Global Diversity

1.23-1.30.08
Global Diversity

In this week’s issue:
* Ingenious Lit Chick Judith Mansour-Thomas
* BizTech Video interview with Mark Santo of Cleveland Council on World Affairs
* Soundbite Laureate Striking Writers Charged With Stock Market Collapse
* Kids Winter In The Metroparks
* Straight Outta Mansfield and enlightened by Bourbon at the Border
* BFD Pittsburgh’s Pop City vs. Cool Cleveland
* Sounds Old Favorites by Whiskey Daredevils
* Roldo wonders why Gateway naming rights fees don’t benefit County residents
* Cool Cleveland Kids podcast click here, CC podcast click here, Brewed Fresh Daily here

Watching and listening to Mark Santo of the Cleveland Council on World Affairs in this week’s BizTech video interview, you hear the issue that strikes simultaneously as our biggest opportunity and our Achilles’ heel: attracting immigrant entrepreneurs to our region. Northeast Ohio’s inherent and historically diverse ethnic stew is not the magnet for new young immigrants that it once was, yet we celebrate our region’s cultural and professional diversity weekly in the Cool Cleveland e-blast you’re now scanning. Below you can click on HOT events through the upcoming week, listen to our podcasts, and check out BizTech events for young professionals, even check out the CCWA’s own Global Diversity Party. Mansfield ruminates on Bourbon at the Border, the riveting tale of race, revenge and retribution. Roldo blogs about the $56M in naming rights that our baseball team’s owners will receive, exacerbating the bad deal called Gateway. We review a book on the cemeteries of NEO, the Whiskey Daredevils fry up their Old Favorites, and we profile lit-chick Judith Mansour-Thomas of the Poets’ and Writers’ League of Greater Cleveland. And for parents, our Cool Cleveland Kids coverage celebrates the glorious diversity of the Metroparks in the winter. In Cleveland and the surrounding region, we’ve already got the diversity; now we need to take it global. —Thomas Mulready

Lit Chick
Judith Mansour-Thomas Reinvigorates Cle’s Literary Nonprofit

Judith Mansour-Thomas won’t mind if you call her a lit chick. As Executive Director of The Lit, formerly the Poets’ and Writers’ League of Greater Cleveland (PWLGC), literature is her business. Mansour-Thomas has led the organization through a re-branding process, a move to a new home in the ArtCraft Building on Superior Avenue, and the revamping of Ohio Writer magazine, and she’s done it all in just her first year on the job.

Mansour-Thomas came to The Lit via the Museum of Contemporary Art (MOCA), however, literature has always been her first passion. She says, “I very much enjoyed my position at MOCA; it afforded me the opportunity to learn a great deal about contemporary art while at the same time participate in the growth of an organization that the city really values. In fact, when I was first contacted to interview for the Executive Director position at PWLGC, I declined. Some weeks passed, and I had a nagging feeling that I was possibly passing up an opportunity to return to the art of words. Upon reading the job description and talking with a few of the key people on the search committee, I was determined to have the position. It felt like the job I had long been working toward—I just hadn’t known it.”

The Lit was founded in 1974 as the Poets League of Cleveland. In the late 1990s, the organization merged with Writers of Greater Cleveland to form The Poets’ and Writers’ League of Greater Cleveland. Mansour-Thomas notes that “The decision to re-brand had been made by the board and strategic planning committee prior to my arrival, so I can’t accept credit for that decision. However, upon my arrival, I began to work with the board, as well as the firm BTZ Brand, to really identify our strengths, weaknesses, and core mission so that we could actually define who and what we are. People felt that that old name was too narrow a construction for the scope of programs that we offer and that we want to offer. And PWLGC doesn’t exactly roll off the tongue.”

She adds that the name “Poets’ and Writers’ League” was redundant, because “Poets are writers. It forces people into a dichotomy and it doesn’t say anything about drama or any other written art form. Literature is all-encompassing.”

The PWLGC had often been informally referred to as “The Lit,” and Mansour-Thomas and the members of the strategic planning committee unanimously agreed to make that the organization’s new name. “The organization focuses on the art of literature,” she says. “Poetry, drama, fiction, memoir, lyrics, or what have you. For nearly 40 years, we’ve been in the business of helping writers of all genres to grow and improve their craft. We support writers in their quest to create literature. The name “The Lit” just seemed to make sense.”

A gala bash at the organization’s new home on December 8th introduced the new name and logo. The move to the ArtCraft Building adds a new layer of accessibility to the organization. While the former digs on Fairhill Boulevard were beautiful, the location was inconvenient to those on the west or south sides. The geographically neutral midtown location also allows The Lit to play off of and contribute to the synergy of other small to mid-size arts organizations that have committed to the revitalization of the Midtown Arts District.

The new 1,600-square-foot gallery-like space allows ample room for classes or readings. Mansour-Thomas hopes to offer more programs that support the output of local writers and that encourage the public to read the literature generated by area writers. To that end, The Lit is developing book clubs around the city that will focus primarily on local work.

As part of the re-branding process, Ohio Writer magazine is being redesigned in terms of content, frequency, and aesthetics. It also has a new name—Muse. Mansour-Thomas wants “to transform Muse into a journal for this region in the same way that other regions have Ploughshares, The Sun, Glimmer Train, or Best American Voices. I hope to create a juried platform in which area writers want to be published.”

Mansour-Thomas is taking on the role of editor for the journal, which begins publication as a quarterly in January 2008. The premier issue is scheduled to be in subscribers’ mailboxes by late January. “It’s my intent to publish and promote only the highest quality writing, regardless of genre,” she says. In addition to poetry, fiction, essays, short plays, novel excerpts, and book reviews, the journal will also profile area writers and publish a listing of literary-related events. Booksellers interested in carrying Muse should contact The Lit directly.

It should be noted that The Lit is not just for writers—it’s an organization for all those who love words. Mansour-Thomas believes that literary artists deserve the same type of support that museums, orchestras, and dance organizations receive. In order to be supported, writers face a greater challenge than other artists. She notes that, “We hear music in elevators, the dentist’s office, and in cars. We see artwork hanging on the walls of restaurants, coffee shops, and offices. We don’t ever hear poetry or drama being read while we passively wait. Literary arts require investment, not passive appreciation.” While you probably shouldn’t look for a poetry slam in the waiting room at your doctor’s office any time soon, giving Northeast Ohio writers a literal and figurative home is a strong start towards the creation of a broader literary community.

Mansour-Thomas adds that anyone can help support the regional literary scene by supporting local authors and local booksellers, by attending readings, and simply by reading. So take the Lit Chick’s advice: the next time you’re looking for something to read, check out the local authors section of your neighborhood bookstore or, better yet, attend a reading (visit the-lit.org for a listing of upcoming events). Better still, join The Lit (membership includes a subscription to Muse and a discount on classes).

To have an event included in the listings, send an email to Peggy Latkovich, Listings Editor, at peggy@the-lit.org. Mansour-Thomas invites suggestions and ideas from the public regarding classes or other programming at judith@the-lit.org. Submissions to Muse can be sent to: The Lit, 2570 Superior Ave., Suite 203, Cleveland, 44114.

Visit http://www.pwlgc.com for more on the Mansour-Thomas, the Lit and the fruitful programming schedules they offer.

From Cool Cleveland contributor Susan Petrone theinkcasinoATadelphia.net

Mark Santo
Cleveland Council on World Affairs

Mark Santo is having a good year. Hot on the heels of bringing two Chinese Vice Ministers and a delegation of companies to Cleveland for talks in 2006 on investing in the U.s. (one of only 3 cities visited), now his Cleveland Council on World Affairs is hosting the Chinese ambassador to the U.S., Zhou Wenzhong, his wife, and officials from the Washington Embassy and New York Consulate for meetings with large area corporate investors in China, discussions with government officials, a business conference and a series of high profile speeches. Cool Cleveland’s Thomas Mulready corralled Mark Santo in the hallway at the Union Club to discuss the huge investments that China will be making in the U.S. economy and what this could mean for Northeast Ohio businesses, the possibility of a Chinese Consulate in Cleveland, how our region has evolved away from a global diversity powerhouse, and how some of the critical issues of human rights, ecology, intellectual property violations and worker’s rights will affect our business relationship with China. www.CCWA.org.

Striking Writers Charged With Stock Market Collapse

Write-downs and write-offs – what do they have in common? That’s right – WRITERS! On Friday, it was announced that a special task force has been mobilized to investigate the effects of a national conspiracy wreaking havoc on both the stock market and the housing market nationwide. According to sources, nearly three thousand writers from the Writers Guild of America were recruited, trained, and subsequently hired by leading mortgage broker firms like Countrywide from 2003 – 2006 with one goal: “No Loan Left Behind.” Sworn to secrecy and armed with stacks of forms and legal documents, they used their carefully honed creative writing skills to qualify every single applicant under their “Don’t Ask, Don’t Tell” approval policy, effectively supplying the HGH (Housing Growth Hormones) needed to grow an artificially inflated and “un-real estate” market.

From Main Street To Wall Street
As the subprime mess began unfolding in late 2006, these same writers were then transferred to Wall Street’s major financial institutions which were backing the 50-Year Mortgages and Liar Loans that they had just written months earlier. Once at firms like Bear Sterns, Morgan Stanley, and Citigroup, this clandestine cast of thousands immediately began (once again) WRITING, only this time is was Write-Downs – to the tune of nearly $100B. Investigators got their first tip in breaking this conspiracy wide open when, just as all of the financial Write-Offs were nearing completion, the WRITERS suddenly found themselves out of work, and began striking. “The timing was just too perfect,” noted one official, “Banks stopped WRITING loans, insurers stopped WRITING policies…ironic – yes, an accident – no.”

Whose (De)Fault Is it Anyway?
Task force officials are still investigating to determine just how far-reaching this scandal has become. One off-the-record Wall Street insider even went so far as to say, “You hear about stocks reaching a “strike” price? That’s actually how low that market has to go before the media moguls call off the dogs, finalize an agreement with the Writers Guild of America, and put these people back to work – only this time it will be for the Herculean task of UNDERWRITING our entire national economy.”
From I-Reporter Douglas J. O’Bryon, Soundbyte Laureate (For more information on this article, contact the author at 443-421-0167 or via email at dougobryonATjuno.com)

SPONSORED: Still Looking for a New Year’s Resolution? How about a resolution to give back to your entrepreneurial community? Many entrepreneurs are looking for seasoned mentors to help guide them through building and growing their business. Why not resolve to spend some time with a local Entrepreneur and share your insight and knowledge? If you’d like to help someone seeking pro bono advice and have time to give — whether it’s one hour or one week — register as a Business Mentor on IdeaCrossing. IdeaCrossing is an online community resource that matches Business Mentors with Entrepreneurs. There’s no cost to register and it’s completely up to you who you mentor and how much you give. Visit IdeaCrossing to learn more and begin realizing a great New Year’s Resolution: www.ideacrossing.org.

A hot selection of tech and business news & events from around the region. Got business news? Send it to: EVENTS@CoolCleveland.com

Shanghai Surprise? Cle Clinic might build a hospital in Shanghai w/ 200 beds, cardiac care unit, etc. Read
Business Week blog touches on Cle foreclosures in its latest installment. Click
ERC surveys NEO wages in its latest examination. Click
Henkel sells Duck and Avon plant thereto. Read
Opening up new avenues for biz in NEO, props Innovation Accelerator by NorTech and MAGNET. Read
Local Little Tikes selling its complex in Hudson. Read
Room for NEO improvement in the nanotech field? Read
NIN’s Reznor on heels of David Byrne/Thom Yorke music biz in-depth from Wired with C-Net. Read

Global Diversity Party at Bridges Restaurant at the Q, 1 Center Court on Thu 1/24 at 6PM. Register
Web Assoc. examines State of the Web 2008 on Thu 1/31 at 11:30AM with group of panelists, discussion at Windows on the River. Register
Cle 20/30 honors top young professionals with in NEO Thu 1/31 at 5:30PM, CSU Wolstein Ctr. Register
The Next eMarketing Technique Series starts up at Corp Coll East on Mon 1/28. Register
Plexus CIFF Preview showcases the upcoming March event on the Feb Network Night Tue 2/12. Patrick Shepherd and Bill Guentzler will there to talk about it. More

SPONSORED: Capitalize on Your Experience and expand your capacity to lead! Come to the open house on Wed 1/30 at 6PM and discover the new accelerated bachelor’s degree in Organizational Leadership designed for adults with demonstrated leadership ability, 25 or older, with at least five years of work experience. In just three years, earn a respected Bachelor’s degree from Baldwin-Wallace College, ranked among the Top Schools in U.S. News America’s Best Colleges 2006! This program honors adult learning styles and needs with some courses computer-based and limited class meetings. Designed for leaders and achievers, this prescribed course of study takes a penetrating, multidisciplinary approach to broaden your perspectives. Students earn a bachelor’s degree with a major in Organizational Leadership and minor in Communication Studies. Classes held at B-W East in Beachwood. Admission Counselor: 216-595-0316. More information: www.bw.edu/academics/bweast.

The Cool History of Cleveland by the former Tech Czar
An eating tour of Cleveland with Michael Ruhlman, courtesy of The New York Times
Architects blogging about Breuer Tower and future surrounding development here
NYT finds Shaker incident worthy of an in-depth story of its own. Read
Playhouse Square exec Gina Vernaci named to executive committee at famed Broadway League in NYC. Read
Cle Co restoring stained glass for Geo Lucas of Star Wars fame? Read
COSE’s Arts Network is accepting nominations and applications for The COSE Arts Business and Innovation Awards. The COSE Arts Business and Innovation Awards recognize the entrepreneurial risks taken by both artists and small businesses in order to thrive. http://www.cosearts.org.

Singer-songwriter Kate Voegele will guest star on the CW network series One Tree Hill. Kate will appear on a total of six episodes this season playing the part of singer/songwriter Mia. Five songs from her recent album Don’t Look Away will be featured on the series. Don’t Look Away has been re-released with new artwork and three bonus acoustic tracks (bonus tracks version available only at Target stores). Visit Kate’s MySpace site (http://www.myspace.com/katevoegele) for details and upcoming tour dates.

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Cool Cleveland Podcast Weekly roundup of cool events.

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SPONSORED: Dig It: eBay Auction Online This Month — don’t miss United Way of Greater Cleveland’s Seventh Annual eBay Auction offering fabulous items, including Continental Airlines tickets, Cleveland Indians game tickets with suites in Progressive Field, a Peek ‘n’ Peak hotel/lift ticket package, an annual RTA pass, GE outdoor cooking center, gift certificates and lots of other cool stuff. The auction goes live online Fri 1/25 and runs to Mon 2/4. All proceeds benefit United Way. Beginning Fri 1/25, to bid on items, log on to www.uws.org/ebay.

Send your cool events to: Events@CoolCleveland.com

HOT The Intersection of Art and Science The Cleveland Clinic Office of Civic Education Initiatives is celebrating the Exhibition Opening of Cleveland Clinic eXpressions Wed 1/23 at 4:30PM at the InterContinental Hotel and MBNA Conference Ctr Ballroom. Reception follows program, business attire required. 9801 Carnegie Ave. http://www.clevelandclinic.org.

collaborate.innovate.educate. A discussion forum on the report of the Northeast Ohio Universities Collaboration and Innovation Study Commission hits Wed 1/23 at 3PM. This interactive panel discussion will provide an opportunity for the Study Commission members to discuss the report recommendations with education, business, and community leaders in Northeast Ohio. Attendees will have the opportunity to participate during a question and answer session. For more information or for a copy of the report, visit http://www.neostudycommission.org/announcements.htm. 6896 Miller Rd., Brecksville.

January Emporium Auction Gray’s Auctioneers recently announced the catalogue for their January Emporium Auction, now online at http://www.graysauctioneers.com. The auction features an excellent array of Fine Arts, Antiques and Collectibles including a very fine ship’s model of the Queen Mary; a wonderful collection of paintings, prints and sculptures; together with a great selection of antiques, furniture, lighting, porcelain, china, collectibles, rugs and carpets. The auction previews beginning Wed 1/23 at noon, with the auction commencing Sat 1/26 at 1PM. See their website for further details.

HOT Global Diversity Party hosted by the Cleveland Council on World Affairs, BioEnterprise and the University of Akron College of Business Administration, this mixer is designed to attract immigrant and minority entrepreneurs to NEO with special guests Vivek Wadhwa, the founder of Relativity Technologies and Pete Engardio, senior international news editor for Business Week, at Bridges Restaurant at The Q from 6-8PM on Thu 1/24. To register: www.CCWA.org

The Food You Crave Ellie Krieger signs her book The Food You Crave: Luscious Recipes for a Healthy Life on Thu 1/24 at 7PM at Joseph-Beth Booksellers in Lyndhurst. Krieger, the host of Food Network’s Healthy Appetite, is becoming a New Year’s Resolution for many; her book presents more than 200 recipes using only fresh ingredients that are simple but scintillating. http://www.josephbeth.com.

Three Girls & Their Buddy Emmylou Harris, Patty Griffin, Shawn Colvin and Buddy Miller will join forces for a brief series of very special shows this year. Performed in the round, with all four acts on stage together. “Three Girls and Their Buddy” will perform at Playhouse Square’s Allen Theatre on Thu 1/24 at 8PM. Not to be missed! http://www.playhousesquare.org.

HOT GroundWorks at PHS Walking along Euclid Avenue the past few weeks, you may have seen them rehearsing behind the big glass facade of the Idea Center. Now, presented through the Launch performance creation residency program of the Arts Education Department at Playhouse Square, GroundWorks Dancetheater showcases a world premiere by Israeli born guest artist Zvi Gotheiner, in the Westfield Insurance Studio Theatre on Fri 1/25 & Sat 1/26 at 8PM. 241-6000, Playhouse Square.org, http://www.NotSoObvious.com

Three Mo’ Tenors Get ready for opera, blues, jazz, gospel, soul and spirituals to rock the mic. The Antioch Development Corporation (ADC) will host Three Mo’ Tenors on Fri 1/25 at 8PM at the Allen Theatre at Playhouse Square. All proceeds from the concert will benefit ADC and its programming. Hearing is believing! http://www.playhousesquare.org. http://www.antiochdevelopment.org. http://www.threemotenorsontour.com.

The Artists of Tower Press The building, located at 1900 Superior Ave, is home to the studios of many established and emerging Cleveland artists. In this upcoming group show, beginning with an opening reception Fri 1/25 at 6PM, artwork from the artists who create and contribute to the artistic environment of The Tower Press Building appears alongside each other. From the studios to the gallery, this is a great opportunity to see the many varied artists in the building, together for the first time. Exhibition continues through early March. http://www.thewooltexgallery.com.

Paula McClain Celebrate the Cleveland Heights’ author’s debut novel, A Ticket to Ride, at a free public reception Fri 1/25 at 7PM. Drawing on 14 years spent growing up in foster homes, chronicled in her critically acclaimed memoir Like Family, McLain brings a special poignancy to the character of Jamie, an orphan who is sent to live with her uncle Raymond and is desperately hungry for peer approval and acceptance. Heights Arts Studio, 2340 Lee Rd. http://www.heightsarts.org.

HOT I Have Before Me a Remarkable Document Given to Me by a Young Lady from Rwanda Don’t miss this critically acclaimed production written by Sonja Linden and performed by Dobama Fri 1/25 at 7:30PM at the Unitarian Universalist Society, 2728 Lancashire Rd. A goodwill donation will be accepted at the door; you’ll leave with ponderous thoughts and plenty of goodwill in return. Don’t miss out. http://www.dobama.org.

Aspiring Filmmakers Book Camp Looking for your first big break in the film industry? NEHST Studios has announced that their Aspiring Filmmakers Boot Camp returns to Cle Fri 1/25 – Sun 1/27. Participants gain an insider’s look at how to navigate the film industry and have a chance to pitch (and potentially sign) their own production deal. The Aspiring Filmmakers Bootcamp will be hosted by the Greater Cleveland Film Commission. Details, hours and registration http://www.filmboot.com.

Puccini: The Man and His Music is an evening of arias from the ten operas of Italian composer Giacomo Puccini, interspersed with segments of the composer’s life as portrayed by local actor Kelly Holt. This world premiere performance hits Fri 1/25 at 7:30PM, a production by Opera Per Tutti presented at the Solon Center for the Arts, 6315 SOM Center Rd., Solon. http://www.operapertutti.org.

HOT The 5th Standing Rock International Short Film Festival This expressive event Fri 1/25 at 8PM features independent short films from around the world, featured filmmaker Dustin Grella, and two silent films by Mike Hovancsek, with live musical accompaniment by Root Doctor’s Revenge. To read more about the films and to see film stills, please go to http://www.standingrock.net.

Chicago Rhythm & Blues Kings have been laying down their smooth and funky blend of horn-driven blues and soul music for over 20 years. The band came together in the early 1970’s as the backing band for the acclaimed Larry “Big Twist” Nolan. Performing music in the great American soul tradition of Ray Charles, Little Milton, Hank Ballard and Junior Parker, the band hits Fat Fish Blue on Prospect Fri 1/25 at 9PM. http://www.fatfishblue.com.

SPONSORED GroundWorks Dancetheater Premiere at Playhouse Square Fri. 1/25 & Sat. 1/26, 8 PM in the Westfield Insurance Studio Theatre in the Idea Center at Playhouse Square. The acclaimed Cleveland-based GroundWorks Dancetheater presents bold and beautiful dance through its Landmarks Series at historically and architecturally significant locations throughout the region. The company will present a world premiere by renowned guest artist, Israeli born Zvi Gotheiner, and perform selections from the company’s unique repertory that Donald Rosenberg from the Cleveland Plain Dealer described as, ” a seamless blend of classical and modern ideas the embrace artistic freshness.” Presented through the Launch performance creation residency program of the Arts Education Department at Playhouse Square. For tickets, call 216.241.6000 or visit PlayhouseSquare.org.

Red {an orchestra} partners with the Cleveland Play House for a special evening of George Gershwin Alone this Fri 1/25 at 6:30PM. A pre-show wine and cheese reception featuring a quartet of Red’s spectacular musicians primes you for Hershey Felder as ”George Gershwin Alone’. This wonderful evening is offered at a special reduced price. Contact the Cleveland Play House at 795-7000 and mention the code ‘RED’ to receive this special offer. http://www.redanorchestra.org.

Ascherman Speaks Join photographer Herb Ascherman Fri 1/25 at 7PM for an informal gallery talk about his exhibition Bodies: 1967 – 2007 at the Corcoran Fine Arts Gallery, Shaker Square. http://www.corcoranfinearts.com.

HOT Go Verb Downtown Verb Ballets, Cleveland’s National Repertory Dance Company, presents an evening of dances at Playhouse Square’s Ohio Theater on Sat 1/26 at 8PM. Heat up your winter night, with one world premiere, one reconceived revival and the return of two audience favorites. Sure to delight in the way only Verb can. Details at http://www.verbballets.org.

The Elysian Trio The in-residence group performs at the Baldwin-Wallace College Conservatory of Music Sat 1/26 at 8PM at the B-W Kulas Musical Arts Building. Members of the trio include Julian Ross, violin; Richard Aaron, cello (on leave this season); and Robert Mayerovitch. In Aaron’s absence, Ross and Mayerovitch will perform all of Brahm’s violin, piano sonatas. Guest artists will join them. 96 Front St., Berea. No cost, open to the public. For additional info, call 440-826-2322.

A Creative Arts Open House The Studios at 78th Street that many area artists call home will be open Sat 1/26 from 1 – 6PM for tours. For those who have not been there, this building is the former American Greetings Creative Studios located a block North of Lake Ave., between West 78th and West 80th St. This is Cle’s largest Creative Arts Incubator, anchoring the Western end of the Detroit-Shoreway Arts District with participating tenants that include: Kenneth Paul Lesko Gallery, Kokoon Arts Gallery, Tregoning & Company, Derek Hess, Ken Nevadomi, Judith Brandon, Keri-Lee, Charmaine Spencer, Rachel Davis Fine Arts, Alternative Press Magazine and many others. Call 832-8212 for more info.

Anne’ Frank’s Diary Beck Center for the Arts brings back four commanding performances of Wendy Kesselman’s powerful adaptation of The Diary of Anne Frank, opening Sat 1/26 at 8PM and running through Sat 2/9. Kesselman’s compelling new take on Anne’s famous diary captures the terrifying existence of eight European Jews hiding from the Nazis in war-torn Holland for more than two years. 17801 Detroit Ave., Lakewood. Remaining schedule and showtimes at http://www.beckcenter.org.

HOT Midwest Book Fair/Exhibit The Lit Center will host a book fair of Midwest independent literary publishers, book artists, and magazines. It takes place Sat 1/26 from 4 – 7PM, followed by a special showing of Wayne Ewing’s film The Outsiders of New Orleans: Loujon Press from 7 – 9PM at The Lit Center, located in the ArtCraft Building at 2570 Superior Ave, Suite 203. No cost, open to the public. Refreshments and discussion will follow the showing. http://www.pwlgc.com.

Schreckengost An icon in the Cleveland Art Community and internationally acclaimed artist and industrial designer, Viktor Schreckengost was honored with the 2006 National Medal of Arts Award during his centennial year. This rare exhibit, All Creatures Great and Small, is a celebration of Schreckengost’s great love of animals and nature and will feature a number of works that have not been on display since the 1920s, 30s, 40s and 50s. Included in this show will be a number of concept drawings and never-before exhibited works. Check it out Sun 1/27 at noon at the Historic Kirtland Visitor’s Center, 7800 Kirtland-Chardon Road, Kirtland. Call 330-524-1052 for info. Runs through mid-April.

Harmonia presents the traditional folk music of Eastern Europe, ranging from the Danube to the Carpathians Sun 1/27 at 3PM. With a repertoire that reflects the cultures of the region — Hungarian, Ukrainian, Slovak, Carpatho-Rusyn, Romanian, Croatian, Serbian and Gypsy (Rom) — they perform on authentic folk instruments. The Cleveland Music School Settlement, 1125 Magnolia Dr., University Circle. Call 421-5806 or visit http://www.thecmss.org.

Senior Dog Bowl Join in the nonstop fun and an evening of bowling to benefit The Sanctuary for Senior Dogs on Sun 1/27 from 5 – 9PM. Refreshments include pizza, salad, and desserts. There will be a cash bar at happy hour prices and raffle prizes. Meszar’s Lanes is located at 4231 Fulton Rd. (on the lower level in the Fulton/Memphis Plaza) in the Old Brooklyn neighborhood. Followed by an “Adoption Sunday” event. Make your reservations early. This event often sells out. For reservations, call 351-4694. http://www.sanctuaryforseniordogs.org.

HOT Heeere’s Jack!!! Five of Jack Nicholson’s earliest and most rarely-revived films will screen in the series “Heeere’s Jack! (As You’ve Never Seen Him).” It starts with Monte Hellman’s offbeat 1967 western The Shooting, running Sun 1/27 at 7PM. Films screen through late February at the CIA Cinematheque, 11141 East Blvd., University Circle. Call 421-7450 or visit http://www.cia.edu/cinematheque.

Long Road – Folk Music at Nighttown Nighttown in Cleveland Heights has earned a national reputation as one of the country’s top jazz clubs. But once in a while a folk act slips in there. The folk-pop group Long Road performs at Nighttown Mon 1/28 at 7:00PM. Different kinds of music are called folk (for lack of better terms), and by definition, Long Road does not actually play folk music, except for one song from 1650. It plays great, mostly little known songs from the ‘60s to the present, but in a sort of ‘60s folk style. Which is really the best of both worlds … if you like the ‘60s folk style, and great songs. Long Road consists of five Cleveland-based folk and rock veterans: David Budin (guitar, vocals), Julia Mell (vocals), Kevin Richards (acoustic and electric guitars, mandolin, vocals), Bob Sandham (acoustic and electric guitars and vocals), Ray DeForest (bass). http://www.nighttowncleveland.com.

Cirque du Soleil’s Saltimbanco This is the longest running Cirque production, performed in Cleveland for the very first time starting Tue 1/29 at 7PM. Inspired by a metropolis and its residents, the show explodes in a dreamy menagerie of dance, music and theater. CSU Wolstein Center. See the Preview in this week’s Cool Cleveland. Details.

Ladysmith Black Mambazo The Grammy® award winning South African a cappella group returns to NEO with a world music tour de force in a new disc called Ilembe: Honoring Shaka Zulu. Celebrate as they pay tribute to the iconic South African warrior and first king of the Zulu nation, Shaka Zulu Wed 1/30 at 7:30PM. E.J. Thomas Hall at the University of Akron, 198 Hill St., Akron. Call 330-972-7570 or visit http://www.ejthomashall.com.

Send your cool events to: Events@CoolCleveland.com

Winter in the Metroparks
Family Jubilation Found Squarely in the Emerald Necklace

The Cleveland Metroparks has to be one of this region’s most successful endeavors. Established in 1917 to provide open space for the people of Greater Cleveland, the Emerald Necklace preserves the natural spaces in Cleveland. Our green space enhances life here in Cleveland with its more than 21,000 acres in sixteen reservations and the Metroparks Zoo, including some space in Hinckley Township in Medina County.

Winter can be a great time to be outdoors. After a recent snow, the trees are covered in frosty white, the branches sparkling in the low sunlight above pristine snow-dusted forest floors. Sparrows, wrens, and mourning doves feed on seeds in feeders outside Rocky River and North Chagrin Nature Centers, and red-tailed hawks loop the skies above the quiet landscape. It’s quieter in winter, somehow more holy. Squirrels scurry up trees, while other mammals like mice and shrews stay warm under a blanket of snow. Deer, coyote, and fox hover near, but unseen.

The park system’s hiking trails are plowed when snowfall is over two inches, but when there’s snow, proper winter hiking boots are essential. Our family once hiked through Bedford Reservation, a great place for solitude, on icy trails. We had the whole place to ourselves, but we had to watch our step. Off the all purpose trail, we follow the signs to Bridle Veil Falls to see the falls frozen in time with a trickle of water running through it.

Fishing is a big pastime in Greater Cleveland. I often see fishermen thigh-deep in water and am amazed that their gear keeps them dry. Fishing is relaxing no matter the time of year, and ice fishing can be explored by calling 440-331-8017 for information on fishing conditions. Fishing competes with ice skating on the ponds when conditions are good for skating.

The bridle trails, all 82 miles of them, are perfect for horseback riding, but cross country feels closer to nature on these “off the beaten” trails. Cross country skiing is also permitted on hiking trails and all purpose trails that have not been plowed, and also on the fairways of Big Met, Little Met, Shawnee Hills, and Sleepy Hollow golf courses.

Some of the best places to sled in the Cleveland area are in the Metroparks. Sledding with night lighting is available on the Sledding Hill off State Road in Hinckley Reservation, the Pawpaw Picnic Area in Mill Stream Run, the Ohio River Farm Picnic Area in North Chagrin, and on the hills of the golf courses.

Chalet Recreation Area in Strongsville at Mill Stream Reservation has twin refrigerated ice chutes with or without snow through March 2. The indoor facility features two fireplaces, a main gathering room with large-screen television, a loft area with video games, a concession stand, and indoor restrooms. Public tobogganing is open Thursday through Sunday. The chutes are the first public ice chutes in Ohio, and they’re icy and fast!

Educational programs include the 2008 Children’s History Clubs for children 8-12 years old and focusing on topics as far-ranging as Lakeview Cemetery to Gray’s Amory and Erie Street Cemetery to the Cleveland Port Authority. In Rocky River Reservation, at the Nature Center, Friday Nights With Nature take you on an armchair journey to places of natural beauty all over the world from Cuba to New Mexico. At North Chagrin, Saturday Night Specials take you away to Yellowstone or New Guinea. The Institute of the Great Outdoors provides outdoor experience and learning opportunities in outdoor photography, snowshoeing, and hiking.

The Fireside Concert Series at Look About Lodge features a variety of music. For example, The Becky Boyd Trio plays blues on February 1, Rev Rowe plays folk on February 15, and LS Jazz Express plays smooth jazz on February 29. All concerts are reasonably priced and registration is required by calling 440-247-7075. Look About Lodge in South Chagrin Reservation is the site of a variety of outdoor education programs and open only during special programs or to local conservation groups. It’s a beautiful retreat from urban living.

The EarthWords Nature Shops at North Chagrin, CanalWay, and Rocky River reservations are brimming with books and gifts, field guides, and Metroparks apparel. The shops are open during nature center hours except for Mondays and Tuesdays, when they are closed. EarthWords encourages you to come out of the shivering cold to attend a quilter’s workshop and have a cup of coffee to warm the soul.

Zoo events include amazing animals, educational opportunities, and family fun. During January, the zoo’s Polar Bear Days reduce the cost of admission on days when the temperature is below 32 degrees. The cost is reduced to $3.50 for adult admission and $2.50 for kids.

For more information and a list of Metroparks events, check out http://www.clevelandmetroparks.com. The Metroparks are our green necklace, our bit of extravagance that gives us a sense of abundance.

From Cool Cleveland contributor Claudia J. Taller ctallerwritesATwowway.com

Beaumont School offers a variety of camps for girls with wide ranging interests. Sports Camp for girls from 7-14 are offered in a number of sports (Softball, Golf, Basketball, Volleyball, Cross Country, Soccer & Tennis), starting in the spring. In the summer, for middle school girls with creative natures, we have a Drama Camp and the Summer Arts Workshop (which includes Culinary Arts, Fashion Design/Clothing construction, Fine Arts and a large variety of Crafts). More info at http://www.beaumontschool.org.

Hi-Lyfe Dancers Part of the Showtime at High Noon series, this troupe presents dance that is for the spirit, filled with music, songs and poetry. The Cleveland-based company features women ages 18 to 60 years, who dip and dive to all kinds of music, from traditional West African to techno funk. Don’t miss them Thu 1/24 at noon. Ohio Theatre at Playhouse Square, 1501 Euclid Ave. No cost, reservations required. Call 987-4940 to RSVP.

Be A Tutor Share your time and knowledge to make a difference for Greater Cleveland students! The Saturday Tutoring Program needs volunteer tutors on Saturdays from 10AM to noon at the Church of the Covenant in University Circle (11205 Euclid Ave). The program began in 1990 and currently serves about 150 students in grades 1-12 from many local school districts. You choose the age group and subject(s) you would like to cover. You choose the Saturdays that fit your schedule. Materials are provided and sessions are supervised by retired teachers. Our winter tutor training/orientation session will be held January 26, 2008, from 10 a.m. – noon at Covenant. http://www.covenantweb.org/tutoring or call 421-0482 x 281 for details.

A Little Bit of Phunk The Lakewood Project’s fifth annual Benefit Concert on Sat 1/26 at 7:30PM promises to be one that should not be missed! Cellist Matt Turner and The Lakewood Project have prepared an interesting mix of music that is sure to get everyone dancing. You will not want to miss this exciting event! Lakewood Civic Auditorium, 14100 Franklin Blvd. Tix can be purchased through the Lakewood Alumni Foundation by calling 529-4033 with a credit card.

HOT Cirque du Soleil’s Saltimbanco This is the longest running Cirque production, performed in Cleveland for the very first time starting Tue 1/29 at 7PM. Inspired by a metropolis and its residents, the show will explodes in a dreamy menagerie of dance, music and theater. CSU Wolstein Center. See the Preview in this week’s Cool Cleveland. Details.

SPONSORED: Cyber Kids! Have you ever been to the Cleveland Museum of Art’s Kid’s website? It’s totally awesome with cool things for kids to do. Check it out by surfing here. Cyber kids love taking an animal safari across ancient Egypt to find their way home. Learn how to make your own stained glass window! And the CMA website has hieroglyphic coloring pages (off the hook!) to print out and color on your own. You can also find out how much you know about the city of Cleveland. Learn why every day was a bad hair day for Medusa and check out The Attic, a favorite kids hideout! The Cleveland Museum of Art is a Cool Cleveland Kids partner.

Cool Cleveland Kids Podcast Weekly roundup of cool events for kids & families from 11-year-old Cool Cleveland Kids correspondent Max.

Click here to subscribe to the Cool Cleveland Kids Podcast in iTunes.

Bourbon at the Border

Pearl Cleage’s riveting tale of race, rape and revenge, Bourbon at the Border, recently completed a three-week run at the Cleveland Play House’s Ensemble Theatre. However, given the racially-charged political climate being created by Democrats hotly contesting presidential primaries across the country, this Karamu production should have its run extended until a standard bearer is finally selected. The play speaks that potently about the dark history of race relations in America — a history, which, for better or worse, is rearing its ugly head in today’s headlines. The old adage goes, “Those who don’t learn from the past are doomed to repeat it.”

Set in Detroit in 1997, but driven by vicious and sadistic occurrences that transpired during the Civil Rights “Freedom Summer” of 1964, Bourbon is perhaps the most highly charged and brutally uncomfortable piece of stagecraft concerned with the consequences of racial conflicts in America since LeRoi Jones’ (now known as Amiri Baraka) widely acclaimed and acidly accurate 1964 play “Dutchman.” Hailed at the time as a major breakthrough for its stark honesty in examining race and betrayal in America, “Dutchman,” as brilliant as it remains, doesn’t begin to plumb the political depths that Bourbon drills down to and examines.

One criticism of Cleage’s work is that it starts off somewhat slow. However, after the play unfolds the reason she elected that pacing (which was religiously adhered to by masterful director Terrence Spivey) is evident. Another criticism is that the play makes audience members, both Black and White, uncomfortable — which, to my mind, is not a valid criticism at all. Theater is supposed to leave audiences forever changed, and Bourbon excels at this in dramatic fashion.

But, similar to the increasingly unseemly debate among Democrats that is dominating headlines of late (much to the delight of the Republicans), the discomfort experienced by audience members broke down along racial lines. Playwright Cleage’s gratuitous use of the N-word, especially from the mouth of character Tyrone Washington (a Viet Nam vet, played adroitly by Cuyahoga Country Commissioner Peter Lawson Jones in his first return to the boards after a 28-year absence), was like repeated body blows to many Blacks in attendance, while the equally painful accusations of systemic racial unfairness in American society and culture made some liberal White audience members just as uncomfortable. The White woman next to me squirmed in her seat more than once during the evening.

However, everyone left the theater better (or at least more enlightened) people than when they entered — and that’s the entire point of drama, isn’t it?

The surface simplicity and straightforwardness of the plot belies its brilliant and variegated undertones relating to race, sexism, freedom and the meaning of the word “sanity.” May Thompson (deftly portrayed by stage veteran Joyce Meadows, who doesn’t have to steal the show, it was given to her on a platter by the words of the playwright) is at home engaged in busy work as the play opens. She is awaiting the return of her husband from a hospital — a mental hospital we are soon to discover. Her neighbor, Rosa (Stephanie Stovall plays an airhead with such élan it’s difficult to believe she is not like her character in real life, but she isn’t, she’s just a very good actor), drops in for a visit and they make small talk to set up the premise of the play.

It’s clear right from the beginning that this is a work written by a strong Black woman, for strong Black women. For once Black women have most of the good lines, which is just fine by me because they are such very good lines to have.

And Cleage, who is also a novelist and poet in addition to being a playwright, is nothing if she’s not political. Early on in her career (back in the mid-70s) she worked at a variety of media jobs, most prominently as the press secretary and chief speech writer for Atlanta’s first Black mayor, Maynard Jackson. In addition, she wrote fiery columns in the two major dailies, the Journal-Constitution and the Atlanta Tribune. In 1991 she won the outstanding columnist award from the Atlanta Association of Black Journalists.

As the play unfolds we discover that May’s husband Charlie (played by Abdullah Bey, who manages the neat thespian’s trick of making his mad and deranged character totally likable) had, in the spring of 1964, challenged his fellow college students to join him in going south to register voters during “Freedom Summer.” He accused those students who were reluctant to go of being moral cowards for allowing Whites to fight their battles for them. May listened to him, followed him, and fell in love with him.

On a personal note, I was one of the cowards who did not go south. As a married 21-year-old with two kids and a wife finishing nursing school, I allowed my spouse to convince me that we could not afford me taking the time off work (which was a lie), and I convinced myself that I would not be able to remain non-violent if the face of taunts and beatings — which was immature and probably just another lie to mask the fact I was, at the time, totally pussy-whipped. It’s one of the enduring regrets of my life that I did not participate more actively in the Civil Rights Movement.

This was the summer where three young Civil Rights workers, 21-year-old Black Mississippian James Chaney, and two White New Yorkers, Andrew Goodman, 20, and Michael Schwerner, 24, were murdered near Philadelphia, Mississippi on June 21, 1964. If Klansmen could commit this horrible crime with impunity, what else could they do that didn’t make national headlines? This, then, is the heart of the play.

When local law enforcement found out that May and Charlie were engaged to be married (yes, there were paid Black informants back then too) they were eventually arrested on trumped up charges, and in the basement of the police station Charlie was given a diabolical choice: Either severely beat his fiancée with his belt or they would gang rape her. After attempting to soften the blows, and under increasing threats and duress, Charlie beats May half to death… and then the Klansmen still rape her and make him watch.

After May is taken back to Detroit by her family, Charlie, who remains in the south attempting to finish the work he started, is again arrested and this time his leg is broken in three places, leaving him with a limp that serves as a constant, lifetime reminder of White brutality with every step he takes. His leg heals as best it can, but his mind doesn’t. He is a casualty of the Civil Rights Wars.

By 1997 Charlie has been in and out of mental hospitals numerous times, and each time he’s released May’s hope soars. But this time, almost as soon as he arrives home bodies of White men in their 60s begin turning up with their throats cut. It’s obvious who the killer is. Charlie can no more escape his racial history than we can escape our political history — which, for better or worse, is tainted with race.

The greatest comic of all time (at least by my estimation), Richard Pryor used to tell the story about having a serious, heated debate with a White comic backstage at a comedy club, and when he began to best the White guy with his logic, the N-word was hurled at him. Something similar is happening today in politics. As Obama gains in the polls the national conversation is increasingly turning away from the ideas he’s putting on the table, and towards the color of his skin. This should not be surprising since race is still the thousand pound elephant Whites would rather not discuss honestly… only in coded terms when it suits their agenda. But soon we’ll be hearing that race should not be an issue in the election — this from the same people who have made it an issue in the first place. Not for nothing is it called “Politricks.”

Back to Bourbon May’s tidy little Detroit apartment’s front window looks out over the Ambassador Bridge to Canada. Canada — that almost magical place for Blacks that runaway slaves escaped to beginning in the 1830s; that place where everyone is supposedly treated as political, cultural and economic equals. While realities never quite measure up to mythologies, May and Charlie dream of one day going across that bridge, buying themselves a little plot of land and growing their own vegetables. But right now they are “two desperados sipping bourbon at the border.”

Tyrone, through his ambition and hard work, is about to become a partner in the trucking company where he’s employed, and he uses his influence to get Charlie a job driving a truck. But when Charlie’s drug test comes back positive he’s fired, even though the drugs are legally prescribed by his doctor. The boss, demonstrating a profound lack of understanding and compassion toward a person with a mental illness, refuses to reconsider his decision, in spite of the fact Charlie is performing well on the job.

Charlie sinks into depression over the job loss, and meanwhile a third body is discovered. But this time there is a clue to the killer, but it points the wrong way, towards Tyrone. Faced with the dilemma of helping out a member of his own race, but possibly at the expense of his own ambitions, Tyrone does what so many Blacks striving to escape poverty do — he’s ready to throw Charlie under the train to save his own dreams. He’s not concerned with getting Charlie help, nor does he display any concern for the innocent dead men, his only concern is for himself.

But is Tyrone any different than many other members of the Black community (perhaps myself included), who, due to the limited life and career opportunities we’re presented with, have to put pragmatism before principle? Is Cleage warning us that a people who are subjected to brutal, untrammeled racism over a sustained period, with half its members locked out of prosperity and progress, are at risk of becoming a race of desensitized brutes?

A few weeks ago images of the young thugs who attacked the Shaker Heights man were flashed on the TV screen as they made their first court appearances. I looked into their eyes and was frightened by what I saw: Absolutely nothing. Their eyes were stone, cold dead — as dead as the futures of too many young Black males in America if we don’t do something… and do it real soon.

As for the ending of Bourbon at the Border you’ll just have to wait until the production is mounted again to find that out. If enough people call Ensemble Theatre’s Artistic Director Lucia Colombi and request another run of this fine production… it just might happen.

From Cool Cleveland contributor Mansfield B. Frazier mansfieldfATgmail.com

SPONSORED: Is Clev in the Green? Join us as we continue to explore strategies for “Creating and Sustaining Communities of Choice: NEO’s Green Neighborhoods” with welcome/overview by Mayor Frank Jackson and keynote by Tom Hicks, V.P of LEED (Leadership in Energy and Environmental Design). A local panel discussion is part of this forum, which takes place on Wed 2/6 at 4PM as part of the Maxine Goodman Levin College of Urban Affairs 30th Anniversary Forum Series held at the college (1717 Euclid Avenue). Highlighted will be NEO neighborhood projects that are combining the best practices in urban planning, environmentally sound construction practices and community health in a comprehensive approach to greener neighborhoods. This event has no admission fee and is open to the public. Register: www.urban.csuohio.edu/forum or 216-523-7330.

This week’s most active post on BrewedFreshDaily.com

Pittsburgh’s Pop City is a weekly e-magazine and Web site showcasing the positive and sustained transformation of the Pittsburgh region. Ed Morrison asks “Check out who sponsor… Does CoolCleveland get this level of support from the private sector? If not, why not?”

Read and add your comment here

Cirque’s Saltimbanco

Saltimbanco, the oldest touring show in the Cirque du Soleil repertoire, comes to Cleveland at long last. From the Italian, “saltare in banco,” which literally means “to jump on a bench,” Saltimbanco takes as its theme the urban experience, presenting its exceptional acrobatic performances among décor, costumes, and characters of a decidedly baroque, commedia dell’arte bent.

For the (largely hypothetical) readers unfamiliar with Cirque du Soleil, it all started in about 1985 in a performance festival in Baie-Saint-Paul, Quebec where a bunch of young street performers had a vision of a different kind of circus. Before Cirque du Soleil, the circus in North America had largely English antecedents and had relied heavily on acts built around animals – horses, elephants, lions and tigers.

The Cirque du Soleil aesthetic, as it has come to fruition, eschews animal acts and relies instead on acts centered on human performers. Unlike the old American circus, which presented, like American vaudeville, a sequence of acts unrelated except for considerations of pacing, Cirque du Soleil surrounds each act with strong production values – music, costume, and lighting – in order to integrate that act into an overall theatrical effect.

Saltimbanco started out in Montreal in 1992 as a tent show and toured widely in South America and Europe before coming back to North America where it was reconfigured as an arena show, making its North American premiere in London, Ontario in July of 2007. Saltimbanco’s reconfiguration from a tent show to an arena show involved a significant increase in the cast from 36 to 47 performers. Setup and tear-down time has been radically improved; the old tent show took 9 days for setup and 2.5 days for tear-down; the new arena show takes only 9 hours for setup and 2 hours for tear-down.

Like all the Cirque du Soleil shows, Saltimbanco has a very nicely produced DVD which we watched in order to write this preview. How is it? Mind-boggling, like all Cirque du Soleil shows. Generally, we like the Cirque DVD’s for their ability to focus the attention and to provide close-ups; we look forward to the live show so that we can take in the whole picture for ourselves. Another general consideration, the acts and casts of Cirque’s touring shows change somewhat; there’s no guarantee that the live show corresponds exactly to the DVD.

The hour and 20 minute DVD starts out with a little nuclear family of adagio dancers; father adagio dancer, mother adagio dancer, and preteen son adagio dancer. A small scale, relatively low key opening act but chock-full of amazing moments. The scene changes are fun, with the chorus distracting the audience from the mechanics of set changes, though we’re guessing that the operation of the set will be interesting to watch in its own right.

The largest scale, most spectacular act has to be the Russian Swing, from which the acrobats leap as if shot from a cannon to land safely on a large crash pad. Lower key and not so obviously death-defying were 4 guys in aerial bungee harnesses.

Was the juggler impressive? Heck, we’re impressed by the kids in our neighborhood dribbling a basketball between their legs. In the DVD it’s a male juggler who juggles 3, 4, 5, 6 balls in the air and off the floor. When a clown gives him a 7th ball, he double-takes rather nicely before managing 7 balls at once.

A woman in pink on uneven tight ropes, 2 women on trapeze, 2 men in a spectacular hand balancing act – the acrobatics is amazing beyond all reasonable expectations, but the production values are just as rewarding –even for snarky ballet geeks like us.

Circus – sawdust and tinsel — used to be an exercise in low culture but Cirque du Soleil reclaimed the circus’ right to intellectual, aesthetic and emotional content.

There are 7 not 6 performances at Wolstein Center. Tuesday 1/29/08 thru Friday, 2/1/08 at 7:30 pm and Wednesday thru Friday at 3:30 pm. Tickets for adults $35 to $65; for children under 12 years old $31 to $52. On sale at Wolstein Center Box Office, by phone in Cleveland at 216 241 5555, in Akron / Canton at 330 945 9400, or online at www.cirquedusoleil.com.

From Cool Cleveland contributors Elsa Johnson and Victor Lucas vicnelsaATearthlink.net

GroundWorks & Verb @ PSC

Two of the best local dance companies perform at Playhouse Square this weekend, Ground Works Dance Theater on Friday and Saturday and Verb Ballets on Saturday. Think of it as one big double feature dance concert spread out over Friday and Saturday nights and don’t miss a thing.

Both companies made surprise announcements of national recognition and auspicious bookings in NYC when we last phoned them. Verb will be featured in the February 2008 issue of Dance Magazine as one of several small but noteworthy dance companies, and Verb’s executive director Margaret Carlson told us that “the Joyce Theater is sending a representative to see the company for potential bookings.” Ground Works will be performing at another theater in NYC, West End Theater, in March of 2009 according to the company’s artistic director, David Shimotakahara.

Ground Works’ world premiere was choreographed on the company by Zvi Gotheiner to music by boundary-hopping composer Terry Riley. “It’s a very beautiful, very powerful piece for all 6 of our dancers,” said Shimotakahara, who described Gotheiner in terms of his process. “Zvi is a very affirming man to work with; part of his process is to find out what each dancer has to give, and ultimately it’s not just about feeling good and comfortable but being able to go outside your own comfort zone.”

Another way to describe Gotheiner is as an emerging choreographer based in NYC whose company performs in roughly the same venues and to the same critical reception as another Ground Works guest artist, Keely Garfield. Gotheiner’s also a well-respected dance teacher in NYC, most notably as a company teacher for the Alvin Ailey American Dance Theater.

Shimotakahara says that the 20-minute Gotheiner premiere will close the program so we’d guess that the program will open with “Always,” guest artist Gina Gibney’s sweet and sad suite of dances about love-gone-wrong set to the songs of Patsy Kline.

Also on the Ground Works program, Shimotakahara’s duet, “Know,” which undergoes a couple of sea changes. Originally choreographed on 2 men, “Know” will be danced at this concert by Amy Miller and Felise Bagley. The music, 10 or so of Leonard Bernstein’s “Anniversaries” for solo piano, has been transposed by George Pope and will be performed live by Solaris Woodwind Quintet.

Dance works are being variously reworked for the Verb concert, too. Artistic Director Hernando Cortez’ “Frontrow” reportedly expands upon his earlier piece, the 11-minute “Backlash” (2005). That’s good news for us, for we liked Cortez’ jazzy, neoclassical choreography and designer Gina Dudek’s beautiful, iridescent shorts and halter tops for “Backlash.” For “Frontrow,” Cortez adds to the mix recorded music that composer David Lang describes as “ominous funk.”

The bad news is that the original score for “Backlash,” Cleveland composer Eric Ziolek’s jazz-influenced “Verbtuosity,” will not be presented live as originally announced.

For “Song,” Cortez reworks his earlier piece, “Wayfarer’s Song,” set to the Gustav Mahler composition of the same name.

Also on Verb’s program, 2 pieces by the late Heinz Poll, his most successful ensemble piece in his German modern dance mode “Bolero” and, with live music performed by Greg Fiocca on cello and David Fisher on piano, the neoclassical “Duet.”

GroundWorks performs 8PM Friday and Saturday January 25 & 26 at the Westfield Insurance Studio Theatre in the Idea Center at Playhouse Square on January 25 and 26. Verb Ballets performs 8pm Saturday, January 26, 2008 at the Ohio Theatre in Playhouse Square. Call 241-6000 or visit http://www.playhousesquare.org for more info.

From Cool Cleveland contributors Elsa Johnson and Victor Lucas vicnelsaATearthlink.net

Lit Chick
Judith Mansour-Thomas Reinvigorates Cle’s Literary Nonprofit

Judith Mansour-Thomas won’t mind if you call her a lit chick. As Executive Director of The Lit, formerly the Poets’ and Writers’ League of Greater Cleveland (PWLGC), literature is her business. Mansour-Thomas has led the organization through a re-branding process, a move to a new home in the ArtCraft Building on Superior Avenue, and the revamping of Ohio Writer magazine, and she’s done it all in just her first year on the job.

Mansour-Thomas came to The Lit via the Museum of Contemporary Art (MOCA), however, literature has always been her first passion. She says, “I very much enjoyed my position at MOCA; it afforded me the opportunity to learn a great deal about contemporary art while at the same time participate in the growth of an organization that the city really values. In fact, when I was first contacted to interview for the Executive Director position at PWLGC, I declined. Some weeks passed, and I had a nagging feeling that I was possibly passing up an opportunity to return to the art of words. Upon reading the job description and talking with a few of the key people on the search committee, I was determined to have the position. It felt like the job I had long been working toward—I just hadn’t known it.

The Lit was founded in 1974 as the Poets League of Cleveland. In the late 1990s, the organization merged with Writers of Greater Cleveland to form The Poets’ and Writers’ League of Greater Cleveland. Mansour-Thomas notes that “The decision to re-brand had been made by the board and strategic planning committee prior to my arrival, so I can’t accept credit for that decision. However, upon my arrival, I began to work with the board, as well as the firm BTZ Brand, to really identify our strengths, weaknesses, and core mission so that we could actually define who and what we are. People felt that that old name was too narrow a construction for the scope of programs that we offer and that we want to offer. And PWLGC doesn’t exactly roll off the tongue.”

She adds that the name “Poets’ and Writers’ League” was redundant, because “Poets are writers. It forces people into a dichotomy and it doesn’t say anything about drama or any other written art form. Literature is all-encompassing.”

The PWLGC had often been informally referred to as “The Lit,” and Mansour-Thomas and the members of the strategic planning committee unanimously agreed to make that the organization’s new name. “The organization focuses on the art of literature,” she says. “Poetry, drama, fiction, memoir, lyrics, or what have you. For nearly 40 years, we’ve been in the business of helping writers of all genres to grow and improve their craft. We support writers in their quest to create literature. The name “The Lit” just seemed to make sense.”

A gala bash at the organization’s new home on December 8th introduced the new name and logo. The move to the ArtCraft Building adds a new layer of accessibility to the organization. While the former digs on Fairhill Boulevard were beautiful, the location was inconvenient to those on the west or south sides. The geographically neutral midtown location also allows The Lit to play off of and contribute to the synergy of other small to mid-size arts organizations that have committed to the revitalization of the Midtown Arts District.

The new 1,600-square-foot gallery-like space allows ample room for classes or readings. Mansour-Thomas hopes to offer more programs that support the output of local writers and that encourage the public to read the literature generated by area writers. To that end, The Lit is developing book clubs around the city that will focus primarily on local work.

As part of the re-branding process, Ohio Writer magazine is being redesigned in terms of content, frequency, and aesthetics. It also has a new name—Muse. Mansour-Thomas wants “to transform Muse into a journal for this region in the same way that other regions have Ploughshares, The Sun, Glimmer Train, or Best American Voices. I hope to create a juried platform in which area writers want to be published.”

Mansour-Thomas is taking on the role of editor for the journal, which begins publication as a quarterly in January 2008. The premier issue is scheduled to be in subscribers’ mailboxes by late January. “It’s my intent to publish and promote only the highest quality writing, regardless of genre,” she says. In addition to poetry, fiction, essays, short plays, novel excerpts, and book reviews, the journal will also profile area writers and publish a listing of literary-related events. Booksellers interested in carrying Muse should contact The Lit directly.

It should be noted that The Lit is not just for writers—it’s an organization for all those who love words. Mansour-Thomas believes that literary artists deserve the same type of support that museums, orchestras, and dance organizations receive. In order to be supported, writers face a greater challenge than other artists. She notes that, “We hear music in elevators, the dentist’s office, and in cars. We see artwork hanging on the walls of restaurants, coffee shops, and offices. We don’t ever hear poetry or drama being read while we passively wait. Literary arts require investment, not passive appreciation.” While you probably shouldn’t look for a poetry slam in the waiting room at your doctor’s office any time soon, giving Northeast Ohio writers a literal and figurative home is a strong start towards the creation of a broader literary community.

Mansour-Thomas adds that anyone can help support the regional literary scene by supporting local authors and local booksellers, by attending readings, and simply by reading. So take the Lit Chick’s advice: the next time you’re looking for something to read, check out the local authors section of your neighborhood bookstore or, better yet, attend a reading (visit the-lit.org for a listing of upcoming events). Better still, join The Lit (membership includes a subscription to Muse and a discount on classes).

To have an event included in the listings, send an email to Peggy Latkovich, Listings Editor, at peggy@the-lit.org. Mansour-Thomas invites suggestions and ideas from the public regarding classes or other programming at judith@the-lit.org. Submissions to Muse can be sent to: The Lit, 2570 Superior Ave., Suite 203, Cleveland, 44114.

Visit http://www.pwlgc.com for more on the Mansour-Thomas, the Lit and the fruitful programming schedules they offer.

From Cool Cleveland contributor Susan Petrone theinkcasinoATadelphia.net

Cemeteries of Northeast Ohio
Vicki Blum Vigil
Gray & Company, Publishers

God’s Acres are not what they used to be. “It’s a book about cemeteries,” I responded, as I sat in the doctor’s office, my leg moving to the beat of the music overhead. The man who had asked the question looked as if he was in pain when I continued, “it’s a fascinating read, truly. I love cemeteries.” Cemeteries of Northeast Ohio, Stones, Symbols and Stories by Vicki Blum Vigil is a good conversation starter, but it won’t get you a date.

There are people who share my love of cemeteries, but most folks look at me as if I’m from another planet when I tell them I spend hours reading tombstones, or oops! stepping on graves. Ms. Vigil’s book highlights the history of our region from the early New England settlers who came for the promise of land, to the Native Americans they displaced and the famous and infamous who once walked among us.

The book is easy to follow with cemeteries listed by county, then alphabetized by city with information any good treasure hunter seeks, such as addresses, caretakers, phone numbers and if available, websites. Ms. Vigil guides us through their gates and to the final resting places of its permanent inhabitants. Sometimes all that is left of an original cemetery are a few stones, but she doesn’t neglect them, in favor of the largest ones among us. She includes photos of interesting gravestones, pictures of famous people buried under them, and fascinating epitaphs. I would have liked even more photos!

This work is as complete as historical records allowed. Did you know that many cemetery records are kept at the local township or city offices? If you’re a genealogist, that could be an important thing to know when searching for your ancestors. For Civil War buffs, there are soldiers from both sides of the conflict buried here, former slaves, and abolitionists to discover. Great inventors like Garrett Morgan, who invented the gas mask and traffic light, and William Barnard, who invented the Vita-Mix® machine/blender/juicer, plus Cleveland Indians player, Lucious “Luke” Easter, who hit the longest home run ever in Cleveland Stadium, are but a few of the people profiled.

Graveyards come in different styles, some with flat tombstones where the landscape seems more important, while others have standing stones in overgrown gardens. Collectors of old plants enjoy discovering heirloom seeds among the stones. Breathtaking sculptures of angels adorn other cemeteries, and rolling hillsides that look as if they are waiting for picnic goers grace others.

As I read the book, I was intrigued with the older cemeteries where the dead are long forgotten in the 21st century, where as the commercial says, life-comes-at-you-fast. I imagined a follow-up book with pictures of each grave, cemetery by cemetery with inscriptions listed beside them, so we will always know what they intended to say. Maybe also a data base with details including birth and death dates, last names, occupation, epitaphs, etc. These weathered stones provide poetry, artwork and a way of life that is both fascinating and foreign to us today.

Ms. Vigil shares with us the history of Northeast Ohio through stories and anecdotes of those that came before us. While reading the book, I was inspired to make a list of all the graveyards I intend to visit in the spring. If you’re curious, but don’t want to visit every cemetery, she provides a handy index listing names, and the page number (in the book) where the cemetery is described. The book highlights those fallen in war, including a comprehensive list of Revolutionary War Veterans.

I was saddened to learn that many graveyards are neglected, with many old stones so vandalized or weathered as to become unreadable. It is apparent that sometimes cemeteries are forgotten until a church, city, grassroots organization or historical society steps in to reclaim them. We must protect the graves of our ancestors. It is quite simply the right thing to do. Thank you, Vicki Blum Vigil for guiding us through the Cemeteries of Northeast Ohio.

From Cool Cleveland contributor Marsha Cappy mcappyATcapsil.com

Learn more about Cemeteries of Northeast Ohio by visiting the Gray & Company website at http://www.grayco.com/cleveland/books/10258/index.shtml.

Links to interesting NEO blogs

E. 71st and Euclid is the new tech hub.
We’ve got a ways to go before there’s plenty of local production for local consumption.
Cimperman made Missing posters for Kucinich and delivered one to his Lakewood office while a staffer taped the episode. Kucinich has asked Homeland Security to badger Cimperman. Brilliant.
Does Kucinich intend to debate his primary opponents?
Chicago Trib recognizes Cleveland as a dining destination.

Old Favorites
Whiskey Daredevils
Knock Out

It’s uncouth and out of bounds for a critic to profess a blind love for a band. But as the years wear on, I must say that I love our Whiskey Daredevils. They lay down their alt-country and punkabilly grooves fast and loose, with five wry smiles and tongues planted firmly in cheek. Their last two efforts, Greatest Hits and The Essential offered up racuous sonic bedlam, with mostly new work packaged in a way befitting a Best Of collection (which, of course, ended up being completely accurate in some sense anyway). No sooner had I recovered from Essential, then Old Favorites arrived — offering rollicking, good-time covers of everyone from Fear, Minor Threat and Circle Jerks, to the Butthole Surfers, Motorhead and Sex Pistols. It’s a collection of “lost recordings,” they say. I say, there’s nothing lost about them: the Daredevils found all 14 cuts and nailed every single one of them in spectacular style.

You know you’re in for a treat even before the first strains of Minor Threat’s “Straight Edge” pour out of the speakers; the Johnny Cash as Evel Knievel CD cover sees to that quickly. Fun is the call of the affair, with covers “Love Me Like a Reptile,” the Dead Kennedy’s “Let’s Lynch the Landlord” and Black Flag’s “I Don’t Care” topping the list of inspired rockers. Singer Greg Miller and the rest of the gang — Dave Bowling (rhythm guitar), Bobby Lanphier (lead guitar), Ken Miller (bass) and Leo P. Love (drums) — “fry up” these cover versions with every bit of tasty twang they can muster. And any band that can seemlessly merge Bad Brains and Led Zep is OK in this reviewer’s book. HOT!!!

Look, cover albums and tribute records are almost always a mixed bag. Recorded and mixed by Clint Holley at the Beachland Ballroom last summer, Old Favorites is anything but. Not only will it reframe how you feel about these punk and hardcore classics, it’ll give you something to smile about… which is a tough order for a January in Cle-town. Whiskey Daredevils make it tough to be a critic; good luck being objective about them yourself after hearing this wicked little gem.

Listen to their take on Minor Threat’s “Straight Edge” by clicking here.

Whiskey Daredevils open for the Supersuckers at the Jigsaw, 5324 State Rd., this Saturday January 26 at 10PM. For more info on the Jigsaw, visit http://www.myspace.com/jigsawsaloon. Check out the Daredevils at http://www.whiskeydaredevils.com.

From Cool Cleveland Managing Editor Peter Chakerian peterATcoolcleveland.com

Wanna get reviewed? Send your band’s CD (less than 1 year old) to: Cool Cleveland, 14837 Detroit Avenue, #105, Lakewood, OH 44107

Name Doesn’t Matter; $56 Million Does

The deck was always stacked. But it has been re-stacked and re-stacked by our generous city and county leaders.

The original lease between Gateway and the Cleveland Indians in 1991 gave the naming rights revenue to Gateway to help pay for the stadium and arena. That seemed quite fair. After all, little other revenue was headed to the entity that built the project.

However, when Progressive Insurance recently signed a deal to pay naming rights of $3.6 million a year, or $56 million over 16 years, not a penny will go to Gateway. More important, not a penny will go to pay back Cuyahoga County the hundreds of millions of dollars owed county taxpayers.

The $56 million all goes into the pockets of the Dolan family.

This deal reveals how, no matter the circumstances, government now serves the wealthy at the expense of the ordinary citizen. And – to the detriment of our democracy – the ordinary citizen remains unaware or unconcerned.

So the $56-million goes into the pockets of Larry Dolan, baseball team owner.

What happened?

You can read all the Pee Dee coverage – as out of proportion as it was – but you are not told about the switch or why or how it happened.

Reality seems to escape the Pee Dee, which is not unusual under the editorship of Susan Goldberg. She goes for dramatic, splashy graphic displays on her front pages, preferring skimpy information or, as she might call it, news.

The Pee Dee in a second-day story heralded the naming rights deal across its front page. The coverage went 12 inches deep and six columns wide on Page One. You would have thought the city made substantial economic gains for its citizens.

The 72-inch display was dominated by 49 square inches of valuable space dedicated to a silhouetted photo of the stadium upper deck bank of lights used to illuminate the field. How thrilling. Of course, the display came with a huge headline: “Goodbye ‘Jake.’” Such a tug at the heart.

Good show, Goldberg. Give the People circuses must be her motto.

Goldberg’s front pages have been atrociously fluffy, though a recent front-page drama had a five-inch deep headline: “CAN THE CITY SURVIVE JACKSON’S ASSAULT ON GUNS?” Survive? It was accompanied by a nine-inch long photo of Mayor Jackson’s face. PD “reader representative” Ted Diadiun, apologist of apologists, even found fault. The headline didn’t even flow from the article, which was more reasoned.

Who are we scaring? Why not a tabloid, Ms. Goldberg?

A more recent five column, nearly 14 inches deep on Page One, was given to American Idol, a TV show. “Are networks pushing too big a dose of reality?” said the headline. I ask: Is the Pee Dee pushing a big dose of thin pap every day on the front page?

Now back to the reason Gateway didn’t get any of the $56 million, as originally negotiated.

A few years ago, Gateway was in such embarrassing financial straits because of the bad deals made on the leases that the Indians and the Cavaliers had to rescue Gateway, not out of charity but because a bankruptcy would have damaged both teams and their owners. (The Gunds paid no rent ever and the Indians not very much since the two teams were deducting all kinds of expenses from their rent.)

So in order to save the embarrassment and predicament of bankruptcy of a successful and nearly new stadium and arena, the two teams decided that they would pay minimum operating expenses of Gateway.

In exchange, Gateway erased their rental obligations and allowed the two teams to take other revenues, including the naming rights revenue.

The Pee Dee, which never wanted to cover Gateway critically, ignored the gritty details. Therefore, if reporters today wanted to go back to the paper’s files to learn about the past, well, it’s not there. The Pee Dee coverage, particularly after Gateway began running the operation, has been pretty blank on economic issues. PD sportswriters are simply AWOL.

In this deal, the operating costs for Dolan for 2008 are set at $1.9 million, according to Gateway documents. So Dolan pays $1.9 million but walks away with $3.6 in naming rights revenue that previously would have gone to Gateway. Extra profit: $1.7 million.

So by “saving Gateway,” the owners enrich themselves.

The Cavaliers, of course, changed the name of Gund Arena to Quicken Loans Arena, free advertising for Quicken owner Dan Gilbert who bought the Cavs from the Gunds for $375-million.

The Cavs for 2008 are assessed $1.2 million by Gateway for operating expenses. This likely is much less also than the cost of the naming rights for the arena.

Back when Gateway was trying to originally sell the naming rights, Steve Strnisha, then city treasurer and a Gateway board member, said, “The companies that are interested are ones that have a need to reach consumers and see this kind of visibility as helpful… The quality of these facilities is going to be such that they’re going to get both regional and national attention.”

There was talk that Society Corp., a Cleveland bank, wanted the naming rights to the entire complex at $18 million. At the same time, the bank was cutting 330 employees from its payroll; similarly Progressive currently has been cutting employment.

But Gateway ended up, not with Society or Key as sponsor but with Gund and Jacobs. Wonder where they got those names?

That gets us to the second part of this corrective update. Not that anyone at the Pee Dee would care about the true facts.

Cuyahoga County earlier this month paid Gateway bond holders $3,533,992 for 2007. The County had already paid $99 million on these extra bonds used to finance Gateway for the Jacobs and the Gunds and now Gilbert and Dolan families. Some bonds go to 2023 so payments will continue.

The bond borrowings went to pay for the increased cost of the two facilities – costs that had skyrocketed during construction. But Tim Hagan and Michael White spared no public subsidy to give the owners what they wanted.

The total bill for this year was some $10,259,088, including $75,399 in fees. The bond pros always take their cut.

Most of the rest of the cash to reach the $10 million came from the City of Cleveland.

The down-and-out City of Cleveland contributed more than the County did this year.

First, $3,716,397 in admission taxes from the Q Arena didn’t go to the city, as the city’s admission taxes normally do, but was diverted by prior agreement to the bondholders to help pay the debt.

This is one of the cute tricks City Council and Mayor White used to finance these private con artists.

Then the city paid a one-time payment of $354,700 on September 4, 2007 as an annual payment the city had indebted itself for due to loans made for Gateway.

On December 24 – a Christmas Present to Gateway – the city sent the county another check for $2,984,700. That amount is a one-time and full payment of future $354,000 annual payments that were scheduled over an 11-year period. The city’s debt on loan is thus paid in full. The funds came via excess “sin taxes” for Gateway that flowed to the city and not from any current city money.

If all this confuses anyone, there’s a simple guide to follow.

You, the taxpayer, have been screwed royally and the rich owners continue to be enriched very, very handsomely.

WKYC’s Donovan Shills for Browns

Chirpy, bouncy Jim Donovan of WKYC-TV loves the Browns.

Well, it’s his paycheck. Or two.

Donovan is called the “voice of the Browns,” working games at WTAM-Radio. He also does work for the Cleveland Indians.

NBC’s WKYC-TV, Channel 3, likes to portray itself as The Serious television news channel. Straight up and factual. And, in some important ways it does take a more serious approach.

However, allowing Donovan to do commercials for the Browns breaks the rules. Reporters are supposed to report, not cheerlead and certainly not work for the people he or she is covering.

Would it be alright if Tom Beres, the political writer, did some political work on the side for a candidate? Of course, it wouldn’t and WKYC wouldn’t allow it.

It would obviously damage his credibility and the news division’s credibility.

So why break the rules for the exuberant Donovan?

News director Rita Andolsen didn’t return a call to find out the station’s rationale for allowing a reporter to be a spokesperson for the people he supposedly covers.

Sports are now very big business. However, they are treated as if the teams and players are competing as amateurs for charity by the “reporters” who cover them.

Kucinich Tests the Fates Again

Dennis Kucinich screwed up so badly as Cleveland mayor that he gave us Mayor, Governor and Senator George Voinovich, almost three decades of the Republican politician.

It’s unforgiveable now that Presidential candidate Dennis – apparently out of pride and ego – will give us Congressman Joe Cimperman. Cimperman plays a politician of the people. Yet he follows the agenda of the downtown greed gang. He as happily feeds on their money as eagerly as athletes do on growth hormones.

Get out of the Presidential race, Dennis, or suffer the wrath of voters who have more sense than you apparently do.

Likely, only the overly-ambitious Cimperman himself, playing the eager fool, can save you. You must know that the Pee Dee and Tee Vee will be as avidly in favor of Corporatist Cimperman as it is ardently against you.

Cimperman apparently feels voters appreciate a fool who goes to the home and office of his opponent with cameras hoping to score points by juvenile harassment.

However, I wouldn’t bet on foolishness to save you from yourself.

The voters this year are much more solemn and serious than the candidates. They sense the impending tragedy for America of Republican and Democrat misrule.

County Deal Doesn’t Inspire

There should be no cheering the sale of the County’s ill-executed deal for Dick Jacobs’s E. 9th complex until the $35 million is transferred from the developers, the K & D Group, to Cuyahoga County’s treasury.

I’m not holding my breath.

Right now I simply read the heralded deal as somebody has saved County Commissioner Tim Hagan and Jimmy Dimora from their embarrassing debacle of having purchasing something which they had not the resources to accomplish.

It should go down as another of the white elephant deals of this generation’s sold-out political leadership.

The Pee Dee display – accompanied a fanciful 81 square inch Page One drawing – offers much more than we can expect for years ahead, if then.

What needs to be watched is how many years these developers will hold onto these properties without any development.

I’d like to be wrong but I don’t like the smell of this deal. Doug Price and Robert Corna do not inspire much confidence for me.

From Cool Cleveland contributor Roldo Bartimole roldoATroadrunner.com

Quick reviews of recent events
Submit your own review or commentary to Events@CoolCleveland.com

I Have Before Me a Remarkable Document Given to Me by a Young Lady From Rwanda @ Tri-C East Black Box 1/11 Dobama’s production of Rwanda is typical Dobama. As it has done over and over, Dobama is showcasing yet another theatrical gem. The lightly financed theatre with no home, just keeps coming up with the right script, the right cast and the right director as it wanders the Cleveland landscape.

This is a touching, humorous, meaningful story of the emotional and intellectual relationship between Juliette, a young woman who was a survivor of the 1994 Rwanda massacres, and Simon, a British poet who tries to help her write her personal story. In the process, he finds his literary voice and psychological substance, and she finds a meaningful life.

The play has been called “A remarkable achievement… a stirring tale of human bravery in the face of adversity.” And, “an important, timely piece of theatre that manages to explore political issues and express moral outrage without ever once lapsing into moralizing and political rhetoric.”

Sonja Linden, the play’s author based the material on an experience she had while working at the Medical Foundation for the Care of Victims of Torture. She met a young woman from Rwanda, whose impulse to write had started in a refugee camp shortly after the murder of her entire family. What began as a testimonial act became a journey of healing, which resulted in her feeling once again ‘clean.’

As the daughter of refugees from Nazi Germany, Linden felt compelled to draw attention to the appalling situation in Rwanda so that holocausts like this “would never happen again.”

Dobama’s production is outstanding. Director Brian Zoldessy grasps the concept and has brought all the correct nuances into play. The production moves smoothly, accenting the humor and pathos in just the right ways.

Scott Miller develops Simon perfectly as the angst-filled and frustrated British poet. At the start we realize that Simon has lost his productive voice. As the play proceeds we experience his getting in touch with the emotions he needs to return to be his creative self. Miller does an excellent job of nonverbally transition from emotionally frozen to emotionally euphoric.

Andrea Belser makes Juliette live, she inhabits the role. We feel her terror, we experience her losses, we silently cheer for her to achieve her goal, we revel in her reattachment with a family member, we are driven to understand the horror of horror.

Richard Ingraham’s sound design adds great depth. The sounds of Rwanda underscore the beauty of the country and the misery of yet another senseless destruction of precious human life.

Capsule judgment: What a way to start a new theatrical season!!! This is a must-see production! Bravo, Dobama!

From Cool Cleveland contributor Roy Berko royberkoATyahoo.com http://royberko.info.

Exceptions to Gravity @ Ohio Theatre 1/12 If you were not one of the fortunate theatre-goers who witnessed the performance of Avner the Eccentric in Exceptions to Gravity, you missed one fun time. If you didn’t take your children or grandchildren to see Avner, you deprived them of an experience they would not quickly have forgotten.

As is the case with shows that are “child-friendly,” I took my grandsons (Alex—12, Noah—10 and Ian—7), who have picked up the tag-name “The Kid Reviewers,” to see the show presented by the Jewish Community Center and Playhouse Square Center. Their evaluation? A perfect 10 out of 10 from each of them. Noah wanted to know if he could give Avner a 12, but rules are rules, so 10 it is.

Take a creative elder statesman, add a broom, a sweater, an alarm clock, a hat, popcorn, paper cups, a ladder, a newspaper, toilet paper and napkins and you have all you need for a show of magic, illusion and audience pleasure.

Avner Eisenberg has the knack of knowing how to “play an audience.” He jumps off the stage, has the light person bring the illumination up and down to introduce his coming down into the audience, plays around with those in the front rows, and then sets the mood for his on-stage shticks. He “scolded” the late comers. He took a paper away from a man in the second row, proceed to rip it up, balance the pieces on his nose, and then put it back together. He made people change seats. He grabbed a purse from one woman and proceeded to pull out a roll of toilet paper, much to her embarrassment. He had some female in the first row kiss his “boo-boo” every time he did a prat-fall.

Avner balanced a 20-foot aluminum ladder on his forehead, ate 15 napkins, divided the audience into sections and had one group stomp on the floor while another moaned and yet another screamed louder and softer as he conducted his “human orchestra.” It was all totally delightful. And, he did the whole 90-minute show without saying one word!!!

Ian had difficulty staying in his seat. He wanted to be part of the action. His brothers had to grab him a couple of times as he vaulted toward the stage. Alex was laughing so hard at one point, he slipped off the chair. Even “cool and controlled” Noah was hysterical.

”Capsule judgment: Avner the Eccentric was Avner the delightful in his recent Ohio Theatre performance. If you missed it, you missed a show that the Kid Reviewers called “great,” “terrific,” “funny,” “hysterical” and “my favorite play, ever!”

From Cool Cleveland contributor Roy Berko royberkoATyahoo.com http://royberko.info.

Proof @ Actors’ Summit 1/13 Is there a thin line between genius and mental illness? Can a person “burn out” when s/he gets near the age of 40, no longer able to muster up the deep thoughts that appeared so easily in their early twenties? Can a woman be a mathematical genius? These are only three of the questions broached by playwright David Auburn in his prize winning play, Proof.

Proof centers on Catherine, a young woman who has spent years caring for her father, Robert, who was a brilliant mathematician in his younger years. As he passed forty, he lost his acuity. He wrote continually, but the material was irrational. After he dies, Hal, a former student, probes into his ramblings with the hope of finding something worth publishing, thus pushing ahead Hal’s stalled career.

With Catherine’s help, Hal discovers a paradigm-shifting proof about prime numbers in Robert’s office. He assumes it was Robert’s work. Catherine claims the proof was conceived by her. Hal questions this conclusion, doubting that a woman with little in-depth knowledge of mathematics could create such brilliance. His reaction not only ends their relationship, but brings front-and-center Catherine’s fear of following in her father’s footsteps–mathematical genius and mentally ill.

Proof was awarded the 2001 Pulitzer Prize for Drama and the Tony Award for Best Play.

What’s interesting to many is that Auburn attended the University of Chicago where he studied political philosophy, not mathematics. In reality, it matters little as there is no actual inclusion mathematical concepts. This should relieve those who fear the show because it might be too abstract and technical.

Actors’ Summit’s production, under the guidance of Wayne Turney, is excellent. It is well paced and each of the actors develops a clear character.

Constance Thackaberry gives the right edge to her performance as Catherine. Is she a clone of her father… brilliant and on the way to insanity? Or, is she the product of her sister Claire’s attempt to control her out of guilt for the failure to provide aid to their father as she plotted her own life track? You’ll leave the theatre appropriately asking those questions.

A. Neil Thackaberry gives a meaningful performance as Robert. He walks the line between insanity and brilliance with surety.

Alicia Kahn is properly up-tight as Catherine’s sister, Claire. Her pronunciation, body language, clothing, hair style and attitude are character perfect.

Keith Stevens is on-target as Harold Dobbs, Robert’s former student.

Capsule judgment: Actors’ Summit’s production is a well conceived production of an excellent script. There isn’t a weak link in the production chain.

From Cool Cleveland contributor Roy Berko royberkoATyahoo.com http://royberko.info.

Avenue Q @ Playhouse Square 1/15 I saw a somewhat raunchy, adult musical puppet show at PHS that had me laughing hysterically, continually (and somewhat involuntarily) called Avenue Q. I’m certain that it evoked the kind of deep belly laughs that erased years of stress, plaque and free radical damage. I found the adult puppet humor to be well written, well acted and the puppeteers were talented singers that seemed to dance a well choreographed sonata, changing puppets and throwing voices throughout the performance. The subject matter included love, sex, racism, greed, poverty, success and porn. That’s right, puppet porn. And the unusual storyline included unique songs like “Everyone’s a Little Bit Racist.” A guaranteed night of laughing, cackling and the occasional embarrassing snort. From Cool Cleveland correspondent TL Champion. TL@coolcleveland.com

George Gershwin Alone @ Cleveland Play House 1/16 The standard theatre formula usually runs like this: Audience members sit in the audience and watch the performers act on stage. However, Hershey Felder, creator of the George Gershwin Alone (January 15-February 3) story project and talented star of this production, adds a surprising twist to his one-man show. At the conclusion of the performance, Felder explains that back in Gershwin’s time, during the 20s and 30s, after rehearsing or performing his music, people would go back to Gershwin’s home to mingle, nosh, and gather around the piano for more music. These were especially fun times with a social and intimate atmosphere.

Talking to the Drury Theatre audience in similar fashion, he invites us to request familiar Gershwin songs that we sing together. Felder continues to have the audience in the palm of his hand; we shout out “Summertime,” “Lady Be Good,” “Embraceable You” in response. He sits down at the keyboard and leads the audience in song, periodically selecting singular alto and soprano voices if they want to do brief solo renditions. We all have a good time and a few laughs singing Gershwin hits together. Not only is Felder masterful in convincing the audience of his Gershwin personality and musical talent, but we effectively learn about the artist and that time in history as well. Sadly, Gershwin’s life was cut short in 1937 from a brain tumor when he was only 38.

Prior to the world premier of George Gershwin Alone in 1999, Felder conducted extensive research about George Gershwin and his music. The family gave Felder access to all of his manuscripts, papers, and recordings. Interviewing Gershwin friends and family members, Felder intertwined the different descriptions of the man into a solid human portrayal. George’s brother, Ira Gershwin, was an American lyricist who partnered with him in producing musicals for many years.

George Gershwin Alone is the third movement of a trilogy entitled “The Composer Sonata.” Hershey Felder and director, Joel Zwick, are major players in the production team responsible for the three movements in this trilogy highlighting Beethoven, Chopin, and Gershwin, their lives and their work. Felder performs as Fredrick Chopin in the Cleveland Play House production of Monsieur Chopin February 7-10. Beethoven, As I knew Him, will have its world premiere in San Diego in May 2008.

From Cool Cleveland contributor Susan Schaul susn1ATatt.net

George Gershwin Alone @ Cleveland Play House 1/16 Hershey Felder as George Gershwin Alone is the sort of production that you could happily go see multiple times, and each time find something different in it. And you will like all of it, every time.

One would think that Hershey Felder was channeling George Gershwin at some point in his life, in order to find all these delicious little tid-bits with which to entertain us—and obviously himself—as well. The music is endless and seamless, effortlessly presented, whether played on the piano or sung. It’s just spectacular. And that’s not counting the happy sing-along that follows after. That’s beyond spectacular.

George Gershwin was not properly appreciated during his all-too-short lifetime, which is a shame. Still, it’s great to have the rich legacy he left behind, so that new audiences can learn to appreciate this first really great American composer. When you think of the variety of his output, your mind boggles–unable to completely comprehend the scope of popular songs, Broadway hit shows, tunes and film scores, plus concert (Rhapsody in Blue, Concerto in F) and ballet music (American in Paris) opera (Porgy and Bess) plus chamber music. His Lullaby for String Quartet is among the loveliest pieces of music ever composed—for any purpose whatever.

Mr. Felder brings out plentiful little details that only a determined Gershwin scholar could have known before this production. To be able to put all these bits together, while playing and singing such complicated music is incredible, but the man is also a gifted ad-libber.

It’s true that this is somewhat of a Gershwin’s Greatest Hits type of presentation, but that’s certainly not a complaint. In the guise of Gershwin, Mr. Felder moves around the rather simple set, made to resemble a studio or workroom, the centerpiece of which is the Steinway concert grand piano, with a mirror slanted overhead, reflecting his hands dancing over the keyboard.

The set was designed by Yael Pardess, lighting by Michael T. Gilliam, sound by Jon Gottlieb, and direction is by Joel Zwick. Mr. Felder is responsible for the book, while all the music is original Gershwin.

As enjoyable as the formal part of the evening is, it’s the ‘encore’ that totally brings down the house. Holding bound copies of Gershwin’s music in his hands (conveniently stored in the set’s desk) he casually informs the audience that he’ll perform requests, accompanying the audience as it sings along. What a song-fest! Just please be sure you name a Gershwin song to be sung.

Hershey Felder as George Gershwin Alone continues at the Drury Theatre of the Cleveland Play House through Sunday, Feb. 3. For tickets or other information, call 795-7000 or go to http://www.clevelandplayhouse.org.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com

Gershwin Alone @ Cleveland Play House 1/16 Whoo–I almost missed the best part of Hershey Felder’s George Gershwin Alone opening night at the Cleveland Play House. After about 90 minutes of music and monologue (and a near-nap episode on my part), the lights dimmed even more and Felder announced that the great musical genius died at 38 during surgery to treat a brain tumor. We (seated near the back) made for the door. But just in time, Felder stopped the stampede by commenting that Gershwin’s set usually celebrated the end of a concert with champagne and a sing-along so we would too. There wasn’t any champagne (darn), but a delightful 30 minutes or more ensued as we sang (Felder feeding us the lyrics) “Someone to Watch Over Me,” “Summertime,” and other Gershwin goodies (how I love his music). We were all complimented on our voices and one Mimi (from the balcony) had herself a time talking back and forth and singing solo parts. Bottom line: Though some of the first part sounded as if Felder phoned it in (this is nearly the 4,000 th performance after all) and some of the incidental facts aren’t right (“Jaws” was filmed at Martha’s Vineyard, not Nantucket), go if you like to sing Gershwin around the piano. It’s actually a very pleasant thing to do (and one feels so civilized too).

From Cool Cleveland contributor Laura Kennelly lkennellyATgmail.com

Cle Orch WYSIWYG @ Severance Hall 1/17 Had the acronym What You See Is What You Get (WYSIWYG) not been created for computers, one would think it meant to describe a performance by pianist Radu Lupu. There are no histrionics, no excess emotions, just beautiful music drawn out of the piano by an artist of uncommon gifts. In the mode of a favorite uncle, Mr. Lupu (in a dark suit, shirt and tie) sits—very relaxed—in the same sort of chair used by the orchestral musicians. With no subsequent fuss, no muss, no bother, the audience is gifted with beautiful, sensitive playing of the highest degree, regardless of dynamic range or fleetness of notes.

The concerto in this performance with The Cleveland Orchestra was the No. 20 in D minor, K. 466 of Wolfgang Amadeus Mozart. The two cadenzas were marvels of their art. The entire piece was effervescent and lighter than air, both introspective and out-going.

At first glance, one would not see how such a variety of music as offered on this one program would mesh. Yet it all worked splendidly at the hands of Music Director, Franz Welser-Möst. The program opened and closed with a Suite by Igor Stravinsky; first was Pulchinella and the finale was The Firebird. Even though written by the same composer at nearly the same time in his life, the two suites are drastically different from each other. The Firebird was an early work, telling a story from an ancient Russian folk-tale, using very Russian music, some heard by western audiences for the first time. The orchestra required is a huge one, capable of great subtlety or thunderous noises, which of course, is easy for our orchestra.

Pulchinella, on the other hand, written ten years later than the Firebird, was the composer’s first real venture into what he would later call Neo-Classicism. This one is based on music by the Italian composer Pergolesi, and uses less than half the instruments called for in Firebird. Of a more transparent nature, the individual soloists within the orchestra were more easily heard, most especially the lyrical oboe solo of Frank Rosenwein and bassoon of Barrick Stees.

For some in the audience, the most anticipated work was the Overture, Waltz, and Finale from Powder Her Face by the youngish British composer, Thomas Adés. His opera of the same name caused a sensation at its premiere in 1995. Hearing this very recent large-scale rearrangement of the original chamber score merely whetted the appetite to hear more. It’s very evocative of the 1930s in Britain, with tango rhythms scattered throughout, even if the dancers are a bit tipsy before the evening is concluded. (At least it sounded that way!)

The waltz was an intriguing mix of on-and off-beat rhythms, masterfully stepped through by Mr. Welser-Möst, before the cheeky and brash finale which was again influenced by the tango. It was delightful, throughout!

Now, the orchestra heads to Florida for two weeks, returning the weekend of February 7-9, for concerts conducted by favorite guest conductor, Pierre Boulez. For tickets or other information, call 231-1111 or visit the website at http://www.clevelandorchestra.com.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com

Hanna Theatre Reimagine a Classic @ GLTF 1/18
It isn’t often that you get to see a check for $1.5 million — but that was the awesome gift from the Parker Hannifin Foundation to Great Lakes Theater Festival for the Hanna Theatre restoration. Between a hydraulic thrust stage, casual loges and bar seating, balcony seats no further back than the 6th row, and intimate raking for great sightlines, it’s going to be a uniquely exciting theater space, thanks to local architects Westlake Reed Leskosky.
Despite the raw economic downturn, GLTF is on track for a fall ’08 opening, with $14.4 million already pledged, 75% of its capital/endowment goal. It promises to be one hell of a space.
From Cool Cleveland contributor Linda Eisenstein LindaATcoolcleveland.com

Orange Flower Water @ Bang & Clatter 1/18 Craig Wright, the author of Orange Flower Water, now being performed by The Bang and The Clatter, writes plays about people in families, people who question the course of their lives. He is a very talented writer. His The Pavilion was nominated for a Pulitzer Prize. His HBO series, “Six Feet Under,” was critically acclaimed. In Orange, he delves into the lives of two couples who, for many years, have each given the illusion of being happy. Unfortunately, the facade is a fraud. The charade comes to a head when one member of each couple unite in an adulterous affair.

Through a series of scenes which take place around and in a single bed, which represents various beds, we watch as four lives unravel. Questions arise. What will happen to the children? Was the affair a mistake or a necessary intrusion to bring about needed changes? Was the action the pursuit of selfishness or a search for personal happiness? Will the results be like the fragrance of orange flower water, sweet but overpowering? This is a raw, painful and graphic tale. It is a challenging play which forces us to ask, In the end, is a happy ending worth the pain…?

B&C’s production, under the well defined direction of Sean McConaha, is compelling. The pacing is appropriately precise, the acting performances well-honed and the idea development clear. Jean Klika (Beth) is excellent as the wife of a controlling, abusive husband. The actress has several monologues in which the character comes close to nervous breakdowns. Each is done with realism and elicits compassion.

Daniel McElhaney (Brad) is properly vile as Beth’s controlling husband. He paces the stage like a caged tiger, about to attack. He transforms himself into a character whom the audience comes to hate.

Teresa McDonough, as the uptight Kathy, draws sympathy as the perfectly organized mother and wife who is put upon by a husband who cannot accept her version of life and love. Her librarian glasses, coifed hair and prim clothing create the perfect visual image for her ice lady emotions.

Mark Mayo creates a completely etched character as David, the pharmacist who wants to escape his present life, but has an unrealistic view of the consequences that will be wrought by his pursing a married woman.

Written with assurance and constructed with drama and humor, the play is emotionally wrenching. The tribute to both the script and the production was the reverent silence at the play’s conclusion. There was nary an audible sound after the lights went off signally the end. When, after an appropriate pause, the lights came on, the audience was brought back to the reality of being in the theatre, and gave the performers a hearty ovation.

Capsule judgment: Bravo B&G! This is a not-to-be-missed production. It should stimulate long discussions and encourage a replay in the viewer’s mind, long after the final bows. (Be aware that the play contains nudity and a sex scene.)

From Cool Cleveland contributor Roy Berko royberkoATyahoo.com http://royberko.info.

2 Man Kidnapping Rule @ Fourth Wall 1/18 After giving Fourth Wall Productions’ Malicious Bunny several Times Theatre Tributes last season, including one for Outstanding Play, I was looking forward to seeing 2 Man Kidnapping Rule, the theatre’s first production of its second season. Unfortunately, my positive expectations were dashed. Joseph Gallo’s work is a sophomoric script, obsessed with redundant sexual commentary, sexual innuendos and excessive references to body parts, for no obvious reason. In a well-developed piece of writing such references have a purpose in moving the plot forward. In Rule, they appear to be included for titillation and the author implying “I’m young and hip and can say whatever I want, and young hip members of the audience will love it.

My view of the script may be a minority evaluation. According to the program, Gallo’s play had a reading at the Soho Think Tank in New York and was “really well-received.” (I have no idea who received it “well” as that wasn’t explained.) Even if the script had been sterling, the level of directing, and much of the acting, left much to be desired.

The director, in his self-proclaimed directorial debut, did little to help the audience gain the intent and purpose of the writer. (Maybe he, like me, couldn’t figure out what Gallo was trying to tell the viewer.) The pacing was inconsistent, there was little action, some of the acting sounded like unexpressive statements of memorized lines, and the casting was confusing. Two of the three men were supposed to have been former college football players. One was a winner of the Heisman Trophy as the best collegiate player in the country, the other received a tryout with a pro team. Unfortunately, the Heisman winner looked like an undersized college freshman and the pro player more like a cross-country runner.

Moral: if a show requires certain physical types, and you don’t have them available, don’t do the show. You can’t fake required physical descriptions. Of the three actors, only Nate Bigger had the acting chops to make his character’s lines consistently believable.

Capsule judgement: If Fourth Wall is going to be taken seriously as a viable theatre it has to chose scripts that deserve production and stage them in a way that makes audiences want to return. They need to do more Malicious Bunny-type productions. They’ve proven they are capable of that level of excellence. Let’s hope in the future they return to that level.

2 Man Kidnapping Rule is being staged by Fourth Wall Productions at their new home, Suite 221, the Enterprise Center of Glenville, through January 27. For tickets call 330-283-2442 or visit http://www.fourthwallproductions.com.

From Cool Cleveland contributor Roy Berko royberkoATyahoo.com http://royberko.info.

Women in Love: Windsong @ Trinity 1/19 Never underestimate the power of a group of passionate women. Especially if they’re inspired by music, in love with life, or women, or men, or children, or dogs—or chocolate! This was demonstrated to a very large audience Saturday evening at Trinity Cathedral, when Cleveland’s feminist chorus WINDSONG, took to the stage, with guest artists, and a variety of love songs. The result was excellence on display.

Artistic Director Karen Weaver generates enthusiasm and musicianship in her chorus, which continues to add new members. Pianist Karin Tooley demonstrates the art of collaborative pianist with sensitivity and great understanding of her role as sometimes accompanist and sometimes solo artist. On this occasion, the two other guest artists were Gene Epstein on cello or acoustic bass and Janet Pemberton, percussion. Argerie Vasilakes was her usual charming self as emcee, and Debi Epstein was the ASL interpreter in a graceful and eloquent fashion.

Wearing black outfits with large pink hearts pinned to their chest (or back, depending) the women joined in a cheerful processional, complete with banner, that wound through the sanctuary and up the center aisle to the stage. They accompanied themselves on kazoos, setting the mood for a bouncy, upbeat evening. In a brief introduction, Ms. Vasilakes cautioned that ‘without warning, love comes’ and we should all be prepared—and receptive.

Amor Vittorioso, My Love Is a Venus and The Lark in the Clear Air provided several examples of love in folk songs. Holly Walker was the soloist in the latter, her voice as clear and pure as the songbird of the title, as it soared through the church’s vast space.

Elizabeth Barrett Browning’s famous sonnet How Do I Love Thee? was set to bouncy music by Nathan Christensen, including a slight doo-wop effect. The smiles of the singing women could have easily lit up a slightly smaller performing space. Night Goes Back featured Ms. Vasilakes as well as Ms. Epstein with the cello and chorus member Jen Telischak on flute, in a mesmerizing rendering. Song of the Dying Amazon again featured Ms. Telischak’s flute in an echoing effect, as the singers and the flute took turns playing follow the leader.

Danza was a somewhat Latin work, featuring Ms. Pemberton with castanets and Joanne Federman as vocal soloist. Bittersweet Tango was definitely Latin, as soloists Cynthia Sicking and Kathie Lester (plus the entire chorus) entreated: ‘Give me chocolate or give me death’!

Impromptu dancing from some of the vocal soloists accompanied the enthusiastic performance of Passionate Kisses which also featured Ms. Epstein with her double bass, and Ms. Pemberton’s percussion. Jen Telischak (whom we should hear as a vocal soloist more often!), Sarah Sobel and Ginger Needham helped to shake up the place.

Willie Nelson’s Crazy fit right into this program like a hand in a glove, and was given a perfectly straightforward and sweet performance. Everything, on the other hand, ‘reminds me of my dog’. And some of those things you wouldn’t believe! Except that Lynn Brewster said so, so it must be!

An upbeat arrangement of George Gershwin’s Let’s Call the Whole Thing Off made one wish for more from the rhythm trio: piano, bass and drums. They were terrific, as was, of course, Windsong.

Katherine Catts (who was not a very big part of the dog song!) was the fabulous soloist playing her ‘hand trumpet’. (I apologize if that’s not the correct name for what she did, but she was great, nonetheless, in this demonstration of an artistry not seen for a good many years. It was popularized by the Mills Brothers, and other vaudeville acts, half a century or more ago.)

Blue Skies by Irving Berlin was both the final number in a whirling free-form version, but also the encore! Ms. Vasilakes did some neat scat singing for one chorus, and other soloists were Michele Kovach, Veronica Carpenter, Lynn Brewster, Kathleen Sullivan and Ginger Needham. The encore portion featured some free ad-libbing that had the capacity audience on its feet before the sound died away.

This was an early Valentine’s Day Card from Windsong to the community, in spite of the frigid temperatures outdoors. They’re looking for new members for their spring concert which will be on May 31. For information call 556-0858, e-mail them at windsongchorus@yahoo.com or visit the website at http://www.windsongchorus.org.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com

Crashing Through Ceilings @ CPT 01/18 “Thank heaven for little girls… those little eyes so helpless and appealing— one day will crash and send you through the ceiling” —Alan J. Lerner. But playwright/director/actor Anne McEvoy adapts this upward trajectory to the world of the group home just around the corner from CPT where she worked for 7 years. Also inspired by her sister’s Down Syndrome, the script for “Crashing…” crackles and explodes on the stage with 6 female tableaux, spewing a fast-flowing stream of consciousness crashing through cliches, brand names, local landmarks (Cox Cable, Winterhurst, The Bin), and prejudices, turning the tables on the truly disabled in our society: priests who abuse children, drug-addled youth, parents who don’t listen, with most lines generating an audible spontaneous response from the audience: laughter, snickers, applause. This idea of turning over the boards to a different area artist each week gives Big [Box] a curious urgency: the show only plays for 3 nights. Thank heaven for Big [Box] and CPT for giving voice to surprising and transformative experiences. The series continues through 2/24. Pick a week, pick an artist, grab a seat, and if you’re lucky, you too may see life crashing. http://www.CPTonline.org

Big [Box]: Crashing Through Ceilings @ CPT 1/19
Strong performances: Anne McEvoy’s interwoven monologues based on developmentally disabled women who live together in a halfway house is both touching and full of humor. The 6 member cast was terrific, especially Jenna Messina as Wendy (who works at Wendy’s), Elizabeth R. Wood as a would-be bride, Kate Duffield’s schizoid motormouth Patti, and Lisa Langford’s shrewd Dorothy.
Caveats: The show’s strength — how well-observed it is — is currently its chief weakness, in that the character-based monologues are mostly short on incident and start to get repetitive. More plot and raised stakes would help maintain interest in a piece that has great potential.
Details: Cleveland Public Theatre, http://www.cptonline.org. Big [Box] continues thru 2/24.
From Cool Cleveland contributor Linda Eisenstein LindaATcoolcleveland.com

The Diary of Anne Frank @ Beck Center 1/22 Ironically, The Diary of Anne Frank, now playing for 4 public performances only at the Beck Center, was originally adapted for the stage by the husband and wife team of writers, Frances Goodrich and Albert Hacket, who wrote Easter Parade, Father of the Bride, and It’s A Wonderful Life. This play doesn’t end as well, but it’s a wonderful play. Richard Gould’s set puts the audience right in the middle of the tensions of “Secret Annex” in which the Franks, with their friends, are hiding. Heather Farr’s Anne goes from annoying to vivacious in a tough acting job; it’s worth seeing. George Roth as Otto Frank does a masterful job of portraying a man used to being in charge of a wide life adapting to the confines of self-imprisonment. Paula Duesing as Mrs Van Daan is amazing in a difficult role with too few lines for her. Sarah May’s direction is crisply unobtrusive. The rest of the cast is uniformly good This play is very well presented by the Beck cast and crew. It’s a cool thing in Cleveland. Learn more about the production and limited ticket availability at http://www.beckcenter.org. From Cool Cleveland contributor Marcus Bales marcusATdesignerglass.com

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Think Global, Act Local Especially here in Cleveland. Thanks to Peter Chakerian, TL Champion, George Nemeth, Mansfield B. Frazier, Kelly Ferjutz, Roy Berko, Claudia J. Taller, Linda Eisenstein, Marsha Cappy, Doug O’Bryon, Susan Schaul, Roldo Bartimole, Laura Kennelly, Marcus Bales and Deb Dockery. And lastly, though certainly not least, thanks to our readers and everyone who partners with us. Want to volunteer and contribute your writing to Cool Cleveland? Send your reviews, articles, or story ideas to: Events@CoolCleveland.com.

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