A potent group of smaller stages are growing and strengthening Northeast Ohio’s theater scene around headliner Playhouse Square

Story by Bob Abelman
Illustration by Jon Larson

Like Broadway in New York and the Loop in Chicago, downtown Cleveland’s Playhouse Square is the hub of the city’s theater scene as well as the nation’s second largest unified performing arts center. 

Its original five venues – the Ohio Theatre, Palace Theatre, State Theatre, Allen Theatre and Hanna Theatre – were constructed in the early 1920s as houses for vaudeville, movies and legitimate theater. 

Now fully restored after years of abandonment, fire and vandalism, the historic theaters house top-tier national Broadway tours, serve as the home to Cleveland’s classic theater company, play host to America’s first professional regional theater, and offer concerts, comedy shows and dance performances. 

Yes, Playhouse Square on Euclid Avenue between East 14th and East 17th streets is thriving. But the true sign of a city’s evolving theater scene can be found on the roads less traveled. It’s there that smaller stages are producing innovative, avant-garde and contemporary plays as well as original works by local playwrights. 

Every city known for its performing arts has followed this off-the-beaten path.

New York’s Off-Broadway and Off-Off-Broadway movements began in the early 1950s as a reaction to the commercial theater that dominated the mid-town area.  Located largely on the Lower East Side and the Upper West Side, away from Time Square, these indie theaters provide an outlet for each new generation of creative artists whose voices are not being heard elsewhere.

The 1960s and ’70s saw an explosion of homegrown theaters in Chicago, called “Off-Loop,” which are still performing in unorthodox and inexpensive settings away from the mainstream venues in the city’s downtown Loop area.

The 99-Seat Theater scene evolved in Los Angeles during the 1980s, when many of the larger, nonprofit professional theaters found themselves dependent on box office sales for most of their income and less likely to engage in creative risk-taking. 

And now, Cleveland’s theater scene is undergoing its own version of an Off-Broadway, Off-Loop, 99-Seat Theater movement. 

Located on the East Side and West Side, away from Playhouse Square, these professional playhouses welcome diverse perspectives not only in who is telling the story and what the story is about, but how the story is told. Some are venturing into the use of immersive, interactive technology for their storytelling that create virtual worlds onstage. Others are blurring the line between theater disciplines. And they are all tapping local talent with distinctive voices. 

Let’s call these theaters “Outside-the-Square.” Here are a few worth visiting:


“Bat Boy: The Musical” was performed in October 2015 at Blank Canvas Theater. Photo | Andy Dudik

“Bat Boy: The Musical” was performed in October 2015 at Blank Canvas Theater. Photo | Andy Dudik

Blank Canvas Theatre
78th Street Studios
1305 W. 78th St., Suite 211, Cleveland
440-941-0458 or blankcanvastheatre.com

In search of an identity in Cleveland’s highly diverse performing arts marketplace, the upstart Blank Canvas Theatre has waffled between modern classics, such as “Twelve Angry Men” and “Of Mice and Men,” and cultist musical comedies that include “Debbie Does Dallas,” “Psycho Beach Party” and “Bat Boy.” The theater, in its fifth year, also provides a performance space for founder and artistic director Patrick Ciamacco’s sketch comedy troupe, The Laughter League.

This is part of Ciamacco’s master plan to lure younger audiences to the theater via offbeat offerings and then strategically introduce them to the modern classics. “Or vice versa,” he notes. “We want a typical theatre lover who would normally only see a classic to enjoy it so much they go outside their comfort zone and show up to have blood splattered on them while watching ‘The Texas Chainsaw Musical.’”


convergence-continuum
Liminis Theater
2440 Scranton Road, Cleveland
216-687-0074 or convergence-continuum.org

“Most theaters are like mirrors, reflecting the familiar,” suggests convergence-continuum mission statement. “Everything is nicely laid out for you as you view what is comfortably, safely beyond that wall, confident that you will be made, indeed are expected, to understand the experience in terms of conventional logic. Aren’t we all tired of that by now?”

con-con prides itself on taking risks and confronting conventions, and has done so under the supervision of Clyde Simon, who has served as artistic director, director, actor and set designer since the theater’s founding in 2000. The immensely intimate Liminis performance space offers an up-close-and-personal theater experience in an effort to fully engage its audiences’ senses and imaginations.


“Three Sisters” was performed in June 2015 by the Mamaí Theatre Company. Photo | Erik Johnson

“Three Sisters” was performed in June 2015 by the Mamaí Theatre Company. Photo | Erik Johnson

Mamai Theatre Company
Cleveland Masonic Performing Arts Center
3615 Euclid Ave., Cleveland
440-394-8353 or mamaitheatreco.org

Mamaí is passionate about offering audiences canonical works from dramatic literature. They do so, according to co-founders Bernadette Clemens, Wendy Kriss, Christine McBurney and Derdriu Ring, “without filtering what might be denser, older or more rarely performed out of a fear that contemporary audiences cannot or will not engage with classical playwrights.”

Their 2013 inaugural production of “Medea” did just that. “Good classical theater need not be watered down, dumbed down or used as a rare spice to blend into a contemporary season,” says Clemens. Adds McBurney, “For me, one of the biggest returns from our first season was learning that audiences do respond to plays that do not resemble sitcoms; plays with big ideas, complexity and beautiful language.” Next season, Mamaí will move downtown into the 150-seat Helen Rosenfeld Lewis Bialosky Lab Theatre after having established its reputation just east of the Square.

Mamaí is attempting to counter the tendency of many other theaters to make play choices that are heavily weighted toward male casts by ensuring that, for Cleveland’s professional theater community, women will have increasing opportunities to work.


Playwrights Local
Waterloo Arts
397 E. 156th St., Cleveland
216-302-8856 or playwrightslocal.org

Newly formed Playwrights Local, located in the revitalized North Collinwood neighborhood, is the city’s first theater company exclusively dedicated to new plays by local playwrights.

After obtaining nonprofit status and finding a work space at Waterloo Arts, artistic director David Todd and managing director Tom Hayes created a laboratory environment where directors, actors and dramaturgs provide feedback on new work, as well as space for table readings, rehearsals and public staged readings.

In November, the company will orchestrate its second annual two-day Cleveland Playwrights Festival that will feature workshops, panel discussions and staged readings of short works by David Hansen, Lisa Beth Allen, Eric James Dahl, Craig Joseph and Luke Brett. Says Todd, “We want to raise awareness for Cleveland as a playwriting city and add another facet to what is going on in the arts.”


“Tall Skinny Cruel Cruel Boys” was performed in October and November 2015 by Theater Ninjas. Photo | Anastasia Pantsios

“Tall Skinny Cruel Cruel Boys” was performed in October and November 2015 by Theater Ninjas. Photo | Anastasia Pantsios

Theater Ninjas
440-941-1482 or theaterninjas.com

Theater Ninjas is the food truck of Cleveland theater; a nomadic company that seeks out new and challenging performance spaces such as the repurposed recording studio at 78th Street Studios. “Working in nontraditional venues gives us an opportunity to reimagine how and why we tell stories,” suggests artistic director Jeremy Paul, “and helps us to create deep, fascinating worlds for the audience to explore.” 

For instance, “The Excavation” was staged at the Cleveland Museum of Art, where audience members chose their own path through different “exhibits” that used humor, science, tragedy, puppets and multiple artistic disciplines to celebrate cultural legacies, mortality and our deep curiosity about the lives of other people. “It’s the kind of show that couldn’t be done in a traditional theater or by any other company in Cleveland,” says Paul. Other productions have been staged at the Rising Star Coffee Roastery, the Canopy Collective and the Guide 2 Kulchur bookstore.

Jon Seydl, former curator at CMA, described Theater Ninjas as operating “on the end of the theater spectrum; the place where theater connects to other forms of performance.” 


none too fragile
1835 Merriman Road, Akron
330-671-4563 or nonetoofragile.com

Promotional ads for none too fragile boast: “We don’t just push the envelope. We lick it.” Shock value is what this theater is known for, starting with the ritual shot of Jameson whiskey that is distributed to audience members before each performance.

The Akron-based theater company was created in 2012 by Sean Derry and Alanna Romansky after an earlier experiment by Derry, called the Bang and the Clatter Theatre, proved too adventurous and bold for downtown Cleveland denizens.  This new theater picks up the mantle of providing principle-challenging, character-driven, and often funky storytelling. 

“Professional indie theater” is the way managing director Jaysen Mercer describes the types of plays they produce. “I believe that we offer our audiences something very unique that may not be possible at larger venues,” suggests Derry, “and that is true, intense intimacy with the artist and his/her material.”


Several progressive theaters of note initiated the “Outside-the-Square” movement before it was fashionable. Below are two of the most prominent.


“Incendiaries” was performed in January 2016 at Cleveland Public Theatre. Photo | Steve Wagner

“Incendiaries” was performed in January 2016 at Cleveland Public Theatre. Photo | Steve Wagner

Cleveland Public Theatre
6415 Detroit Ave., Cleveland
216-631-2727 or cptonline.org

Cleveland Public Theatre’s mission is to “raise consciousness and nurture compassion through ground breaking performances.” CPT develops new, adventurous work by Northeast Ohio artists, undertakes nationally significant second and “early” productions of new scripts, and develops devised, ensemble-based theater as well as radical reinterpretations of existing work.

Located in the Gordon Square Arts District, CPT was founded in 1981 when James Levin returned from New York City and was determined to form an experimental theater group similar to Off-Broadway’s Cafe LaMama, where he worked as an actor and director.   

Over the past 10 years, executive artistic director Raymond Bobgan has expanded this mission. “We want people to leave CPT feeling like they have seen something extraordinary – something that they couldn’t have witnessed anywhere else in the region.” The CPT believes that theater can be at the center of community dialogue and, notes Bobgan, “personal transformation.”


Dobama Theatre
2340 Lee Road, Cleveland Heights
216-932-6838 or dobama.org

Founded in 1959 by Donald and Marilyn Bianchi, Barry Silverman and Mark Silverberg, Dobama Theatre has worked consistently to produce innovative plays of consequence.

The vast majority of the theater’s productions are regional, American or world premieres of the best contemporary plays by established and emerging playwrights.

“We honestly don’t go out of our way to do ‘edgy’ material, whatever that means,” says artistic director Nathan Motta. “However, if the material is something that might challenge our audiences – that is, if it’s thought-provoking, moving and relevant, with strong dialogue, layered characters and a unique or interesting premise – that work is certainly not something we’re going to shy away from.”

Since its origin, Dobama has always taken risks and, according to Motta, “asked its audiences to take the risk with us. This is an artistic decision we make knowing full well that it may prove challenging in terms of marketing, and in some cases, selling tickets.” CV

From left, Michael Regnier (Rabbi Isidore), Robert Branch (Simcha Bergman) and Kelsey Angel Baehrens (Rachael Bergman). PHOTO | Dale Heinen

Engaging ‘To the Orchard’ pits tradition against desire at Waterloo Arts and Dobama Theatre

By Bob Abelman

Local playwright Les Hunter’s latest contemporary drama is getting its world premiere as the first full-length production of the newly formed Playwrights Local 4181. It is taking place at Waterloo Arts in Collinwood and, later in the run, at Dobama Theatre in Cleveland Heights.

“To the Orchard”— which is about making mistakes, repairing the damage, and reconciling religious traditions with personal desires — was a top 10 finalist in the 2016 Jewish Play Project, received a National Foundation for Jewish Culture New Play Development Grant, as well as a production grant from the Arch and Bruce Brown Foundation.

The play takes place during the 30 days of shloshim — the Jewish ritual of mourning — which happens to coincide with Rosh Hashanah and Yom Kippur, and tracks Brooklyn College student Rachel Bergman’s (Kelsey Angel Baehrens) coming to terms with her homosexuality.

Upon the death of her mother, Rachel decides to come out to her estranged Orthodox Jewish father, Simcha Bergman (Robert Branch) — the starting anew associated with the first holiday. We soon learn that Simcha has been battling his own internal demons, and must forgive himself for past indiscretions before he can forgive others — the atonement associated with the latter holiday.

Throughout the play, Rachel seeks the comfort of her queer studies professor Tracie Braggs (Andrea Belser) while Simcha seeks the counsel of an addled old family friend, Rabbi Isidore (Michael Regnier). And though the play is set in the here and now, spiritual guidance is also provided through dreamlike visitations by 1970s rocker Robert Plant (Regnier), turn-of-the-century author Virginia Woolf (Belser), and 19th century financier August Belmont (Baehrens).

This touch of magical realism adds some light moments to an otherwise intense work, made even more so by some stiff dialogue early in the play and the intimate confines of the Waterloo Arts performance space.

Despite the tight quarters, director Dale Heinen stages an appealing production, using T. Paul Lowry’s superb animated projections to establish a sense of place, Jonathan Maag’s lighting design to manipulate attention and establish a sense of time, Daniel McNamara’s sound design that cleverly merges klezmer with classic rock and roll, and four excellent performers to keep us fully engaged.

During those occasional bouts of stiff prose, the acting comes across as stilted and forced. But the performances soar when Hunter’s words seem to fly from the page and are as poetic as they are poignant, which happens often.

Such is the case with the final scene in Act I, when Rabbi Isidore compels Simcha to recite the Al Chet and the two men rhythmically admit their sins while alternating between Hebrew and English. “For all these, O God of forgiveness,” says the Rabbi as he beats his chest during the confession, “forgive us, pardon us, grant us remission. Simcha, the gates are not closed. This is my gift.” This beautifully sets up the healing that takes place in Act II.

The play’s many short scenes and frequent set changes can be taxing. And set changes performed by the actors rather than a crew are a distraction and detract from the production’s professionalism. But not enough to undermine Hunter’s work, which is thoughtful and so very intriguing.

“To the Orchard” is a welcome addition to the homegrown plays that are being supported, developed and produced in Cleveland. And Playwrights Local 4181 is a welcome addition to the companies lending support and doing the development and production. CV

On stage

WHAT: “To the Orchard”

WHERE & WHEN: Waterloo Arts, 397 E. 156th St., Cleveland through June 5; Dobama Theatre, 2340 Lee Road, Cleveland Heights, June 10-12

TICKETS & INFO: $10-$15, call 216-302-8856 or visit playwrightslocal.org


Bob Abelman covers theater and cultural arts for the Cleveland Jewish News. Follow Bob at Facebook.com/BobAbelman.3.

 Originally published in the Cleveland Jewish News on May 30, 2016.

Lead image: From left, Michael Regnier (Rabbi Isidore), Robert Branch (Simcha Bergman) and Kelsey Angel Baehrens (Rachael Bergman). PHOTO | Dale Heinen