By Ron Levitt

Florida Media News
ENV Magazine

BOCA RATON, FL — Several items one ought to know about Chemical Imbalance: A Jekyll/Hyde Play currently on the boards at the Caldwell Theatre in Boca Raton.

1. It is a spoof, meant to be silly, comical and tongue-in-cheek.

2. Artistic Director Clive Cholerton readily admits he has altered the original script to delete some X-rated, four-letter words which were in earlier productions in San Francisco and elsewhere. That makes it more family-friendly – sort of a G rated look at good and evil. Yes, you can bring the kids!

3. True to its original comic intent, some of the roles are played in drag – with no other reason except to provide a few extra laughs, mostly at the expense of several veteran actors who must play off lines from the voice of a pint-sized actress who looks 12 but in real life is a college grad and steals a few scenes along the way.

Now, with that explanation, our thoughts can revert to reviewing this unusual bit of theatre.

Years ago a college professor warned me to go easy on superlatives in describing an actor, yet “zaniest” and “ most outlandish” come to mind when looking for words to illustrate the clownish, droll, laugh-provoking portrayal of that nutty doctor in the Caldwell’ s newest production , “Chemical Imbalance: A Jekyll and Hyde Play.”

Under the direction of Cholerton, Caldwell has once again gives its audience a special fun-filled evening — this time with a farce headed by the brilliant Tom Wahl. Wahl, who makes Dr. Jekyll’s notorious strangling, potion-boiling medical man one of the most rib-tickling performances one can remember, is filled with physical comedy skills. His every movement brings on a snicker and then a loud laugh. He obviously got his timing tuned to perfection during his national touring of another ‘murderous” play, Sheer Madness. But, in this two hour, non-stop production, Wahl plays Jekyll/Hyde with perfection as he strangles a puppy, a cousin, his girlfriend and gives the most horrific cut of all – popping a child’s balloon!

It’s no use my trying to tell you Robert Louis Stevenson’s yarn about this doctor and his evil potion. You know the story well. But this time, the play’s author –Lauren Wilson – plays the story as a ridiculous charade of the 19TH Century novel.

Yes, Wahl – sounding like Lon Chaney on steroids – will be long remembered after leaving Cholertons’ wild production of good and evil, but he is only one reason to see this production.

The entire cast must have taken “silly drinks” as it comes from behind the curtain. There are a number of zany characters, including John Felix playing Lady Throckmortonshire in drag, sounding a lot like Tallulah Bankhead on a binge. Also delightful is the multi-talented Angie Radosh, as the doctor’s mother, scene-stealer Tifffany-Leigh Moskow doing double duty as the good twin/evil twin (reminiscent of The Bad Seed’s Patty McCormick) — a small in stature, large in talent character, and veteran stars Erin Joy Schmidt, Laura Turnbull and Wynn Harmon. And then there are Amy Elane Anderson and Lindsey Foregey making their Caldwell premieres. The entire cast is in-synch mode to make you chuckle.

Caldwell’s brilliant scenic designer Tim Bennett creates a slide-in laboratory, a luxurious drawing room, and a floating dining room which moves the actors from under the table to seating (well, not really), and he joins Sean Lawrence with sound creations, lighting by John D. Hall (on loan from the Miami Ballet) and costumes run amuck by the imaginative Albert Arroyo. You will exit the theatre wondering how Arroyo ever thought up the colorful and bizarre costumes, especially the gowns and hats worn by Felix. Perhaps he took a sip of Dr. Jekyll’s potion!

The best way to describe this entire production: over the top buffoonery.

Call 561-241-7432 for ticket- appointment with the doctor. He’s available until February 7th

By Lawrence Budmen

The Arsht Center’s ongoing celebration of the 400th anniversary of the city of Tel Aviv reached its zenith on December 16 with a stellar concert by the Israel Philharmonic Orchestra under the baton of violinist Pinchas Zukerman. Canadian cellist Amanda Forsyth (Mrs. Zukerman) joined the festivities for good measure.

The Israeli flagship orchestra is now a world class ensemble, propelled by high precision strings, mellow winds and bright, glowing brass. After four decades under the music direction of Zubin Mehta, this orchestra exhibits the kind of turn on a dime agility that only the very best ensembles register.

Zukerman has become a musically engaged, expressive conductor. He opened the program with an old fashioned, big orchestra version of Haydn’s Symphony No.83 in G minor (in the manner of Beecham and Bernstein). No vibrato less, period instrument models for Zukerman. This was bold, large scale Haydn with both heft and charm. The graceful elegance of the string playing in the Andante, sweet timbre of the flute solo in the Minuet and wry humor of the finale were particularly notable.

After four decades on the world’s concert stages, Zukerman remains a violin virtuosso to be reckoned with. His performance of Haydn’s Violin Concerto in C Major was romantic in the best sense – generous of tone, brilliant in dexterity, aristocratic of line and phrase. String orchestra and harpsichord support dovetailed Zukerman’s superlative display with subtle musicality.

Two beautiful, rarely heard works by Max Bruch – Canzone in B-flat Major and Adagio on Celtic Melodies – were played by Forsyth with lovely tone and fine instrumental command. Only slightly more passion was wanted. Rapport between Forsyth and Zukerman was strong, bringing supple orchestral accompaniment.

The concert concluded with a lush, high energy rendition of Tchaikovsky’s Romeo and Juliet – a fine display of the orchestra’s outstanding musicianship and wonderful finale to the opening performance of the Arsht Center’s new Classical Masterworks series.

By Ron Levitt
Florida Media News
ENV Magazine

MANALAPAN, FL — Florida Stage, which has found its place in the sun by presenting thought-provoking new plays, has done it again! This time, it’s an 85-minute extra-ordinary, intellectually-stimulating production about three smart, tortured souls who seemingly beg for acceptance.

The Storytelling Ability of a Boy by educator Carter W. Lewis is the latest play by the prolific , prize-winning playwright who has introduced several of his works at Florida Stage, including the highly successful Ordinary Nation two years ago.

This time Carter – thanks to the astute and sensitive direction of Louis Tyrrell and an eerie but effective use of sound by technical guru Matt Kelly – introduces his audience to three people (one teacher and two students) who are struggling to “ft in.” The trio, for different reasons, can’t seem to find their place in the social setting of a rural school and their loneliness and misunderstanding trigger a drama filled with violence, sexual confusion and fury.
Seeking acceptance – yet, making it difficult to engage others in their lives – are the teacher Caitlan(Laura Carbonell) and her students: Peck (Marshall Pailet), a brilliant and imaginative writer, and Dora (Bethany Anne Lind), his intellectual sparring partner and best friend. The two students seem too resent the implication that there are things they don’t understand and they release temperament and attitude that can only lead to disaster.

It is easy to give praise to any production which makes its audience think! “Storytelling” is that kind of play. It forces you to ask yourself if you ever knew any young people like these – kids who are far ahead of the ordinary students in many ways intellectually, but who may seems dysfunctional to the crowd or at least misunderstood individuals.

But, this play – as stimulating as it is mentally — is especially notable because of the acting skills of the three performers. And, one will find it difficult not to laud the acting prowess of this trio in making this production so intriguing.

Carbonell is realistic as the teacher trying to nurture her talented nerdy, teenage student. Pailet – as the student with a gift of storytelling well beyond his age and experience — is totally believable in a stunning acting rendition, and the charming Lind – whether mouthing foul-mouthed four-letter words or expressing doubts about her sexuality – uses Carter’s colorful script and language skills to emerge as a star with a bright future on stage. All three are credible New York-based actors who are leaving an indelible mark on South Florida theatre. One cannot help but praise this acting trio for making “Storytelling” so mind-bending. Their acting skills are three indelible and compelling reasons to see this production!
This production runs through January 17. Call 561-585-3433 or visit www.floridastage.org.

By Ron Levitt

Florida Media News
ENV Magazine

CORAL GABLES, FL – It seems as if GableStage’s brilliant director Joseph Adler has collected a bunch of the bright young South Florida acting talent on one stage, melded them with three terrific veteran performers, found a stimulating play about politics and turned the mixture into one of the area’s best 2009 productions.

The only criticism one might have of Farrragut North is the timing of this production about American fast lane political shenanigans. What a coup it would have been to bring this play onstage in the midst of an election year. However, if you are nostalgic for election coverage or a political junkie who thrives on what is going on inside campaigns, Farragut North will be your quick fix, just as it was for New York audiences who received it as a post-election triumph back in 2008.

Written by a knowledgeable political operative Beau Williams, Farragut North (named as homage to the busy Washington D.C. ineighborhood where lobbyists hang out) ) seems to have been scripted as if the playwright had been taking notes on the campaign trail. Actually. Williams was a media expert to several Democratic candidates in recent years. This play is a judicious look at what goes on behind the scenes in the national political arena. Suffice it to say, it rings with the same political reality and fresh accuracy of The Best Man, the stunning play by Gore Vidal which came out in 1960. This is obviously the best play with a political theme since that time.

It’s set against the backdrop of a presidential primary when a young press staffer (Nick Duckhart ) – wise beyond his 25 year chronological age – teams up with a veteran campaign guru Paul (the award-winning, always on target Gregg Weiner ). They are certain that their shrewd manipulation can steer them – with their charismatic candidate – directly into the White House. But, that lust for power is thwarted by a veteran operative of another candidiate (Robert Strain) and a seductive intern (a lovely Betsy Graver ). Then, of course, there is a New York Times journalist ( a terrific Deborah Sherman ) who manipulates politicians and is manipulated in return, That synopsis may be a bit short on its overall content, but that storyline – peppered with its inside look at campaign tactics and the playwright’s sharp, keen, bright script — just about tells it all. Farragut North is timely, interesting and a delight to those who find intrigue or drama in electioneering or ever have been involved in supporting a political candidate,

Artistic chief Adler has put together a fresh and exciting cast. Several members of the cast are fairly recent graduates of the New World School of the Arts (Duckhart, Graver, David Hemphill and David Sirois). Duckhart is on stage almost constantly and his portrayal may well be a break out performance for the young actor. He is so real, so charismatic, that he is totally believable as the young staffer hoping to take himself into the West Wing. Duckhart only recently wowed audiences at Boca’s Caldwell in “The Whipping Man” and in “Torture” at Mosaic – and with this performance in “Farragut” firmly establishes his credentials

And, wait until you meet Graver, who dominates the scene as the sexually assertive intern who takes on supposedly clever politicos. She is stunning! And the two Davids –Hemphill and Sirois — both of whom have supporting roles in this two-hour delight but are in awe of working with this director — could sit well as stars in their own right, a nod to the perfect casting by Adler, the most revered Carbonell winning chieftain in South Florida. Hemphill and Graver recently got glowing notices in “The Glass Menagerie”at Broward Stage Door and Sirois, an accomplished playwright and actor, added praiseworthy news clippings for his starring role in Sexual Perversity in Chicago, a David Mamet play at the Alliance Theatre Lab in Miami Lakes.

Of course, veteran performers such as the soft-spoken but dynamic Gregg Weiner — coupled with Deborah Sherman and Robert Strain – cannot be over looked, even when we praise the newer set of actors. Again, it is perfect casting!

The usual suspects – Sean McCllelland for his managable sets, Jeff Quinn for his lighting and Matt Corey for sound technique — add to the luster of this winning production.

There are all sorts of verifiable news items floating around about the future of this play. The latest one is that Actor George Clooney will take on the filming of Farragut North in 2010, with himself in the director’s chair and Leonardo DiCaprio in the starring role. If so, he probably should consider making Adler his advisor- sidekick to keep it in the “ movie powerhouse” department and consider a trip here within the next few weeks to see how a capable, energetic group of actors make this story so eye-worthy. Such a visit may be an education in professional theatre at its best.

Farrragut North runs through January 24. Call 305 445-1119 for tickets now. Tickets for this show could be in hot demand. You won’t want to miss it.

By Ron Levitt

Florida Media News
ENV Magazine

CORAL GABLES, FL — The theme for most holiday shows, whether on stage or in the movies (such as A Christmas Carol or Miracle on 34th Street ), is “redemption.” But, the most redeeming quality of the musical Another Night Before Christmas – currently ringing in the festive season at Actors’ Playhouse at the Miracle Theatre here is the acting and vocalizing of its two stars – Irene Adjan and Ken Clement.

The two-some of Adjan and Clement are reason enough to celebrate the holidays in Coral Gables. Adjan’s vocal range seems to reverberate throughout the town. She charms as a disillusioned social worker, waiting to get the spirit of Christmas back in her life, and Clement is a comic hurricane, thundering through another story about Santa coming to the rescue.

Directed by David Arisco, who usually provides South Floridians with giant casts, amazing scenic effects and lavish production numbers, Another Night Before Christmas seems to be tied to the economic mess of 2009 – just two actors, yet a surprisingly innovative set by Gene Seyfer, a single piano providing the music (as always well done by Musical Chief David Nagy) and a ho-ho-hum of a story by Sean Grennan and Leah Okimoto, the talented creators of Married ALIVE! which had a successful run earlier at Actors’ Playhouse. But, leave believability at the curb because this is strictly a joyful, holiday fantasy……fun…cuteness…. sentimental appeal — a story with heart…..a combination of all the holiday tales you’ve seen or heard while growing up. Sure. the script seems all too familiar, but one would have to be a Scrooge to dismiss this pleasurable production! And, there is no reason not to bring the kids along for this holiday ride!

But, the main reason to see Another Night Before Christmas is to catch the duet of Adjan and Clement interact and sing. They are two of the area’s most visible and award-winning duos and they seem imbued with the kind of spirit that the holiday season should be all about!

Karol Elliot (Adjan) is a kind, young lady who seals herself off from the world on Christmas Eve. She doesn’t even pick up her phone when her family or ex boyfriend calls. A man—called The Guy — (Clement) breaks into her apartment and goes from being an unwanted intruder to a welcome guest, with amazing powers such as knowing when a phone will ring and who is on the line. This “homeless man” proves to be more than the heroine first believes. And, thus we have the makings of a schmaltzy look at a woman who is redeemed – thanks to Santa and the holiday spirit.

Yes, the plot is transparent. But, who cares? It’s all about feeling good!

The music is adequate although not the kind which you will be humming as you leave the theatre. Actually, the final number – Please Send Me Christmas – has powerful lyrics and when Clement sings Believe In Me, you get the feeling this show may be sending a worthy message to those who have become “too adult” to really get the spirit of the holidays. In fact, the lyrics by Grennan generally stand out – thanks again by the delivery of the two stars.

This show runs through Dec. 27 but not on Christmas Eve. Spend that time with those you love or watching Jimmy Stewart on TV in It’s a Wonderful Life. But first, call 305 444-9293 for tickets at Actors’ Playhouse.