Cleveland Play House: The Life of Galileo

(through October 9, the Allen Theater at PlayhouseSquare)

It's interesting that the Cleveland Play House is opening a new act in its vast history -- moving from the long time home at 8500 Euclid to PlayhouseSquare -- to waters more or less unknown, with a dramatization of the Life of Galileo Galilei, persecuted for challenging the church and common wisdom about the planets. Galileo is credited with improvements to the compass -- and it seems an improved compass is exactly what the Play House is gaining with their new facilities.

The evening started at a commercial photographer friend's studio for their Fine Art Show (gallery hours continue Saturday -- and 20% of the proceeds go to Kick-IT, a national charity... Some really awesome work) before we migrated further downtown. Parking was easy, though the walk to the theaters has changed; popping into the Allen lobby we quickly located the ticket desk, though it didn't seem to be operating at peak efficiency.

Walking into the theater as the first audience for the first show in the new Allen I had a good idea of the physical space but wasn't really sure what to expect from the experience. To say that the experience is a vast improvement from 8500 is an understatement of astronomical proportions. Even from the audience, each of 8500's spaces felt worn and rickety; it wasn't abnormal to hear odd bumps, clacks and bangs throughout a performance. These were nowhere to be heard in the Allen. The seats are actually padded.

Acoustically, the house is just live enough to avoid that disturbing anechoic chamber feeling of a completely dead space. Changes in scenery on, above, and under the stage were virtually silent (in the second half the orchestra pit cover is slightly lowered during the act. It took me a while before (a) I noticed it was moving and (b) I convinced myself it was actually lower and not an optical illusion). The only complaint I have is that lighting in the house during the show, namely aisle and step lighting, seems much brighter than necessary, and the glare is a bit distracting... I hope it will be dimmed in the future.

We were seated in the two seats in Box L on house left side -- as far left as one can get in the new Allen house. I was a bit concerned about sight lines, but was curious about how it would work out... and even these seats offered a good view of the vast majority of the stage [and I rather like the elevation of these seats, mid way between the orchestra floor and the balcony]

The play itself was an interesting look at Galileo's life and a handful of his closest followers and the challenges and persecution from the church...but the narrative leaves a few holes (I didn't get, for example, that Galileo's telescope improved on those commercially available previously, rather than copied, or that he spent the remainder of his life on house arrest). Digital projection is used -- with admirable restraint -- throughout to paint a variety of backdrops, time and place markers. Some of Galileo's theories and drawings are likewise illustrated, providing a captivating and flowing line of information that would be otherwise difficult, if not impossible to convey. At one point flaming caricatures of politicians make an appearance but otherwise it's very restrained.

Though this was the first preview performance (official opening comes Wednesday), the show was well and convincingly acted by a talented company that supported a suspension of disbelief, with just a few stumbled and quickly recovered lines. Though furnishings seemed to be of the general period, clothing and props were distinctly modern--leading to a discussion with Rachel during intermission about the history of "iron"ing clothes, and my total preoccupation during a scene with a walker-toting Cardinal trying to figure out when Rubber and welding came in to common use.

A handful of times, though, we leave the comfort of Galileo's life to brief song and dance numbers that are entertaining but still a little rough around the edges (I had trouble the speech intelligibility during these, however I had no issues understading dialogue during the balance of the show).

It seems that a bright star will be over the Play House's new home.

Lincoln

Cleveland Play House: Open [Play] House

Cleveland Play House logo on the
Allen Theater Doors (more pics)

While it hasn't quite culminated -- the Play House's administrative offices won't make the move until October, and the new stages won't open until some time in the not-to-distant future -- the Cleveland Play House hit the climax of the massive move from the 8500 Euclid Complex to the Hip new Allen at PlayhouseSquare

Though the festivities kicked off at 4:30 both Rachel and I have "real jobs"* so, even with me sneaking out of the office a bit early we didn't make it downtown until a bit after 5:30... Walking through the Euclid Avenue doors there was an excited din; the largely untouched promenade gives way to the beautiful rotunda.

Carpeted but otherwise untouched the rotunda marked one of my favorite spaces in the PlayhouseSquare complex, but the removal of the back Hanna's back wall gives the space a much less siloesque and much more open feeling than before. While the acoustics in the center of the rotunda are still a bit funky, the carpeting has done wonders.

Passing through the rotunda the carpet continues into the new lobby with two glass-enclosed event spaces flanking the entrances to the house. Before you get there though a dimly lit lobby (the ceiling above is the underside of the Allen's original balcony which has been mothballed for the time being). Tonight a jazzy ensemble was assembled in the corner providing light music for the several-hundred deep crowd and it certainly had that relaxed lounge feeling. Hip furniture rounds that out, though the furniture did seem a bit sparse.

Entering the theater, the transformation from a 2,500-seat combination bowling alley and drab shoebox is striking to 500-seat modern theater is striking. While we weren't allowed to take the seats for a test drive, by their looks alone they should be infinitely more inviting than 8500's fabric-covered wood. Also of note, cup holders throughout the auditorium located on the seat backs. It is unclear if iced beverages will be permitted (one hopes not), but food is will not be open -- lest you be the one stuck next to someone crunching on potato chips while the drama unfolds.

I am withholding judgement on the efficacy of the metal scrim on the side walls: It looks cool, but as lit for the open house it was much harder to perceive the details of the original walls that I expected. Making our way back stage, the view from midstage into the house really emphasises the intimacy of space. Comparatively speaking, I think the view from high school's 299-seat Performing Arts Center main stage (built 1998) was less intimate-- but intimate does not equate to crowded.

The back stage area in general and the wings in particular are immense -- the proscenium opening has been narrowed to the great advantage of anyone working back stage. Further back stage you find the Roe Green Room, a playful combination of the theatrical staple -- the Green Room -- and the benefactor who has been dubbed by The Plain Dealer as "Fairy Godmother to the Arts", Ms. Roe Green. Along the same corridor you find an assortment of dressing rooms; these don't seem to have been touched by the renovation.

And there the tour ends--returning to the lobby, the din has, if anything increased, and the tour line is nearly out the doors. One of these days I hope to sneak into the booth, onto the catwalks and/or into the dimmer room -- the parts of the theater that most intrigue me but never seem to be included in tours.

"I seem to be kind of lost--I don't know where I am" I overheard one patron speaking to no one in particular while wandering the lobby with Rachel -- "This is where the back wall used to be" someone answered. "Wait? This all used to be inside the theater." the surprised answer.

I doubt anyone who has been in the Old Allen would recognize the New Allen if brought into the theater blindfolded. And that only means good things.

The inaugural show for CPH's new home, The Life of Galileo begins previews this Friday and runs through October 9th at the Allen Theater, Playhouse Square (Euclid Avenue between East 14th and East 17th Streets).

Lincoln

*-No, an advertising-free blog doesn't generate enough revenue for me to just kick back. It's actually a rather expensive hobby.

Mercury Summer Stock: Show Boat

The idea of "Hide and Seek" in a art museum seems a bit sacrilegious but done quietly and respectfully it's a bit of a brain stretch to remember what objects match clues* and a lot of fun. Continuing a bit of a tradition, after working late at the museum Rachel -- it was her turn to hide -- texted the clue and then I seeked after I snuck out of the office. After browsing the contemporary galleries for a bit it was time to choose the next activity of the evening.


I had been pondering Mercury Summer Stock's production of Show Boat if for no other reason than the venue: The Cleveland Play House's Brooks Theater at the 8500 Euclid location was the host to the first play I saw after moving to Cleveland -- short-lived Fourth Wall Productions' Plans Change; and in all likelihood, Show Boat will be the last.


We made the short trip from the Museum down Euclid and found a full parking lot; the lobby was full to the point of overflowing, and when we made it to the front of the line we found that the show had sold out, however, if we stick around there was a good possibility that we could fit in at the last moment. It turned out that gamble worked. Taking our seats I realized that I had absolutely no idea what Show Boat is about; leaving the theatre, I'm still a little foggy.

I think the best description is "uneven": Parts of the production were done quite well, and others seemed slapdash and poorly integrated. The costuming and set were both quite good and evoked the period, but the choreography and pacing just felt off (parts of the first act seemed nearly interminable, though the second act seemed to move more quickly). Musically, something just didn't feel right but I couldn't put my finger on it. Having the orchestra on stage throughout was nice, but the piano was a bit loud during, and just on the verge of drowning out, scenes of pure dialog. When it came to solos, all of the actors were quite pleasant to hear, but duets and ensemble pieces suffered from a general lack of cohesion.

The Wikipedia article (as the program offers no synopsis beyond the list of musical numbers) suggests at least two locations, a Riverboat and Chicago: The Riverboat was clear, the transition off the boat in Act II was abstract and not marked in any meaningful way: It took me far too long to piece that together.

Though rough around the edges, the show does deliver on basic entertainment including well-timed quips that garner plenty of laughter gingerly spread throughout.

Unquestionably, though, Brian Keith Johnson (whom I have heard sing twice with The Cleveland Orchestra -- during the 2010 Christmas Concerts and the Martin Luther King Concert earlier this year) stole the show belting an amazingly powerful Ol' Man River early in Act I.

Lincoln
*Tonight's: "A House scene? Hardly. Though this window and these lamps belonged to houses at the beginning of the century."

Cleveland Play House: Hanna Theater Happy Hour

About a month ago I attended the Cleveland Play House's Annual General Meeting largely for the promise of tours of the Allen Theater.

At that meeting, I was reminded about the Happy Hour that was scheduled for August 10th and lured with the promise of additional tours. Now tours were not my primary motivation for attending tonight's happy hour -- the CPH Happy Hours are generally great events with a ton of....well, happy...socialization. I've been to more of them than I've blogged. There was additional motivation in that I was curious about the evolution over the span of a month.

Tonight was no exception the CPHers once again were warm hosts and great conversation persisted through the evening. Rachel, my girlfriend, joined me and though she has not yet attended a CPH performance (yes, we need to fix that) was warmly welcomed by all.

Tonight's tours were significantly more limited than those last month -- reportedly, construction progress at the new PlayhouseSquare home has made access to the house, where seats were installed shortly after the Annual General Meeting, by the touring public impracticable. Most impressively, the temporary wall has been torn down, and the flow from the old lobby to the new lobby feels great, even if there are still some temporary obstructions blocking the view.

Today, Artistic Director Michael Bloom talked to the group on Dodge Court looking at the new *(and much shorter and more direct) gerbil tube linking the garage to the rest of PlayhouseSquare and the Cleveland Play House's two new ground-up theatres.

Here's a shot of the back side of the theatres plus the new gerbil tube (right), taken by Rachel since I inexplicably let my cell phone in my car

Some random tidbits picked up along the way:
- Mr. Moore described the transition as moving from "your grandfather's Buick to a Chevy Cruise"
- Galileo, the first show of the new season in the new home is being built and rehearsed at 8500 Euclid and will be loaded in to the Allen on September 11th.
- CPH's new offices will be ready end-ish of September, and the hope is to be completely moved out of 8500 Euclid by October/November with December as a firm deadline.
- Quote selected by the playwright of Galileo: "Theater without beer is just a museum"
- GenNow is a new program designed to lure 20-40s young professionals to the great cultural features of Cleveland and will offer significantly discounted tickets along with a happy hour or similar social event for select performances.

I'm starting to type incoherently now, so I think that's it for this post, but I've stumbled across some old writeups on the Bulkley Building -- in which the Allen is located -- which I suppose I shall save for a later post.

Lincoln

Cleveland Play House: Annual General Meeting and Allen Theater Tour

For the past two days I've been pretty much nonfunctional -- I suspect it's the final vestages what I had a few weeks back rearing its ugly head. The good news is that by this afternoon the headache had receeded to the point where I felt like a mostly functional member of society, and it was none too soon as I've been looking forward to tours of the Cleveland Play House's new theatres and I just barely made it. (And I failed completely to remember to ask Mr. Bloom or Mr. Moore the programming-related questions I intended to ask)

General Meeting, in the Westfield Insurance Studio Theater: Nothing too suprising here, but some highlights

• The playhouse will be offering an open house on September 12 with tours of the completed spaces*



• The theaters have been described as a five-year project executed in 18 months.



• Artistic Director Michael Bloom wants to venture into more adventerous programming , and sees subscription sales as the avenue to that end.



• To say that the subscription sales mantra was repeated ad nauseum is a borderline understatement.



• That said, it looks like subscription sales to date have been strong based on seating charts on display.



• Mr. Bloom promises the best Cleveland Play House season in several years, with some bold choices, but also opportunites for more conservative patrons.



• There are fewer than 59 calendar days remaining until the first main stage production begins previews.



• The Power of Three campaign (linking Cleveland State University, PlayhouseSquare, and the Cleveland Play House) has "identified" $23 million towards a goal of $32 million with 9 gifts of $1m or more. The younger advancement campaign has raised $2m towards $12m.



• Several negative comments were made from the lectern ("2 years ago the Play House was on the brink of extinction" and that over the years the Play House had evolved an "unsustainable economic model") but those comments were rearward-looking, and the forward-looking comments were pretty rosey.

Also introduced, a new Play Dates program. While it is not what I originally thought based on the name and one of my oft-repeated complaints when I was single (that is, a theater going option for singles) -- instead, I think it's equally attractive for a different demographic: At selected mattinees, you bring your children to the theater and they are entertained and educated in a separate space with age-appropriate materials while you take in a play. The cost is only $15 per child per play, and it will be available for one matinee of each show in the season.

Allen Theater Tour: I was excited to get into the Allen for the first time today, but I was a little disappointed that there wasn't earlier access: I thrive on open studs and incomplete framing, and the Allen Theater itself is suprisingly complete. I'm a tad skeptical that it will be completed on time* but it actually looks pretty promising.

(If you want to skip my blabber and see a few photos I didn't blab about, see the Flicker Photo Set here)

Entering through the Euclid Avenue lobby, the scars of the thankfully-demolished box office (it was a in a horrid configuration) are still on the floor. It is unclear where the new box office will be located

While a Cleveland Play House board member or staffer (I failed to grab his name) described plans that are being discussed to make the Euclid Avenue lobby feel more contemporary without compromising the historic integrity:

Walking into the elipse rotunda, and passing through a combination-locked construction door, Artistic Director Michael Bloom provdes a glimpse of the new lounge-like lobby (the plasticed doorway leads to the new theaters that are being created and the space I was most looking forward to seeing, he also commented that to the best of his knowledge this is the only contemporary theater that preserves the shell of the historic outer theater, as most designers will want to gut the building and start from scratch.

The doors in the center of the frame lead to the House Left and House Right seating areas.

In the house, my first impression is that this will, inded, be infinitely better than any of the Play House's spaces at 8500 Euclid. I had my doubts, but standing in the still-unfinished space everything comes together--it's also a much more intimate house than the former Allen. (Interesting tidbit: The house floor has been raised "several feet" from the original floor level to give the house a more live-theater-like rake than the moviehouse-like rake that had previously existed) Accoustical wall treatments are up, and made from perforated metal: If backlit, the historic details of the walls will be visible; if forelit, the theater will take on a decidedly contemporary appearance:




Meanwhile, accoustic clouds have been mounted below the ceiling, allowing you a decent view of the historic details above. The modifications have been designed to be completely reversable, so in 30 years if there was a desire to, it could be restored to historic accuracy:


The edge of the new balcony; the new balcony is built completely in front of and independent of the orginal 800-seat balcony, something I hadn't realized before today:



Of course, the new control booth -- I'd love to see inside after the work is finished



After leaving the Allen theater proper, Associate Artistic Director Laura Kepley enthusiastically (seriously: she was moving fast enough that every one of the pictures I got had some evidence of motion blur) describing the construction for the other two stages behind the temporary construction wall. Alas, we were not taken behind the wall.


There are more photos in the Flickr Set at Here, but I think that covers the basics.

Lincoln

*- Hey, dealing with construction is a big part of my day job (and the reason I own my own hard hat, thankyouverymuch) and I can't think of one of those projects where construction was completed on time.

Cleveland Play House: My Name is Asher Lev [With Happy Hour]

The Cleveland Play House hosts periodic happy hours which I try not to miss because they're a great low-key way to bump into new artsularly inclined people as well as check in with old friends and acquaintances. While the typically held at greater Cleveland bars, tonight's was in the Play House's back yard at MoCA Cleveland.

Arriving at the Happy Hour I knew I wanted to do something after but I wasn't sure what -- CPH had two plays up (My Name is Asher Lev and Present Laughter) and CIM had a orchestra concert, which sounded interesting but some of the details were a bit strange, so it got ruled out pretty early. Present Laughter, was a contender (and something I want to see anyway) but was sold out this evening. Last play standing: Asher Lev.

(Deep exhale). I was really on the fence about Asher, if for no other reason than I accidentally read the review of the show by a critic who is one of few people I can't stand*. He loved it. Our paths and tastes rarely cross.

All of this is really stalling while I try to figure out how I feel about the play. Intimately set on thrust stage, from beginning to end everything was convincingly three dimensional; Asher's early childhood at three stops, his teenage years, and adulthood are all visited (though there were explicit breaks between the first several vignettes, I the break between "13" and "adult").

Growing up in a Hasidic Jewish family, Asher discovers artistic ability at an early age; the art isn't encouraged by his parents (who view the art as something between a waste of time and sacrilegious), he pursues art in spite of their objections, staging conflict between Asher and his parents, but the Rebbe (for whom his father works) forges a connection to an artist behind his parents back [I'm making an assumption here]. The artist challenges and encourages Asher's development. Asher grows, culminating in an exhibition that is at least initially critically acclaimed but further alienates his parents.

While I have no qualms with the way the story was told, I just couldn't connect or relate to much of the story...I can't say if it's because I've never been particularly religious, or just never had conflicts of that magnitude with my parents ("Just remember", my mother said growing up and says to this day, "do whatever you want, but I will not bail you out of jail.") but it didn't resonate with me.

The character of Jacob Kahn, like all of the secondary male characters played by Tom Alan Robbins, was the person who most interested me individually and with his relationship to Asher Lev (Noel Joseph Allain) with some particularly interesting comments on art ("An artist either reflects his life or comments upon it..."), making decisions based on conviction as opposed to because it's the hip/trendy/easy path.

Though I am a straight, red-blooded American male, I am also a bit prudish and generally uncomfortable with nudity. This production includes a scene with female nudity that felt nearly eternal as I tried to avert my eyes without directly staring down the audience member next to me (based on my front row house left seat, she was literally standing in front of me, though for the majority of the audience I believe her back would be to them). Late in the play, Asher -- at lest I think it was Asher -- makes a comment on the difference between a painting of a naked woman and a nude: A naked woman is a woman who's not wearing any clothes, while a nude is a vision of an unclothed woman filtered through the eyes of an artist. I have to say I've never considered that difference.

In keeping all of the canvases, sketch books, and scraps of paper used to showcase Asher's art blank, the audience is interestingly forced to project their own illusions of what "great art" is into that space. The amazing sounds of a mostly-solo cello weave together the scenes and set the emotional tone in a way that only a stringed instrument can. I'm a little disappointed that that musician and/or composer do not seem to be credited in the program.

So... I'm still not sure how I felt about it. Maybe after I sleep on it I'll have stronger feelings.

Lincoln
*- Though I've never met in person.

Cleveland Play House: On the Move

The move of The Cleveland Play House* to PlayhouseSquare is unquestionably a monumental move for both organizations and has been the focus of much of The Cleveland Play House's outreach for the past several months.

With that in mind, I wasn't really expecting much in the way of new information and that expectation was met. Kevin Moore, Play House Managing Director, fluidly moved through a PowerPoint encompassing renderings of the new spaces, Cleveland Play House History (Abridged version: America's first regional theatre in 1919, first Play House was actually a house, then a church, then the current facility along with a different church for a period, now the current facility) and the reasons for the move (synergies with other artistic organizations, operating costs, $20m+ in deferred maintenance, connect with west- and south-side audiences) and the minor benefits (More ladies restrooms, complete ADA accessibility, closer to downtown).

Ultimately as Michael Bloom had noted at one of the Cleveland Play House happy hours earlier this year, with the 8500 Euclid location the Cleveland Playhouse was getting pushed into the role of a real estate company that produced plays rather than a theater company that owned real estate. The move downtown liberates them from the overhead of owning real estate and allows them to focus on their core missions.

The not completely unexpected but extremely disappointing news is that single ticket sales will be processed by PlayhouseSquare's box office. If you recall from my A Tale of Three Box Offices post, the #1 reason I don't attend more events at PlayhouseSquare is because their box office is at best slow and dispassionate and at best infuriating (the gall of charging $3.50 in shipping and handling for a will-call ticket bothers me. Combine it with a $7 'preservation' fee, and it shows a disdain for the customer previously only exhibited by the DMV).

The solution, of course, proffered is to subscribe, in which case you'll deal with a Cleveland Play House "Subscription Concierge" -- which is great if subscribing is practical for your circumstances and if you already know the Cleveland Play House quality that you're committing yourself to... but for the first-time ticket buyer or for people like me who just don't subscribe (I don't doubt that I could save money, but with the unpredictability of my work schedule an psychological issues with parting with that much cash at one time, I just prefer to buy single tickets)

That rant ranted, though I did have a good conversation with Ed Gilchrist, the Play House's Director of External Affairs, and he was patient enough to listen to several of the specific issues I have in this vein and discuss possible solutions following the presentation. I guess we'll have to see what happens after the move has happened (and I suppose hoping for a patron-friendly remodel of the State Theater Box Office as as an extended part of the project is asking too much)

The renderings look great, but I'm still having a hard time getting truly excited by the outcome. Based on the number of construction and renovation projects I've been involved in, I suspect once a hard hat tour is opened (and I do own my own hard hat, thank you very much) I'll get more excited. Something about seeing the raw structure evolve; framing before drywall, bare concrete before flooring always gets my excitement level up.

Lincoln
*- At this event Mr. Moore announced a new logo and style guide would be revealed in the next week. I hope that this package doesn't drop any spaces for the sake of being "contemporary". I don't think I could bring myself to type TheClevelandPlayHouse without snickering.

Cleveland Play House: Backwards In High Heels: The Ginger Musical

(At the Cleveland Play House through January 30th)

A good and very dear friend* of mine is a strong, vivacious, "ginger" (her term) redhead who happened to celebrate her birthday on Monday. I offered a pair of tickets to Backwards In High Heels to celebrate the occasion. Tonight we met at The Cleveland Play House -- her first visit for a show in any of the Play House's venues -- and saw The Ginger Musical.

Confessing first that I'm familiar with Ginger Rogers's largely in name and peripherally in reputation I wasn't really sure what to expect for a story.

Story is, unfortunately, this show's weak point: The first act takes things a bit out of sequence and generally the pacing felt a bit on the slow side which allowed my attention to wander a bit much. The first act covers her childhood and career through Broadway, but felt a bit superficial and two dimensional at points -- and it also seemed that the information could have been covered in half the time. The second act, exclusively covering her career in film, by contrast, seemed much more in depth, better paced, and three dimensional.

Aside from the story it was an entirely enjoyable evening -- a true triple-threat cast who managed to act, sing, and dance with impressive energy both simultaneously and with impressive intensity through the show.

This was the fist time I can recall the Bolton Theater's orchestra pit (the existence of which I only discovered within the past year) and it was delightful to have a live orchestra playing for the evening. Particularly notable were some deliciously soulful notes that drifted up from the cello late in Act II.

So... Did this earn a spot in my "best theater" list... not really, was it an enjoyable escape from reality full of song, dance, and music...certainly. And a great way to celebrate my friend's birthday.

The Cast: Anna Aimee White, Ginger; Matthew Labanca, Marcus/Director/Fred Astaire/Others; James Patterson, Jack Culpepper/Hermes Pan/Jimmy Stewart/Others; Heather Lee, Lela; Benjie Randall, Joe/Bill McMath/George Schaffer/Lew Ayres/Others; Christianne Tisdale: Martha May/Louise/Ether Merman/Others.

The Band: Tim Robertson, musical director/keyboards; Thomas A. Fries, percussion, Joe Miller, trumpet; Rich Shanlin, reeds; Tim Powell, bass; Linda Atherton, cello.

Lincoln
*- Read not anything more into that. (It seems like every time I use the F word I have to clarify this for someone. I'm not taken at the moment.)

A Tale of Three Box Offices

"Sometimes you want to go where everybody knows your name/and they're always glad you came." - Gary Portnoy, Theme For Cheers (Everybody Knows Your Name)

versus

"You're an office park without any trees/Corporate and cold, gushing for gold" -- Ludo, Love Me Dead.

When I started this post several weeks -- and even more drafts ago -- I had thought about obscuring the names of organizations to avoid offending and perhaps couching it as a broader assessment of box offices in general. But I'm afraid if I do that my thesis will be lost in the noise.

So if you read no further: The thing I, as a patron, am most fearful of with the Cleveland Play House's impending move to PlayhouseSquare is that the Play House will eliminate their own box office staff chasing the siren's call of reduced operating costs by outsourcing to PlayhouseSquare. If they make that mistake, I, for one can guarantee that both my attendance and engagement will drop following the move.

The box office is a patron's first -- and in some cases only -- meaningful contact with, and therefore, first impression of a performing arts organization. Before the curtain rises or the first note is struck, the box office is part of the experience that a patron is choosing to partake in. Unlike buying toilet paper or any other commodity, the patron of a performing arts program is purchasing an experience, an escape from reality--beginning at the box office, ending with the curtain call and encompassing everything in between.

This is a core tenant of the Disney^ theme park culture--Disney doesn't have employees, their cast members who are on stage. Things that aren't up to par are considered bad show, and bad show is to be avoided at nearly any cost. Everyone from the custodian sweeping the entry plaza to the Duty Manager running the park is expected to contribute to the guest's experience.

Where Everybody Knows Your Name
Before discussing those two organizations, any discussion on box offices is incomplete without mentioning the Cleveland Orchestra's Severance Hall box office. If you want a fantastic example of how to run a box office, look no further than University Circle's portion of Euclid Avenue. Policies that are fair (the ticket price at the start of an order is the ticket price at the end of the order) and a staff that is as individually unique and personable as they are unfailingly professional.

I'm on a first name basis with most of the individuals, and they know me. It's nice to see a familiar face week in and week out to exchange greetings and news of the day. If you spend any amount of time near the box office it's something you notice: Patrons greeting their "favorites" by name, offering birthday wishes or condolences; will-call tickets ready in some cases before the patron has fully approached the window. It's personal service that you have to see to believe still exists in 2010. Patrons are names and not numbers (though, frighteningly, I do know my patron number is off the top of my head).

When I'm on the fence between an Orchestra concert and anything else in Cleveland, 9 times out of 10 I'll default to Severance. Of course, great music is important is the service behind that. Would you continue to patronize a restaurant that has fantastic food but lousy waitstaff? The Cleveland Orchestra has mastered a perfect blend of both.

The Cleveland Play House's box office at 8500 Euclid isn't far behind... I'm not there that as often as I am their Eastward neighbor, but still the box office has a wonderful personality and I feel like I'm dealing person-to-person rather than person-to-robot-at-keyboard. The atmosphere is light and entertaining. The people obviously enjoy theatre and know about the programs they're selling tickets for. While I find the "order charge" that sneaks in at the last minute a bit irksome it's small enough not to cause me any bother.

At least one of the box-officers(?) knows me, others don't but regardless I'm treated with respect, humor, and it's the perfect way to get me into the right mood to enjoy a performance.

When I'm on the fence between the Cleveland Play House and anything except the Orchestra there's a pretty good chance I'll wind up at the Play House.

This leaves us with...
Corporate and cold, like an office park without any trees.
When I first started writing this post I was at a loss for an accurate description for the abysmal atmosphere of the PlayhouseSquare box office. Then I had to stop by CHPD's public service window to pick up a copy of a police report. I actually enjoyed that transaction more than any at PlayhouseSquare's box office.

The zest for add-on fees online has dissuaded me from attending more than one performance; just not wanting to deal with dispassionate people who could just as comfortably be selling gasoline and cigarettes behind the thick Plexiglas windows has turned me off from still more.

This box office demonstrates repeatedly that to them I am so obviously not a person, but at least 3 patron numbers--19049 the most common--I've taken to just giving that number rather than the blood-boiling routine of spelling my last name phonetically (Kilo-India-November-Golf-Hyphen,no,Hyphen-the-dash-Yeah-That-One-Charlie-Lima-India-Bravo-Yankee) six times to someone to whom I no doubt sound as muffled as they sound to me.

Online, I'm perpetually disappointed by the website's sense of "Best Available"* (usually the extreme end of one of the first 5 rows in the house--frequently with a vew obstructed by sound equipment) and not just irritated, but insulted, by the fees snuck in at the last minute ($7/per ticket "preservation" and $3.50 shipping and handling on a single will-call ticket).

The response may not be reational I wouldn't mind paying $140 for a ticket, but the prospect of having $10 snuck on to a $130 ticket at the last second has offended me to the point that I've abandoned a transaction at that point more times that I can count. The breakdown of fees is as galling as fees themselves: For example, $3.50 "shipping and handling" for something that will not be shipped and receives no more handling than if I had bought my ticket at the window. That fee, alone, has caused me to abandon more prospective ticket purchases at Playhouse Square than every other performing arts venue in the country combined.

The net result is that there are events I'm interested in that just aren't worth the hassle. I skipped Blue Man group because my level of interest didn't overcome my distate for PlayhouseSquare's box office (not PlayhouseSquare, just the box office). I haven't seen Billy Elliot yet--and may not see it--not because I lack interest, or because ticket prices are unreasonable, or any other excuse the pops up on a survey, but I just don't feel like dealing with their box office--either online or in person. Maybe I'll see it Friday, maybe I'll see it some other time -- it has good buzz.

So, if you're still reading thanks... if you have an differing view I'd love to hear from you. I hope that the Cleveland Play House realizes what an asset they have and doesn't misplace like an unused prop it during the move. Perhaps PlayhouseSquare can improve their box office -- every other PHSQ employee I've encountered have been passionate and enthusiastic.

And whatever you do don't get me wrong... I'm proud to live in a city with all three of these organizations.

Lincoln
^ - Disclosure: A step-relative works in management for Disney Parks & Resorts.
* - Particularly since the Cleveland Orchestra rolled out their new website with "select your own seating" powered by the Tessitura platform; it makes both PHSQ and CPH's Paciolan-powered look like something from the 80s.
**- Ok, so PlayhouseSquare sets the ultimate ticket price, PlayhouseSquare loads event data to the ticketing system, PlayhouseSquare sells the ticket to the customer. I really don't understand why these fees aren't or can't be included in the face value. I can point to airline fare advertising regulations, but this is seeming more than a bit rantish as it stands--though their policy of not refunding these exorbitant fees in the event of an event cancellation is one more reason why I don't generally buy too far in advance.

Cleveland Play House: This Wonderful Life

(Through December 19th at the Cleveland Play House, 8500 Euclid Ave)

Complimenting the beautiful display of Christmas Trees in the lobbies, the Cleveland Play House is presenting a fresh take on a seasonal classic with This Wonderful Life (an adaptation of Frank Capra's It's A Wonderful Life).

I wasn't really sure what I had purchased a ticket for (a ticket acquired on pure impulse--"One for the next show, please" during the Light Up The Night festivities earlier this week) and had some fear when I learned it was a one-man show. The theatrical Christmas show is just about as hackneyed as a department store's Black Friday sale. The one-man show is a risky venture for both theatres and audience: Inexpensive to produce, if the audience hates that one-man they hate the entire cast.

This Wonderful Life, though, is a risk that pays dividends. The one man, James Leaming inhabits his characters. Arriving a bit early I caught the tail end of a talkback he was hosting; as talkback gave way to the audience invocation gave way to the action the transition was seamless; Mr. Leaming greeted arriving audience members, gave the cellphones-and-exits speech (though he didn't mention if seat cushions could be used for floatation) and then the real entertainment began. Though not roll-on-the-floor funny there are plenty of asides, tongue-in-cheek references, restrained sight gags, and double entendres sprinkled throughout to keep things amusing.

One challenge I often have with one-man/one-woman shows is filtering through the noise of over-the-top costume changes or accents and to keep track of who is whom. There are no costume changes, though the occasional accent is sparingly used to add depth.

Though the general plot is unlikely to surprise anyone even vaguely familiar with the film, looking at it in a wholly new context brings fresh clarity and relevance to the classic, and that ultimately selflessness reaps bountiful harvests and true friends are of immeasurable value.

This holiday season value your loved ones and friends...and seek always to make new friends.

Lincoln

Cleveland Play House: Festival of Trees Lighting (And Happy Thanksgiving!)

The weather outside isn't frightful (yet), there's no fire but still inside is delightful at Cleveland Play House's Festival of Trees.

It's hard to believe that we're at the tail end of November and that this coming Thursday is Thanksgiving but here we are. An annual tradition for the Cleveland Play House is their festival of trees where the lobbies and corridors of the Play House's complex are filled with Christmas trees sponsored and decorated by a variety of local organizations.

Tonight was the official lighting of the trees and in the beauty of the trees, the joy of the music, and the energy in the rooms one couldn't really help but to slip into the holiday spirit.

So on your next visit to the Cleveland Play House this season, take a few moments to stare in awe at the beautifully decorated trees. The centerpiece of the festival is a giant 25-foot-tall tree in the main rotunda decorated with program covers from the Play House's 95 seasons -- showing the evolution in graphic design (what I wouldn't give to thumb through some of the early programs!), theatrical tastes, and the Play House itself. But at the same time enjoy the scrappy but lovingly decorated tree nearby.

A variety of factors are conspiring to keep me from making the trip home to spend Thanksgiving with my family, but be your loved ones physically near or far may they be close and safe this holiday season.

Lincoln

CPH Happy Hour and Cleveland Chamber Symphony: Music That Dares to Explore

I found myself in University Circle for two events this evening -- starting with another Cleveland Play House Happy Hour and finished with a Cleveland Chamber Symphony Concert.

Part 1. The Happy Hour. At Uptowne in University Circle (on the corner of Mayfield and Euclid), I walked into a standing-room only bar. Some familiar faces from the last Happy Hour, and similarly good--tending toward better--appetizers. Good conversation. Generally a fun event, but in keeping with my policy* of not reporting personal conversations there's not much else to say. One major difference: The sales pitch (from a gentleman who's name I did not catch) was even shorter than Michael Bloom's previous record-holder.

Part 2. The Concert. After excusing myself from the Happy Hour I made it to the Cleveland Chamber Symphony's concert at the Music Settlement. The program cover declares "Music that Dares to Explore"...
Man: Maroon (2005)
Mumford: a garden of flourishing paths (2008)
Stucky: Boston Fancies (1986)
Steven Smith, conductor; Sean Gabriel, flute/alto flute; Andrew Pongracz, precussion; Stuart Raleigh, piano; Susan Britton, violin; Laura Shuster, viola; Heidi Albert, cello.

"New Music" is a quite distinct category. Despite a name that implies primarily a temporal focus, the structure of these pieces is distinct from most music including traditional classical structures. It's music that I struggle with -- though not so much as, say, country or metal -- but music that doesn't, as a whole suck, me in. The three pieces on tonight's concert were all relatively short and moved at a brisk pace.

As part of Cleveland Chamber Symphony's Meet the Composer series, the composers for the first two pieces on the program were in attendance. Fang "Mindy" Man's Maroon was inspired by sounds she associated with the color, and she hesitated to comment on what she was trying to evoke, instead wanting the audience to let the music work on their imaginations as it may. To me, perhaps predisposed based on the piece's program note and my recent return from Las Vegas the beginning of the piece evoked images of the desert -- Arizona to be specific -- but that imagery faded as the end of the piece approached.

Jeffrey Mumford's a garden of flourishing paths consisted of eight individual and very short movements inspired by the West Garden Court of the National Gallery of Art in Washington DC -- perhaps not having a visual context of that garden, none of the movements was long enough to appreciate individually and as a whole it didn't move me.

Finally, Stucky's Boston Fancies--seven movements alternating in tempo. The first movement (Ritornello 1.) struck me, of all thing, as a film noir overture, and the remainder of the movements flowed naturally.

Of course, the performances were well-executed, including some unconventional playing... and it's worth remembering that even Beethoven was new at this point. Support new music now and who know what will be being said 100 years from the present.

Lincoln

*-Though I tend to cringe when referred to as a "critic" or "journalist" -- titles I'm wholly unworthy of I do have a set of ethics guidelines that I try to adhere to. One of them is that I get consent before blogging about the contents of any one-on-one conversation.

Anyone Claiming "There's Nothing to Do In Cleveland"

As a non-native -- someone who doesn't instinctively respond "I!O!" when prompted by a stranger screaming "O!H!" -- people often ask why I say I love Cleveland, not infrequently adding "There's nothing to do here".

This reaction has tempted me, on more than one occassion, to kidnap a person to show them Cleveland through an outsider's eyes. That probably wouldn't end well. But the thought has crossed my mind.

I bring your attention to the past 9 days, wherein I personally...
Attended one visual arts event. Cruised the museum of art solo, twice. Saw two plays: One hysterically funny, one left me feeling as if I was a hostage to boredome. Attended two faculty recitals of chamber music. Heard the concert that opened the Orchestra's 2010-11 season. Saw a comedy show. Saw and heard an opera. Mingled during two happy hours. Met a new friend for wine. Had a violin lesson. Attended a rehersal that was amazing. Got a couple 10 mile walks in.

That's right...15 events in 9 days...and there are at least two that I was interested in that I didn't make it to for one reason or another. And yet, "Why would you move here? There's nothing to do in Cleveland!".

Disappointing, of course, that I didn't meet any singles "my age" during any of those events, but there are certainly things to do in Cleveland. And I'm just an "artsy guy" -- if you add sporting events to that list, you get well...a nearly endless variety.

Particularly worth noting is that more than half of those events were free; all but two under $50...(And I think there are options for both of those that would get them at or under $50 in the right circumstances).

Why I love living in Cleveland...

Lincoln
(Presently in Columbus for work.)

Cleveland Play House: (Hitchcock's) The 39 Steps

Every once in a while a play will come along that completely changes your outlook on life. This is not that play. The 39 Steps is a hell of a lot funnier than that play.

I've been looking for an excuse to use "a riotous romp" for a while, yet it seems a disservice to apply a such a menial tag to this: I laughed so hard that I cried. Twice.

The 39 steps -- where four actors (Joe Foust, Rob Johansen, Sarah Nealis, Nick Sandys) create a nearly limitless variety of characters. Sight gags run rampant, word play is plentiful, theatrical references are thoroughly sprinkled throughout. The stage is free from distraction with props sliding, flying, being dragged, pushed, pulled, carried, or tumbled into position as needed and disappearing just as quickly and just as oddly. It is one of the few times I can recall contributing to spontaneous mid-scene applause.

The 39 Steps is truly a "you have to be there to get it" show: I couldn't possibly do justice to try describing a favorite scene, assuming I could identify a favorite scene. If I have one complaint about the evening it is that the theater was too cold*. Well, and the show ended a little too quickly.

It seems that there may be generational appeal, though: If anyone has labeled you an "Old Fogey" or the like, this show may not be for you: Two older women in my row decided to leave during intermission because it "wasn't all that funny" and--though hardly an accurate judge of age--the laughter had a distinctly sub-50 tinge to it.

Of course I'd be remiss to not mention the Cleveland Play House's "Handcuffed for Half Price" promotion: If you show up at the box office handcuffed to your date (well, handcuffed to someone who will become your date) you can purchase tickets for half price. I seriously considered handcuffing myself to a random (attractive) stranger, but on further consideration that seemed like it would make a bad first impression, and a good case for assault charges. As it stands it was hard enough to get a ticket for one for the sold-out house.

Go. See. This. Show.

Lincoln

*-Seriously, though, in a heavy-ish sport coat**, dress shirt, and undershirt I was still on the chilled side. I'm never cold with that combination.
**- My normal play going jacket is still in the care of my dry cleaners after my Pandemonium Bridge Building Exercise.

Cleveland Play House: Happy Hour (August 16th)

For those not 'in the know', the Cleveland Play House has been hosting Happy Hours around Cleveland for a little while now. It seems, however, my schedule has conspired against me -- and I've made excuses for not attending one as yet. Not to mention several of the venues have struck me as West Side and as an Eastsider, the West Side scares me.

People outside Cleveland may not recognize the significance, particularly given the relatively small and subtle geographic distance, but to a Clevelander -- even a Clevelander who has only lived in this* beautiful city for five years -- the difference is vast (New Yorkers who detest, even fear, venturing to a distant borough may recognize the feeling); it's not unlike crossing a state line, perhaps even a national border.

This border, however, is unclear: I personally lump anything West of Ontario St. as West Side, with the occasional 'Near West Side'** and 'Far West Side'*** when needed -- however, I have debated the subject with friends who argue that Tremont is "downtown" and not "West Side". I disagree, and I digress.

Anyway, last night was the Play House's first Happy Hour of the 10-11 season and I resolved to stop making excuses; though the Tremont/West Side location had me a little concerned, the only "must do" on my schedule for Monday was driving to Pittsburgh at some point before midnight. It was a great event and I encourage anyone who may be interested to stop by for the next one - 10/4 at Uptowne Grill (I think I actually know where this one is... it's East Side, and walking distanceish**** from my house!)

Obviously, having to drive to Pittsburgh limited my alcohol intake to about 3/4 of a drink upon arrival followed by two non-alcoholic beverages over the course of the next two hours. The lack of alcohol didn't diminish the enjoyment: There was a quick verbal blurb from artistic director Michael Bloom on the upcoming season -- perhaps the only time I've ever thought an Artistic Director didn't speak long enough -- but there was ample conversation among the artistically inclined.

Between the din from the fantastic turnout and the conversation--once I finally had to excuse myself (a full half-hour after the official end of the 2-hour Happy Hour, and about an hour and a half longer than I had planned on "trying it out" for) I found that for the first time I can recall, and certainly the first time in my adult life, my voice was hoarse... considering that I didn't 'know' anyone going into it, I'd call that a success (and a welcoming group).

For the record, I consider myself, living in Cleveland Heights, to live on the "Near East Side" and the office in Mayfield Village to be "Far East Side". When the office was in Chesterland, I wasn't sure what to call it. I'm glad we moved. (Most Westsiders I've met recognize Cleveland Heights as East Side but exhibit geographic confusion when presented with Mayfield Village)

Lincoln
* - Full disclosure: I'm in a Pittsburgh suburb tonight, but I'll be back home tomorrow.
** Anything between Ontario and West 25th or so, still relitively comfortable but a little exotic.
*** Anything further than West 25th, where the locals might as well be speaking a different language.
**** 2.5 milesish... I walk past it on a weekly basis, but other people may not consider that "walking distance"

A Monumental Occassion: 5 Years In Cleveland

Yesterday, June 18, approximately 1:00 PM, marked the 5th anniversary of the day I arrived in Cleveland.

I had planned on a more "retrospective" post, but based on some amazing things that have happened lately, some blogged about, some not, the subject slipped my mind.

But 5 years ago I showed up in Cleveland to start a job that I wasn't sure I was qualified for, not really knowing anyone--or anything--about the city, or even really the state*, sleeping in a coworker's spare bedroom for the better part of a month while I waited for my (first) apartment to be readied.

It all started with an email that consisted of not much more than "Have you ever considered living in Cleveland?" At the time I hadn't, but the email came when I was becoming frustrated with working in academia, so I came for an interview, and accepted the offer--one of the biggest gambles I've taken thus far.

I still get asked "Why would you move to Cleveland?" by locals and out-of-towners with the same, gratingly annoying are you an idiot? intonation that accompanies a question like "How could you slam your fingers in the door?" or "What do you mean you 'lost' the kids?" -- but the truth is I've come to love Cleveland. True, there are 3 months a year when I question my sanity and consider going somewhere where the sun is visible, but the other 9 months, there's only one other City** where I could imagine living. And I couldn't afford to maintain my lifestyle there.

Cleveland is a city that has so much to offer -- from our fantastic Cleveland Orchestra, Cleveland Museum of Art, Cleveland Play House and Playhouse Square, to great institutions of higher education and libraries (I'll bet you didn't know that Cleveland Public Library is one of the country's largest public research libraries!) to predictably bad sports teams to tolerable traffic and livable costs of living to an amazing cultural diversity, and generally nicer people.

Aside from the at times depressing self-esteem of the region and politicians who seem to cling to manufacturing as a viable economic engine the city -- and Northeast Ohio in general -- have quite a bit to offer. I'm proud to say that I call Cleveland Home, and I make no apologies for taking advantage of as much of what's on tap as a one person can.

If you're local: Look around you and appreciate what you have available to you.
If you're not: Come visit us for a weekend. The stories you've heard are just selfish people trying to keep a gem in the rough for themselves.

An now I get ready for the Cleveland Museuem of Art's Solstice Party celebrating another reopening in their renovation.

Lincoln
*- I'm not entirely joking when I say that before moving to Ohio I would frequently get Ohio and Idaho confused--after all, growing up in Southern California, both are "up north" and "back east". I also wouldn't have been able to tell you, without outside assistance, the difference between "Spring", "Summer", "Fall", and "Winter"
**- The capital "C" should give, Easterners, at least, a hint.

Cleveland Play House/Cleveland Orchestra/GroundWorks DanceTheater: A Soldier's Tale (Fusion Fest 2010)

With such a veritable wealth of cultural institutions and raw talent in the Northeast Ohio area, covering nearly (if not) every possible aspect of the arts I'm surprised that collaborations don't happen more frequently. (It may be worth noting that while this performance was a sell out, I spotted several members of the Orchestra and at least one Cleveland Museum of Art staffer in the audience: This cross pollination is always a sign I take as good)

As the three institutions (The Cleveland Orchestra, The Cleveland Play House, and GroundWorks Dance Theater) proved with the performances of Catch and Release (By Esa-Pekka Salonen) A Soldier's Tale (Libretto by Kurt Vonnegut), both with music by Igor Stravinsky such collaborations can be fantastic, drawing on the strengths of the parts to produce an fascinating whole.

The venue, the blackbox-ish/3/4-round Brooks Theater was more intimate than any dance or music show I've attended (excepting house concerts, of course), and among the more intimate I've seen straight drama presented in hightened the connection between dancer, actor, musician, and audience.
The players in the pieces were also interesting: The members of the Cleveland Orchestra performing in this piece are not musicians I've heard perform in small ensemble before; with the exception of one actor, the actors were all new to me; and I've somehow never managed the pleasure of seeing GroundWorks perform.

Catch and Release was a more traditional dance number with video projected from above, and it moved with such dispatch as to make attempts to focus on any one aspect (dance, music, video) for any substantial period of time fruitless: You quickly learn to sit back and enjoy the whole. As one audience member behind me commented, "There sure was a lot of catching and releasing".

I've enjoyed reading Kurt Vonnegut's Breakfast of Champions, still one of the best books I've read; Slaughterhouse Five, I may need to reread now that it's not at academic gunpoint.

A Soldier's Tale was quite well done, involving actors, dance, musicians, and video (this time on the rear wall) and sometimes blurring the line between actor and dancer. The dialogue was witty and well delivered, the music beautifully played, the dance well woven into the story. I didn't realize prior to the ending that the libretto for A Soldier's Tale was based loosely on the true story of Eddie Slovik, a World War II draftee who was executed -- the only soldier since the Civil War -- for desertion.

The only shame was that this production only saw four performances, the last of which was the one occurring this afternoon.

Musicians: Tito Munoz, conductor; Jung-Min Amy Lee, violin; Charles Carleton, bass; Robert Woolfrey, clarinet; Barrick Stees, bassoon; Jack Sutte, trumpet; Sachar Israel, trombone; Marc Damoulakis, percussion. (All members of The Cleveland Orchestra)
Cast: Robert Ellis, general; Justin Tatum, soldier; Zac Hoogendyk, MP, Lindsay Iuen, Red Cross Girl.
Dancers: Amy Miller, Felise Bagley, Kelly Brunk, Damien Highfield, Sarah Perrett (All members of GroundWorks DanceTheater)
at The Brooks Theater, Cleveland Play House.

Lincoln

Cleveland Play House: One Man Lord Of The Rings (FusionFest 2010)

Throughout my life I've either been shielded from or deliberately avoided pop culture trends. The Lord of the Rings is one of those trends that save for a slightly overzealous third grade teacher, who as I recall claimed some distant relation to the author, is one that I have had no imersion with.

So it is rather curious why I would go see a show titled One Man Lord of the Rings (Charles Ross being the one man) and I think it came down to the fact that I had a Festival Pass and couldn't think of anything better do do on a Southern California-wintry Sunday afternoon.

Honestly, I didn't get 95% of the references -- but the remainder of the audience clearly did (during a quick audience poll mid-show, I and an usher were the only people to admit to neither seeing the films nor reading the books) based on the fairly predictable laughter. The reference I did get were quite funny.

Mr. Ross drifted seemlessly in and out of character and among characters. I did find it rather amusing when, mid-show and distracted by an audience member's fiddling with shoe Velcro the line "While you may spend hours sitting in front of the television mouth breathing, This is live theater and hearing what you're doing is distracting me. If you aren't enjoying this, feel free to amuse yourself in the lobby. Now where was I?" (I will admit to giving silent applause to this, given the number of patrons who seem to confuse their home theater and the real theater)

It wasn't Bill W. & Dr. Bob, but it was an hour -- or 3600 seconds, as the Cleveland Play House puts it -- of decent entertainment

Lincoln

Cleveland Play House: Bill W. & Dr. Bob (FusionFest 2010)

The soundbite version of this would likely be something along the lines of "Cleveland Play House presents a profoundly moving drama," that combined with, "Go see an amazing bit of theater" is probably all that needs to be said--and all that can be said without utterly failing to do justice to CPH's production, under Seth Gordon's superb direction and featuring Sean Patrick Reilly, Denise Cormier, Timothy Crowe, Margaret Daly, Charles Kartali and Heather Anderson Boll.

I hadn't originally planned on seeing Bill W. & Dr. Bob -- then I bought the Cleveland Play House's FusionFest "Festival Pass" on an impulse and figured I might as well check it out.

The story, largely set in Akron, leads up to and through the the founding of Alcoholics Anonymous by Bill W., a New York stockbroker and Dr. Bob, and Akron surgeon. The start is slow, rather predictably showing the damage done and about to be done in the lives of the two alcoholics, but once the train gets rolling it's not stopping.

During a trip to Akron for a business deal that has fallen apart, Bill W., recently sober and finding himself slipping towards drinking, calls a church looking for an off-the-wagon alcoholic to help resist the urge.

"Why are you calling? Are you an Episcopalian?" "No, Alcoholic."

Perhaps at this point I should say that I have chronically dry eyes--to the extent that every visit to my optometrist results in leaving with cases of eye drops and the admonition to 'use them'.

A few moments later the words "Stan Hywet Hall" were uttered and along with an audible gasp from the audience I felt my composure...for no obvious reason...beginning to slip. Shortly thereafter, I realized that my immersion was so deep, and my suspension of disbelief so complete that my typical stance as the objective outsider with all due respect to the fourth wall was no longer viable.

While I put myself back together during intermission, the second half of the performance -- largely the efforts of the two to find other alcoholics to help -- shattered my normally unrockable composure (I would typically say, "It is just a play, after all").

During the ensuing ovation I found myself contemplating what these two people, 30 or so miles down the road and 80 years ago had done -- not only for themeselves, and for the millions of people helped by AA, but for opening communication across society about issues that may have previously been swept under the rug in the privacy of one's own living room.

The talkback following the performance was similarly enlightening with several AA members in the audience sharing their experiences.

It took a substantial amount of my drive home, as well as the time writing this entry to shake the profundity of the performance. Needless to say, the eye drops shall not need to be used this evening.

As is to be expected from the Cleveland Play House the scenic design was fantastic, featuring some 2,000 empty bottles, intriguing lighting, and sliding set pieces. (One wonders what wonders CPH's creative staff could work on my living room if given adequate resources)

Lincoln

Cleveland Play House: Cloud 9 (CWRU/CPH MFA Acting Program)

Another spur of the moment attendance decision lead to one of the funniest plays I've seen in Cleveland. Due to mature content, specifically virtually boundless sexual references and more double entendre than you can shake a stick at, I'm not sure that the show is advisable for those under 16 or over 50. But anyone (based on the amount of distinctly feminine laughter and cackling behind me) in the sweet spot in the middle should have some fun..

The cast consists entirely of the Case Western Reserve University/Cleveland Play House Master of Fine Arts Acting Program Class of 2010 -- with a name nearly as long as a play and an unpronounceable abbreviation that's longer than many words (CWRUCPHMFAAP -- "Crew Ceph Mmm Faarp"?), the name may be the worst part of the show (well, and the fact that there is no semblance of a plot synopsis nor even a director's note in the program).

The actors, Dan Hendrock, Andrew Gorell, Yan Tual, Eva Gil, Kelli Ruttle, Kim Krane, and Michael Herbert, all doubling roles, have impeccable comedic timing and convey a fantastic amount of accurate expression through their body language and facial expressions. Once again, CPH artistic staff, notably scenic designer Jill Davis support the near-farcical action on stage quite well. The only negative acting bit that sticks in my mind -- perhaps so because of the truism "you only get one first impression" -- Ms. Gill's entrance as young Edward was lost under music; I'm not sure if it was a case of the music being too loud or her needing to project more, I had no problems hearing her dialogue during the remainder of the show.

The boundary-pushing, gender-bending show, written by Caryl Churchill justaxposes the conservative and oppressive British Victorian colonial period with the much looser 1970s, as the colonization was drawing to an end. With some characters being played by actors of the opposite gender, the line between man/woman and sex/gender is somewhat blurred and the audience challenged as to how they decide to perceive that character.

Generally well paced, the show is by no means short (1:15/15/1:11) and a large part of the 2nd act seemed to add minimal value -- yet, the random song number and appearance of a swing made it worthwhile.

Lincoln