29. May 2010 by admin.

BREVITY IS THE SOUL OF WIT

F. J. Hartland

The Rage of the Stage Players are probably the city’s best know theatre “alternative” company, producing work of a darker nature.  They take yet another new step by presenting an evening of solo pieces entitled Twisted Monologues, all written and directed by James Michael Shoberg.

It is an evening of humor, suspense, chills and some superb acting.The first act consists of eleven monologues—but don’t let that frighten you away.  With a running time of little more than an hour, each piece averages only five minutes.  It’s like the weather in Pittsburgh, if you don’t like it now—wait five minutes.

I don’t want to give away any of the surprises—and it is an evening of surprises…so I will do my best not to reveal any “spoilers.”

Standouts in the first half of Twisted Monologues include: Lindsay Nagel, who kicks the evening off with a performance in None the Wiser that is so complete, so detailed that you will never forget it; Rob Henry (assisted by a spectacular costume and make-up job) in Out of the Closet as someone you will recognize from your childhood; and Jody O’Donnell as a forgotten fairy-tale character in Confessions of a Magic Mirror.  To be honest, it was hard to single any performers out because they were all so good.

Following intermission, the evening never regains the momentum from Act One.  Following six more monologues, there is the lengthy A Breath from Heaven.  The piece showcases Sean Michael Gallaher as “The Broken Angel.”  Gallaher is excellent (and makes for terrific eye-candy—if this is what angels really look like, then I resolve to lead a better life so I can go to Heaven!), but the monologue goes on too, too long.  If Shoberg wanted to end with this piece, then perhaps it should be the only offering in Act Two.

Production values are minimal and some of the set changes take too long, but overall, though, it is an evening of fascinating material, brought to life by an outstanding and talented cast.

Shoberg has written quite a few gems here, ranging from the comic (such as the delightful Everett Lowe in Performance Anxiety) to the chilling (Henry J. Roth in Guilty of Love).  Local actors looking for new and interesting audition material, should contact Shoberg.  He has a wealth of pieces that would showcase a variety of talents and create a myriad of moods.

I hope the Pitt Theatre Department gave Rage of the Stage some kind of discount to rent its airless, humid Studio Theatre space.  Hopefully, this spell of August weather will cease so that theatre is more audience friendly.

Congratulations to Rage of the Stage for creating a very entertaining evening…if it could just be a little bit shorter, please?

Twisted Monologues continues though June 12. 

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10. May 2010 by admin.

WOMEN WEAR THE PANTS IN THE CLUB

F. J. Hartland

Set in an exclusive men’s club at the turn of the century, Eve Merriam’s The Club is billed as “a musical diversion.”  In fact, it is much, much more.

The Club is the current offering at Off The Wall in Washington PA…and it’s really more of a vaudeville, offering something for almost every taste…there’s barbershop quartet-style singing, ballet, tap dance, minstrel show music, one-liners, bad puns—even an aria!

But the twist in The Club is that these male robber barons of the industrial revolution are all played by women!

It was an era of chauvinism and bigotry…so it’s a real paradox when these “men” say things like, “A gentleman NEVER strikes a woman…unless he’s wearing his hat.”

Directed by Linda Haston (who also performs the role of “Henry”) The Club is a fast-paced, ninety minute entertainment featuring a highly talented cast.  These woman ar not only accomplished actresses—but they have remarkable vocal abilities as well.  In fact, several of the numbers feature vocal “smackdowns” as each “man” tries to outperform the other (as men so often do).

There is simply not a weak link in this brilliant cast that (besides Haston) includes Erika Cuenca, Robyne Parrish, Elena Alexandratos, Diana Ifft and Brittany Graham (as well as Amy Doria as the musical director/pianist, who also gets a chance to sing and act!)

Highlighting the second half of The Club is a rehearsal for the men’s club “Spring Show.”  Besides outlandish costumes and silly songs, the cast performs a hilarious over-the-top melodramatic potboiler by Clyde Fitch (which oddly parallels what is happening in the lives of these men).

The set by Paul A. Shaw is simple—but works well in creating the various locations—and also features a runway that extends out into the auditorium.  Shaw has added just enough touches to remind you that all of this is happening more than a century ago.  Lighting by Michael Moats seemed a little dark in places.  Debi Meny’s costumes are dapper when they need to be—and silly when the script calls for silly.

Deceivingly simple, The Club is actually a very complex and challenging piece of theatre.  And Off The Wall has proven itself well up to the challenge.

The Club continues through May 22.

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