Let Freedom Ring @ Ensemble Theatre 9/2 American musical theater has long fostered songs of protest and/or rebellion. Such productions are especially popular during times of national stress. Consequently, not only is the timing of Let Freedom Ring right on, but so is the message. All too often, we tend to think we’re alone in our opinions, and it is comforting to know we’re not always a nation of strangers.

Ensemble Theatre opens its 27th season with a spiffy production of this new version of Bill Rudman’s Brother Can You Spare a Dime? from some years ago. With a bit of tweaking by local playwright Eric Coble and sparkling choreography from David Shimotakahara and Pandora Robertson, the five-member cast, wonderfully accompanied by pianist/music director Nancy Maier, give new life to 80 years of message-type music.

The minimal scenic design by Todd Krispinsky is colorful and functional, and works well with the lighting of Maureen E. Patterson. (But do try to sit on the left side of the theater so you don’t get blinded by a spotlight aimed at the house.) Part of the charm of the production are the projections by Steven Schultz, which include photos and other graphics, sometimes decorated with humorous graffiti. Early on, the phrase “Are we there yet?” appears, and my first thought was, ‘Oh, yeah! This production is absolutely HERE!')

There really is no story line as such, or if there is, I couldn’t figure it out, but that’s okay. You don't necessarily need to know the history of each piece of fabric to appreciate a marvelous quilt. So, just sit back and let the music tell the story. The actors are all excellent singing/actors, and a couple of them are outstanding dancers, as well. Perhaps more equal than the others—he is older, to be sure—is Mick Houlahan, who brings maturity and strength to his portrayals. He’s somewhat in the role of a teacher, and we’re lucky to be in his class, as his robust baritone wends its way through the history presentations.

A quartet of youngsters round out the cast, holding out the promise of a new generation becoming involved in many things. Students at Baldwin Wallace with varying amounts of experience, they nevertheless radiated sincerity and good energy with the songs that were, in most cases, older than they are! Each of them--Hannah DelMonte, Erin Childs, Javar Parker and Michael Russo--had a star turn, and handled it well.

Standout performances were The Locker Room and A Wonderful Way to Die with Parker and Russo, and Just Don’t Make No Sense with Parker. Houlahan was just terrific in Everybody Says Don’t!

DelMonte and Childs were especially effective in a blended medley of What Good is Love?, Song of the Sewing Machine and Millwork, all accompanied by illustrations from real life.

Director Eric Schmiedl set a brisk pace, with interesting bits of stage business, passing chairs around etc., but it all works splendidly together. It’s a must-see production. Too bad it’s only on-stage at the Brooks Theater of the Cleveland Play House until September 17. For tickets or more information, call Ensemble’s ticket office at 216-321-2930.

From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net (:divend:)