Max Lewkowicz and Valerie Thomas’ 2019 documentary “Fiddler: A Miracle of Miracles,” which was released in August, opens Sept. 20 at Cedar Lee Theatre in Cleveland Heights. It offers an always engaging, markedly insightful and highly entertaining origin story behind one of Broadway’s most be…
David Mamet’s 1984 Pulitzer Prize-winning “Glengarry Glen Ross,” on stage at the Beck Center for the Arts, is a most intriguing play. For it possesses no characters we care about yet results in a production we are glued to.
In his poetic play “A Moon for the Misbegotten,” Irish playwright Eugene O'Neill stated that “there is no present or future – only the past, happening over and over again – now.” Compatriot wordsmith Marina Carr took this sentiment to heart when writing “By the Bog of Cats.”
Perhaps it’s the deep, elusive and haunting quality of Anton Chekhov’s 19th century plays – where what appears at first glance to be deceptively simple reveals something ominous just beneath the surface – that has inspired so many contemporary retellings.
Kenneth Lonergan’s scripts for the stage and the screen (in 2017, he won an Oscar for “Manchester by the Sea”) are character studies – tightly focused meditations about small people who live their small lives in a minor key and are tormented by inner conflict.
The recently released “The Lion King” film – with its computer-generated herds of zebras, elephants and antelope, its virtual Serengeti and its turbocharged skyscapes – has been universally praised for its remarkable photorealism.
Like the directions to Oz that the Scarecrow offers Dorothy during their first encounter in the cornfield, there are two ways to go when approaching a stage production of “The Wizard of Oz.”
Is there a better time than now to escape to Meredith Willson’s musical comedy safe-haven of River City, Iowa in 1912? And is there a better place to do it than at the Porthouse amphitheater, summer home of the Equity actor-enhanced productions of Kent State University’s musical theater program?
It is generally agreed that no creative work by or about Jews has won the hearts of Americans as thoroughly as “Fiddler on the Roof.” The musical is a Yiddish-to-English adaptation of Sholem Aleichem’s 19th century stories about the dairyman Tevye, his family and the other Jews who populated…
An Israeli comedy troupe called Davai just made its U.S. premiere at Cleveland’s inaugural BorderLight International Theatre + Fringe Festival. And it did so with a remarkable, 90-minute slice of absurdist, non-verbal storytelling and masterful clownery that lives up to the “fringe” in the f…
Although I adore Roald Dahl’s darkly satirical children’s book, “Matilda,” I am not a fan of Dennis Kelly’s musical adaptation. And yet there is much to love about the Beck Center for the Arts’ production of it.
Three things become abundantly clear while watching Mercury Theater Company’s production of “Chaplin,” the 2012 bio-musical about the creator of the Tramp and his epic rise and dramatic fall in silent film-era Hollywood.
In Noël Coward’s 1930 comedy of manners “Private Lives,” music plays a crucial role when the brilliant dialogue cannot carry all the emotional weight of the storytelling. So much so that one of the characters casually remarks: “Extraordinary how potent cheap music is.”
Shakespeare believed that all the world’s a stage, but only Edinburgh, Adelaide, Prague and a dozen or so other world cities offer international theater and fringe festivals. Add Cleveland to that list.
Earlier this year, there was an utterly charmless revival of “Man of La Mancha” in London’s West End that was set in modern day surroundings and featured in the title role an unpersuasive actor — Kelsey Grammer — who is famous for things other than musical theater.