4. May 2009 by admin.

Angels in America Part 2: Perestroika
F. J. Hartland 

It’s a long title…and it’s a long show.

The second part of Tony Kushner’s Angels in America currently running at the University of Pittsburgh is a long show. At nearly three hours, it is too long. But the fault is not with this outstanding production—it’s with the script. I’d rather see the first part again because it is (in my humble opinion) the better script. Perestroika becomes preachy and bombastic at points, and each time I think it’s over—there’s yet another scene.

Furthermore, if you haven’t seen (or have at least read) Part One, this play would be a real challenge to understand. For anyone not familiar with Angels in America, it is about the interconnections between a Mormon family, power attorney (and closeted) Roy Cohn and a break-up between two men—all set against the backdrop of AIDS and the Reagan administration.

Director C. T. Steele does an amazing job keeping the play moving. The production races from scene to scene at a rapid fire pace. And within each scene there is nary a slow (or dull) moment. Steele is aided by scenic designer Julie Allardice-Ray. Allardice-Ray’s set is massive and completely transforms the stage at the Charity Randall Theatre. Not only does she meet the challenge of the multi-setting play (I lost count around the fifteenth scene change), but the set must crumble as the production progresses. Allardice-Ray is aided with stunning lighting by Annmarie Duggan, moving projections designed by Dan Carr and a crackerjack run crew who fly through the sets changes. Visually, this production is breath-taking.
At the heart of Angels is the love triangle between Louis (Grant Williams), Prior (Tom Pacio) and Joe (Bjorn Ahlstedt). Louis has left Prior when he found out Prior had AIDS; Louis then takes up with Joe, a married man struggling with his homosexuality and his religion. Pacio gives the most dynamic performance of the three. Williams is at his best in his confrontation scenes—one with Pacio, one with Ahlstedt. Ahlstedt also has the challenge of appearing nude. Fortunately, he is well up to the challenge!

Christina Kruise gives a powerful performance as the Angel. Kudos to her for being able to give such a performance while suspended high above the stage floor. Special credit to the individuals who have the responsibility for helping her make her quick descents and assents.

Doug Mertz makes a complete transformation as the obnoxious Roy Cohn. Mertz becomes completely unrecognizable in the role. It is one of the most powerful and memorable stage performances I have seen in years. One of the best scenes comes as Roy Cohn is dying, only to be confronted by his former nemesis Ethel Rosenberg, played by Elena Alexandratos. Both Mertz and Alexandratos are teaching artists at Pitt, and their scene crackles with emotional power.

Playing a number of roles, Joanna Getting is at her best as the Oldest Living Bolshevik.
The weak links in the cast are Julianne Avollo as Harper Pitt, the pill-popping Mormon wife, and Ruffin M. Prentiss III as Belize, the former drag performer. Avollo is abrasive; making it hard to feel for the lousy hand life had dealt Harper. Belize is the most camp and colorful character Kushner has created. While Prentiss looks the part, he never captures the camp and the bitchy humor that makes Belize so memorable.

Hats off to the University of Pittsburgh Repertory Theatre not only for tackling both parts of Angels in America—but for mounting a polished and professional production.

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4. May 2009 by admin.

Rocky Horror A Hit!
F.J. Hartland 

Before it was a cult movie classic, The Rocky Horror Picture Show was a Broadway musical. Now the Point Park University Conservatory of Performing Arts brings the musical to the stage of the Pittsburgh Playhouse.
In a word, it is spectacular.

The original Broadway run of The Rocky Horror Picture Show in 1974 was a flop—closing after 45 performances. The 1975 movie was panned. But thanks to midnight shows of the film (like the ones at the old King’s Court Theatre in Oakland) and the Tony-winning 2000 Broadway revival, it became like “the little engine that could.”

Rocky Horror is short on storyline, but lavish in its look—ranging from an early 1960’s wedding to a castle filled with Transylvanians transvestites to a laboratory with laser-wielding space aliens. And this flashy production has got “the look.” Gianni Downs’ beautifully detailed set boasts rain, smoke, a spinning turntable—and a video design by Jessi Sedon. Michael Montgomery’s stunning costumes are awash in leather, lace, sequins, and feathers—with virtually no repetition. And everything is complimented by Andrew David Ostrowski’s mood-setting lighting.
This production is not only a delight to the eye, but the ear as well.

Director Scott Wise keeps the show moving at a rapid-fire pace as does Jeremy Czarniak’s clever choreography (which he has amazingly shoehorned in very limited spaces). Trust me–you will be dancing “The Time Warp” in the aisles. Literally.
Whether singing, dancing or acting, there is not a single weak link in the cast. Managing to stand out in this remarkable pool of talent are: Michael Mazzocca as the nerdy geek Brad Majors, Ryan Schmidt as falsetto-singing Riff-Raff and Maggie Ryan paying homage to the late Gilda Radner in a show-stopping second act turn as Dr. Everett Scott.

Special kudos must go to the Chorus of Transylvanians who support Rocky Horror’s brilliant cast. They are the hardest working chorus I’ve seen in a musical in years. And they dance in heels…very high heels. So they all deserve a mention: Courtney Bassett, Callan Bergman, Fredi Bernstein, Kristen Carter, Jason Lee Garrett, Zac Gorski, Rainey Rowan Latislaw, Bryan Matchen and Ashley Thornburg.

Under the baton of conductor Camille Villalpando Rolla, the orchestra is superb. Unfortunately, they (and sometimes the sound effects) overpower the vocals.
And I question the decision to place a show of this size—and high energy—in the smaller Raugh Theatre. While the intimacy is great, the show is just too big. Some scenes tumble off the stage and performed on the floor level, making them impossible to see. And quite frankly, I hated missing even a moment of this production.

The Rocky Horror Picture Show isn’t rocket science camp—it’s campy science fiction. And it’s fun!

So put on your favorite feather boa and run—don’t walk—to see The Rocky Horror Picture Show. It runs through April 11. Visit www.pittsburghplayhouse.com for information and tickets.

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4. May 2009 by admin.

Pittsburgh Playwrights Theatre Company’s I Nipoti
F. J. Hartland

In its latest offering Pittsburgh Playwrights Theatre Company gives us I Nipoti (The Nephews) by Mark Clayton Southers. The play is set in the Golden Meadows Retirement Home.

Now over the past few years I’ve spent quite a bit of time visiting friends in such care facilities. And the Golden Meadows must be set in some mythical place. A place where you can be admitted without any kind of medical records, payment method—or even identification. A place with spacious rooms. A place where nurses answer the call button immediately. A place where your doctor will not only spend long stretches of time telling long amusing stories—but will take bribes and come to your room at your summons.

Two Italian cousins Nico (Tony Bingham) and Anthony (Mark Calla) have brought their dying Uncle Tano (Robert J. Roberts)—after a fall at the family-owned pizza shop (“A Slice of Life”)—to this magical nursing home. Their objective is to pry from the old man the recipe for the secret family pizza sauce. The entire action of I Nipoti revolves around this plot point.

The idea is amusing—if this was a half-hour TV sitcom. But “will-they-or-won’t-they-get-the-recipe” doesn’t seem like enough to justify the nearly three-hour running time of this production.

Act One is long; Act Two is even longer. And Act Two begins with two lengthy monologues (just of the many lengthy monologues) which do nothing to quicken the pace.

Act One plays like sitcom; Act Two contains Southers’ message concerning prejudice—and he delivers it with sledgehammers. Obadiah has singled out Nico for his “exercise” involving use of the words “black” and “white” The idea behind the scene is brilliant. Unfortunately, Nico is such a quick convert, it’s almost like preaching to the choir. Had Obadiah attempted to reform the disgustingly hateful Anthony—then we might have a scene of real fire. I also had problems with the thinking that “black always means bad” Nearly ever color has some kind of negative connotation. “Blue” means depressed. Jealousy is green. Rages can be purple. We see “red” when we’re angry—or it means we are in debt. If you’re a coward, you’re “yellow.” And when it comes to business, being in “the black” is a great thing—isn’t it?

What saves I Nipoti is an amazing cast.

Kevin Brown as resident Obadiah Fields steals the show. He has created such a funny, charming and complete performance. His portrayal is so complete and detailed that I found myself watching him even when he wasn’t at the center of the action. Tony Bingham is a delight as the slow-witted Nico. At times humorous, at times dramatic, Bingham can move you just with a flashing look or the raise of an eyebrow. The scenes between Brown and Bingham are the highlight of I Nipoti. Together, they deliver the scenes of the best comedy and highest emotional drama.

Twanda Clark gives a convincing performance as Nurse Brenda. She can be compassionate or as tough-as-nails when the situation calls for it. (And apparently Nurse Brenda is on twenty-four hour duty at the Golden Meadows. In addition to being the only nurse we ever see—she is there no matter what time of day or night a scene occurs!) As Uncle Tano Robert J. Roberts makes you believe he is a frail, dying old man. The accent is flawless, and Roberts truly makes the audience empathize with this poor soul.

Mark A. Calla has the burden of playing the shiftless Anthony—bossy, arrogant and prejudiced. Calla nails the character perfectly. But when the playwright has given us a character so unlikeable—do we want him to get the secret sauce recipe? No.

The weak link in the acting chain is Lee Howard as Dr. Roberts. Howard is a commanding presence on stage, but so often stumbles over his lines that he diffuses any possible laughs. But he is not totally to blame. As written, the role is unclear as to what kind of character the doctor is. He seems to change in each scene as to whatever the plot requires.

The set is quite attractive and detailed (as are all the sets in PPTCO productions), but the lighting is lacking. Some scenes are played in under lit corners, and there are a number of annoying shadows and dark spots.

Director Wali Jamal has gotten excellent performances from his actors. He also keeps the play moving physically—no small task for a play set in a nursing facility.

Southers has a noble cause in trying to break down the barriers between the races. And somewhere in all of this is a great idea for a play. But when the playwright gives us greasy Italian sterotypes (and for that matter, the character of Obadiah is a stereotype, too. One of the kindly, compassionate “full of wisdom” man-of-color of which Hollywood is fond. And usually played by Morgan Freeman) is he attempting to fight fire with fire? Can two wrongs really make a right?

I Nipoti continues through April 29. Contact www.pghplaywrights.com for information.

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