14. June 2009 by admin.

PICT SCORES WITH WHAT THE BUTLER SAW

F. J. Hartland 

           On one hand, Joe Orton’s WHAT THE BUTLER SAW is your typical farce—lots of door slamming, mistaken identities, cross-dressing and sexual innuendo. On the other hand, Orton’s use of language elevates the script to something by Oscar Wilde.

            And Pittsburgh Irish Classic Theatre makes WHAT THE BUTLER SAW work on both levels.

            Director Simon Bradbury keeps the pace moving at break neck speech, but never allows the brilliance of the language to be lost.

            The play takes place in the lavish office of Dr. Prentice (Douglas Rees) on the grounds of a mental institution.  Lecherous Prentice is in the midst of interviewing (i.e. seducing) a new secretary Geraldine (Amada Jane Cooper).  Prentice’s wife (Helena Routi) arrives, claiming to have been assaulted by hotel bellman Nicholas (Sam Trussell).  Also arriving is Dr. Rance (Martin Giles), another doctor who works for the government.  To hide his sexual infidelities from his wife as well as Dr. Rance, Prentice spins a web of deceit that only lands all of them in deep trouble.  And matters aren’t helped any by the arrival of the police officer Sergeant Match (Jeffrey Carpenter).

            The cast does an amazing job juggling both the language and the highly physical nature of the script.

            Things are only untangled with an ending that parodies The Importance of Being Earnest…and the help of Winston Churchill.

            Rees channels John Cleese (think “Lyle Finster” in Will & Grace) to play the over-sexed Prentice.  Ruoti plays Mrs. Prentice too much at one level of hysteria.  Both she and Rees have some very funny bits of business—like consuming what has to be three fifths of scotch during the course of the play.

            Giles is at his maniacal best as Rance.  There were times, however, when he seemed to get lost in the mountain of lines the role requires.  Like Ruoti, Cooper seems to keep everything at the same emotional level, but the playwright is really to blame for that.

            Though his role is small, Carpenter makes the most of it.  While he begins as a stuffy British sergeant, he transforms into—well, let’s just say you will never forget his final moments on stage.

            Trussell shows wonderful versatility in his role of the insolent Nicholas.  Before the final curtain of WHAT THE BUTLER SAW, Prentice has forced Nicholas to impersonate a secretary and a police officer—and Trussell does it brilliantly.

            The set by Gianni Downs is attractive and works well for the amount of physical action the play requires.  Like the characters, the set reveals some hidden surprises along the way.

            Playwright Joe Orton liked to think of himself as a “sexual outlaw,” and he lived up to that reputation in WHAT THE BUTLER SAW.  If you are easily offended, this is NOT the show for you.

            But if you are in need of a good belly-laugh (make that MANY good belly-laughs), then see WHAT THE BUTLER SAW. 

           Just don’t ask me to explain the title, okay? 

           WHAT THE BUTLER SAW runs through June 27.  For tickets, call ProArts at 412-394-3353.

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10. June 2009 by admin.

LEGALLY BLONDE—A REAL CHARMER

F. J. Hartland 

           One would have to be legally dead not to succumb to the charm of LEGALLY BLONDE.

            No, it’s not great art; it’s as fluffy as cotton candy.  Make that pink cotton candy.  But it’s fun.  The tunes are infectious, the cast is delightful and the show moves at high impact.  You can’t help but leave the Benedum Center with a grin on your face! 

           LEGALLY BLONDE tells the story of Elle Woods, blonde sorority girl from Malibu.  When her boyfriend breaks up with her, she follows him to Harvard Law School to win him back.  But before she can do that, she has to prove to Warner and her classmates (and herself) that she can be taken seriously.  The musical is based on a novel by Amanda Brown as well as the film starring Reese Witherspoon.

            Becky Gulsvig plays Elle Woods with the perfect blend of humor, wit and style.  You are rooting for her from the moment the show begins.  And Gulsvig also makes you believe that an intelligent woman is really underneath all that sugar and spice.  Gulsvig also captures beautifully the transformation that Elle Woods undergoes 

           As Emmet Forrest, Elle’s mentor, D.B. Bonds is warm and engaging.  Emmet grew up on the wrong side of the tracks and doesn’t always fit in with the snobs of Harvard, so he identifies with what is happening to Elle.  Bonds has a powerful voice and a strong stage presence.  He and Gulsvig have real chemistry together on stage.

            Elle is also aided and abetted by her Delta Nu sorority sisters/Greek Chorus.  These gals are high-spirited and fun!  Their pictures should be in the dictionary next to the word “peppy.” 

           Adding humor to LEGALLY BLONDE is Natalie Joy Johnson as Elle’s hairdresser Paulette.  Down—but never out—Paulette has had a rough life but holds onto her dreams (which Johnson expresses beautifully in the very funny number “Ireland”).

            In a small, but memorable, performance is Ven Daniel as Kyle, the UPS deliveryman.  Daniel is both funny and sexy and with just a few scenes nearly steals the show.

            The set by David Rockwell with lighting by Ken Posner and Paul Miller keep LEGALLY BLONDE flowing smoothly, each scene seamlessly melting into the next.  Costumes by Gregg Barnes are colorful and eye-catching.  Visually, the show is stunning.

            LEGALLY BLONDE pulls out all the stops.  The show features a marching band, Irish dancing, a golf cart and a lighted proscenium arch that moves.  And to top it all off, there is not one—but two—adorable dogs who grace the stage.

            If you’re looking for a good time at the theatre, see LEGALLY BLONDE.  If you can get tickets, that is.

            LEGALLY BLONDE continues through June 14 at the Benedum Center.

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7. June 2009 by admin.

BURN THIS SIZZLES AT HAZLETT

F. J. Hartland 

           Lanford Wilson’s Burn This is a play with powerful emotions and heated sexuality.  While it isn’t one of my favorite Wilson plays, the current production at the Hazlett Theatre is well-worth seeing.

            A New York City dancer and his lover are killed in a freak boating accident.  Left behind to grieve are his roommates Anna (Kate Campbell) and Larry (Patrick Jordan), Anna’s boyfriend Burton (Peter Kope) and Pale, estranged brother of the late dancer.  All are dealing with their overwhelming sense of loss and everyone’s emotions are raw.

            Campbell is most credible as a dancer—lithe and limber.  Even when she isn’t dancing, she stands “in position” or twists her legs under her when she sits on the soda.  Sometimes (particularly in the beginning of the play) both she and Kope are hard to hear.  But when the emotions rise, Campbell gives a powerful performance.

            Patrick Jordan brings comic relief to this heavy drama.  His quick-witted retorts are delivered with a flair and never fail to get a laugh from the audience.  This is a different kind of role for Jordan; it’s wonderful to see his range.

            Television actor David Conrad (The Ghost Whisperer, Miss Match)is an athletic and high-energy Pale.  He leaps onto chairs, the kitchen counter and even the second level landing with ease. His opening sequence is a rapid-fire machine gun barrage of words which Conrad delivers without hesitation.  He manages to do the impossible…he makes this alcoholic, adulterous, loud-mouth, opinionated character sympathetic.  In al my dealings with Burn This, it’s the first time I didn’t hate Pale. 

           Unfortunately with such powerhouse performances from Campbell, Jordan and Conrad,  Kope is the weak link of the chain.  I do not believe he has real feelings for Anna—nor do I believe he holds a brown belt in martial arts.

            The set by Douglas McDermott is a sleek, sophisticated replica of a modern New York City loft.  The minimalist furnishings beautifully serve as a compliment.  Highlighting the set is a huge ached window from which we can see cars moving along the parkway, boats crossing the river, plans coming in for a landing and the lit skyscrapers of Manhattan.  It is an amazing effect.  My only criticism is that it is too wide and causes some blocking problems for the actors.  Scott Nelson’s lighting has some interesting effects.  Sometimes, though, the actors are caught in dark spots.  Also, the lighting and sound cues were not always synchronized correctly the evening I saw the show.

            Richard Parsakian’s costumes are beautiful—especially the ones for Campbell.  During the course of the show she goes through two stunning robes and two exquisite black dresses.  Kope is also given a great tuxedo for New Year’s Eve. 

           Overall, this is a solid, classy, first-rate production. 

           Burn This runs through June 28 at the Hazlett Theatre.

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5. June 2009 by admin.

WORLD PREMIERE AT PITTSBURGH PUBLIC

F. J. Hartland

             Set in a run-down full-service gas station (remember those?) in Youngstown Ohio in 1977, Harry’s Friendly Service is now playing on the stage of the Pittsburgh Public Theatre.

            The Public had done a reading of the play by Rob Zellers last year which I attended.  And I have to admit, I liked the reading better.

            The new version of Harry’s Friendly Service is a much darker take than the original and lacks the charm and humor that I had found so appealing. 

           Harry (Edward James Hyland) is the owner of the gas station where a group of misfits meet for pinochle.  There’s Skiddie (Larry John Meyers), a bookie; Tina (Brooks Almay), who runs the neighborhood strip club; and John (Joel Ripka), an alcoholic, down-on-his-luck attorney.  Outside, steel workers are on strike; inside, Harry’s daughter Emily (Tressa Glover) shows up after twelve years in an orphanage, where Harry placed her after his wife died.  Eventually, two mobsters from the Carducci family (Darryl Heysham and Alex Coleman) arrive.

            This new version of Harry is meaner and leaner than the original.  In fact he is so unlikeable that by the time he has his big emotional moment in Act Two, it’s hard to care about him.  Meanwhile, Tina comes across far more caricature than character, and Almay seemed rather tongue-tied the night I saw the show.  Her performance (and her costumes) makes her look like something out of a cartoon.

            Larry John Meyers brings a real energy to the opening scene, but the role never really gives him a chance to shine.  Heysham and Coleman do a fine job portraying two different generations of a mob family

.            The highlight of the show is the performances by Ripka and Glover.  Their love scenes have such real innocence you can not help grinning.  Ripka perfectly captures a young man driven to drink by a slew of personal tragedies.  He makes you believe there is still a person of value struggling to escape the bottle.  Glover is delightful as the idealistic young woman trying to find the approval (and love) from the father who abandoned her.

            Directed by Ted Pappas, the play moves at a swift pace through the eight scenes.

            James Noone’s set along with Kirk Bookman’s lighting create an uber-realistic world for the play, including old tires, road signs and car parts.  One could undoubtedly spend hours just looking at all the detail.  Kudos to whoever selected the music, which brought back the 1970’s in a wonderful way. 

           I couldn’t tell you the precise changes that were made in Harry’s Friendly Service between the reading and this full production. But I think it might behoove Zellers to go back to that earlier version and try to re-capture some of the elements that made it so enjoyable.

            Harry’s Friendly Service runs through June 28 at the Pittsburgh Public Theatre

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