31. July 2010 by admin.

HOWLING IN THE WOODS

F. J. Hartland

Lapland after World War II is the setting for The Howling Miller, a world premiere being presented by Quantum Theatre at the Frick Park Environmental Center.

Written by Quantum’s Artistic Director Karla Boos and the play’s director Peter Duschenes, the play is adapted from the novel by Arto Paasilinnia and looks at the effect a newcomer has on a small town in northernmost Finland.

Sadly, it seems like Boos and Duschenes don’t know what kind of play they’ve written.  Some scenes play as stark reality…others like a scene from a children’s play.  Is it a comedy…a psychological exploration…a drama?  Overall, it lacks focus.  Each scene seems to be written for a different genre.  It leaves the viewer confused and wondering what exactly are we to get from The Howling Miller.

And while Duschenes directs the opening of the show with excellent pace, it begins to drag before Act One is over.

The cast is not to blame.  They are excellent.

Lithe Tristan Farmer gives an athletic, acrobatic performance as the newcomer.  He runs, leaps, bounds, jumps, does cartwheels and rides a bicycle.  And he is also full of charm and sex appeal.  His character might be insane…but he is also sweet and lovable.  The fluidity of his movement and his amazing balance are amazing to witness.

Melinda Helfrich is hysterically funny and sweet as the overzealous 4-H Director who firmly believes in the power of vegetable gardens.

Hats off to the delightful ensemble cast (John Gresh Robert Haley, Jason McCune, Andy Place and Mark Conway Thompson) who brilliantly play multiple roles—everything from townspeople to mental patients to reindeer (yes, you read that right.  Reindeer.)  Unfortunately, the program only lists one character for each actor, so it takes some time and mental maneuvering to figure out who is who.

The set by Tony Ferrari blends in beautifully with the outdoor location of The Howling Miller.  Herman Pearl’s strategic sound design makes a significant contribution in creating the feel of each scene.

Other local theatres could take notes on Quantum’s front-of-house.  Everyone from box office to ushers to parking lot attendants could not be more kind, gracious and helpful.

On the other hand, Quantum takes the prize for the most uncomfortable seating.  Tiny folding chairs are crammed too close together on platforms that are too small to allow one to pass if anyone else is sitting in a row.  The stairs are uneven…and quite steep.  After being wedged in for the first act, I was in such pain that I could not return for Act Two.  In fact, I was still smarting when I got out of bed this morning.

And it’s not a good sign that I haven’t spent a moment since wondering how it all ends.

The Howling Miller continues through August 22.

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21. July 2010 by admin.

WELCOME TO THE 60’s: HAIRSPRAY

F. J. Hartland

Set in nearby Baltimore and based on the cult film by John Waters, the musical Hairspray is rocking it at the Benedum for CLO.

It’s 1962 and Baltimore s a segregated town.  Spunky Tracy Turnblatt wants to integrate the Corny Collins Show, an American Bandstand kind of show.

Directed by Barry Ivan, CLO gives us a lively, colorful show that will make you want to dance in the aisles.Katrina Rose Didericksen is full of charm and pep as Tracy.  She also has a powerful voice.  My only criticism is that she’s really not the “full-figured” girl Tracy is supposed to be.  It is obvious she is padded to look heavy.  But other than that, she is thoroughly engaging.

Niki Scalera is a comic delight as Tracy’s nerdy best gal-pal Penny.  With every joke, Scalera lands a bulls eye.

MadTV’s Paul Vogt plays Tracy’s hefty and loving mother Edna.  And he gives it 110%.  Whether singing, dancing or wise-cracking, Vogt is larger-than-life and proves he is as at home on stage as he is on camera.  Likewise, Jim J. Bullock comes as a complete surprise as Tracy’s dad Wilbur.  More than just a sitcom caricature, Bullock is a singing and dancing showman.  The two reduce the audience (and each other) into gales of laughter during the “(You’re) Timeless to Me” number.

Diminutive Drew Lachey plays Corny Collins and does not seem as comfortable on stage as Vogt and Bullock.  With more confidence,  he could be quite good.

As Seaweed J. Stubbs, Rashad Naylor is sweet and sexy and one helluva smooth dancer.

In Act Two Kecia Lewis-Evans as Motormouth Maybelle brings down the house with her powerful and moving rendition of “I Know Where I’ve Been.”  The audience burst into cheers and applause long before the song concluded.

Hats off to Madeleine Doherty who plays three various characters.  Her transformations are so complete, you have to look in your program to realize it’s the same performer.  Sadly, Stuart Marland is unable to do the same with his variety of characters.

David Rockwell and William Ivey Long provide colorful sets and costumes…and it’s amazing how much Baltimore resembles parts of Pittsburgh.  One would swear Tracy lived somewhere in Lawrenceville or the Southside!

There were some opening night glitches—particularly with the follow spotlights.  But they will certainly be resolved quickly, I hope.

Get to the Benedum and see Hairspray before it closes on August 1.

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7. July 2010 by admin.

ROLLICKING FUN: THE PRODUCERS

F. J. Hartland

CLO presents a sure-fire evening of rollicking fun with their current production of The Producers.

Funnyman Mel Brooks adapted his film of the same title into the multi-Tony Award-winning musical.  And while I don’t think it’s the greatest musical by any stretch of the imagination—CLO certainly does it justice.  It sure is FUN!

Max Bialystock, a down-on-his-luck Broadway producer (played brilliantly by John Tracy Egan), meets accountant and producer-wanna-be Leo Bloom (Jim Stanek), who convinces Bialystock that (through some clever bookkeeping) they can make more money with a Broadway flop than with a hit.  They then begin to look for the worst script, most talentless director, etc.

With his performance Egan pays tribute both to Nathan Lane (Broadway’s Bialystock) and to Zero Mostel (who played the role in the film).  Egan is a large man—yet performs the physical demands of the role with ease.  He can be bombastic when he needs to be—and graceful when called upon to do so.  And Egan brings down the house with his star-turn number “Betrayed” late in Act Two.

Pittsburgh native Joe Stanek also makes the most of physical comedy as nervous accountant Bloom.  Clutching a shred of blue baby blanket, Stanek is hilarious whether having a full-fledged panic attack or dreamily falling in love with the Swedish actress Ulla.

The show is filled with outstanding performances, so it’s hard to pick favorites.

Ashley Spencer is very funny (and very beautiful) as the shapely Swedish bombshell Ulla.  N’Sync alum Joey Fatone gives an impressive performance as Nazi playwright Franz.  (I mean we knew he could sing and dance—but he also  has a gift for comedy!)  And John Walton West nearly steals the show as Carmen Ghia.  West doesn’t even need words to be funny;  his body language speaks for itself.  And he makes two of the funniest exits I’ve ever seen on stage.

Direct from the Broadway production, Robin Wagner’s set and William Ivey Long’s costumes are spectacular.  And Andrew David Ostrowski’s lighting meshes beautifully.

Director Bill Burns keeps the show moving at a lively pace.  The book does tend to break down in Act Two, but overall, the show is fast and full of laughs.

Hands down, with its amazing cast and stunning physical production, The Producers is the best show so far in CLO’s 2010 season.  You’d be a fool to miss it.

The Producers continues through July 18.

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