of my tennis career, if
I watched a professional tennis match on TV, I immediately would want to grab
my racket and head for the courts, filled with energy and inspiration. That is
how I felt after watching Great Lakes Theatre’s production of “Deathtrap”
written by Ira Levin and directed with robust insanity by Charles Fee. No, not
to play tennis, but hit the boards and act my face off.
Great Lakes Theater is Cleveland, Ohio's professional
classic theater company. Founded in 1962, Great Lakes is the second-largest
regional theater in Northeast Ohio. It specializes in large-cast classic plays
with a strong foundation in the works of Shakespeare and features an
educational outreach program. The company performs its main stage productions
in rotating repertory at its state-of-the-art new home at the Hanna Theatre,
Playhouse Square, which reopened on September 20, 2008. The organization shares
a resident company of artists with the Idaho Shakespeare Festival, which
current Artistic Director Charles Fee engineered. Great Lakes Theater was
formerly known as Great Lakes Theater Festival, which continues to be its legal
name. “Festival” was dropped from the classic theater company’s business name
to better reflect its September through May season, and programming format.
Written in 1978, “Deathtrap” holds the record for the
longest running comedy-thriller on Broadway, and was also nominated for the
Tony Award for Best Play. Cunningly clever and comically twisted, “Deathtrap” is
a murder mystery masterpiece that keeps you on the edge of your seat, trying to
figure out where the madness ends. When a once successful Broadway playwright
struggles to overcome a dry spell that’s resulted in a string of flops and a
shortage of funds, anxiety ensues. His fortunes turn when one of his students
shares a brilliant new script with blockbuster potential. Resolved to resurrect
his collapsing career, the covetous playwright conceives of a treacherous trap
to snare the script and take credit for its creation. Murderous machinations
result, springing to a surprising conclusion.
The technical and creative elements of this production
deserve strong accolades. Scenic Designer Russell Metheny knocks it out of the
park with his single set masterpiece. Sound and Lighting Designers, Richard B.
Ingraham and Rick Martin, provide razor sharp effects to greatly enhance this
journey of whodunit and what the……! Costume Designer Alex Jaeger provides
terrific visions of town and country, popped collars, psychic eccentricity, and
dwindling wealth.
The professional actors of this company deserved, and
received, a standing ovation. The cast is a classic exhibition of great casting
and actors at the top of their game. Watching Sidney Bruhl (the delightful Tom
Ford) navigate through his plotting and chicanery, is like hopping on a
mechanical bull and just holding on for dear life. Tracee Patterson
(Cleveland’s answer to Meryl Streep), brings emotional chaos, conniving
realness and misplaced loyalty to Myra Bruhl. Nick Steen enters the picture as
Clifford Anderson, the student/secretary, with superhero looks and acting chops
that deftly create a sense of innocence, greed, cunning, and eventually horror.
Helga Ten Dorp, the neighborhood psychic, is played with comedic bliss by Lynn
Allison. She inhabits Helga with a dramatic sense of “ah ha” moments, that
would certainly move her to the front of the line for “the next AHS supreme”.
Aled Davies adds just the right touch of classic and comedic flair to the suspicious,
and opportunist attorney Porter Milgrim.
This cast is a blast. I felt like I had only been in the
theatre for a half an hour, because the pace is excellent. I wish I could have
joined them for happy hour for act three. Get yourself out to see this show. It
is a delightful whodunit which serves up an evening of artists to cherish.
Kevin Joseph Kelly
2/21/14 Staff and Cast:
Director: Charles Fee
Cast:
Lynn Allison - Helga Ten Dorp
Aled Davies - Porter Milgrim
Tom Ford - Sidney Bruhl
Tracee Patterson - Myra Bruhl
Nick Steen - Clifford Anderson
---------------------------------------------------------------------
Tickets and Press
February 21 - March 16
Showtimes:
7:30pm Wednesdays
7:30pm Thursdays
7:30pm Fridays
1:30pm and 7:30pm Saturdays (no matinee on 2/22)
3pm Sundays
Tickets:
$13-$70 Reserved Seating
(216) 241-6000
Order Tickets Online
Location:
Hanna Theatre at Playhouse Square
2067 East 14th St.
Cleveland, OH 44115
Tuesday, February 18, 2014
THEATRE REVIEW BLOG - DOCTOR DOLITTLE, THE NEW MUSICAL AT WILLOUGHBY FINE ARTS ASSOCIATION
Within most thriving community theatres lies youth education
and theatre programs. These programs provide an aortic energy to the arts
institution by infusing energy, growth and enabling a future vision of artists.
I was invited to view part of the dynamic vision that exists within the Fine
Arts Association, located in Willoughby, OH, by attending the Yarnell Youth
Theatre Production of “Doctor Dolittle, A New Musical,” with book, music and lyrics
by Leslie Briscusse, based on the Doctor Dolittle stories by Hugh Lofting and
the Twentieth Century Fox film.
The musical concerns the classic tale of a wacky but kind doctor
who can talk to animals. The show takes the audience on a journey from the
small English village of Puddleby-in-the-Marsh to the far corners of the world.
Doctor Dolittle is wrongly accused of murder and, once pronounced innocent,
continues with his search for the Great Pink Sea Snail--the oldest and wisest
of the creatures on earth. He is accompanied by his closest animal friends,
delightfully portrayed by a cast of charming actors. Utilizing flashbacks, we
relive the trial, before we go on the great snail adventure.
Fine Arts Association Artistic Director, the dynamic James
Mango, serves the production well by placing Director David Malinowski at the
helm of this adventure. Malinowski has cast well and delivered an adeptly paced
show. Smooth scene changes are orchestrated to keep our attention and focus.
Under Malinowski’s guidance, full characterizations abound. Music Direction by
David W. Coxe is delivered in fine fashion from the pit, which I loved,
providing a great musical landscape for the performers to excel upon. Lisa-Marie French provided choreography that was light and refreshing, moving the masses with whimsical
madness. The set design rocked (Michael Roesch), filling the space with grandeur and also
providing smoothly moving pieces that create the various playful regions.
Lighting Designer Paul Gatzke added creative fuel to the fire. From all
accounts, Production Stage Manager Evie Koh made the proceedings run smoothly
as Dolittle’s ship before the storm.
The cast is led by a trio of musical athletes, Mario Formica
(Doctor Dolittle), Bryan Patrick Daly (Matthew Mugg), and Ali Collingwood (Emma
Fairfax). These folks would certainly be taken in the first round of any draft
(I think they could even help the Browns). Their performances create a wave of
artistry and energy that enables the rest of the cast to excel in their wake.
Formica takes on the title role with supreme confidence. He splendidly delivers
a captivating performance, which includes adept diction and colorful animal
communication skills which are hilarious. Truly a blast. Speaking of a blast, Daly is a tornado of zest, gusto and ridiculous charm. This Irish
crooner utilizes great comedic form, and has a gifted voice with timbre and a
pleasant vibrato beyond his years. His antics always lighten up whatever scene
he blissfully invades. Balancing the theatrical scale is the remarkable Ali
Collingwood. Collingwood is spectacular. Confident, beautiful, and possessing a
voice that could melt the Polar Vortex. Her deft delivery, timing and
characterization are a joy to watch. It does not surprise me that she was accepted
into the Baldwin Wallace Musical Theatre Conservatory.
However, the talent doesn’t stop there. Several other
performances deserve note. Stephen Sandham (Tommy Stubbins) is terrific. His clear
diction, character and profound confidence win over the audience. Nora DeMilta
(Polynesia) is the perfect right hand……..bird! Her physicality and character
work is good, which brings the fabulous parrot to life. Owen Lister (General
Bellows) is a scream. His courtroom antics liven up the place. High above the
courtroom, he indeed provides a commanding presence. Ben Whitney (Albert
Blossom) is a complete delight. His personality and charm inhabit the stage
like a 5 hour energy drink. As Gertie
Blossom, Elizabeth Meluch adds charm, and Max Brodzinski (Straight Arrow) hits
a bull’s eye with great character choices and a solid voice to boot.
The ensemble works together extremely well. Whether it is in
big production numbers, scene changes, or providing courtroom participation,
they are creating energy that serves the right purpose. The only thing for them
to work on is not looking out into the audience, which is a novice mistake, and
one easily overcome. But that is a minor detail in a wonderful production on
all ends.
I am sure that the Fine Arts Association is proud of what
everyone has created. They should be. The future looks bright in Willoughby.
Kevin Joseph Kelly
February 14 - March 2
Showtimes:
7:30pm Fridays
2pm Saturdays
2pm Sunday
Fine Arts is partnering with Lake Humane Society during "Doctor Dolittle." Bring dog and cat food and supplies to Fine Arts from Jan. 24-Mar. 2 to help care for these precious lives. Or make an online donation of $$ here.
Tickets:
$10-$17 Reserved Seating
(440) 951-7500
Location:
Fine Arts Association
38660 Mentor Ave.
Willoughby OH 44094
Friday, February 14, 2014
THEATRE REVIEW BLOG - AIR WAVES AT cleveland PUBLIC theatre
Tonight I got to experience Air Waves (Part Three Of The
Elements Cycle) at Cleveland PUBLIC theatre. Therefore, I got to experience
Raymond Bobgan and his sapient vision. And what a joyous vision it is. This is
my first visitation to the world of creationist theatre. Building out of
nothing, a story is grown through raw energy, talent and a visceral evolution.
It thrives at CPT, and Bobgan was recognized by “American Theatre Magazine,” as
one of 25 theatre artists who are working to shape the next 25 years of theatre
in America. Working with a number of local actors and writers, this is a
collaboration and celebration of artists and artistry.
As you enter the space, tables have been set up with
questions on them. You get to read several statements that are proposed to
answer and provoke thought. In front of me was “I crave more…….” Myriad responses, some
highlighted with colored dots of agreement. My answer was…… Justice. “Hosts”
join the audience at their tables, providing insight and discussion about how
the evening is going to move. At my table were hosts Darius Stubbs and Caitlin
Lewins, who are both excellent throughout the evening and quite the tag team.
This particular adventure begins with George (Adam Seeholzer), Jeannette
(Cassie Neumann), and Kim (Faye Hargate). Hargate’s character leads a city-wide
initiative to buy the air over people’s houses. Each character is beautifully
created. The first song, “De Bo Gah,” written by Bobgan, is a Buddhist delight.
Helen (Molly Andrews-Hinders), Tina (Dionne Atchison) and Therese (Carly
Garinger) knock it out of the temple. These actresses also excel through the evening’s
proceedings.
We then move to a new space with a simple arrangement of
chairs, and are soon listening to four women with significant messages, and
also magnificent voices. Created by
Molly Andrews-Hinders, this scene provokes us to listen and relish in the
compromise. Speaking of the music, it’s excellent. The harmonies are clear and
hauntingly effective. In moments, we are on an airplane watching Jonathan (an
engaging Jeremy Lewis) facing final thoughts and decisions. The cast creates
some kick ass motion sickness in interpreting a landing which is not what most
of us would hope for. The interlude “Air Pool” is powerful, and reminds me what
might happen if Ghandi and Cirque Du Soleil would have collaborated. It is
visually exciting and inventive.
Physically, we move again, and what awaits us is Daryl and
the Queen. Both are played with ferocious intensity and comedic brilliance by
Chris Seibert. Not to give anything away, but this came out of nowhere, and I
am still processing what happened to me. Siebert’s performance is so strong that
if the next hurricane isn’t named after her, I’m gonna be pissed. Moving along,
we meet Hargate again, who Carol Burnetts her way to a self meditation session
that had me renewing my Xanax prescription when I got home.
The subway provides a backdrop for some continued courageous
work by Caitlin Lewins playing the mom, Cassie Neumann (Jeannette), and Nate
Miller (Rumpelstiltskin). They do so much during this show but their work here,
addressing a simple yet complex medical issue that affects
so many of us, is heartbreaking. Newmann’s Jeannette is engaging in
every aspect, and leaves each scene throughout the night with incredible truth.
Now it’s game time, but a game that makes emotions and truths, the weapon.
Renee Schilling and Lauren Joy Fraley as Contestant #1 and #2 respectively,
kill this scene. Their deft choices and extreme focus are mesmerizing.
Act II brings the question, “What if you could ask someone
from the future what to watch out for? And if you could go back, what would you
change?” My answer was to end the virus at the beginning.
We now are following the journey of George (played with
endearing and emotional depth by Seehozler) as he battles his loss. Watching someone split themselves open in
order to reconnect is a struggle that many of us experience. And he nails it.
Before we say goodbye, we meet Ford and Edison (Schilling and Fraley,
respectively). This scene is a scream. I just want them to know that I want to
apply for the driver on their tour bus. They are a Broadway play waiting to
happen. After the laughs, we are met with the end resolve. George and Jeannette
finally come to terms, of sorts. The evening left me with one burning statement:
“It’s all one breath. It’s what we do with it.” Every scene asks the same
question. What do we do with our breath, with our air that we are so lucky to
have? How do we treat the air, this gift of life? So many questions wrestle in
my brain. There are so many reasons why I was so happy to see this play.
To everyone in this production, congratulations. All of these actors contribute so much in
every scene. Ali Garrigan costumes the show with flair, and Benjamin Gantose’s
lighting design engulfs the show with dramatic effect. Thank you, Mr. Bobgan, for bringing this
fresh approach to theatre and guiding it to life. You take all the actors and
playwrights with you, and the best part is that the audience gets to ride
along.
Kevin Joseph Kelly
Staff and Cast:
Director: Raymond Bobgan
Cast:
Featuring Molly Andrews-Hinders, Dionne Atchison, Melissa Crum, Lauren Fraley, Carly Garinger, Faye Hargate, Caitlin Lewins, Jeremy Lewis, Nate Miller, Cassie Neumann, Renee Schilling, Adam Seeholzer, Chris Seibert, Darius Stubbs, and
Dylan Winter-Dwyer
January 30-February 15
Showtimes:
7:30pm Thursdays (Monday and Thursday performances $12)
7:30pm Fridays (FREE BEER FRIDAY after the show)
7:30pm Saturdays
7:30pm Mondays (Monday and Thursday performances $12)
Tickets:
$12-$28 General Admission
(216) 631-2727 extension 501
Location:
Cleveland Public Theatre
Gordon Square Theatre
6415 Detroit Ave.
Cleveland, OH 44102
Tuesday, February 11, 2014
THEATRE REVIEW BLOG - OF MICE AND MEN AT TRUENORTH CULTURAL ARTS
77 years ago, Nobel Prize winning author John Steinbeck’s
“Of Mice and Men” was published. Telling the story of George Milton and Lennie
Small, two migrant ranch workers, who move from place to place in search of
work during the Great Depression in California. It is based on Steinbeck’s own
experiences in the 1920’s. its title comes from a Robert Burns poem, “To A
Mouse,” which contains this ominous line: “The best laid schemes of mice and
men / often go awry.”The 1937 Broadway stage production
of “Of Mice and Men,” was written by Steinbeck himself. The book, in fact, was
written by Steinbeck as a kind of hybrid between a novel and a play, with the
story divided into three acts consisting of two chapters each, and was intended
to work both as a literary and theatrical text.
Director Michael Dempsey does a beautiful job of presenting
this valued piece of American theatre. This production is cast well, and
includes some musical underscoring which is reminiscent of Masterpiece Theatre
in the presentation. I thought it was used with great effect. This was greatly
enhanced by the work of the terrific sound designer Stan Kozak. The authentic
set results from expert design and craftsmanship from set designer
Cameron Caley-Michalak. He has a great sense of how to utilize space and make
the most out of budgetary constraints. The results add a tremendous atmosphere.
Accented by the lighting design work of Scott Sutton, it is a perfect setting. Costume Designer Luke Scattergood adds another creative dimension with adroit choices. Dempsey pulls all of these elements together for a fine night of storytelling.
There is much to celebrate about this production, led by the
performances of Brian McNally as“George” and Nate Sayatovich as “Lenny”. They
consume these roles. The chemistry between these two is tangible and
captivating. McNally is excellent. His manner of speech, movement, inflection,
and emotions are dead on. McNally’s performance is based in refreshing truth.
Equally as powerful is Sayatovich. Lennie is a demanding role, that requires an
actor to not make a mockery out of someone less fortunate, but create a human
that we can relate to and root for. Sayatovich engulfs his role, providing a
child-like presence, while inexplicably riding the surface of his determinable
reckless strength. It is a deft, realistic presentation.
The supportive cast is great. Bob Kenderes gives Candy
beautiful simplicity and honor as a man who is coming to the end of his
journey, but dreams on. Crooks, played by Greg White, gives a searing performance
that addresses the racial tensions of the day, and the loneliness that
segregation causes to a human soul. Eric Perusek creates a callous, jealous,
jerk out of Curly. I know I enjoyed when the tables were turned on him. Andrew
Knode excelled at bringing depth and compassion to Slim. His silent support of
George toward the end is very moving. Greg Mandryk’s Carlson looks like he just
stepped out of a John Houston film. His mustached personae is great. David
Arrendondo and Herb Hadders as Boss and Whit, round out the cast nicely.
As the lone female in the cast, Kelly Marie Tomko, brings a
restless sweetness as Curley’s Wife. An unnamed character, it is her job to
bring a danger to the proceedings, and eventually to Lennie. Tomko holds her
own against this cast. Her beautiful looks are delicately balanced with a
dangerous desire for attention. She handles the crisis with Lennie with noble
strength and focus.
One last note. The ending. Mr. Dempsey, that rocked!
Artistic Director/Founder Rick Fortney has every reason to
be proud.
Get out to TrueNorth Cultural Arts and continue to build on
our community theatres!
February 7 - February 23
Showtimes:
7:30pm Fridays
7:30pm Saturdays
3pm Sundays
Tickets:
$10-$18 Reserved Seating
(440) 949-5200
Location:
TrueNorth Cultural Arts
French Creek Nature & Arts Center
4530 Colorado Ave.
Sheffield Village, OH 44054
February 7 - February 23
Showtimes:
7:30pm Fridays
7:30pm Saturdays
3pm Sundays
Tickets:
$10-$18 Reserved Seating
(440) 949-5200
Location:
TrueNorth Cultural Arts
French Creek Nature & Arts Center
4530 Colorado Ave.
Sheffield Village, OH 44054
Kevin Joseph Kelly
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