Just two events to spotlight this week, both on Saturday,

6:00 pm – Renovare Music. Dialogue: Music in the Garden. Lalia Curtis, violin, and Clara Prinston, viola. An evening of duo music that ranges from Mozart to Martinu to Mark O’Connor, as well as a bit of singing. Centering Space, 14812 Lake Road, Lakewood. Free.

7:00 pm – The Cleveland Orchestra. Tabita Berglund, conductor, and Simone Lamsma, violin. Sibelius’ Finlandia & Violin Concerto and Prokofiev’s Suite No. 2 from Romeo and Juliet. Blossom Music Center, 1145 W. Steels Corners Road, Cuyahoga Falls. Tickets available online.

For Details of these and other classical music events, please visit the ClevelandClassical.com concert listings.

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About seven or eight years ago, renowned designer, collector and musician Gregory Wooten stopped in at Blue Arrow Records to peruse the Collinwood record store’s terrific vinyl collection. A former Clevelander, Wooten was visiting his parents and decided to take a day to dig for albums. At the time, he had built up what he calls a “crazy collection” of defaced album covers and was about to publish the book Marred for Life!: Defaced Record Covers from the Collection of Gregory Wooten. He was looking to add to it and asked Blue Arrow owner Pete Gulyas if he had anything “squirreled away.”

“I was in there digging for records and snooping around for anything defaced. He had a box in the back, and it completely blew my mind,” says Wooten via phone from his Pasadena home. “I had been in Blue Arrow before on trips back to Cleveland. Wherever I go, I try to hit the best shops. Pete was there. I didn’t know him at the time. I got a couple of jazz records. I asked if he had anything that was altered with mustaches or goatees. His eyes lit up. He said he had a box in the back. He told me they were not for sale. I know the etiquette. I didn’t want to be that pushy guy. I wanted to have a look.”

Gulyas brought out the box, and Wooten was enamored by the small collection.

“There were incredible ones in there,” he says. “I have a good poker face for when I’m around great things I wanted to acquire. I was probably shaking a little. At some point, I got the courage up. I told him that I had a proposal. I was doing the book, and I asked him if he would consider letting me buy just one from the box for $100. I usually pay 50 cents or maybe five bucks. With Pete, I thought I had a rare opportunity. I thought, ‘I will step up and make a strong offer.’ He said, ‘Deal, except I’m not taking your 100.’”

Wooten selected a defaced copy of King Crimson’s Court of the King Crimson and became fast friends with Gulyas, and they’ve collaborated on an upcoming exhibit featuring more than 250 items from Wooten’s collection. It will open later this month at Sixty Bowls Gallery. The exhibit will feature embellished covers by the likes of Elvis Presley, the Beatles, Frank Zappa, Jimi Hendrix, John Coltrane, Yoko Ono, Nina Simone, Led Zeppelin, Sparks, LL Cool J, David Bowie, the Velvet Underground, Mose Allison, Prince, Tim Buckley and Neil Young. An opening reception and book signing takes place from 5 to 8 p.m. on Saturday, Aug. 22.

“[Gulyas] told me to bring the King Crimson record that I got from him for the exhibit,” says Wooten. “I now have like 5,000 albums. I’ve been curating a nice group for the show, and I want to cover all the bases. I kept thinking, ‘Find that record.’ It took me a minute, but I finally found it.”

Prior to the opening event, Blue Arrow Records is sponsoring an Album Cover Defacement Contest. The contest will conclude the night of the opening. Participants should creatively deface an album cover of their choosing.  They can either pick up a cover from Blue Arrow or submit one that they’ve defaced to Blue Arrow during the store’s regular open hours of operation (from noon to 4 p.m. on Fridays, Saturdays and Sundays). Entries must be submitted by 4 p.m. on Friday, Aug. 21. All entrant pieces will be presented at the opening where the attending public can vote on their favorite piece. 

The winning entrant will receive a $50 gift certificate from Blue Arrow Records and will also have a donation for $50 made to Waterloo Alley Cat Project in their name.

“I think it’s a super-fun layering,” Wooten says when asked about the contest. “It was Pete’s idea. We are giving away a gift certificate and donation. I don’t know how many people will do it, but I’m super excited to see what comes in. When I first started, I was such a purist. The record had to be organically found. I had to find it in the bins. I couldn’t know the artist. Through the years it would soften and I would get turned on to an artist, who had done something on a cover. I expanded the vision to any cover that had been altered. So I think this contest will be fun. It’s the first time the exhibit has been interactive.”

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The post Exhibit of ‘Marred’ Album Covers Coming to Sixty Bowls Gallery appeared first on Cleveland Scene.

Our weekly picks of the best things to do in Cleveland this weekend. Also check out our full Cleveland event calendar.

THU 08/13

Asian Lantern Festival

Taking over parks and zoos across the country, the traveling Asian Lantern Festival shows off thousands of colorful handmade paper lanterns in open, green spaces. This year’s festival at the Cleveland Metroparks Zoo will include an Asian craft market and Asian food vendors. The event takes place from 6:30 to 10:30 tonight through Sunday. Check the Zoo website for ticket prices. It continues through Aug. 23.

3900 Wildlife Way, 216-661-6500, clemetzoo.com.

Cuyahoga County Fair

The Cuyahoga County Fair returns to the Cuyahoga County Fairgrounds this week. The Midway rides are back this year, and there will be arts and crafts, beer and wine gardens, bee-keeping exhibits, a demolition derby, dog shows, a draft horse pull, fireworks, harness horse racing and a livestock auction. The event continues through Sunday. Check the website for more info.

19201 East Bagley Rd., Middleburg Heights, 440- 243-0090, cuyfair.com.

Dimmu Borgir

The veteran metal band returns to the Agora. The Norwegian group’s roots go back to the early 1990s when singer Shagrath and guitarist Silenoz, the only remaining original members, put the band together. The current tour supports the new album, Grand Serpent Rising, which shows off the group’s symphonic metal tendencies. The show begins at 6 p.m., and Hypocrisy and Hulder open.

5000 Euclid Ave., 216-881-2221, agoracleveland.com.

Dr. Sketchy’s Anti-Art School

Founded in 2005 in a dive bar in Brooklyn, Dr. Sketchy’s has now spread to more than 100 cities around the world. Dr. Sketchy Akron, a monthly drink and draw event that takes place on the second Thursday of each month at Jilly’s Music Room in Akron, gives patrons the opportunity to “draw glamorous underground performers in an atmosphere of boozy conviviality.” The fun begins at 7 p.m.; it costs $10 to draw.

111 N Main St., Akron, 330-576-3757, jillysmusicroom.com.

Feast of the Assumption

The annual Feast of the Assumption takes place today through Sunday in Little Italy. Once again, Holy Rosary Church’s parish hosts this free, family-friendly festival. Starting and ending with religious processions celebrating the Virgin Mary being taken into Heaven, the Feast includes classic festival staples as well as fireworks, a raffle, and observances and services for those who celebrate the Catholic Holy Day.

littleitalyfeast.com.

Bruce Hornsby & the Noisemakers

The singer-pianist comes to Cain Park in Cleveland Heights with his backing band, the Noisemakers, in tow. Now in his 70s, Hornsby released his latest effort, Indigo Park, earlier this year. The collection of piano-based rock and pop tunes finds Hornsby in good form as he’s assembled a backing band of talented musicians who settle into a good groove on songs such as the pensive title track. The show begins at 7:30 p.m.

14591 Superior Rd., Cleveland Heights, 216-371-3000, cainpark.com.

The Lion King

Winner of six Tony Awards, including Best Musical, the play presents a story “filled with hope and adventure set against an amazing backdrop of stunning visuals.” The play also features the work of Tony Award-winning choreographer Garth Fagan and tunes written by Tony Award-winning artists Elton John and Tim Rice. Tonight’s performance takes place at 7:30 at the State Theatre, where performances continue through Sunday.

1519 Euclid Ave., 216-241-6000, playhousesquare.org.

A Night at the Opera

Grammy-winning soprano Latonia Moore, tenor Brandon Jovanovich, the Blossom Festival Chorus and conductor John Fiore team up to present this program of pieces by Puccini and Verdi. The concert begins at 7 p.m. at Mandel Concert Hall.

11001 Euclid Ave., 216-231-1111, clevelandorchestra.com.

Ohio Burlesque Festival

The annual burlesque showcase returns to the Beachland Ballroom. More than 60 award-winning artists from across the United States and around the world will take the stage, and the show will feature classic burlesque, neo-burlesque, drag, comedy and nerdlesque. The three-day event kicks off with tonight’s show. Doors open at 7 p.m.

15711 Waterloo Rd., 216-383-1124, beachlandballroom.com.

Simple Plan

The Montreal-based pop-punk band led by singer of Pierre Bouvier performs at 6 p.m. at Jacobs Pavilion. Last year’s documentary film, Simple Plan: The Kids in the Crowd, chronicles the group’s remarkable rise to fame in the late ’90s. #OH!3 and Bowling for Soup open.

2014 Sycamore St., 216-861-4080, jacobspavilion.com.

Sister Act Presented by Akron Civic Theatre’s Millennial Theatre Project

The Millennial Theatre Project puts on this performance of the musical based on the movie about a woman who transforms a choir at a convent. Tonight’s performance takes place at 7:30 at the Akron Civic Theatre, where performances continue through Sunday.

182 South Main St., Akron, 330-253-2488, akroncivic.com.

FRI 08/14

Afterburn Music Festival

Third Eye Blind and Skillet are among the bands that will perform at this music festival that takes place today and tomorrow at Victory Park in North Ridgeville. Music starts at 12:30 p.m.

7777 Victory Ln., North Ridgeville, theafterburnmusicfestival.com.

Blackberry Smoke

The guys in the redneck rock band Blackberry Smoke regularly spend 200 days, and they routinely perform here in Cleveland. The group’s 2013 album, Whippoorwill, holds up as a great collection of Southern rock-inspired tunes. The show starts at 6:30 p.m. at the Agora.

5000 Euclid Ave., 216-881-2221, agoracleveland.com.

Tommy Davidson

You might remember Tommy Davidson from the sitcom In Living Color. In addition to acting, he does standup, and his routine is definitely off-color, though pretty hilarious. He performs tonight at 7 and 9:30 and tomorrow night at 6:30 and 9 at the Funny Bone.

1148 Main Ave., 216-696-4677, cleveland.funnybone.com.

Amy Grant: The Me That Remains Tour

Produced by ten-time Country Music Association award winner and Nashville Songwriters Hall of Famer Mac McAnally, All of Me, the latest effort from singer-songwriter Amy Grant, is a stripped-down affair. Grant performs at 8 p.m. at the Northfield Park Racino.

10705 Northfield Rd., Northfield, 330-467-4101, northfieldparkracino.com.

Guardians vs. San Diego Padres

The San Diego Padres, one of the National League’s tougher teams, come to Progressive Field this weekend to take on the Guardians. Tonight’s game is at 7:10, and the series continues through Sunday.

2401 Ontario St., 216-420-4487, mlb.com/guardians.

Hooked Like Helen

The local group plays its last hometown headlining show before heading out on a North American Tour supporting singer-songwriter Charlotte Sands. The show begins at 8 p.m. at the Winchester in Lakewood.

12112 Madison Ave., Lakewood, 216-600-5338, facebook.com/TheWinchesterMusicTavern.

The Kehlani World Tour: North America

The R&B singer-songwriter that got their start with the teen pop group PopLyfe comes to Blossom. The tour supports the new self-titled effort that features the hit single “Folded,” a slow jam with soaring strings. The show begins at 7 p.m. Durand Bernarr, Isaia Huron, Thearti$t and Waseel open.

1145 W. Steels Corners Rd., Cuyahoga Falls, 216-231-1111, livenation.com.

Moe. & Humphrey’s McGee

Two jam bands bring their co-headlining tour to Cain Park in Cleveland Heights. Moe.’s roots go back to upstate New York in the early ’90s, and Umphrey’s McGee emerged in Indiana in the late ’90s. The show begins at 7 p.m.

14591 Superior Rd., Cleveland Heights, 216-371-3000, cainpark.com.

SAT 08/15

Artist in the Atrium

Every third Saturday of each month, stop by the Ames Family Atrium between 11 a.m. and 3 p.m. to get a firsthand look at the art-making process. Each session provides the opportunity to engage and interact with a different Northeast Ohio maker during pop-up demonstrations and activities.

11150 East Blvd., 216-421-7350, clevelandart.org.

Brew & BBQ Bash

Local pitmasters and food trucks will compete at this annual event that takes place from noon to 7 p.m. today at Streetsboro City Park. Cincy’s Hot Red Chili Peppers, a tribute to L.A.’s Red Hot Chili Peppers, will perform.

Route 303 and Kirby Lane, Streetsboro, khttp://www.cityofstreetsboro.com/.

J. Cole: The Fall-Off World Tour

The singer-songwriter and rapper brings his tour in support of his latest album, The Fall-Off, to Rocket Arena. The ambitious 24-track album chronicles Cole’s return visits to his North Carolina home. The show starts at 8 p.m.

One Center Court, 216-420-2000, rocketarena.com.

Lower 13 EP Release Show

The Cleveland hard rock group celebrates the release of its sixth studio effort, Transcend, with tonight’s show at the Winchester in Lakewood. Doors are at 6:30 p.m.

12112 Madison Ave, Lakewood, 216-227-2389.

Music in the Garden

These free concerts featuring local bands take place on the first and third Saturdays throughout the summer at the Ben Franklin Community Garden. You can bring a lawn chair, and admission is free.

1905 Spring Rd., 216-459-1000, benfranklincommunitygarden.org.

PorchROKR

Local bands will converge upon people’s porches in the Highland Square neighborhood today for the annual PorchROKR festival. Porch performances run from 11 a.m. to 7 p.m.

highlandsquareakron.org.

Prokofiev’s Romeo & Juliet

Conductor Tabita Berglund makes her Cleveland Orchestra debut and leads the orchestra as it plays pieces by Sibelius and Prokofiev. The concert begins at 7 p.m. at Blossom.

1145 W. Steels Corners Rd., Cuyahoga Falls, 216-231-1111, clevelandorchestra.com.

Rock Hall Live: The Mountain Goats

The indie rock group that’s released more than 20 albums since forming in 1994 performs at 8 p.m. at the Rock Hall. The group’s latest album, Days, features quirky spoken-sung singles such as the careening, Eels-like “Charlie Sheen Reaches Out to the Feds.”

1100 Rock and Roll Blvd., 216-515-8444, rockhall.com.

Rockin’ the Hills Music Festival

Six local bands will perform at this free event that takes place at the Willoughby Hills Community Center. Local food trucks will be on hand, and there will be a beer garden. It runs from 1 to 9 p.m. It’s free.

35400 Chardon Rd., Willoughby Hills, 440-975-3540, whcommunitycenter.com.

Speak in Tongues Book Release Day

This day-long celebration of the release of a new book about Speak in Tongues, the now-shuttered indie rock venue, kicks off with a performance by local indie artist Uno Lady. She plays at 3 p.m. at Visible Voice, and a panel discussion follows. At 6 p.m., Proof Public House hosts an afterparty, and at 9 p.m. Happy Dog hosts a concert featuring Harriet the Spy, Beckett and Friends, Brian Straw and Applejuice.

4601 Lorain Ave., 216-961-0084, visiblevoicebooks.com.

Violent Femmes

The folk-punk band released two classic albums, 1983’s Violent Femmes and 1984’s Hallowed Ground, shortly after forming. While the lineup has changed over the years, singer-guitarist Gordon Gano and bassist Brian Ritchie remain constants. The group brings its 45th anniversary tour to Cain Park in Cleveland Heights. The show begins at 8 p.m.

14591 Superior Rd., Cleveland Heights, 216-371-3000, cainpark.com.

SUN 08/16

Beachland Flea

Local vendors will be on hand with vintage clothes, vinyl and other rock memorabilia at this event that takes place at 10 a.m. at the Beachland Ballroom.

15711 Waterloo Rd., 216-383-1124, beachlandballroom.com.

Howard Jones

It’s ’80s night at Jacobs Pavilion as Howard Jones brings his Things Can Only Get Better Tour to the venue. Eighties acts Wang Chung, the English Beat, Modern English and Richard Blade share the bill. The show begins at 6 p.m.

2014 Sycamore St., 216-861-4080, jacobspavilion.com.

Reggae Sundays

This special Reggae Sunday Happy Hour Concert series continues every Sunday through the end of the summer. The indoor/outdoor concert series will take place rain or shine with live music from 4 to 7 p.m. Music Box will also offer food and drink specials exclusive to the series.

1148 Main Ave., 216-242-1250, musicboxcle.com.

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The post 15+ Things to Do in Cleveland This Weekend (August 13-August 16) appeared first on Cleveland Scene.

“If you love someone deeply enough, anything is possible… even miracles.”

This line of dialogue serves as a fitting summary for “Brigadoon,” a classic written during the Golden Age of musical theater that is now being staged at Porthouse Theatre. It is romantic, it is idealistic and it is charming. It is not, however, all that logical. 

The plot follows Tommy and Jeff, two American men on a hunting trip in the Scottish Highlands. After getting lost in the mist, the two friends stumble upon Brigadoon, a village that appears for only one day every 100 years. The village is preparing for a wedding, which they invite Tommy and Jeff to attend. Tommy quickly takes a liking to the bride’s sister, Fiona, who shows Tommy around their town. At the end of the day, Tommy has a decision to make: will he return to the real world, or stay with Fiona in the enchanted village of Brigadoon forever?

The show opened on Broadway in 1947, propelling Alan Jay Lerner and Frederick Loewe–two classic icons of musical theater–into prominence. Just a few months ago, a reimagined adaptation of “Brigadoon” premiered at the Pasadena Playhouse. The adaptation by Alexandra Silber modernized the setting and provided greater emotional depth to the characters, all while leaving the original music intact. 

Porthouse Theatre’s show under the direction of Terri J. Kent is decidedly not the updated Silber script, but a faithful rendition of the classic–and there is much to be loved. There is a beauty in staging an iconic, classic show: the idealistic portrayals of wholesome community and whirlwind romances are charming; the music is stylistic and catchy, as well as able to instantly transport to another time. 

While it can be appreciated for its history and impact, it is also important to view “Brigadoon” from the lens of the present. And the present finds the original story shaky. 

The “miracle” that protects the village of Brigadoon from the outside world lacks logic. When the people of Brigadoon go to sleep, their town is hidden from the world, and when they wake, a century has passed. This miracle began 200 years ago, which is only two days in Brigadoonian time, yet the villagers accept the miracle as a commonplace rather than a new, day-old novelty. Only one villager is unhappy with the miracle–for no one in Brigadoon can leave without it shattering the magic–but again, this disgruntlement is born after only two days. The entire system is handled with varying levels of secrecy, a lack of curiosity and an origin that is puzzling. And, in the end, the established rules are foregone for the sake of a happy finale. 

Yes, “Brigadoon” and its magic are fictional, but even fictional narratives need to have and abide by their own logic and rules in order to be effective storytelling vehicles. The show touches on the power of true love and the value of community, but it also explores reality versus illusion and modern cynicism. Perhaps I’m a cynic, but I prefer my magical narratives with fewer plot discrepancies. 

Put those logical leaps aside, however, and Porthouse is sure to sweep you away. 

Miriam Henkel-Moellmann plays a sweet Fiona. Henkel-Moellmann’s operatic voice is stunning, and her control over her soaring vocals is impeccable. Her number “Waitin’ for My Dearie,” in which Fiona describes waiting for her true love, showcases Henkel-Moellmann’s dexterity with classic tunes. She is well coupled with Matt Gittins, who plays main character Tommy Albright with a similar level of vocal prowess and acting ability. Gittins shines in his solo number, “There But For You Go I.”

The believability of Tommy and Fiona’s love is not entirely convincing–mostly due to the nature of the absolute whirlwind of a timeline–but it is cute. More convincing is the love between Fiona’s sister, Jean, and her beau, Charlie, played by a starry-eyed Parker Lamy and doting Dallas Craig, respectively. Craig is incredibly well-cast as the soft, swooning romantic lead, and his presence, dancing and voice make him an actor to watch. 

Meg, the ditsy, sex-hounding villager who doesn’t want to take no for an answer, is one of the characters who received a major reimagining in Silber’s adaptation–for obvious reasons. While Meg’s behavior is problematic, Gannon Hollar portrays her with endearing likability. Likewise, Jeff Douglas, Tommy’s alcoholic, nonplussed friend who is targeted by Meg, is played with adept comedic timing by a hilarious Chris Richards.

Dressed in all manner of plaid, vests and billowing skirts by Sarah D’Anella, the ensemble and supporting cast twirl and leap with entertaining skill to Martín Céspedes’ lush choreography. Aided by the live orchestra under the musical direction of Jennifer Korecki, they also provide exquisite supporting vocals. It all takes place on Tony Hardin’s two-tiered set that features mossy, stone ruins and a floor painted to resemble bits of purple heather, a detail highlighted by Jakung C. Seo’s ethereal lighting design. 

“Think? What good does thinking do? If I thought about it, it wouldn’t make any more sense than the miracle.” This line is spoken by Tommy in Act II as he attempts to describe his sudden love for Fiona. There is much in “Brigadoon’s” narrative that wouldn’t stand up to today’s standards, but there is also fun to be found in revisiting a classic, especially when it is performed with immense skill. My advice is to approach “Brigadoon” with Tommy’s words in mind: don’t think about it too hard–you’re better served if you just let the whimsy sweep you off your feet. 

“Brigadoon” runs through August 9 at Porthouse Theatre, 3143 O’Neil Rd., Cuyahoga Falls. Visit kent.edu/porthouse or call (330) 672-3884 for tickets, $18-50.

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New York has its Woodstock. San Francisco, its Pop Festival. And Nevada its Burning Man.

And for decades, Cleveland had its own festival of counter-culture, the Hessler Street Fair, a weekend of good vibes and music nestled on the L-shaped, brick-laden street adjacent to Case Western Reserve University.

But not for the past seven years.

That’s about to change this fall, when the Hessler makes its welcome return to University Circle. On October 3, a handful of bands and some 40 artists will convene to usher in a new era of both the fest and what the fest means for the block.

“To put it briefly, we miss it,” Sydney Slacas, a board member of the Hessler Neighborhood Association, told Scene.

“You know, everyone’s in a good mood, people dance, look at art, run into people they haven’t seen in the past year,” she said. “It’s just that communal spirit of people coming together to enjoy themselves and have a good time.”

Started in 1969 by a tight-knit band of neighbors, the Street Fair was a community tool to protest Case Western’s expansion. It soon formalized as the Hessler Neighborhood Association, a body that refused to allow the street’s landlords to intentionally depreciate home values in a bid to profit in a deal to a land-hungry university.

The HNA scored a big win in 1975. Hessler Street became Cleveland’s first official historic district, a title that allowed the block to fend off any major changes. The HNA’s annual fair fueled a way of promoting local culture that in turn helped fund ongoing maintenance and expected upkeep.

A dearth of organizers and money led to a ten-year hiatus, in 1985. Until the Hessler’s 50th anniversary in 2019, its hosts routinely balanced the work of the Street Fair’s upfront costs—permits, insurance, parking —with its beloved qualities: its kaleidoscopic buses, its jam bands, its iconic lemonade. (A family secret recipe.)

Typically a multi-day festival held close to Memorial Day weekend, this year’s Hessler will span seven hours on October 3.

“It’s why we’re calling it a soft reboot,” Timothy Smith, a produce salesman and bass player who grew up on Hessler Street, told Scene.

“It’s just one day, but we’re gonna try and bring as much of what you remember from the Fair back into as we can,” he added, “without overstressing our limited labor and funds.”

Along with holding an organizer role, Smith had lately played cane-wielding historian and advisor to a re-energized HNA committee, mostly twentysomethings that have some sort of connection to the street.

Jolted by the Cleveland Planning Commission’s okay of a new apartment complex—the first in a century—the HNA funneled irritation into a new pathway for Hessler’s upkeep. (The land was former host of the Little Hessler Museum.) A community garden formed. New street trees were planted. Hessler Court’s famous wooden bricks were, after the HNA’s push, replaced in 2024.

In tandem with a new website, the team began accepting donations and grants, including one from NEOMA, to revive the Street Fair with an air of professionalism. This year’s the first ever performing bands “will be paid by and large.”

Slated for performance so far are Hello 3D, the Jim Miller Band, Charlie Mosbrook & Friends, Country Honk, Hoodoo BBQ and Austin Walkin’ Cane. About 40 artists and vendors will be set up throughout the day.

If October 3 goes well, the HNA told Scene the Hessler could expand back into a multi-day fest and grow its artist count.

But before any predictions are slotted, the team simply wants to put on a really tremendous party once again. While reminding themselves it isn’t 1969. Or 1995. Or 2019, for that matter.

“I think that Hessler as an organism does, like everything else around it, does kind of have to either evolve or die,” Kristina Collins, a board member who’s lived on the street since 2012, said. “Hey, I’m just excited for it to get together.”

“It’s going to be a family reunion,” Smith added.

Definitely for those who recall the first.

“There’s nothing wrong with tradition,” he said. “Tradition creates community. Tradition creates memory. And tradition creates connection.”

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The theater is no stranger to examining itself, staging shows that pull back the curtains to explore some of the drama behind the drama. In the case of “macbitches” at convergence–continuum, that drama is downright vicious. 

For the female acting majors at UMNC, the role of Lady Macbeth is practically to die for. When incoming freshman Hailey lands the role, a few upperclassmen invite her over to their apartment to “celebrate.” The women sling back drinks as they scrutinize their new leading lady and explore their own ambitions and motivations, all the while identifying problematic power structures that have shaped their artistic journeys. As the night progresses, personality clashes and betrayals build toward a climactic curtain call for the students. 

“macbitches” by Sophie McIntosh provides–as the title implies–commentary on Shakespeare’s iconic tragedy. “Macbeth” follows a Scottish general who is told by three witches that he is destined to become the King of Scotland. After hearing this prophecy, Macbeth and his wife attempt to take fate into their own hands by murdering their way to the crown, and doing whatever is necessary to keep it atop their heads. 

Despite not even being given her own name, Lady Macbeth is one of Shakespeare’s most prominent and recognizable female roles. She is dominating, calculating and ambitious with a tragic story arc and a memorable, kick-ass soliloquy. It’s no wonder that the fictional students in “macbitches” are eager to land the role for themselves, especially when the options for other female roles are so limited; as the women point out, they are scratching and clawing for a role that doesn’t even have close to half of the number of lines as Macbeth. 

And a shortage of prominent roles for women is only a scratch on the surface in terms of the inequities explored within McIntosh’s script. These college girls aren’t just mean to one another; they are cruel. One can argue that a lack of empathy is to blame, but McIntosh makes the argument that the misogynistic industry plays a large role in how women can view other women as not just rivals, but enemies. 

The 90-minute, no-intermission show does a beautiful job of utilizing casual banter to unearth some of the social and systematic power structures that–whether intentional or not–create volatile environments for women within theater. It is harrowing to hear tales of physical and emotional abuse entirely normalized by young students who are not equipped with the tools or support necessary to challenge or healthily navigate those systems. 

There are moments of levity and camaraderie, though they may not quite occur as often as the instances of snarky gossip and side-eyes. Those familiar with the theater will find much to enjoy in the show’s repartee, but the amount of insider lingo and references utilized means that some of the jokes or stories may not prove as effective for non-thespians in the audience. 

The show continuously builds to a climactic ending, and while some moments in the narrative can sag slightly in the middle, director Kate Smith’s cast makes for an undeniably entertaining watch. 

Madeline Golya is a super sweet and bubbly Hailey, the freshman who has earned the coveted role of Lady Macbeth. Golya plays Hailey with a naivete and self-assuredness that is entirely convincing.

In the role of Rachel, a senior who typically scores the leading roles, is Madeline Jarosz. She gives a talented portrayal of the hot-and-cold, intimidating queen bee figure. Playing the role of Rachel’s best friend and roommate, Lexi, is Abbey Marshall. Even though she is often playing second fiddle to Rachel, Lexi is a loyal friend. Marshall plays her with a tough bite and a heavy dose of sass. 

The level-headed junior, Cam, is played by Lorna Patterson. Cam, who is queer and struggles with depression, is often compensating for her disappointment in her lackluster roles with humor, which Patterson nails. Rounding out the group of girls is the adorable Hannah Rutkowski as Piper, a sheltered and pious student who is self-conscious about her limited life experience. Rutkowski is effortlessly charming in the role. 

convergence–continuum altered its small black box so that patrons must walk through the playing space to reach the tiered audience seating. After everyone is seated, curtains are closed over the theater’s entrance, the black fabric acting as the backdrop and backstage for the players. In doing this, the theater completely obscures paths to the exits as well as blocks the exit signs–something that patrons should be aware of should an emergency require them to leave the space prematurely. 

The furniture of the small college apartment consists of a series of stage cubes, black boxes often used in the place of set pieces during rehearsals, draped in fabric. A ghost light, another backstage theater staple, acts as a sort of lamp. It’s a fitting aesthetic for a show that explores happenings behind the curtain.

Apart from Robert Wachala’s lighting design, which shifts in subtle but effective ways during intense conversations, convergence–continuum kept its production design relatively simple. There is no costume designer or set designer credited, although the costuming should be commended for how it aptly represents each character’s personality. 

It’s always entertaining to take a look behind the curtains, to see what goes on behind the magic we see on stage, especially when it’s a biting, intelligent commentary like what is offered in “macbitches.”

“macbitches” runs through Aug. 15, 2026, at convergence-continuum, 2438 Scranton Road, Cleveland. Visit convergence-continuum.org or call 216-687-0074 for tickets, $23-30.

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The Cuyahoga River was on fire this weekend and not for the reason you’re thinking.

In suits, shorts, jerseys and gowns, dozens of models lit up golden hour on the Flats East Bank on Sunday evening for fashion events guru Chrissy Cavotta’s latest venture with host Bella Mastrey, the Port Royale fashion show.

Nine designers showed off creme-colored purses, neon-floral swimsuits or fisher jean shorts in a followup to Cavotta’s runway show on INTRO’s rooftop last summer, one clear-skied, more intimate and diverse in its potential for the beach. Designers who showed off new work include Delphine-Bridal, Darcia Vega, Blank Easel, Rocco Atelier, Pseudo, Rollison Couture, Bruno Luce, Lucid Art and Ché Samoné Collection.

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One of the reasons that Shakespeare continues to be performed and beloved over 400 years after his death is the continued relevancy of his storytelling. Of course, the language is beautiful and clever, but the stories and humanity presented within his plays remain achingly pertinent. This is deftly showcased by Cleveland Shakespeare Festival’s (CSF) production of “Richard III,” a political history that is full of grief, frustration and rage. 

“The Tragedy of Richard the Third,” commonly referred to as “Richard III,” tells the story of the bloody rise to power and reign of King Richard III of England. The show begins in approximately 1471 during an age referred to as The War of the Roses, when House of Lancaster and the House of York battled for power in a series of civil wars across England. At the heart of the story are three brothers, King Edward IV (current King of England), Richard (Duke of Gloucester) and George (Duke of Clarence). Richard is written as a Machiavellian foe who is “determined to prove a villain” and will seize the crown by any means necessary. As infighting plagues England, Richard connives and lies and murders his way to power. 

CSF’s production utilizes swords and thrones and crowns but is set in a modern day United States. The touring, free company stages their production outdoors, meaning that there are few scenic design offerings, so translating the time period are costume designer Jasmine Renee, who dresses the cast in business attire fit for trendy politicians, and sound designer Cody Swanson, who employs a few songs alluding to stars and stripes patriotism. Yet, it is within the acting and directorial choices that audiences should recognize allusions to our current time and circumstances. 

Shakespeare wrote Richard as reviled for his appearance, portraying him with a hunchback and withered arm. Liam Stilson plays the titular character in CSF’s production, and while he uses a cane and wears a glove to cover one hand, he doesn’t fit Shakespeare’s descriptors of Richard’s appearance. Instead of Richard’s villainy being inferred from his looks, Stilson’s portrayal is rather charming and highlights the character’s cunning, trickery and ability to manipulate. 

This was an intelligent choice by director Rachel Gold, who, in her choice to minimize Richard’s physical differences, makes a more pointed comparison as to how the villains in our lives can take any shape. This choice is also commendable considering that Shakespeare’s description of Richard was prejudiced and likely influenced by Tudor propaganda and the need to maintain patronage from his rulers at the time. 

In the role of Richard’s cronies are Jonathan McPherson as Catesby, Kyler Rogers as Ratcliff, Lionel Morales as Tyrell and Beloved Obeng as Buckingham. These players have a good camaraderie on stage and successfully portray a toxic, bro-ish mentality. In the role of both of Richard’s brothers is an ailing and downtrodden Cody Swanson.

The show is named for the dastardly villain committing atrocities to gain power, but CSF’s production is most impactful in its depiction of the fallout of these actions. This is powerfully portrayed by the women in the production who are most often left to pick up the pieces after the unjust and untimely loss of their loved ones. 

Jasmine Renee plays a passionate, raw Queen Elizabeth, who is raging against sorrow after her husband, the king, dies, and her children go missing. Also wrought with grief is the late king’s father, the Duchess of York, who is played by a sympathetic, motherly Debi Tinsley. Both Renee and Tinsley give heart-wrenching performances.

Carolyn Demanelis embodies the hardened, tough Queen Margaret, a widow who tries to warn the royal court about Richard’s villainy. The frustration and rage Demanelis portrays when Margaret’s warnings fall on deaf ears feels especially timely. Also full of rage is Lady Anne, played by a captivating and lively Raina Thiegs, another widow made by Richard’s hand.

It should come as no surprise that Richard also plots the death of one of the aforementioned women. While this death typically occurs off stage, Gold made the decision to stage the murder before the audience. This is a powerful choice that gives some autonomy to the victim, and more aptly demonstrates the viciousness and consequences of Richard’s unchecked power. 

Richard III is perhaps best remembered for his suspected role in the disappearance of his young nephews, the deposed King Edward V and his brother, Prince Richard, played here by the adorable Ceci Whiteamire and Emaline Bubnick, respectively.

All of the roles are double-cast, save for the part of Richard. While costume and hairstyle changes help translate the portrayals, the Shakespeare novice might benefit from reading up on the show beforehand; it will help keep track of the multiple Henrys and Edwards and Richards. 

Whether you’ve seen a production of “Richard III” before or if this is your first introduction to the Bard’s historical tragedy, the grief, frustration and rage provoked by hateful, self-obsessed politicians will ensure that CSF’s production still feels entirely familiar. 

“Richard III” runs through Aug. 2, 2026. Cleveland Shakespeare Festival presents outdoor, touring productions. Visit www.clevelandshakespeare.org to view upcoming performance locations. Free to attend.

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When attending a production at Beck Center for the Arts, you will get a sense of the type of performance you’re seeing based on whether the piece is being staged in the Senney Theater, a traditional, proscenium stage space with ample seating, or the Studio Theater, an intimate black box that seats far fewer patrons.

Staged in the Studio Theater are often lesser-known shows that employ smaller casts and thus attract smaller audiences, such as “Speech & Debate,” “Andy Warhol in Iran” and “The Robber Bridegroom.” Compare that to the last three professional shows staged in the Senney Theater, “Mean Girls,” “Spring Awakening” and “The SpongeBob Musical,” and you will see an obvious difference in marketability.  

And it makes fiscal sense! A theater needs to move tickets, after all. There is value in staging hyper-commercial, crowd-pleasing shows, but this can also come at the expense of memorability and bearing, as is demonstrated in Beck’s latest production of “Mean Girls.”

Based on the popular 2004 film, the musical version of “Mean Girls” premiered on Broadway in 2018. It follows Cady Heron, a naive teenager who transfers to a cut-throat high school after being homeschooled her whole life in Kenya. Initially oblivious to social norms, two artsy outsiders, Janis and Damian, show Cady the ways of the public school hierarchy. Motivated by revenge, Cady’s two new friends convince her to infiltrate the “Plastics,” a popular clique consisting of the insecure but loyal Gretchen, a dimwitted but sweet Karen and their leader, the hyper-beautiful but cruel Regina.

The musical, with a book by Tina Fey, lyrics by Nell Benjamin and music by Jeff Richmond, was nominated for 12 Tony Awards, but didn’t manage to bring home any wins. It received mixed reviews from critics, as did the 2024 film adaptation of the musical. Is the show groundbreaking? Not at all, but it is campy, entertaining and fun, something that director Scott Spence embraces in the Beck production. 

Welcoming audiences into the production are Janis and Damian, played by Blithe Pluger and Tyler J. Sanderlin, respectively. These characters are traditionally fan favorites, but Pluger and Sanderlin’s shared numbers felt somewhat underwhelming. Plunger’s depiction of the dark, sardonic Janice lacked bite and subsequently, humor. While Sanderline depicted the flamboyant, genial Damian with skill, he appeared much older than a high schooler, which was perhaps a disservice from his styling considering that Sanderline is currently a college student. 

The introduction of Lindsey Ross as Cady Heron in the second number, “It Roars,” set a steadier tone for the show. Ross has a beautiful voice that consistently awed throughout the production. She gave Cady a proper girl-next-door likability and charm that made for an engaging watch. Portraying Cady’s love interest, Aaron, is a charming Max Larson. 

Samyah Henry stuns in her entrance as the most notorious of the mean girls: Regina. Henry not only has the gorgeous looks and malicious personality to portray a convincing Regina, but her silky voice is an absolute pleasure. Portraying Regina’s ditsy crony Karen is an adorable Cassie Woodward. Gretchen, Regina’s self-conscious, doting follower, is played by Abigail Sanford, who has a great voice but also a magnetic stage presence that consistently draws eyes. 

It’s worth noting that every actor mentioned thus far is a student of Oberlin College (as are the majority of the ensemble members), which helps give the show the youthful edge it requires. They are dressed in typical high schooler garb–with the exception of the Plastics, who fittingly wear skin-tight dresses and skirts a hair’s length away from being inappropriate–by costume designer Inda Blatch-Geib, and execute energetic, punchy choreography by Lauren Marousek. The song “Where Do You Belong?,” which features the cast dancing with cafeteria trays and rolling tables, is especially impressive. 

Laura Carlson Tarantowski’s set design makes use of geometric shapes to create an interesting space that can easily transform between the plains of Kenya to a sixteen-year-old’s bedroom. These transformations are aided by rolling in and out set pieces, but Val Kozlenko’s projection design does much of the heavy lifting. Kozlenko’s place-setting projections, such as posters layered onto the proscenium arch or a cafeteria projected onto the back wall, add flavor and depth to the design. However, the projections become superfluous and distracting when they are used to supplement characters–the addition of a crown at the top of the stage during Regina’s numbers being just one such example. 

The music and humor of the Broadway production were met with a rather lukewarm response. While these are elements that the talented performers of Beck’s production can’t rectify, they do pack their performances with plenty of energy and are aided by a rather superb orchestra under the musical direction of Bryan Bird.

There’s nothing inherently wrong with staging a more commercial show–it certainly fills seats, and in the case of Beck Center, it entertains. While the entertainment factor alone might not serve as enough to make for a lasting impression, it does provide for a fun–dare I say “fetch?”– night out. 

“Mean Girls” runs through Aug. 9, 2026, at Beck Center for the Arts, 17801 Detroit Ave, Lakewood. Tickets can be purchased by calling (216) 521-2540 or by visiting beckcenter.org, $18-46.

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Ohio Light Opera’s schedule is intensifying. This weekend, The College of Wooster’s resident professional company presents The Merry Widow (Friday at 2 p.m.), My Fair Lady (Friday at 7:30 p.m.), The Boys from Syracuse (Saturday at 2 p.m.), Damn Yankees (Saturday at 7:30 p.m.), and The Yeomen of the Guard (Sunday at 2 p.m.) in Freedlander Theatre.

The Cleveland Orchestra welcomes conductor Semyon Bychkov and violinist Karen Gomyo for an evening of Brahms and Shostakovich at Blossom on Friday at 7 p.m., and Kent Blossom Young Artists concerts are daily events in a variety of venues — see the concert listings below.

Piano Cleveland Live presents local professional pianists in a 5:30 p.m. outdoor concert on Friday at Van Aken District in Shaker Hts. 

The Oberlin Organ Academy hosts a student recital on Saturday at 10 a.m. in Finney Chapel.

And Akron Symphonic Winds wish a happy 250th Birthday to America on Sunday at 6:30 p.m. in Nathan Hale Park in Parma Heights.

For details of these and other classical music events, please visit the ClevelandClassical.com concert listings.

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