Losers turn winners in 'Freak the Mighty' and 'Speech & Debate'

IF YOU GO WHAT: "Freak the Mighty" / Cleveland Play House WHEN: Through June 21 (times vary) WHERE: Allen Theatre, 1511 Euclid Ave., Playhouse Square, Cleveland TICKETS: $60 to $90 INFO: (216) 241-6000 or boxoffice@clevelandplayhouse.com WHAT: "Speech & Debate" / Beck Center for the Arts WHEN: Through June 28 (times vary) WHERE: Studio Theater, Beck Center for the Arts, 17801 Detroit Ave., Lakewood TICKETS: $23 to $46 INFO: (216) 521-2540 or BeckCenter.org The "Revenge of the Nerds" seems to be the theme of new productions at area theaters this month, albeit with a lot more sophistication than the 1980s comedy film of that name. 'Freak the Mighty' Like the dynamic duo of an awkward genius teen dwarf atop the shoulders of a goonish 6-foot-plus classmate charging through their bullying high-school classmates, the new (apparently) Broadway-bound musical "Freak the Mighty" charges into the Cleveland Play House Allen Theater stage with music, comedy and pathos to spare. Featuring infectious and clever book and lyrics by Anthony Drewe and engaging score by Ryan Fielding Garrett, the new musical is being produced by the Tony Award-winning producers of the popular Canadian musical "Come From Away," with an aim for Broadway after a subsequent run at the Seattle Repertory Theater following this Cleveland engagement. Based on the heartfelt 1993 novel by Rodman Philbrick -- adapted into the successful 1998 films "Mighty" and "Max the Mighty" later that year -- the show follows the adventures of two unlikely pals, classmates and neighbors -- Maxwell Kane and Kevin "Freak" Avery. Separately, they see themselves as outcasts in the small town of Portsmouth, New Hampshire, but together they inspire each other to triumph and victory -- be it in King Arthur fantasy sequences or real-life taunting by the town tormentors -- and later a threatening abusive father out on parole after the apparent murder of the mother of Maxwell, who lives with his grandparents in lingering debilitating mental turmoil. The production -- powerfully directed by Play House artistic director Michael Barakiva and effectively choreographed by Patrick McCollum -- seems at times to be reminiscent of the Broadway/film hit "Big Fish," dealing with triumph, fantasy and familial conflict in smalltown America. Indeed, the score often evokes the same folksy charm while often making way to modern pop motifs. Of course, the power and success of this brand-new show rests on the hulking shoulders of Netza Jimenez, literally and otherwise, as Max and Cornelius Kiettrell as his mighty mite buddy championing through this new invigorating musical as their characters champion the vicissitudes of life. They are indeed triumphant, but the winners also include the cheering members of the audience. "Speech & Debate" Considering "Speech & Debate," a popular dark comedy by Stephen Karam, involves the relatively new world of social media, the blogosphere and teacher predators, it's ironic that the play opened about 20 years ago (a little over a decade after "Freak the Mighty" takes place). But as produced by the Beck Center, it could take place today. This comedy deals with not two but three high school outcasts in their attempt to expose a drama teacher (never seen) who preys on teenage boys. Involved in the expose are Soloman (stridently played by Jonathan Koppleman), the bit-too-eager-beaver school newspaper reporter with delusions of Watergate grandeur; Howie (a nuanced Seth Crawford), initially solicited online by the teacher in a surprisingly hilarious text-messaging sequence; and Diwata (hilariously larger-than-life Mary Coulter), an aspiring actress and singer who seems to be assaulting what few online fans she may have with her extemporaneous vocalizing and single-tune electric-piano finesse. Added to the mix are the two adults -- a controlling teacher and equally controlling NPR reporter (performed equally well by Laura Rauh in both roles) -- who seems to be hindering the students more than helping them. The plot thickens when the students decide to shine light on predatory teachers at the school with a riotous musical version of Arthur Miller's "The Crucible" -- they cannily note they live in Salem, Oregon, whereas Miller's play takes place in Salem, Massachusetts -- that also involves time-traveling to visit Abraham Lincoln. This could amount to sheer chaos, but it all comes together surprisingly well with the Beck Center talents of director Don Carrier, who gets a lot out of his young actors, and especially scenic, lighting and projection designer Cheri Prough DeVol, who turns the highly intimate Beck Center Studio Theater into a virtual visual extravaganza. For such a dark comedy, this production sheds a lot of light -- figuratively and literally. "Cinderella" Although arriving in the form of a magnificent ballet instead of play or musical, Cleveland Ballet triumphed in its presentation of one of the original underdogs facing bullies and oppressors -- "Cinderella." Cleveland Ballet once again wins with ingenious choreography -- mixing just the right amount of engaging pantomime and terpsichorean spectacle -- by the company's own artistic director Timour Bourtasenkov, set to a recorded soundtrack of Rossini, Schostakovich, Strauss and more. (Scenery, props and costumes were courtes of Charlotte Ballet.) Although the show's limited run ended a few weeks ago, it gives promise to more magic for the company's upcoming season and special engagements throughout the summer. Check it out at www.clevelandballet.org. Contact Howard Gollop at howieeg@gmail.com.