28. August 2010 by admin.

WHO WAS THAT MASKED MAN?

F. J. Hartland

In what is billed as the “final tour,” Andrew Lloyd Weber’s The Phantom of the Opera makes a stop here in Pittsburgh.

Set in the Paris Opera House, the tale tells the story of a love triangle between the beautiful Christine, her suitor Raoul and the masked (and disfigured) Phantom.

D.C. Anderson and Michael McCoy make a very funny pair as the Opera House’s new owners, adding much comic relief to the love story.

Nancy Hess cuts a stark and powerful figure as Madame Giry, the ballet taskmaster who seems to have inside information about the Phantom. In ever scene she appears, it is difficult to keep one’s eyes off her.

As Christine Trista Molodovan is a stunningly beautiful Christine.  Paired with the handsome Sean MacLaughlin as Raoul, they make a picture-perfect couple.  Their scene on the rooftop of the theatre is particularly moving.

And as The Phantom Tim Martin Gleason wowed the audience—not only with his powerful voice—but also with his physical stamina required to play this challenging role.  He was rewarded with a most deserved standing ovation.

The production is visually stunning. 

The massive set is gorgeous, and the many scene changes were executed almost flawlessly.  Likewise, the costumes are colorful and eye-catching.

Pacing is perfect and the shows clocks in a two-and-a-half hours.

In addition Phantom is filled with all sorts of shocks and special effects that will cause you to jump out of your seat at least once!

My only concern about The Phantom of the Opera was the sound.  It was difficult to understand what is being sung in many of the larger scenes (such as the ones in the managers’ office and in the “Masquerade” number).  Also, at times some of the vocals had a “tinny” or unnatural sound.  This was due either 1) to the inadequacies of the sound system or that 2) some of the vocals were recorded and not sung live.  I truly hope it is the former and not the latter.

All that aside, I enjoyed the show.  It was my first time to see The Phantom of the Opera, and I’m glad I did not let it slip away with “The Music of the Night.”

The Phantom of the Opera runs through September 19.

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21. August 2010 by admin.

To Shock—Or Not To Shock?

F. J. Hartland

Rage of the Stage, one of Pittsburgh’s most alternative theatre companies, is known for its shocking productions of original works as well as adaptations of classics.

With their current production of James Michael Shoberg’s Fairest: The Black Tale of Snow White, Rage of the Stage shocked me more than they ever have before—because there was absolutely nothing shocking in it.

In fact, if you cut the few moments of violence (and one crotch grab), this show could be performed at any children’s theatre in the country.  This “R” rated company has given us a “PG 13” production.

Visually Fairest is interesting.  The simple set is decorated nicely and the costumes are well-detailed.  Unfortunately, long set and costume changes call for numerous (and lengthy) black-outs that bring the flow of the show to a grinding halt over and over.

Jenna Lanz keeps Snow White from turning into the sugary sweet Disney version. 

Kudos to the seven actors who play the dwarves (Angelica Bondy, Charsley Bickett, Brittany Spinelli, Thomas Sterner, Geoff Bowman, Kimberly Legler and Peter Anthony Betrini).  Each one creates a distinct character—all while walking on their knees.  Ouch!

Skylar Walton and David Wooddell have the thankless tasksof spending nearly three hours motionless on stage as The Guardians of the Mirror.

Lori Howsare gives a dynamic performance as The Guise of the Hag.  And in the role of The Spirit of the king Marcus Muzoppa cuts a noble figure.

Overall, though, the acting is somewhat uneven…and not everyone seems to be working in the same style.  Considering that these are one-dimensional “fairy tale” characters, the lengthy running time of Fairest calls for far more complexity than playwright James Michael Shoberg gives them.

I can’t believe it, but I actually missed Rage of the Stage’s trademark leather, whips, fishnet stockings and black nail polish!

Fairest: The Black Tale of Snow White runs through August 28 at the Studio Theatre in the basement of the Cathedral of Learning on the University of Pittsburgh campus.

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13. August 2010 by admin.

THE SPOILS OF WAR: STILL LIFE

F. J. Hartland

It’s been said that to do theatre all you need are some bare boards and a passion.  The rest—lights, costumes, technical effects—is just gravy.

No where is this old chestnut more evident that in the Cup-A-Joe Production of Emily Mann’s Still Life, currently running at the Future Tenant Gallery.

With three platforms, three lighting instruments—and a lot of passion, director Todd Betker and his highly talented cast bring the play to life.

Based on real interviews, Still Life shows the impact of the Viet Nam War on three individuals—and only one of them is a soldier.

Everett Lowe plays Mark, the shell-shocked soldier.  He’s been through hell and back; unfortunately, when he finally returns home, there are no parades. In fact, no one even wants to talk about the war.  He is full of rage and pain, which sadly he takes out on his long suffering wife.  Lowe brilliantly captures a man who is so conflicted on so many levels.  We truly feel his anguish.

Diana Ifft portrays Cheryl, the victim of domestic violence, who is terrified of leaving her husband.  She is also pregnant with their second child (which doesn’t stop her from swilling cans of Pabst Blue Ribbon).  With her performance, Ifft perfectly manages to walk a fine line.  Should we feel sympathy for her…or is she unhinged herself?  Using the tiniest physical actions, Ifft creates her character through nuances: the way she touches her ear, for instance, or the way she continuously twirls the yarn from her sweater.

In the role of Nadine, a disenchanted woman who forges a bond with Mark, Joanna Lowe becomes the voice of what was happening in our country during and after the war.  Lowe embodies the disenchantment people (and women, in particular) felt during he late 60’s and early 70’s.

The characters speak directly to the audience and rarely interact.  The effect is almost like a musical composition.  While Betker gets some outstanding performances from his cast, he allows them to become over-indulgent, particularly during the second act.  And speaking of second acts, the format for Still Life grows too tedious to support a two hour show.  Mann should have cut her script to run in ninety minutes with no intermission.  Also, stopping the action truly breaks the flow and intensity of the piece.

But do see Still Life for the amazing performances.  Yes, the show is underlit.  Yes, there is no real set.  But this director and these three actors truly prove that all you need to create great theatre:  bare boards and a passion.

Still Life continues through August 14.

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4. August 2010 by admin.

LOVE OR DUTY?

F. J. Hartland

In keeping true to its name, Pittsburgh Civic Light Opera ends its season with just that—a  light opera, the operetta The Student Prince with music by Sigmund Romberg and  updated book and lyrics by Dorothy V. Donnelly.

Dr. Engel (Ed Dixon), tutor to the Prince (Chad Johnson), convinces the monarch to allow the Prince to spend a year at the University in Heidelberg, living a “normal” life.  There the Prince meets a charming barmaid Kathie (Jacquelynne Fontaine) and forgets about his engagement to Princess Margaret (Shana Farr).

Which will the Prince choose—love or duty?

Johnson makes for a dashing Prince with his good looks and powerful tenor voice.  Looking every inch the college professor, Dixon also has a commanding singing voice.

It is easy to see why everyone falls under the charms of Kathie because Fontaine plays her with such charm and wit.

Director and choreographer James Brennan creates some wonderful stage pictures with his chorus, particularly in the closing moments of “Come Boys” and also in the famous “Drinking Song.”  Perhaps “Montage” is the emotional zenith in terms of singing and staging, earning a warm and very vocal response from the audience.

Adding hilarity to the production are Tim Hartman as Lutz, valet to the Prince, and Patrick Richwood as Hubert, the much put-upon valet to the valet.

Hartman pulls out all the stops in creating the pompous and vain Lutz.  Sometimes the choices seem inconsistent with the character, however, and it seems uneven.

Richwood is a delight, using a great deal of physical humor and slapstick.

As Old Joseph, Gene A Saraceni has a charming turn as the wine steward—a useless position in a German beer garden!

The sets by Robert Bingham are large and impressive—but some of the scene changes on opening night were rather slow.

In The Student Prince the voices are grand and the look is spectacular.  But in the end, the characters are somewhat two-dimensional and the story is somewhat simplistic…but I suppose that’s what light opera is all about.

The Student Prince runs through August 8 and brings the CLO Summer Season to a close.

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31. July 2010 by admin.

HOWLING IN THE WOODS

F. J. Hartland

Lapland after World War II is the setting for The Howling Miller, a world premiere being presented by Quantum Theatre at the Frick Park Environmental Center.

Written by Quantum’s Artistic Director Karla Boos and the play’s director Peter Duschenes, the play is adapted from the novel by Arto Paasilinnia and looks at the effect a newcomer has on a small town in northernmost Finland.

Sadly, it seems like Boos and Duschenes don’t know what kind of play they’ve written.  Some scenes play as stark reality…others like a scene from a children’s play.  Is it a comedy…a psychological exploration…a drama?  Overall, it lacks focus.  Each scene seems to be written for a different genre.  It leaves the viewer confused and wondering what exactly are we to get from The Howling Miller.

And while Duschenes directs the opening of the show with excellent pace, it begins to drag before Act One is over.

The cast is not to blame.  They are excellent.

Lithe Tristan Farmer gives an athletic, acrobatic performance as the newcomer.  He runs, leaps, bounds, jumps, does cartwheels and rides a bicycle.  And he is also full of charm and sex appeal.  His character might be insane…but he is also sweet and lovable.  The fluidity of his movement and his amazing balance are amazing to witness.

Melinda Helfrich is hysterically funny and sweet as the overzealous 4-H Director who firmly believes in the power of vegetable gardens.

Hats off to the delightful ensemble cast (John Gresh Robert Haley, Jason McCune, Andy Place and Mark Conway Thompson) who brilliantly play multiple roles—everything from townspeople to mental patients to reindeer (yes, you read that right.  Reindeer.)  Unfortunately, the program only lists one character for each actor, so it takes some time and mental maneuvering to figure out who is who.

The set by Tony Ferrari blends in beautifully with the outdoor location of The Howling Miller.  Herman Pearl’s strategic sound design makes a significant contribution in creating the feel of each scene.

Other local theatres could take notes on Quantum’s front-of-house.  Everyone from box office to ushers to parking lot attendants could not be more kind, gracious and helpful.

On the other hand, Quantum takes the prize for the most uncomfortable seating.  Tiny folding chairs are crammed too close together on platforms that are too small to allow one to pass if anyone else is sitting in a row.  The stairs are uneven…and quite steep.  After being wedged in for the first act, I was in such pain that I could not return for Act Two.  In fact, I was still smarting when I got out of bed this morning.

And it’s not a good sign that I haven’t spent a moment since wondering how it all ends.

The Howling Miller continues through August 22.

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21. July 2010 by admin.

WELCOME TO THE 60’s: HAIRSPRAY

F. J. Hartland

Set in nearby Baltimore and based on the cult film by John Waters, the musical Hairspray is rocking it at the Benedum for CLO.

It’s 1962 and Baltimore s a segregated town.  Spunky Tracy Turnblatt wants to integrate the Corny Collins Show, an American Bandstand kind of show.

Directed by Barry Ivan, CLO gives us a lively, colorful show that will make you want to dance in the aisles.Katrina Rose Didericksen is full of charm and pep as Tracy.  She also has a powerful voice.  My only criticism is that she’s really not the “full-figured” girl Tracy is supposed to be.  It is obvious she is padded to look heavy.  But other than that, she is thoroughly engaging.

Niki Scalera is a comic delight as Tracy’s nerdy best gal-pal Penny.  With every joke, Scalera lands a bulls eye.

MadTV’s Paul Vogt plays Tracy’s hefty and loving mother Edna.  And he gives it 110%.  Whether singing, dancing or wise-cracking, Vogt is larger-than-life and proves he is as at home on stage as he is on camera.  Likewise, Jim J. Bullock comes as a complete surprise as Tracy’s dad Wilbur.  More than just a sitcom caricature, Bullock is a singing and dancing showman.  The two reduce the audience (and each other) into gales of laughter during the “(You’re) Timeless to Me” number.

Diminutive Drew Lachey plays Corny Collins and does not seem as comfortable on stage as Vogt and Bullock.  With more confidence,  he could be quite good.

As Seaweed J. Stubbs, Rashad Naylor is sweet and sexy and one helluva smooth dancer.

In Act Two Kecia Lewis-Evans as Motormouth Maybelle brings down the house with her powerful and moving rendition of “I Know Where I’ve Been.”  The audience burst into cheers and applause long before the song concluded.

Hats off to Madeleine Doherty who plays three various characters.  Her transformations are so complete, you have to look in your program to realize it’s the same performer.  Sadly, Stuart Marland is unable to do the same with his variety of characters.

David Rockwell and William Ivey Long provide colorful sets and costumes…and it’s amazing how much Baltimore resembles parts of Pittsburgh.  One would swear Tracy lived somewhere in Lawrenceville or the Southside!

There were some opening night glitches—particularly with the follow spotlights.  But they will certainly be resolved quickly, I hope.

Get to the Benedum and see Hairspray before it closes on August 1.

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7. July 2010 by admin.

ROLLICKING FUN: THE PRODUCERS

F. J. Hartland

CLO presents a sure-fire evening of rollicking fun with their current production of The Producers.

Funnyman Mel Brooks adapted his film of the same title into the multi-Tony Award-winning musical.  And while I don’t think it’s the greatest musical by any stretch of the imagination—CLO certainly does it justice.  It sure is FUN!

Max Bialystock, a down-on-his-luck Broadway producer (played brilliantly by John Tracy Egan), meets accountant and producer-wanna-be Leo Bloom (Jim Stanek), who convinces Bialystock that (through some clever bookkeeping) they can make more money with a Broadway flop than with a hit.  They then begin to look for the worst script, most talentless director, etc.

With his performance Egan pays tribute both to Nathan Lane (Broadway’s Bialystock) and to Zero Mostel (who played the role in the film).  Egan is a large man—yet performs the physical demands of the role with ease.  He can be bombastic when he needs to be—and graceful when called upon to do so.  And Egan brings down the house with his star-turn number “Betrayed” late in Act Two.

Pittsburgh native Joe Stanek also makes the most of physical comedy as nervous accountant Bloom.  Clutching a shred of blue baby blanket, Stanek is hilarious whether having a full-fledged panic attack or dreamily falling in love with the Swedish actress Ulla.

The show is filled with outstanding performances, so it’s hard to pick favorites.

Ashley Spencer is very funny (and very beautiful) as the shapely Swedish bombshell Ulla.  N’Sync alum Joey Fatone gives an impressive performance as Nazi playwright Franz.  (I mean we knew he could sing and dance—but he also  has a gift for comedy!)  And John Walton West nearly steals the show as Carmen Ghia.  West doesn’t even need words to be funny;  his body language speaks for itself.  And he makes two of the funniest exits I’ve ever seen on stage.

Direct from the Broadway production, Robin Wagner’s set and William Ivey Long’s costumes are spectacular.  And Andrew David Ostrowski’s lighting meshes beautifully.

Director Bill Burns keeps the show moving at a lively pace.  The book does tend to break down in Act Two, but overall, the show is fast and full of laughs.

Hands down, with its amazing cast and stunning physical production, The Producers is the best show so far in CLO’s 2010 season.  You’d be a fool to miss it.

The Producers continues through July 18.

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27. June 2010 by admin.

NOT SO S’WONDERFUL

F. J. Hartland

CLO Cabaret is currently offering a Gershwin revue entitled S’Wonderful.

Using the tunes of the Gershwins to create “a new Gershwin musical” (as S’Wonderful is billed) is nothing new.  The musical Crazy for You was a highly successful Broadway hit utilizing the same idea.

Unfortunately, S’Wonderful lacks the charm and the entertainment value of Crazy for You.S’Wonderful takes place in a variety of locales in a variety of decades (New York in the 1920’s, New Orleans in the 1950’s, etc.). 

Sometimes the songs fit well into each vignette; sometimes, they are painfully shoe-horned in. 

The final sequence was particularly lackluster and just seemed like a sorry excuse to find a way to work in any songs that couldn’t be wedged in elsewhere.  It has no build and certainly brings the show to a dull-as-dishwater climax.

The hard-working cast (Courtney Bassett, Michael Campayno, Trevor McQueen Eaton, Jessica George and Montaja Simmons) is not to blame for this fiasco.  They give 110% for nearly two hours of singing, dancing, changing costumes and moving set pieces. 

With a better script, I am certain this cast has the talent to make it work.  Unlike the “book” material, these performers are worthy of the great songs they have been given.

The very handsome Campayno is particularly funny as an egotistical movie actor; Bassett does a charming Carol Burnett-esque star-turn in Act Two.  In fact, Bassett has a great deal of presence on stage. 

One can not help but notice her.Musical director Deana Muro is at the grand piano.  As she did in Forbidden Broadway, she is more than just the accompanist.  Muro is fascinating to watch, and when the production was over, I think I would’ve preferred just hearing (and watching) her perform the Gershwin hits.

Lewis Folden’s set is simple, yet effective, and he uses interesting projections to create various atmospheres.  It blends well with the lighting by Andrew David Ostrowski. Vince Perce’s choreography is pedestrian.

Perhaps it would have behooved Ray Roderick (who conceived and directed S’Wonderful) to place it in a totally modern setting (a bar, an airport terminal, etc.) to show the timelessness of Gershwin’s music.  Being stuck in a time-warp does nothing to showcase the beauty of these tunes.

George and Ira deserve better.

S’Wonderful continues through September.

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25. June 2010 by admin.

ANOTHER NIGHT IN THE TRAILER PARK

F. J. Hartland

A trailer park trash family in Texas hires a hit man to kill the mother in order to collect on her life insurance policy.

This is the basis for Killer Joe by Tracy Letts, the current offering from barebones productions.

Letts is well-known for placing dysfunctional families on stage (as in August: Osage County), but Killer Joe finds itself more deeply rooted in the Jerry Springer Show.

And you just know that when a family whose sum total IQ is about 100, their well-laid plans are not going to go smoothly.  In fact, it’s going to be a full-fledged disaster.

Directed by Kim Martin, the production finds the humor in this dark, dark story—making it something of a guilty pleasure.  One laughs, then feels badly for doing so.  She also keeps the show well-paced.

In keeping with past barebones productions, the talented cast is top-notch and the production values are very high.

John Gresh makes the ideal cuckolded husband in his grimy T-shirts and love of television.  For all his show of bravado, the father is a weak man (evidenced by his fear of the junkyard dog that is tied to the side of their trailer home).

Turning in a strong performance as the trashy step-mother is Lissa Brennan.  (When she sprays perfume up under her skirt, her husband refers to the area as “the gates of Hell.”)

The very tall John Steffenhauer (who has to duck for all his entrances and exits), convincingly portrays the not-too-bright redneck son Chris.  Chris is deep in debt to a vicious drug dealer.  He is also deep in love with his sister Dotty.  Dotty is a sleep-walking, sleep-talking young woman—who often seems comatose, even when she is awake.  Hayley Nielsen captures Dotty’s idiosyncrasies all while giving her an air of innocence.

Patrick Jordan plays Joe Cooper, who is a police detective by day, hit man by night.  Jordan is charming when the role calls for it—and terrifying when need be.  He also looks great without his clothes on (which is something of a barebones tradition now—not that I’m complaining).

Between scenes Pittsburgh music legend Joe Grushecky performs live—an added treat for theatre-goers.  The gritty sound of his brand of rock/blues makes for the perfect accompaniment for Killer Joe.

Douglas McDermott’s set is well-detailed, but seemed a little spacious for a trailer (maybe it’s a double-wide?).  I think a more confined playing space would have added to the tension of the show.  Scott Nelson’s lighting was appropriate, although one scene was terribly bright.  There are a number of “special effect” by Benzy—all of which looked quite real—not like staged “effects” at all.

It’s an excellent production; I just wish I liked the script.  Or even one of the characters.

Leave the kids at home as there is plenty of nudity, violence and graphic language.

Killer Joe continues through July 10 at the Hazlett Theatre. 

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23. June 2010 by admin.

THE SHOW MUST GO ON: CURTAINS

F. J. Hartland

What happens when a stage-struck detective is called in to investigate the murder of the leading lady during the out-of-town try-out for a musical headed to Broadway?

Naturally, he solves the murder…and fixes the show!This is the backdrop for Curtains, the Kander and Ebb musical currently playing at CLO.  It’s really a Kander and Ebb valentine to show business and the musical theatre.

With its “show within a show” premise (a silly rip-off of Oklahoma! called Robbin’ Hood), Curtains is a big old-fashioned, fun-filled musical comedy “whodunit,” filled with intrigue, romance…and murder.

Malcolm Gets is absolutely charming as Lt. Frank Cioffi, the lonely homicide detective who spends his yearly vacation performing in community theatre.  Despite an on-again-off-again Boston accent, Getz proves himself a real song-and-dance man with his delightful singing voice and smooth dance moves.

Sally Struthers is in top-notch form as the wise-cracking producer Carmen Bernstein.  She delivers the show’s funniest lines.  At one point Gets had to hold…and hold…and hold for the audience to stop laughing at one of her zingers.  (My favorite line, however, was the one dealing with her daughter’s taste in clothes, make-up and men!)

Rob Sutton makes a memorable CLO debut as composer Aaron Fox.  His moving rendition of the love ballad “I Miss the Music” was a stand-out.

As stage director Christopher Belling, Stuart Marland plays comic high camp—and rivals Struthers for the number of stinging one-liners.

J Branson’s set is perfect in creating both the looks of the “backstage” scenes as well as the glossy look of a frothy 1950’s Broadway musical.  Likewise, lighting by John McLain in on the money.

Act One is sheer bliss—funny, full of energy and leaves you wanting more.Things tend to get bogged down in Act Two—though it’s not the fault of director Charles Repole or his very talented cast.  The book just seems to sag.

Curtains does save some surprises for the end.  Not only does Cioffi catch the killer—there is another twist that I won’t spoil for you.  But I can tell you, it took me by complete surprise.

And kudos to the technical staff of Curtains.  Other than a few late microphone pick-ups, this was the smoothest CLO opening night I can re-call.

After the somewhat ponderous Oliver! and the less-than-perfect Miss Saigon, CLO has really hit its stride this season with Curtains. 

If you like murder mystery, romance and/or big, old-fashioned musicals, don’t miss Curatins, playing through June 27.

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