20. September 2009 by admin.

DOROTHY IN ODD

F. J. Hartland 

           There is probably no more beloved film than The Wizard of Oz.  In fact, this year is the seventieth anniversary of the movie’s release.  Due to that fact, scores of stage productions of the musical are popping up all over.

            Of all of those productions, I am certain there will be quite none like the current offering from Rage of the Stage Players.

            Rage of the Stage applies its trademark edginess to the classic.  Now Dorothy is no sweet Kansas farm girl—she’s “Dottie,” manic depressive shoplifter committed to an asylum by her Auntie Em.  The Scarecrow is a strung out heroin addict; the Tinman is a pierced and angry man with a mohawk; and the Cowardly Lion is a sex pervert with a flatulence problem.  And Toto is dead before the shows begins—killed by a hit-and-run driver.

            Unfortunately, the script by James Michael Shoberg (who also directs) is uneven.  At moments the parallels he draws to The Wizard of Oz border on brilliant; others fall sadly flat. 

           And these characters are so slimey that when “Dottie” says good-bye to them, it’s not poignant—it’s a relief.  And I felt the need to go home and shower. 

           Don’t expect a heart-warming there’s-no-place-like-home ending.  Instead, the play ends on a somewhat ambiguous note.

            With its plethora of scenes, there are long blackouts for the very simple set changes. This brings any momentum the production builds to dissipate.

             There are some interesting performances.  Carrie L. Shoberg brings much needed laughs as the ditzy therapist.  Chucky Hendershot gives a very physical performance as “Skarekrow,” seemingly walking on legs made of rubber.  Lindsay Nagel gives a (dare I say it?) high energy performance as a mental patient given too much electroshock therapy.

            The costumes are amazing, much to the credit of both Shobergs and Brittany Spinelli.

            The production is brief (compared to other Rage of the Stage productions); unfortunately, the opening night curtain did not go up until after 8:15pm.  Volume was also a problem during the early scenes.

            I really enjoyed the Rage of the Stage treatment given to Alice in Wonderland several months ago;  I don’t think Dorothy in Oz lives up to that. 

           But if you want to see a classic in a whole new light, Dorothy in Oz fulfills the bill.

            Dorothy in Oz continues at the former Open Sage space in the Strip District through September 26.  For reservations, call 412-851-0922.

Posted in Uncategorized | Print | No Comments »

14. September 2009 by admin.

MID-LIFE CRISIS x 5: THAT CHAMPIONSHIP SEASON

F. J. Hartland      

      A mid-life crisis is an ugly thing.  I know.  I’ve been there.  That awful period of life when you realize you haven’t become the person you dreamed you’d be back when you were still a teen-ager.

            The mid-life crisis hits particularly hard in Jason Miller’s Pulitzer Prize-winning drama THAT CHAMPIONSHIP SEASON.  A small-town basketball team won the state championship twenty years ago.  Now they gather at the home of their coach on the anniversary of what was probably the high point of all their lives…all except a mysterious player named Martin who has never attended any of the reunions.  But I don’t want to spoil the secret for any of you… 

                       The REP at the Pittsburgh Playhouse has assembled a stellar ensemble cast to play out this drama of broken dreams under the director of Ronald Allan-Lindbloom, Artistic Director.

                        Being a reunion, secrets are revealed, uneasy alliances are made and tensions soar.

                       Phil Winters plays the putz of a mayor who is up for reelection against a charismatic candidate.  He’s also married to the girl from high school voted Most-Likely-To-Conceive.  David Cabot plays the campaign manager, who is really a junior high school principal longing for glory of his own.  Daryll Heysham is the lusty rich businessman who is viewed as an open checkbook by everyone he knows.  Jarod DiGiorgi plays a hopeless alcoholic.  Rounding out the cast is Robert Haley as their Coach, who never stops spouting platitudes about hard work and success.

            Together these five men form a powerful cast who work together like a well-oiled machine.  The camaraderie (and the hatred lurking below the surface) is played brilliantly.

            While the entire cast is strong, it is the silent DiGiorgi who makes the strongest impression.  He observes the action through an alcoholic gaze.  When he does speak, he delivers his lines with a razor sharp edge that never fail to amuse the audience.

            Allan-Lindbloom keeps the pace of the three-act moving quickly.  Occasionally, however, there would be an awkward stage picture or two.  But even with two intermissions, THAT CHAMPIONSHIP SEASON clocks in a little under two hours.

            The set by Michael Thomas Essad is spectacular.  No detail has been over-looked in filling the cavernous living room of the Coach’s house.  Even the details on the porch (which can only be seen through a window) are stunning.  Lloyd Sobel’s lighting is dark and shadowy—all in keeping with the leit motifs of the play.

            Written in the early 1970’s, THAT CHAMPIONSHIP SEASON is peppered with all sorts of macho posturing, lock room banter and terms that are FAR from politically correct.  In fact, the prejudice runs very deep in these characters, so plan to grit your teeth now-and-then.

            The musical interludes between the scenes are perfect for the time period—but often seem too loud.

            While the whining of the characters does get repetitious at times, this cast is well-worth seeing!

            THAT CHAMPIONSHIP SEASON continues through September 20 at the Pittsburgh Playhouse.

Posted in Uncategorized | Print | No Comments »

13. September 2009 by admin.

STRONG CAST SHINES IN CRIME

F. J. Hartland 

           Reducing a long Russian novel down to size is no easy task…especially when that novel is Fyodor Dostoevsky’s masterpiece Crime and Punishment.

            But with an adaptation by Marilyn Campbell and Curt Columbus, brisk direction by Matthew Gray, and three powerful performers, Pittsburgh Irish and Classical Theatre has done just that.

            At the center of the novel is a crime (the gruesome ax murder of two elderly sisters).  The punishment comes when the murderer must confess to find atonement.

              Three actors (Joel Ripka, Larry John Myers and Susan Goodwillie) have the challenge of portraying the variety of characters in Crime and Punishment. 

           Myers is cool and eloquent as the intellectual police detective Porfiry.  Porify is trying to solve the case, but never resorts to any kind of brutality to get a confession.  Instead, he takes a psychological approach.  Myers lends a polite and quiet quality to the role.  He also excels later playing a boisterous drunk.

            Goodwillie portrays all the female characters, but primarily Sonia, the religious young woman forced into prostitution to pay her father’s debts.  She, too, brings a real strength to the role.  Also, Goodwillie does an excellent job delineating her other roles—such as the murder victim and Raskolnikov’s mother.

            As Raskolnikov, the poor student, Joel Ripka gives a dynamic performance that should be recognized when the Pittsburgh Post-Gazette chooses its performer-of-the-year.  Ripka goes through a broad range of emotions.  Sometimes he is the docile student, sometimes the mad philosopher, sometimes despondent denizen of the lower depths.  It is an electric performance, and Ripka radiates!

            The set by Gianna Downs is stark and simple—capturing the poverty of the characters, but also the bleakness of their existence.  Jim French’s lighting adds to the gloominess of Dostoevsky’s novel—and also does a great job defining scene changes.

            Crime and Punishment explores many themes and contains numerous images.  There are philosophical discussions of religion, society, right-and-wrong, psychology.  Director Matthew Gray keeps the action moving despite these cerebral questions.  And it amazing that such a long novel can be presented on stage in under ninety minutes.  Kudos to Pittsburgh and Irish Classical Theatre.

            If you’re looking for a light and frothy evening of entertainment, skip Crime and Punishment.

            But if you want to see a powerful production with outstanding performances, then don’t miss it!

            Crime and Punishment continues through October 3.

Posted in Uncategorized | Print | No Comments »