Some of us have grown up with the March sisters: Jo, Meg, Amy and Beth.

We’ve laughed with them and cried with them. We’ve gone on adventures with family friend Laurie and waited alongside mother Marmee for Mr. March to come home from the war.

This semi-autobiographical story has become part of the fabric of classic American literature. In fact, Alcott has been credited with creating a genre of writing and with giving readers a first look at “the all-American girl” across the characterization of all four sisters.

Sometimes, when something is so familiar, so much a part of us, it is hard to accept a new “take” on such beloved material. But this stage adaptation by Heather Chrisler is a master class in storytelling — and heartstring-tugging.

The Dobama production — boasting a female-and-non-binary cast, crew and creative team, according to Dobama Artistic Director Nathan Motta — is set in the family’s attic, beautifully erected to period perfection by scenic designer Laura Tarantowski.The cast consists of four talented women who spiritedly portray every role, bringing to the forefront the themes of family, loyalty and, especially, sisterhood.

As Jo (Theo Allyn) puts it herself, “I could never love anyone as I love my sisters.”

The attic is where hopes are born, dreams are realized and time marches on, regardless of whether Jo wants it to.

And the story of these sisters’ struggles and successes is playfully imagined using attic artifacts as props for their roleplay. A picture frame becomes a vehicle to show Amy falling through ice; balloons become her sketches, which are sometimes thrown away; and hula hoops allow Meg to have a charming hissy fit about making currant jam.

The sisters grow up before our eyes, and our hearts swell, our souls cry and our eyes smile under the careful and creative hand of director Melissa Crum.

Allyn is the ideal choice for the bold, budding writer, Jo. She is funny, tender and passionate in her portrayal, and she acts like a metronome for the piece, setting the pace and tone throughout the ebbs and flows of each character’s individual growth and relationship changes.

The other three actors each plays a male role in addition to her role as a sister.

Amaya Kiyomi throws on a top hat and aptly becomes Meg’s older suitor, John Brooke, but most of her stage time is spent as Amy. Kiyomi seamlessly and believably sheds Amy’s self-absorbed skin to reveal a more mature, confident and cultured young lady.

When Jo ventures to New York City to become a writer, Mariah Burks makes an appearance as Professor Baer, the man who encourages Jo to dig deeper as a writer (and who in the novel becomes the object of her affection). And as the sensible sister, Meg, Burks has a wonderfully calming, natural presence until she suddenly delights us with a burst of comedy, showing off her versatility.

Natalie Green effectively takes on the role of Laurie, Jo’s best pal, but also gracefully embodies the role of sweet, sensitive and tragic Beth. It feels as though Green has been plucked right out of the pages of the novel, bringing out our smiles and our tears with her emotional portrayal.

This is just a beautiful production in every way, from Chrisler’s innovative script, with her smart use of symbolism and effective messaging, to Crum’s detailed, thoughtful direction to Tarantowski’s useful and inviting set, enhanced by Josee Coyle’s warm lighting. Plus, Colleen Bloom’s costumes transport us to another era.

All of that aids the perfectly cast team of actors, who stand out as individuals but also command the stage as a sisterhood.

During a time when many of us are looking for an escape from what feels like an upside-down world, there is no better attic in which to let our imaginations carry us away, than the one belonging to the March Family in this must-see Dobama production of “Little Women.”

‘Little Women’

Continues through Dec. 31 at Dobama Theatre, 2340 Lee Road, Cleveland Heights. For tickets, $35 to $42, call 216-932-3396, visit Dobama.org or email boxoffice@dobama.org.

Ciamacco is true to his word, choosing his seasons with intention and providing a home for interesting material, obscure works and Cleveland premieres, as well as for diverse casts of actors taking their own risks and honing their crafts while bringing material to life. Sometimes these actors land their punches, and sometimes they miss.

The Cleveland premiere of “Rocky,” on stage at Blank Canvas, has some hits and some misses but also a lot of heart.

There probably aren’t many people who have never seen the 1976 movie “Rocky,” which catapulted Sylvester Stallone, its star (and writer), to stardom. You may have even shouted out a “Yo, Adrian!” a couple of times. But what may come as a surprise is that the character of Rocky Balboa is loosely based on real-life fighter Chuck Wepner, and the inspiration for the film itself comes from the night that Stallone, at a theater in Los Angeles, watched a dramatic fight between Wepner and Muhammad Ali that took place in Cleveland, and it prompted him to go home and immediately knock out a script for the film.

Fast forward to 2014, when this musical version of “Rocky,” with book and lyrics by Thomas Meehan and Stallone himself and music and lyrics by the famed Stephen Flaherty and Lynn Ahrens, opened on Broadway. The reception was lukewarm, and the show closed after six months. It seems that the highlight of the Broadway production was the exhilarating, climactic fight choreography and special effects at the end of the show, overshadowing the love story between Rocky and the timid Adrian.

In the Blank Canvas production, however, that love story is the heart of the production and is what keeps us hanging in there through the 15th and final round.

The story closely follows the plot of the movie. Rocky (Michael Snider) is a collector for a loan shark, although his heart isn’t really in it. He likes to hang out at a boxing gym managed by Mickey (John Lynch), who doesn’t seem to want to give Rocky a break because he feels he is wasting his potential. The only bright spot for Rocky is a sweet, shy pet store clerk named Adrian (Carolyn Demanelis), who is his pal Paulie’s (Steve Brown) sister. When the opportunity to fight heavyweight champion Apollo Creed (Matt Deus) comes along, Rocky convinces Mickey to train him.

In the film, we are on the edge of our seats as tensions between Rocky and Apollo continue to simmer, and the training becomes more intense and exciting as we — quietly at first and loudly at last — root for Rocky to overtake the champ. Unfortunately, this production does not offer the same thrills. The tension between Rocky and Apollo and the chemistry between Snider and Deus are so crucial to this part of the story, and they simply are not there.

Deus has a smooth, rich singing voice, but his characterization of Apollo, based on Ali, has too much humor in his bravado and egoism with no aggressive edge. There is not enough push-pull between them and no building of an antagonistic relationship.

Fortunately, in other aspects of the story, the chemistry between actors is very much alive.

The character of Rocky is synonymous with Stallone, so it is hard to imagine anyone else doing the role justice, but Snider is a perfect casting choice. He brings a fresh kind of realism, vulnerability and strength to the character. His approach adds a different dimension and likability from the beginning, and his big voice handles his big songs with ease.

The doe-eyed Demanelis balances Snider’s larger-than-life persona with the quiet insecurity we expect from Adrian. And in the scene where she finally explodes at Paulie, she commands the stage without betraying her character with superficial anger. She manages to show us layers of anger, hurt, confidence, and tough love. Her voice is lovely and unique, tender and belty, and we are rooting for Rocky and Adrian as a couple, not just because the plot dictates it but because of the actors’ chemistry.

Other notable performances include Lynch, as Mickey, and Brown, as Paulie. They are both gruff around the edges, with a soft side, and can cover a broad range of emotions.

The ensemble is uneven in terms of acting and vocals, and in some cases they seem unprepared musically, missing some entrances and cues. But some of the actual score works against them, and very few songs, if any, are memorable.

Blank Canvas regularly makes the most of its small space by using innovative projections instead of bulky sets. This is the first time that the projections seem distracting in spots, like when Rocky and Paulie have projected flowers on their faces, or actors have a cityscape moving across their faces and bodies. Sometimes this effect is interesting, but it often it is jarring and takes us out of the moment.

So … does there seem to be a compelling reason for “Rocky” to be a musical? Not really. It would play well as a stage show, but the music, at least this music, gets in the way. But does this Cleveland premiere seem to be a worthwhile risk for Blank Canvas? Sure it does. It aligns with everything that Patrick Ciamacco so articulately stated about BCT and more: It is different, it has heart, it provides challenging roles for actors, and it is ambitious, providing the kind of technical challenge that Ciamacco and his team seem to love and meet head-on.

Blank Canvas always comes out swinging.

‘Rocky’

Continues through Dec. 16 at Blank Canvas Theatre, 1305 W. 78th St., Suite 211, Cleveland. For tickets, $25, call 440-941-0458 or visit blackcanvastheatre.com.

You have seen it four times already, and you are determined to get it right. You also take turns standing in front of the full-length mirror, practicing emoting while singing a heart-swelling rendition of “Home.” And through it all, you cannot possibly comprehend at 10 years old that the Broadway musical that inspired the movie was anything more than just a really cool version of a story you have lived and breathed since you were born.

But it is.

In fact, “The Wiz,” with an all-Black cast and crew, opened the door for future musicals such as “Dreamgirls” and “Sophisticated Ladies.”

The significance of this groundbreaking musical is even more evident in the newly re-imagined iteration on stage at the Connor Palace, kicking off Playhouse Square’s 2023-2024 KeyBank Broadway Series.

Charles LaPointe, wig designer for Playhouse Square-bound ‘The Wiz,’ talks shop

This touring production will travel the country and eventually find a home on Broadway, which will be its first time on the Great White Way since the show’s original Broadway premiere in 1975. It is a re-telling of L. Frank Baum’s classic book “The Wonderful Wizard of Oz,” but contextualized as a celebration of contemporary Black culture.

The curtain rises on Dorothy (Nichelle Lewis) who, following the death of her parents, is feeling out of place, and is being bullied in her new school. She is comforted by her Aunt Em (Melody A. Betts) until a wild tornado hits, carrying Dorothy off to a colorful, fantastical world that feels like a cartoon version of a neighborhood somewhere in New Orleans. Her house lands on one of the four Witches of Oz, but nobody seems too upset about it. In fact, Addaperle (Allyson Kaye Daniel), the Good Witch of the North, gladly gives Dorothy her flattened sister’s silver shoes to get to the Emerald City safely. Her plan is to ask the Wiz (Alan Mingo Jr.) to help her get back home.

Along the way, Dorothy encounters the Scarecrow (Avery Wilson), the Tin Man (Phillip Johnson Richardson) and the Lion (Kyle Ramar Freeman), who have all lost something within themselves that Dorothy feels the Wiz can give them, so they decide to “Ease on Down the Road” to the Emerald City together.

The Wiz is suave but smarmy — and he agrees to help them if they kill Evellene, the Wicked Witch of the West, also played by Betts.

When they succeed, only to discover that the Wiz is a con artist, he still manages to help them realize that what they thought they were missing was inside themselves all along. And Glinda, the Good Witch of the South (Deborah Cox) helps Dorothy believe in herself enough to make her way home with a simple click of her heels. Well … three clicks.

The magic of this production is front and center within the spectacular voices that color the many genres of music found in the iconic score, including rock, pop, gospel, soul, and ’70s funk, with updated arrangements to align with the script changes in order to make the show more current. Each actor stands out as a superb individual vocalist, and together, they take the already stunning complex harmonies and somehow make them even more beautiful.

‘Creed’ production designer Hannah Beachler talks Playhouse Square-bound ‘Wiz’

Lewis has a vocal range that soars to the rafters, along with a tone that is clear as a bell. She gives a strong performance and digs deep into her more emotional scenes and songs, but it would add another layer to her character were she to loosen up a bit in her lighter moments.It is a blast to watch Wilson, as the straw-stuffed scarecrow, literally flip and flexibly flop around the stage, with sharp, yet appropriately rubbery dance moves. His vocal gymnastics are just as fancy as his footwork, but his acting seems forced, and stiff at times.

Richardson, as the “heartless” Tin Man, and Freeman, as the very cowardly Lion, pull out all the stops in their big numbers, “Slide Some Oil to Me” and “Mean Ole Lion,” respectively. Both actors could go even bigger with some of their acting choices.

Mingo does a fine job as the Wiz. He has an exaggerated style that works and is charismatic in the role, but he never gets as far as doing something surprising or unique in the way that this role allows.

Betts is so very comfortable and nurturing as Aunt Em, and she grabs the opportunity to show off her flawless vocal control in the song “The Feeling We Once Had.” And then she brings the house down as Evellene. She commands the stage with the same ease but in a totally different way. Her comic timing and energy lift up every scene she is in and give the show a jolt of energy that feels necessary at times.What a treat to have Deborah Cox in this production, the recording artist giving glitz and glam to Glinda. She takes a cameo-type role and turns it into something memorable.

Another standout is Allyson Kaye Daniel, who appears briefly as Addaperle, but she consistently finds the humor in her character, takes risks and has a fresh approach to her lines, landing every laugh.Hannah Beachler’s set design works well and utilizes some very creative and beautiful projections designed by Daniel Brodie, but for a production that is centered around a fantasy, it feels as though there is a missed opportunity to add some more-magical elements. And it is especially anticlimactic when the set changes from black and white to color. There is no wow factor.

On this particular night, the show had to be held briefly for a technical issue, but it was handled quickly.

Before that, on Oct. 8, the show’s matinee performance was canceled due to what Playhouse Square called a medical emergency. The evening show went on as scheduled.

In spite of some bumps on the road to Emerald City, this production of “The Wiz” reminds us to have faith in ourselves and each other, and that “hope” is a powerful thing. Now more than ever, we all deserve to receive a message like that. To quote Stephen Sondheim as to why he says “The Wiz” is his favorite musical: “It’s the one show which makes you feel better when you come out of it than you did when you walked in.”

‘The Wiz’

Continues through Oct. 22 at Playhouse Square’s Connor Palace, 1615 Euclid Ave., Cleveland. For tickets, $25 to $115, call 216-241-6000 or visit playhousesquare.org.

This is the case with the Great Lakes Theater production of “Natasha, Pierre & The Great Comet of 1812,” which not only sets the bar high for innovative, experiential storytelling but also eviscerates that bar. And the moment you enter the theater, you know you are in for something special.

When the show opened off-Broadway in 2012, it was staged with action taking place on and around the circular stage. When it eventually made its way to Broadway in 2015, the production was set on a proscenium stage reconfigured into a twisty, multi-level performance space holding 200 audience seats scattered throughout, and action all through the orchestra section and mezzanine to create the intimacy that this show demands.

Great Lakes Theater’s ‘Natasha, Pierre and the Great Comet of 1812’ about to hit

It might be hard to imagine how Playhouse Square’s Hanna Theatre, with its classic proscenium stage, could possibly elicit this same intimate vibe, but it does.

From the romantic, curvy set that is redder than red, complete with sexy, swerve-y sofas for lovers to sink into, to the inviting cabaret tables right up against the stage, with actors charming us in the aisles, in the loges and, in some cases, in our faces, this ingenious production team pulls out all the stops to thrust the audience straight into the heart of the story.

Speaking of the story, Leo Tolstoy’s novel “War and Peace” hardly cries out, “Please turn me into a musical!” But composer-lyricist David Malloy, a Lakewood native, saw something glimmering under the surface in chapter eight that inspired him to hone in on Natasha’s tragic love story and Pierre’s desperate search for meaning in a world that leaves him empty. Malloy transforms Tolstoy’s words into a one-of-a-kind “electropop opera” that merges styles of punk, indie rock, Russian folk and classical music with lyrics that are tongue-in-cheek, thought-provoking and truly challenging. At times, a character singing in first person will suddenly and seamlessly flip to third person, becoming the narrator of his or her own story.

The cast warns us in the opening number, “Prologue,” that the plot can be confusing, and while they help us with the character breakdown, they also point out that “this is all in your program, you are at the opera, gonna have to study up a little bit if you wanna keep with the plot, cuz it’s a complicated Russian novel, everyone’s got nine different names, so look it up in your program.” And once the foot is on the gas, this production lurches forward, full speed ahead, bounding around every curve and never slowing down until it reaches the finish line.

We first lay eyes on the radiant Natasha as she arrives in Moscow, eagerly awaiting her fiancé, Andrey, to return from the war. As she longs for him, wondering when he will finally be home, she has a bumpy first encounter with her future in-laws and, later, allows herself to be seduced by a handsome rogue named Anatole. She sends Andrey a letter ending her engagement to him and makes plans to elope with Anatole, unaware that he is already married.

Her dear cousin Sonya tries desperately to stop her, and her godmother Marya brands her as a disgrace to the family name. A desperate Marya visits the melancholy loner Pierre in the middle of the night, begging him as a close family friend to intervene in this debacle. Pierre is distraught and reveals that Anatole is already married, and he sets off to force him to leave town, which he does.

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Meanwhile, horrified by what she learns, Marya runs back to tell Natasha, and although she does not want to believe her godmother, Natasha is overcome with sorrow and poisons herself, but she survives. Andrey returns, still reeling from Natasha’s letter breaking off their engagement, and although Pierre pleads with his friend to forgive her in the wake of her attempted suicide, he refuses. Natasha is left completely broken, and it is up to Pierre to put her back together.

He himself is trapped in a loveless marriage to Anatole’s wretched sister, Hélène, and although he is connected to all of the central characters in some way, he prefers to remain an outsider, left alone to contemplate the existence of God in a weary world. When he visits the very fragile Natasha, his gentleness comforts her, and she awakens something within him. After their encounter, when the great comet of 1812 is flying across the sky toward the Earth, Pierre has a rebirth of sorts, as if his eyes are open for the first time.

Victoria Bussert’s gift for innovation and creativity is on full display, and she has assembled a pitch-perfect team to make this “Comet” soar. It is almost a crime to single out any one cast member, as they all are breathtaking in their roles. Their single-company bow is a testament to the fact that they are a true ensemble; some actors play more than one role, some actors play different instruments on stage, and all actors support and elevate each other.

As a teaser for the kind of talent on this stage, Jessi Kirtley and Alex Syiek are stunning as the young, effervescent Natasha, and the brooding, contemplative Pierre. They are out of this world both vocally and emotionally, and Jodi Dominick dominates the stage from the moment she enters, showing strength, as well as vulnerability, and landing every single joke, rightfully earning her some of the biggest laughs. However, kudos must go to this entire Great Lakes Theater cast and crew for creating an epic theatrical experience that must be seen and heard.

You should know that on this particular night, the parking lots filled up very early, which made for a harrowing parking experience. So plan ahead, because you should not miss one single second of this show!

‘Natasha, Pierre & The Great Comet of 1812’

A production of Great Lakes Theater, it continues through Oct. 8 at Playhouse Square’s Hanna Theatre, 14th Street and Euclid Avenue, Cleveland. For tickets, $20 to $89, call 216-241-6000 or visit greatlakestheater.org.

And it is exactly as this play is meant to be.

The play is “Lungs” by Duncan Macmillan, and it is a bold choice to kick off Ensemble Theater’s 44th season, the company now setting up shop at the Notre Dame College Performing Arts Center in South Euclid.

And it literally takes your breath away, as the actors grapple with real-life inner conflicts forced upon us by our ever-evolving, overpopulated and climate-endangered world.

At the heart of the struggle is the question of whether a young couple, listed merely as M and W, should have a child, knowing that it would be one more person to contribute to draining the planet of its resources.

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As the lights come up, W is already reacting to M’s offstage question about having a baby. She is in freak-out mode, and she feels like she is under a microscope as M pushes her to have a potentially life-altering conversation … while in line at IKEA. That is the first of many laughs, jarringly juxtaposed with serious moments, often with absolutely no time between a shift in mood, thought or even time itself.

But life is like that sometimes, isn’t it? That is why this play works.

As audience members, we are put through our paces along with the characters as they “unravel and excavate previously held beliefs and assumptions.” And we can relate to the fact that, often, when we try to sort things out in our heads or talk things out aloud, it feels almost manic as we fly from one dark thought to the next — or one exhilarating idea to a belly laugh.

This play makes us acutely aware that life is never stagnant. Relationships constantly grow, together and apart, with the littlest and the biggest things affecting them. The world is forever progressing, but progress also leads to the big global issues looming large over people’s heads, especially young people’s.

We are reminded, too, as we often are, that life is precious and time is fleeting.

These issues and so many more are tossed and turned by the only two actors in this very wordy show. The incessant dialogue will make your head spin but in an evocative way. And there are not many moments of this 85-minute play that are not relevant. Macmillan’s script is mostly meat and few bones.

And director Becca Moseley allows her actors to add their own color to every word. She also brings the script to life as Macmillan’s stage directions align with his minimalistic approach, leaving the creativity and interpretation up to the play’s directors and actors.

Katie Simón Atkinson and Rob Grant III play W and M, respectively. They somehow don’t miss a beat in terms of dialogue, chemistry, the push-pull necessary to keep the audience on its toes, the care with which they deliver the most-fragile lines and the chutzpah with which they drop the bombs.

Atkinson is fierce in the way she allows W to face and embrace every fear and shout each one out loud. She is natural and easily rides the wave of highs and lows. She proudly wears the badge of the talker and, in fact, rivals any fast-talking “Gilmore Girls” character, which is saying a lot.

It is hard not to be drawn to Grant’s open, expressive face. As much as he shares a hefty portion of the dialogue, he is the listener, which carries an awesome weight of responsibility for an actor, and he assumes that role perfectly. He easily navigates through a range of attitudes: supportive, fed-up, insecure, judgmental — the list goes on, and he embodies them all.

Their chemistry bubbles under the surface in a greater way because of Moseley’s intentional choice to keep the two actors physically apart much of the time, emphasizing the chasm that sometimes exists between their characters, in spite of the sexual tension they generate.

“Lungs” debuted in 2011, and the issues at the center of the story are not only still relevant more than a decade later, but they are even more dire.

While there are plenty of laughs, it is an intense and in some ways exhausting theatrical experience that may not be everyone’s cup of chai. However,It is an important piece of theater, and it is handled correctly and done well by Ensemble Theater.

‘Lungs’

A production by Ensemble Theatre, it continues through Sept. 24 at the Notre Dame College Performing Arts Center, 4545 College Road, South Euclid. For tickets, $15 to $35, call 216-321-2930 or visit EnsembleTheatreCle.org.

Unfortunately, in the case of the musical “Leap of Faith” — on stage at Cleveland’s Blank Canvas Theatre — a clumsy storyline and superficial lyrics overshadow the hardworking, enthusiastic cast and prevent the audience from becoming true believers.

The 1997 comedy-drama film of the same name, starring Steve Martin and Debra Winger, was met with mixed reviews, as was the musical adaptation when it premiered on Broadway in 2012, closing after only 24 previews and 20 performances. The storylines are similar, but Janus Cercone teamed up with Warren Leight to adapt her script for the stage, tweaking some plot points and adding and redefining some characters.

When Jonas Nightingale, a part-time faith healer and full-time swindler, comes to the Midwest town of Sweetwater with his sister, Sam, and their Angels of Mercy, they pitch their tent and invite everyone to their revival in hopes of trading in a few fancy miracles for a few fancy bucks.

Standing in their way is Sheriff Marla McGowan, who is determined to keep Jonas from getting his hands on her townspeople’s money — and especially from using her son, Jake. We learn that a car accident has claimed the life of Marla’s husband and has left Jake physically disabled.

However, Jonas and Marla are attracted to one another and realize they both need to face certain things about their own lives to take that leap of faith to find honest happiness.

The unfortunate issue with this musical is that there seems to be no time for any of the characters to truly evolve. As a result, the relationships and chemistry between the characters seem forced. Major plot points happen too quickly, while others feel underdeveloped.

Also, some of the songs in Alan Menken’s score are entertaining, but Glenn Slater’s lyrics are awkward in spots, and although they are meant to move the story forward, they do not really do it justice.

The good news is that Patrick Ciamacco, a veritable one-man band — he’s the show’s director, set and technical director and projection and sound designer — always utilizes the space in a creative way. And he has a good eye for how his set and projections can add some pizzazz to his productions. He also hit the jackpot with Sarah Clare and her fabulous choreography, which helps overshadow the problems with some of the songs. Matthew Dolan has a really tight group of musicians, but at times, they overpower some of the vocals.

Ultimately, this production lies in the hands of the cast, made up of talented and engaging performers, some of whom are more successful at making up for the lackluster story than others.Kate Leigh Michalski manages to find the heart and soul of Marla. She has an extremely natural quality about her, with a voice that is both lovely and colorful, and she uses her wry wit effectively to cover up her character’s sadness.

Shane Patrick O’Neill has the powerful voice to carry Jonas’ big, rousing numbers, but he falls short of hooking the audience. He never fully taps into the root of his character’s flaws and portrays a more superficial reverend, which makes it hard to feel enough empathy for him.

We connect most to O’Neill during his scenes with Colin Primrose, the only child in the cast. The latter more than holds his own as Jake, who blames himself for the car accident that killed his father. Primrose gives an honest and earnest performance, allowing for give-and-take between himself and his scene partners.

Amy Pilgrim’s strong vocals as Sam lend themselves perfectly to her songs, especially the duet “People Like Us” with Michalski. But her character never gets far enough beyond “angsty,” never quite unpeeling the layers needed for Sam to have enough likability.

Neda Spears has the spunk, the heart and the voice for the role of Ida Mae, although some of her upper register gets lost among the powerful ensemble voices. Kyla Burks is a standout as Ornella, Ida Mae’s daughter and loyal member of Jonas’ ministry. Burks’ fabulous voice gives the show the jolt it needs towards the end, and Ornella’s brass and confidence are a force to be reckoned with as her brother Isaiah, aptly played by Emmanuel Stewart, tries to get her and Ida to walk on the right side of the law.

Overall, while the production may not make us “Rise Up” as the inspiring opening number demands, kudos must be given to Blank Canvas for its constant effort to bring different material to the stage.

And in this case, the message of having faith in one’s self is a message worth receiving.

‘Leap of Faith’

Continues through July 22 at Black Canvas Theatre, W. 78th St.. Suite 211, Cleveland. For tickets, $25, call 440-941-0458 or visit blackcanvastheatre.com.

That story is relayed as part of one of Father Flynn’s sermons in the outstanding production of John Patrick Shanley’s “Doubt: A Parable” on stage at the Beck Center for the Arts in Lakewood.

Father Flynn, a priest at St. Nicholas School and Church in the Bronx, New York, during the 1960s, tells his congregation he knows there are many among them who may have similar doubts of faith. But, he says, “Doubt can be a bond as powerful and sustaining as certainty. When you are lost, you are not alone.”

Right away, we get a sense that Father Flynn prefers a less traditional way of connecting with his congregants and students, embracing methods that are more open and positive than what might be considered the norm during this time.

The opposite could be said for the school principal, Sister Aloysius, who is a staunch believer in traditional methods of teaching, which is especially evident when she scolds the younger Sister James for not being a harsher disciplinarian. She urges Sister James to be more suspicious and asks why she doesn’t send more students to the principal’s office instead of working through problems on her own. She also asks her how she feels about Father Flynn and his methods, as well as whether she’s “noticed anything.”

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When Sister James eventually reports to Sister Aloysius that she has some concerns that Father Flynn may have been inappropriate with Donald Muller, the only Black child in school, Sister Aloysius seems almost vindicated. Upon pressing Sister James for more details, she learns that 12-year-old Donald came back to class sluggish and smelling like alcohol after being alone with Father Flynn.

The proper protocol would be for Sister Aloysius to bring this to the attention of Monsignor Benedict, but she suspects he would brush it aside. Thus, she decides to confront Father Flynn herself, along with Sister James.

This is where we begin to wonder. How do we straddle that fine line between the commitment to finding out the truth and the simple penchant for gossip? And even worse, what if, regardless of whether we discover the truth, we are left with a feeling of ambiguity that shakes us to our core?

This is where our play ends — with the tough-as-nails, hardened Sister Aloysius wrestling with her doubts, which run even deeper than whether Father Flynn was inappropriate with the boy or whether she was wrong to go after him in the first place. Her struggle lies in the cracks of the foundation of her faith — the moral compass by which she travels.

This stirring play opened off-Broadway in 2004, moving to Broadway in 2005 and garnering 11 awards, including a Pulitzer Prize and the Tony Award for best play. A movie version starring Philip Seymour Hoffman, Amy Adams and Meryl Streep arrived in 2013.

This production, under the superb direction of Donald Carrier, is something that should not be missed, partly because of the complex story that practically forces our feelings to the surface. On top of that is the stellar cast. fulfilling every intention the playwright had for each of these layered characters.

Derdriu Ring is nothing short of brilliant as she dons the habit and the habits of Sister Aloysius. Ring’s Aloysius is often so cold and collected that even the most subtle change of expression speaks volumes. The actress’ delivery is so pointed that it often elicits gasps from the audience, yet the character has a dry wit that allows us a laugh just when we need it most. Ring tackles this role as if it were written for her.

Christopher Bohan has the lofty job of steering the ship, so to speak. In less capable hands, a portrayal of Father Flynn could sway the audience one way or another as to whether he acted inappropriately. Bohan plays the role with such sincerity, optimism, humor, fire and desperation that we are left utterly confused about what to think. And that is the point.

Gabriella O’Fallon portrays Sister James with all of the necessary naivety and vulnerability needed to offset the role of Sister Aloysius. She relies on facial expressions and an edge to her voice to demonstrate her distress about various situations throughout the play. However, occasionally it feels as if she lacks some of the depth the other actors possess, which affects her ability to tap into some of Sister James’ more complicated underlying feelings.

Tamara French has a cameo role as Donald Muller’s mother, but she certainly makes the most of her brief time on stage. As a mother who wants to protect her child, French does an incredible job of playing calm with an undercurrent of fear — the character is simmering and ready to boil. French has to approach her lines with care, as she navigates the delicacy of a situation where her character’s feelings about what is best for her child might not line up with the audience’s feelings.

The production values are flawless, thanks largely to a quartet of designers: Jill Davis, scenic; Adam Ditzel, lighting; Jenniver Sparano, costume; and Angie Hayes, sound. As a result, we feel as if we are part of the St. Nicholas Church, making it even more of a moral dilemma for us to comprehend what is in front of us, as well as our own inner turmoil when it comes to faith.

This production of “Doubt: A Parable” is not only for us to contemplate situationally, but also for us to contemplate these themes universally. This show will stay with us for a long time because it forces us to confront truths within ourselves.

‘Doubt: A Parable’

Continues through June 25 at Beck Center for the Arts Studio Theater, 17801 Detroit Ave., Lakewood. For tickets, $12 to $38, call 216-521-254, ext. 10 or visit beckcenter.org.

Editor’s note: This article was updated at 8:24 a.m. June 8 to correct a character’s name. 

To quote the title song, some things are “well worth waiting for, believe me.”

And from the energy of the cast members themselves during the opening-night performance, they were eager to unleash all of that music that has been pent up inside of them — songs waiting to be heard by lovers of jazz, swing and good old musical fun.The show itself showcases the music of master pianist Thomas “Fats” Waller during a time when dank New York nightclubs suddenly became trendy New York hot spots.

Waller laid the framework for modern jazz piano with his innovative “stride piano” technique, contributing greatly to the Harlem Renaissance; a time in U.S. history marked by an explosion of creativity within the Black American community in the areas of art, music and literature.

While the Harlem neighborhoods were headed towards becoming a kind of “Black cultural mecca,” famous Black performers — such as Billie Holiday (who dared to sing the song “Strange Fruit,” originally written as a poem by Jewish school teacher Abel Meeropol in response to the US lynching in southern states), Louis Armstrong and Waller, one of the most influential jazz piano players of his time — were playing for white audiences, as Black people were not invited to patronize these newly chic clubs.On stage at Playhouse Square’s Hanna Theatre, a similar nightclub is brought to life through popular Waller songs such as “Honeysuckle Rose,” Keepin’ Out of Mischief Now,” “Mean to Me,” “This Joint Is Jumpin;” and so many more songs from this golden age in Black American culture. These songs are classics that are vocally challenging and require singers who can tell a story through the lyrics, their body language and facial expressions, not to mention the fact that many of these songs take on a new life through the addition of clever choreography reflective of the time by director Gerry McIntyre.

Cast members Tyrick Wiltez Jones, Colleen Longshaw, Brittney Mack, Jessie Cope Miller and David Robbins, along with music director William Knowles as Fats Waller, are certainly up to the task of being the triple threats necessary to breathe life into these songs.

The first accolades go to Knowles, who — back to the audience, adding a certain level of mystique to his already cool vibe — tickles the heck out of those ivories from the first note until the last.

Wiltez Jones and Robbins really go that extra mile to bring the audience into their world in an interactive, playful way. And their songs are some of the most entertaining, including Robbins’ “Your Feet’s Too Big,” in which he counts on an audience member to be his “big-footed” companion, and Jones’ “The Viper’s Drag,” which shows off his sensual dance moves and sultry voice. Their duet, “Fat and Greasy,” begs some audience participation, and you can’t help but sing along.

The women harmonize with bell-like tones that are so complementary that you almost can’t tell who is singing each part, but they also stand out individually. Cope Miller has the most classically trained sound, along with the versatility to be able to sing a beautiful soprano line and belt out the “money notes” within the same song. Longshaw is a storyteller who sings the meaning behind each lyric, especially evident in her poignant rendition of “Mean to Me.” Mack is the comedian and has the audience in the palm of her hand with “Yacht Club Swing,” sung with Jones. Mack is also an impressive dancer, and she has the opportunity to show off her skilled moves alongside Robbins at several points in the show.

The cast works well together as a whole, although sometimes their chemistry doesn’t seem to come naturally, feeling a little forced in songs that should be showstoppers, such Act One closer “This Joint Is Jumpin.’” Part of the issue might be the sound design of David Gotwald, which does not really boost the singers’ voices as much as it should, making some of the bigger numbers a bit anticlimactic in terms of the vocal dynamics.

They are, however, completely in sync in every way in their absolutely stirring take on “Black and Blue,” sitting perfectly still and completely turning a frivolously fun-loving show on its head with lyrics that include, “I’m white inside, but that don’t help my case. I can’t hide what’s on my face.” That in-your-face reality unveiled by these hauntingly beautiful voices is a truly perfect moment.Great Lakes has mounted a production of “Ain’t Misbehavin’” that is an entertaining, toe-tapping, fun-filled celebration of Waller’s music that is a fitting tribute to the burgeoning music scene that he was drawn to as he continued to experiment with his musical style.

The finale itself, full of songs Waller made famous — including “I’m Gonna Sit Right Down and Write Myself a Letter, “I Can’t Give You Anything but Love,” and “It’s a Sin to Tell a Lie” — is enough to have you up on your feet and dancing all the way up the aisles, with a rekindled love of the music from our past that has influenced so much of the music we listen to today.

‘Ain’t Misbehavin’’

A presentation of Great Lakes Theater, it continues through May 21 at Playhouse Square’s Hanna Theatre, 2067 E. 14th St., Cleveland. For tickets, $20 to $89, call 216-241-6000 or visit greatlakestheater.org.

Editor’s note: This article was updated at 4:14 p.m. May 5 to correct the actors who perform certain numbers. 

And if you are not already a fan of the legend that IS Tina Turner, or her music, after seeing the electrifying jukebox musical “Tina — The Tina Turner Musical,” which is on stage at Playhouse Square in Cleveland, you will understand why she owns that title.

Don’t let the term “jukebox musical” fool you into thinking that this is a fun-loving, fluffy, bop-in-your-seat kind of show from beginning to end. The term refers to a show where the majority of songs are well-known and often are used to tell the story of the artist. In this case, the story is one of childhood neglect, mental and physical abuse and, ultimately, determination, strength and survival.

This musical is not perfect, with its flaws lying in the story structure. It would be impossible to fully capture the true arch of Tina’s brutal circumstances, which begin in Nutbush, Tennessee, when the young Anna-Mae Bullock (Ayvah Johnson) is abandoned: first by her controlling mother (Roz White), who takes her favorite daughter, Alline (Parris Lewis), and walks out; and then by her father (Kristopher Stanley Ward), who preaches the Good Book in church, only to come home and beat his wife. Anna-Mae is raised by her Gran Georgeanna (Carla R. Stewart), until she eventually sends the teen to New York to be reunited with her mother and sister.

During a night on the town, Anna-Mae, now going by Tina, catches the eye of Ike Turner (Garrett Turner), lead performer of a popular band in town, who convinces Tina’s mother to let her join him on tour with promises of taking care of her and making her a star. But Ike is like a ticking time bomb. He has an explosive temper, and he manipulates and controls Tina’s every move, only to cheat on her, use drugs and knock her around every chance he gets. After years of enduring his abuse, she finally leaves — with nothing but the nightgown she is wearing. She has to do whatever she can to start over, raise her children and reinvent herself, which she ultimately does.

Playwrights Katori Hall, Frank Ketelaar and Kees Prins had an insurmountable task of picking and choosing which events to highlight in this bio-musical to portray the intensity of Turner’s life. They had to be truthful while using creative license to build a throughline that makes sense within the confines of a show and, at the same time, spotlight the heroic measures that Turner had to take to survive and triumph as a performer and a woman.

But sometimes it feels like one blow after another and another and another, with some great songs that are, in some cases, awkwardly retrofitted into the plot. This would be disconcerting and even a little exhausting if not for the incredible talent up on that stage.

The daunting role of Tina is played by two different performers on the tour. During this particular performance, it was Naomi Rodgers who lit up the stage with her outstanding turn as the iconic Turner. While no one can duplicate the raw grit that comes from the depths of the artist’s soul, Rodgers’ voice is actually more polished than Turner’s, with extraordinary range both vocally and emotionally. She pours her heart out for nearly two and a half hours, showing her versatility as an actor, singer and dancer, perfectly replicating the famous moves that Turner is known for from shimmy to shimmy and everything in between.Equally impressive is the youngest talent in the room, as Ayvah Johnson’s portrayal of Young Anna-Mae will make your jaw drop. Johnson is a star in the making, and because of an incredible mini rock concert tacked on to the end of the show, we are fortunate to get to see her again after Tina grows up.

Garrett Turner gives an appropriately upsetting performance as Ike. In fact, the audience left not quite sure how to celebrate him during his bow, as Ike is the main villain in Tina’s life. Our hesitation to hoot and holler only means Garrett has done his job as an actor. He flips back and forth among oozing charm, raising his voice and raising his fist, establishing an emotional roller coaster for us to ride.

The entire cast deserves kudos for their topnotch performances, creating an incredible chemistry on stage that needs no help from fancy set pieces. The simple design is enough, along with creative lighting and projections that allow the actors to do the work they are meant to do.

The real payoff comes at the end of the show, when we cannot help but leap to our feet as we are treated to the rock concert we have been waiting for, which includes an encore/more complete version of “Proud Mary,” which is abruptly cut short at the end of act one. The shaggy-haired, confident Tina, embodied by the sensational Rodgers, holds a roaring crowd in the palm of her hand. This is when Tina’s life, as portrayed throughout this musical biography, flashes before our eyes, and the lyric “Simply the Best” takes on a whole new meaning.

‘Tina — The Tina Turner Musical’

Continues through May 14 at Playhouse Square’s Connor Palace, 1501 Euclid Ave., Cleveland. For tickets, $25 to $129, call 216-241-6000 or visit playhousesquare.org.

It is evident from the faces of the staff and the hearts of the performers that they take its name seriously. “Karamu” means “a place of joyful gathering” in Swahili, and that joyful vibe creates a warmth that radiates and spills out into the audience.

And Karamu House, which hosts a five-show season, an array of educational opportunities for all ages and thought-provoking community programming, earns its highly regarded reputation and its national recognition as being the oldest African-American performing-arts institution in the nation.

The current production, “The Bubbly Black Girl Sheds Her Chameleon Skin,” is a tongue-in-cheek, clever and relevant musical about Viveca, a young Black girl in the 1960s who wants to become a professional dancer. But as we peel off that superficial layer, we ache for Viveca as she struggles to navigate relationships and life and to sort out her identity alongside “companions” such as racism, sexism, fear, pressure to conform and pressure to discover her truth.

When we meet the bubbly Viveca, she is a vivacious child walking home from school with her friend Gregory, who tells her, amidst some flirtation and banter, that four little black girls her age were murdered in a church.

At home in her room, she plays with her favorite white Chitty Chatty doll, and throws the Black doll that her mother got her on the floor. She confides in Chitty Chatty that she wants to be white, and as time goes on, and as Viveca gets older, her friends accuse her of hanging out with white kids, calling her a “pathetic Oreo.” Her parents are also on different pages, as her dad tries to protect her from any unpleasant, ugly truths, enabling her conformity, while her mom wants her to face and embrace her reality.

The juxtaposition of the catchy music, colorful costumes and clever choreography with the vision of Black children as victims of a bombing is jarring — and a sobering truth as to the burgeoning racial intolerance plaguing our society, not only in the 1960s but also today. The choice to shine a light on this reality with such a fresh and upbeat approach is the brainchild of playwright Kirsten Childs who said, “Now, as it was back then (as it has always been for Black people in the diaspora), allowing anger to consume you is self-defeating and unproductive. Which is why I chose to write a story of hope and humor about the ridiculousness of racism and intolerance.”

The cast, at its best, is full of energy, playing multiple roles, having a blast with each one, and landing important laughs. Unfortunately, where the production wobbles is in its uneven vocal performances and muddy sound. In many cases, the lyrics in the group numbers are virtually indecipherable if you are sitting in the back half of the house, and sometimes the production’s shortcomings come close to detracting from the powerful message.

Standout performances include that of Avery LaMar Pope, as Viveca’s longtime friend Gregory. Pope is a terrific singer and a versatile actor, developing his character from a mischievous boy to a young man who is both vulnerable and strong. Pope’s moving performance in the scene when Gregory is stopped by the police leads to a palpable fear that ripples through the entire audience.

Mell-Vonti Bowens’ sexy take on the song “Come With Me” puts his smooth-as-silk vocal stylings front and center.

Kennedi Hobbs sinks her teeth into the leading role of Viveca, and she approaches the character with a lot of passion and honesty. She isn’t up to the task of her challenging musical numbers, but she gives every song everything she’s got.

The rest of the hard-working ensemble ebbs and flows musically but hits all the high notes in terms of enthusiasm, especially when it comes to executing Kenya Woods’s funky choreography.

Director Nina Domingue creates a safe space for humor and harsh reality to collide and mesh to, as Domingue herself writes in her director’s note, “open the door for you to discover your truths and relish the miracle of everyday survival.”“The Bubbly Black Girl Sheds Her Chameleon Skin” feels like a grown-up sandbox and a perfect place for this kind of important self-discovery.

‘The Bubbly Black Girl Sheds Her Chameleon Skin’

Continues through May 14 at Karamu House, 2355 E. 89th St., Cleveland. For tickets, $35 to $45, call 216-795-7077 or visit karamuhouse.org.