31. May 2009 by admin.

DIRECTOR BRINGS HER MOJO TO REP

F. J. Hartland 

           Director Kim Martin brings her magic to MOJO, the current production by the Pittsburgh Repertory Theatre.

            Written by Jez Butterworth, Martin makes MOJO a fast-paced and highly entertaining production.  While the script is sometimes confusing, there is never a dull moment.  Also, Martin utilizes the multi-level set to create stage pictures that are always visually interesting.

            Martin is assisted by a stellar cast.

            Michael Fuller as “Potts” and Sam Turich as “Sweets” play a pair of n’er-do-well cohorts.  They bring much of the comic relief to MOJO.  Also, they engage in sections of rapid-fire machine gun patter and never miss a beat.  Many of these exchanges are when they go off on tangents about such things as cake or “Uncle Tommy.”  Fuller and Turich are hilariously funny and have great chemistry.

            Adding great support are Philip Winters as “Mickey” and Gregory Johnstone as “Skinny.”  Winters is perfect as the weak club owner; Johnstone gives his best performance that I have seen as the whipping boy.

            Amadeo Fusca has the small—but pivotal role—of “Silver Johnny.”  Much talked about, but rarely seen, the play centers on the singer “Silver Johnny” and Fusca does a fine job.

            But at the center of the play is the dynamic and chilling performance of Dave Droxler as “Baby.”  Like a snake, “Baby” is both hypnotically seductively and terrifying.  Droxler gives a multi-layered performance—sometimes a hurt child, sometimes a sexy sado-masochist.   It is the perfect portrait of a socio-path.  If you see MOJO for no other reason, see it for Droxler’s stunning characterization.

            Scenic designer Michael Thomas Essad has created a gritty and detailed version of a grimy second-rate British nightclub.  It also is able to transform smoothly in another area of the club for Act Two.  (And hats off to the hard-working stage crew who make those changes during the intermission).

            Lighting by Andrew David Ostrowski was—as always—on the mark.  Cathleen Crocker-Perry has created costumes that perfectly capture the early rock-n-roll era of the late 1950’s.  And the shoes are amazing!  (And I think this is the first time I’ve ever written about shoes in a review—but that’s how great this footwear is).

            MOJO centers on an upcoming British rival to Elvis; that is, until a murder disrupts the plan.  I don’t think it’s an especially good script, but Martin (along with her cast and crew) give us a production well-worth seeing.

            MOJO continues at the Studio Theatre of the Pittsburgh Playhouse through June 14.  For tickets, call 412-621-4445.

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30. May 2009 by admin.

LATE NIGHT CATECHISM—THIRD TIME’S A CHARM

F. J. Hartland  

          City Theatre presents the third part of the Late Night Catechism titled ‘Til Death Do Us Part.  Since I haven’t seen the first two parts, I can’t say that this one is the best—but it is a charming and highly entertaining evening. 

           Written by Maripat Donovan (who played the original “Sister”), the show is essentially a class in Catholic Doctrine—warts and all. 

           There isn’t a great deal of “show,” but Kimberly Richards excels in improvisation as she interacts with the audience.  And discipline is the watch word in Sister’s classroom.  Be sure to sit up straight and dispose of your gum before you enter the Lester Hamburg Theatre!  And for Heaven’s sake, raise your hand before you speak. 

            Richards is so convincing as Sister that I heard several patrons ask her after the show if she was indeed “a real nun.”    This is a real testament to the actress who commands the stage for nearly two hours with never a dull moment. 

           The question-and-answer period is particularly fun (and brave of Richards) as she opens up the floor for the audience to raise any issues dealing with Catholicism.  Not only is she remarkably knowledgeable, she is also has some funny comebacks. 

           When the question was raised about only Catholics going to Heaven, she pointed out that Vatican II had dispelled that idea.  “There are many rooms in Heaven,” Sister said, “But the Presbyterians have the one next to the elevator and the ice machine.” 

           If you go, be sure to ask her about what became of all those “pagan babies” that generations of parochial school children raised funds for many years ago.  The answer is a hoot. 

           The scripted part of the show deals with the topics of marriage and the blessings on the sick—two topics Sister feels are related.  For those of you not knowledgeable about Catholic Doctrine, the blessing for the sick is what used to be known as “The Last Rites.”  Sister explains the name was changed because it was “such a downer.” 

           Tony Ferrieri’s set will make you truly believe you are sitting in a class room.  From the polished hardwood floor to the wainscoting to the dingy painted walls, no detail is over-looked.  There are old-style school desks, the cursive alphabet hanging over the chalkboard and enough icons to fill a small shrine.

            Even if your aren’t Catholic, ‘Til Death Do Us Part is still a delightful evening of fun.  Because there is so much improvisation and audience interaction, each performance will be different.  But I am certain that Kimberly Richards will make each show worth seeing. 

           ‘Til Death Do Us Part continues at City Theatre through July.

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29. May 2009 by admin.

NOSTALGIA—NOT WHAT IT USED TO BE WITH 8-TRACK

F. J. Hartland

            As Yogi Berra once quipped, “Nostalgia isn’t what it used to be.” 

           And that pretty much sums up my feelings about the current CLO Cabaret production 8-Track: The Sounds of the 70’s. 

           The revue is organized into eight parts (“tracks”—get it?).  Each one has a different title such as “Not Sold in Stores,” “War and Peace” or “Road Trip.”  The highlight (and most exciting part) of the show was Track 7, “Disco.” 

           I spent my teenaged years in the 1970’s, and it was great to hear those songs again.  But that music deserves better than this.

            Don’t get me wrong—the cast is great.  The foursome Bradley Beahan, Teddey Brown (played by understudy Jon-Michael Reese the night I saw it), Tess Primack and Tess Soltau make this show.  Each brings shining moments to the production.

            In addition to providing what little comic relief there is in this show, Reese gives a high-energy rendition of Your Eyes Have the Mist from the Smoke of a Distant Fire.  Soltau’s voice soars in a powerful rendition of the Debby Boone classic You Light Up My Life.  In Don’t Let Me Be Lonely Tonight, Beahan is spot-on as James Taylor.  And alto Primack sings a dynamic Don’t Cry Out Loud.

            This cast sings and dances continuously through ninety minutes (not counting the fifteen minute intermission).  They are working so hard…and not getting much support.  They don’t even get names, but are referred to merely as “Tenor” or “Alto.”

            The music is canned—not a live musician to be had.  What a disappointment! 

           I know the clothes in the 1970’s were ugly because I owned them.  But these costumes by Barbara Wolfe are too unattractive, too unflattering and too ill-fitting—even for the 70’s.  The simple (and I mean simple) set by Andrea Shockling could probably to stored away and rented to anyone doing a musical review anywhere about anything.  Other than a projection or two—and a sparkle curtain late in Act Two, it has no life and nothing unique about it.  Thank goodness for lighting designer Andrew David Ostrowski who pulls out every lighting trick in an attempt to liven the physical world of this revue.

            Choreography by Tonya Phillips Staples is uninspiring and amateur-ish and—at times—downright embarrassing.

            It all ends up feeling like a tacky cruise ship show.  When it was over, I was tempted to go the Lido Deck and chat with Gopher and Captain Stubing.

            Director Rick Seeber has great material and four powerhouse performers.  There’s great potential here.  It just hasn’t been met. 

           8-Track: The Sounds of the 70’s continues through September 27 at the CLO Cabaret in Theatre Square.  For tickets, call 412-281-2822.

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27. May 2009 by admin.

SPRING AWAKENING IS A WOW!  

F. J. Hartland

          Winner of the 2007 Tony Award for Best Musical, Spring Awakening will shock and amaze you.  It is a WOW!  

           The musical has as its source the 1891 play by Franz Wedekind, but don’t expect some dated, dusty treatise.  Wedekind’s work was often banned for it deals with sexuality in a modern and candid way.

              So does the musical.

            Spring Awakening tells the story of teenagers discovering their own sexualities…and the danger of withholding sexual education—all with a driving rock-n-roll beat.  The powerful songs combined with frenetic choreography will make you feel like dancing in the aisles.            The show pulsates with a youthful beat—spurred on by its high-energy cast.  There is not a weak link in this chain.  Whether singing, acting, dancing, playing the piano or moving the scenery, this group of performers will hypnotize you with their talent and charm.

            On opening night, the understudy played the lead role of Melchoir.  I believe it was Carnegie-Mellon student Perry Sherman.  (Someone correct me if I misheard the pre-show announcement).  He was nothing short of fantastic.  Likewise Christy Altomare in the role of young Wendla has an amazing voice and a powerful presence. 

           Steffi D gives a moving performance as the free-spirited Ilse.  Stealing the show, however,  is Blake Bashoff as the troubled Moritz.  With his spiky hair, gorgeous voice and boyish face, Bashoff will make you laugh and break your heart.  Bashoff’s Act Two scene (and duet) with Steffi D is quite emotionally moving.

            The set by Christine Jones looks like a combination gymnasium, museum and nightclub dance floor and allows the show to move from scene to scene with ease.  (Also some audience members sit on the stage and serve as a kind of backdrop to the action).  The lighting by Kevin Adams is breath-takingly spectacular (and won a Tony Award).  Visually, Spring Awakening is as powerful as its young performers.            The on stage orchestra is fantastic.  Their vitality (along with that of conductor Jarred Stein) adds to the infectious energy of the show.

            I loved Spring Awakening when I saw it on Broadway in 2007; I loved it again here in Pittsburgh last night. 

           WARNING:  Don’t go expecting Oklahoma!  Spring Awakening contains frank sexual content and adult language.

            Spring Awakening continues through May 31 at Heinz Hall.

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24. May 2009 by admin.

STRONG CAST SHINES IN  RAGE’S ALICE

F. J. Hartland  

          Rage of the Stage Players along with director/playwright James Michael Shoberg give Pittsburghers a new (and grimy) twist on Lewis Caroll’s  Through the Looking Glass and Alice in Wonderland with Alice’s Adventures in “Wonderland” running through May 30 at the Brew House on the South Side.

            Make no mistake…this is NOT children’s theatre.  Leave the kids at home.  Repeat: leave the kids at home.

            Shoberg has transplanted the story to the slimy underbelly of a major metropolitan area, replete with pimps, addicts, prostitutes and the homeless. Alice is a Catholic school girl, accidentally thrust into this world of madness and perversion while on an innocent field trip to the museum.  And for the most part—these transformations all work.

            The script is supported by a very strong cast, who add the necessary humor and/or terror to each vignette.  It’s difficult to shine in such a powerful ensemble—but some manage to do just that. 

           Joanna Lowe nearly steals the show as the schizophrenic Mad Hattie, throwing a tea party that I will not soon forget.  I thought she was brilliant in Rage of the Stage’s Villains, but she manages to out-do even that performance.

            Chucky Hendershot is not only diabolical as The “White” Rabbit (a.k.a. “Bunny Boy”), but does it while skateboarding—no easy feat!  David Gallagher is terrifying as the strung-out and very bi-polar Chester.  As the Queen of Hearts Carrie L. Shoberg is the ultimate dominatrix, a kitten-with-a-whip.

              Sean Michael Gallagher as Nathan, the pimp, and Gordon Anthony Palagi as Five of Hearts share a powerful scene that shows the futility of having real emotions in the harsh unfeeling world of this play.

            Sets are simple, so it’s up to the costumes and make-up to create spectacle.  And they do.  The team of creative artists (Valerie Porter, Carrie L. Shoberg, James Michael Shoberg and Chucky Hendershot) has done a remarkable job, resulting in colorful, eye-catching  costumes and some very impressive make-up effects. 

           The production is not perfect.  The script could use some tightening; lengthy set changes slow the pace of the show; one or two of the actors need to speak up.  The character of Alice is never really developed, which makes it difficult to feel for her plight.  But overall, Rage of the Stage Players has a successful and imaginative production on its hands.

            Alice’s Adventures in Wonderland continues through May 30.  For tickets,  call 412-851-0922.

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14. May 2009 by admin.

SPEAK AMERICAN…HALF A GREAT PLAY

F. J. Hartland 

           Living in beautiful and modern Pittsburgh, it is easy to forget that this once was a smoky city built on the labors of foreign immigrants who spoke no English and suffered 84-hour work weeks.  

          This is the basis for Speak American by Eric Simonson, the current offering at City Theatre. 

           Due to orders from Andrew Carnegie, lower management boss Tom O’Reilly (David Whalen) hires beautiful Rebecca Eastman (Daina Michelle Griffith) to teach English to a group of immigrant steel workers.  She is moved by the plight of the workers and plots to improve their labor conditions. 

           Act One is brilliant.  It establishes the setting, the characters, the conflicts and is engaging.  It leaves you anxiously awaiting the end of intermission to see what happens in Act Two.  Sadly, Act Two deteriorates into schmaltzy soap opera.  It is a true disappointment after that spectacular Act One. 

           David Whalen is nearly unrecognizable as O’Reilly.  Whalen does a marvelous job creating a small man who realizes he is nothing more than a pawn in the hands of the robbers barons like Schwab and Carnegie.  But why doesn’t the script tell us why O’Reilly suffers from horrific facial scars and walks with a pronounced limp?  Mill accident?  The Homestead Strike?  We never know.

            Daina Michelle Griffith is lovely, but comes across quite cold—and I’m not sure if that is to be blamed on her acting or the way the character is written.  And the audience never gets a satisfactory answer to the question that O’Reilly continually poses to her…”Why are you here?” 

           The real stars of Speak American are the actors who play the students.

            Christopher McLinden is nothing short of brilliant in the role of Yasen Dimitrov, the most outspoken of the students.  His performance is layered and complete—and very emotionally moving.  It is easily the best of the show.

           Chase Newell is a delight as Jakub Nicolella, who dreams of opening a butcher shop.  Also charming is Nicholas Ducassi, a Pole who is terrified of Indians and hopes to one day have a farm.  Both actors bring humor and sensitivity to their roles.  Together Newell and Ducassi share one of the most moving scenes of Speak American where the two men from different cultures share a beer and their hopes for the future.  

          Kudos to John Shepard for playing his role completely in Slovak but still able to make us understand the emotions.  Mark D. Staley does a fine job as Vlado, a student quick to anger. 

           Tony Ferrieri’s set beautifully captures the inside of a rusting steel mill.  Detailed pieces move on and off to transport us to various locations.  The set is complimented with artful lighting by Andrew David Ostrowski. 

           Speak American ends oddly.  The final moments belong to O’Reilly and make it his play.  I thought the play should’ve ended a scene earlier, making it Dimitrov’s play.—and ending it on a much more positive and poetic note.  Simonson also directs his play, and perhaps what was needed was a new perspective to make the script stronger. 

           City Theatre commissioned Speak American in honor of Pittsburgh’s 250th anniversary.  They got half of a great play about our city.  

          Speak American continues through May 31.

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10. May 2009 by admin.

NO ROLLING, NO ROCKING, JUST DOZING AT PICT

                From the time Pittsburgh and Irish Classical Theatre (PICT) announced its season, I have been anxiously anticipated seeing Rock-N-Roll by Tom Stoppard.  A play about rock music and revolution?  Great!  A play surrounding events in Czechoslovakia (homeland to my mother’s family)?  Even better. 

           But my excitement began to dwindle soon after arriving at the Henry Heymann Theatre. 

           First, the play’s running time is advertised as two hours and forty minutes.  Okay, if a play is engaging, I’ll sit that long.  Next, there were voluminous program notes and additional material to help the playgoers understand the play.  Well, I am a person of average intelligence—I’ll understand.  Finally, PICT has offers the audience a sixty page glossary ($5) to aid in grasping the show.  Now, I thought, we are in BIG trouble.   

         Yes, Rock-N-Roll had a Broadway run and garnered all sorts of awards.  But it is also dull and talky and has a coldness about it that makes it very hard to care about these people.  Big things do happen in the play—people are jailed, people die,  people revolt—all off stage.  We just get to hear about it. 

                       Adding to the slowness of the talky scenes are long blackouts (for simple set changes) and crosses when we wait for an actor to travel the circumference of the auditorium to make an entrance 

           Sam Redford plays the central character of Jan, a rock-n-roll enthusiast and a sometime journalist and a sometime academic.  Redford seems to play everything on the same level, and after a while I am ready to smash his beloved record collection!  As Max, Jan’s mentor, Sam Tsoutsouvas is a cold harridan.  The very talented Jarrod DiGiorgi is wasted in the thankless role of Ferdinand, who chief interest seems to be getting people to sign petitions. 

           There are some bright spots. 

           Helena Ruoti gives an impassioned portrait of Eleanor, Max’s wife who is battling cancer.  Sometimes caustic, sometimes vulnerable, Ruoti plays ever level beautifully.  Tami Dixon has a hysterically funny turn as Lenka, a student.  Valentina Benrexi is a also a student…a very up-tight student.  And she makes her small role memorable. 

           The set by Narelle Sissons is long and narrow, resembling a lane in a bowling alley.  It provides very little depth for Director Andrew Paul to create stage pictures.  Perhaps it all looks better from the center section, but its flatness does nothing to enhance the view from the sides (where I was sitting).  There are eighteen mini-screens, resembling old Polaroid photographs, and they do add some color (and alert the audience to the year and location of the next scene).  It’s a clever idea, but I’m not sure everyone got it.  

                      How does it all end?  Beats me.  I left at intermission.  That seemed better than returning for Act Two and joining the ranks of the half-a-dozen-or-so folks I watched dozing through Act One. 

           I’m sure there is an audience for Rock-N-Roll.  I’m just not part of it. 

           Rock-N-Roll continued through May 30

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9. May 2009 by admin.

SHANLEY COMEDY SHINES AT OFF THE WALL
F. J. Hartland   

         Four Dogs and a Bone by John Patrick Shanley is a comedy that skewers Hollywood, and the playwright must know of what he speaks.  Shanley wrote the screenplays for such films as Moonstruck, Five Corners and Doubt.   

         Off The Wall Theatre and director Linda Haston have done an outstanding job bringing this very funny indictment of the movie making business to the stage in Washington PA.      

      “The Bone” symbolizes a movie that’s being shot.  “The Dogs” are the four individuals trying to take-over the film: the producer, the writer, and two actresses (one a fresh up-start, the other a jaded older actress).    

        While many of the scenes involve two people just sitting and talking, Haston has paced the play so it is never dull.  The cast delivers the rapid-fire dialogue almost flawlessly.       

     Howard Elson plays the slimey producer Bradley to a “T.”  Adding to the humor is how he portrays the physical ailment that the producer is suffering.  He is the ultimate Hollywood wheeler-dealer.   

         Michael Moats is long-suffering writer Victor.  Everyone has suggestions (and more suggestions) on how to re-write his screenplay.  Moats is particularly effective in Act One when he is drunk in a theatre bar.  His performance in Act Two is a little bit of a let-down.  

          But Four Dogs and a Bone really belongs to the women.   

         As the age-obsessed older actress Collette, Rachel Downie is hysterically funny. Whether getting drunk, spewing zingers or crying crocodile tears, Downie is a winner.   

         Like her counterpart, the beautiful Erika Cuenca as Brenda will do anything (and anyone) to become the star of the movie.  While she credits her success to chanting (which becomes a very funny cornerstone of the play), she really should thank lying, cheating and deceit.  Cuenca gives us the ultimate wolf-in-sheep’s-clothing and proves herself a very funny comedian.   

         This is a very sharp play about desperate people who will go to any lengths—for a movie.  “Ruthless” seems too kind a word to describe them as they make (and break) alliances fast enough to make your head spin.  But playwright Shanley holds them up for our laughter and ridicule, and it makes for a very enjoyable evening of theatre—for adults ONLY!   

         The smart set by Paul A. Shaw makes economical use of the Off The Wall’s small stage, bringing three different locations to life simultaneously.  Having recently seen a number of plays with projections, I have to say that Off The Wall has made the cleverest use of them.  Since Four Dogs and a Bone is a play about Hollywood, after all, it only seems right that we see “coming attractions.”  Off The Wall wisely uses these previews to promote their 2009-2010 season.  The projections also come into play for intermission and again at the end.  I won’t spoil the ending, but I assure you that you will love it.  

          There is a gem in Washington PA called the Off The Wall Theatre.  I hope the folks of Washington County realize what a treasure they have—and that Pittsburghers who like to see alternative theatre for grown-ups learn it’s worth the drive.  

          Four Dogs and a Bone continues through May 22.  For tickets call 724-873-3576 or www.insideoffthewall.com.

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4. May 2009 by admin.

STRONG CAST IN LENGTHY SEVEN GUITARS
F. J. Hartland

            Seven Guitars, the current production at Pittsburgh Playwrights Theatre, is part of the late August Wilson’s ten-play cycle about Pittsburgh.  Each play looks at a different decade in the life of our city; in this case, the Hill District in the 1940’s.

            Director Mark Clayton Southers has assembled a powerful and very talented cast to bring this VERY long play to life.

            Seven Guitars begins at the funeral of Floyd Barton, a ne’er-do-well musician.  It becomes the framework of the play as we then see—in flashback—the events leading to Floyd’s death.  I question the use of this frame because we know from the opening that Floyd is dead, thus eliminating the only real surprise the script has in store.  With a running time in excess of three hours, this production of Seven Guitars could use more surprises.

            The lengthy scene changes (between the many, many scene) do nothing to shorten the show’s length either.

            Montae Russell plays the highly unlikeable Floyd.  Floyd is so unscrupulous that it’s hard to feel for his plight, but Russell does have some powerful moments.  The strikingly beautiful Erika Ratcliffe is Floyd’s long-suffering love interest Vera.  Ratcliffe has a most powerful scene early in the play and sets the bar quite high for the rest of the cast.  During the scene when she berates Floyd for taking up with Pearl, I recall thinking, “This is going to be one helluva show!”  Sadly, the script rarely affords her the chance to shine like that again.  Also, one has to wonder why a woman as intelligent as Vera can not see that Floyd is a lying, cheating, stealing, no-good two-timer.

            Hedley, an often-unbalanced knife-wielding man, is played by Wali Jamal.  Jamal’s accent is rather authentic; however, when the emotions rise and his rate increases, he becomes incomprehensible.  He is always interesting to watch, but falls into the trap of an “over-the-top” performance.

            Teri Bridgett is delightful as neighbor Louise.  Her wise-cracks and painfully honest observations pump a great deal of humor into the script.  As Canewell Alan Bomar Jones also gives a strong characterization and often adds humor to the production.  Johnathan Berry makes the most out of the underwritten role of Red.  Genna Styles brings some real sass to Ruby, a visitor from Birmingham.

            The set (also by Southers) is heightened realism at its best.  Not only is there a real dirt on the ground, but also a worn brick sidewalk, working doors to a root cellar, a spigot that runs water, live plants in the garden, and an honest-to-heavens live chicken.  No detail has been over-looked.  The feel of the 1940’s is further established by the arrival of a deliveryman carrying a block of in the grip of massive tongs and later, a milk man who delivers glass bottles of milk to each doorstep.  With arena style seating and action happening all around the playing space, the audience is quickly drawn into the physical world of Seven Guitars.

            Lighting, which is often a weakness at PPTCO, continues to be problematic.  Places are often too dark or one is blinded by lights shining directly into the eyes.

            If Director Southers could get this show down to a run time of 2 ½ hours, it would be an electric evening of theatre.

            Seven Guitars continues at Pittsburgh Playwrights Theatre Company through May 24.

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4. May 2009 by admin.

SOUTH PARK’S ELEPHANT MAN A BUMPY RIDE
F.J. Hartland

            Bernard Pomerance’s play The Elephant Man relates the story of John Merrick, a man hideously deformed a by illness, who transforms from circus sideshow freak to the darling of Victorian London’s society.  The brilliance of the script is that it poetically and seamlessly moves from vignette to vignette to tell an emotional, heart-wrenching journey.

            Unfortunately, the current production at South Park directed by Vance Weatherly does not flow very smoothly and much of the beauty of the language is lost.

            There are long black-outs between scenes so the production is unable to build up any momentum.  Often, the musical underscoring overpowers the actors’ lines.  The slides which bridge the scenes are either shown too quickly to be read or are obscured by the actors moving to get into place or (as in several scenes that open Act Two) are completely blocked by scenery.  On opening night the power-point failed completely, and the slides abruptly ended halfway through Act Two).

            Adding to the lengthy black-out times between the scenes is Sean Sears’ awkward (an unattractive) set.  A platform with stairs blocks the major stage left entrance, forcing actors to climb up then down every time they arrive or exit (and some of those are done in darkness).  The other series of platforms means lengthy crosses and exits.  At the top of this configuration is Merrick’s room at the hospital.  It is so small that it virtually impossible to have any movement.  This is particularly limiting in the scene where Merrick is visited by his former manager.  This powerfully emotional scene goes dead with both characters unable to do more than shift uncomfortably from side-to-side in their chairs. 

Many scenes are played in shadows behind a curtain.  Sadly, the silhouettes are not sharp and clear, rather muddy and obscure.  This is particularly problematic in Merrick’s final scene.

There are two highlights in the production.  Both are scenes between Merrick (played by Sean Sears) and English actress Mrs. Kendall (Ursula Asmus).  As in the Victorian custom, much of the emotion is hidden underneath the conversation.  In both scenes Sears and Asmus capture the growing affection (and sexual attraction?) between the characters.  As one patron put it during intermission, “I could watch those two on stage all night.”  I agree.

Sears also does a fine job all evening capturing Merrick’s deformities and affected speech.

Clyde Adams is delightful as the bumbling hospital bureaucrat Carr Gomm.

As Dr. Frederick Treves, the man who saves Merrick and brings him to the hospital to live, Andrew Huntley is somewhat flat.  We need to see the torment in Treves that he buries under his English reserve.  All we get from Huntley is the British reserve, and The Elephant Man is really as much about Treves’ transformation as it is Merrick’s.  Treves also has the lion’s share of the lines, and Huntley’s diction should be sharper.  Much gets garbled.

Rounding out the cast are Tom Dougherty, Kathleen Caliendo and Ryan Kearney.

If they could streamline this production and bring all the scenes to the level of the ones with Sears and Asmus, South Park could open its season with a bang.

The Elephant Man continues through May 16.

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