28. August 2010 by admin.

WHO WAS THAT MASKED MAN?

F. J. Hartland

In what is billed as the “final tour,” Andrew Lloyd Weber’s The Phantom of the Opera makes a stop here in Pittsburgh.

Set in the Paris Opera House, the tale tells the story of a love triangle between the beautiful Christine, her suitor Raoul and the masked (and disfigured) Phantom.

D.C. Anderson and Michael McCoy make a very funny pair as the Opera House’s new owners, adding much comic relief to the love story.

Nancy Hess cuts a stark and powerful figure as Madame Giry, the ballet taskmaster who seems to have inside information about the Phantom. In ever scene she appears, it is difficult to keep one’s eyes off her.

As Christine Trista Molodovan is a stunningly beautiful Christine.  Paired with the handsome Sean MacLaughlin as Raoul, they make a picture-perfect couple.  Their scene on the rooftop of the theatre is particularly moving.

And as The Phantom Tim Martin Gleason wowed the audience—not only with his powerful voice—but also with his physical stamina required to play this challenging role.  He was rewarded with a most deserved standing ovation.

The production is visually stunning. 

The massive set is gorgeous, and the many scene changes were executed almost flawlessly.  Likewise, the costumes are colorful and eye-catching.

Pacing is perfect and the shows clocks in a two-and-a-half hours.

In addition Phantom is filled with all sorts of shocks and special effects that will cause you to jump out of your seat at least once!

My only concern about The Phantom of the Opera was the sound.  It was difficult to understand what is being sung in many of the larger scenes (such as the ones in the managers’ office and in the “Masquerade” number).  Also, at times some of the vocals had a “tinny” or unnatural sound.  This was due either 1) to the inadequacies of the sound system or that 2) some of the vocals were recorded and not sung live.  I truly hope it is the former and not the latter.

All that aside, I enjoyed the show.  It was my first time to see The Phantom of the Opera, and I’m glad I did not let it slip away with “The Music of the Night.”

The Phantom of the Opera runs through September 19.

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21. August 2010 by admin.

To Shock—Or Not To Shock?

F. J. Hartland

Rage of the Stage, one of Pittsburgh’s most alternative theatre companies, is known for its shocking productions of original works as well as adaptations of classics.

With their current production of James Michael Shoberg’s Fairest: The Black Tale of Snow White, Rage of the Stage shocked me more than they ever have before—because there was absolutely nothing shocking in it.

In fact, if you cut the few moments of violence (and one crotch grab), this show could be performed at any children’s theatre in the country.  This “R” rated company has given us a “PG 13” production.

Visually Fairest is interesting.  The simple set is decorated nicely and the costumes are well-detailed.  Unfortunately, long set and costume changes call for numerous (and lengthy) black-outs that bring the flow of the show to a grinding halt over and over.

Jenna Lanz keeps Snow White from turning into the sugary sweet Disney version. 

Kudos to the seven actors who play the dwarves (Angelica Bondy, Charsley Bickett, Brittany Spinelli, Thomas Sterner, Geoff Bowman, Kimberly Legler and Peter Anthony Betrini).  Each one creates a distinct character—all while walking on their knees.  Ouch!

Skylar Walton and David Wooddell have the thankless tasksof spending nearly three hours motionless on stage as The Guardians of the Mirror.

Lori Howsare gives a dynamic performance as The Guise of the Hag.  And in the role of The Spirit of the king Marcus Muzoppa cuts a noble figure.

Overall, though, the acting is somewhat uneven…and not everyone seems to be working in the same style.  Considering that these are one-dimensional “fairy tale” characters, the lengthy running time of Fairest calls for far more complexity than playwright James Michael Shoberg gives them.

I can’t believe it, but I actually missed Rage of the Stage’s trademark leather, whips, fishnet stockings and black nail polish!

Fairest: The Black Tale of Snow White runs through August 28 at the Studio Theatre in the basement of the Cathedral of Learning on the University of Pittsburgh campus.

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13. August 2010 by admin.

THE SPOILS OF WAR: STILL LIFE

F. J. Hartland

It’s been said that to do theatre all you need are some bare boards and a passion.  The rest—lights, costumes, technical effects—is just gravy.

No where is this old chestnut more evident that in the Cup-A-Joe Production of Emily Mann’s Still Life, currently running at the Future Tenant Gallery.

With three platforms, three lighting instruments—and a lot of passion, director Todd Betker and his highly talented cast bring the play to life.

Based on real interviews, Still Life shows the impact of the Viet Nam War on three individuals—and only one of them is a soldier.

Everett Lowe plays Mark, the shell-shocked soldier.  He’s been through hell and back; unfortunately, when he finally returns home, there are no parades. In fact, no one even wants to talk about the war.  He is full of rage and pain, which sadly he takes out on his long suffering wife.  Lowe brilliantly captures a man who is so conflicted on so many levels.  We truly feel his anguish.

Diana Ifft portrays Cheryl, the victim of domestic violence, who is terrified of leaving her husband.  She is also pregnant with their second child (which doesn’t stop her from swilling cans of Pabst Blue Ribbon).  With her performance, Ifft perfectly manages to walk a fine line.  Should we feel sympathy for her…or is she unhinged herself?  Using the tiniest physical actions, Ifft creates her character through nuances: the way she touches her ear, for instance, or the way she continuously twirls the yarn from her sweater.

In the role of Nadine, a disenchanted woman who forges a bond with Mark, Joanna Lowe becomes the voice of what was happening in our country during and after the war.  Lowe embodies the disenchantment people (and women, in particular) felt during he late 60’s and early 70’s.

The characters speak directly to the audience and rarely interact.  The effect is almost like a musical composition.  While Betker gets some outstanding performances from his cast, he allows them to become over-indulgent, particularly during the second act.  And speaking of second acts, the format for Still Life grows too tedious to support a two hour show.  Mann should have cut her script to run in ninety minutes with no intermission.  Also, stopping the action truly breaks the flow and intensity of the piece.

But do see Still Life for the amazing performances.  Yes, the show is underlit.  Yes, there is no real set.  But this director and these three actors truly prove that all you need to create great theatre:  bare boards and a passion.

Still Life continues through August 14.

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4. August 2010 by admin.

LOVE OR DUTY?

F. J. Hartland

In keeping true to its name, Pittsburgh Civic Light Opera ends its season with just that—a  light opera, the operetta The Student Prince with music by Sigmund Romberg and  updated book and lyrics by Dorothy V. Donnelly.

Dr. Engel (Ed Dixon), tutor to the Prince (Chad Johnson), convinces the monarch to allow the Prince to spend a year at the University in Heidelberg, living a “normal” life.  There the Prince meets a charming barmaid Kathie (Jacquelynne Fontaine) and forgets about his engagement to Princess Margaret (Shana Farr).

Which will the Prince choose—love or duty?

Johnson makes for a dashing Prince with his good looks and powerful tenor voice.  Looking every inch the college professor, Dixon also has a commanding singing voice.

It is easy to see why everyone falls under the charms of Kathie because Fontaine plays her with such charm and wit.

Director and choreographer James Brennan creates some wonderful stage pictures with his chorus, particularly in the closing moments of “Come Boys” and also in the famous “Drinking Song.”  Perhaps “Montage” is the emotional zenith in terms of singing and staging, earning a warm and very vocal response from the audience.

Adding hilarity to the production are Tim Hartman as Lutz, valet to the Prince, and Patrick Richwood as Hubert, the much put-upon valet to the valet.

Hartman pulls out all the stops in creating the pompous and vain Lutz.  Sometimes the choices seem inconsistent with the character, however, and it seems uneven.

Richwood is a delight, using a great deal of physical humor and slapstick.

As Old Joseph, Gene A Saraceni has a charming turn as the wine steward—a useless position in a German beer garden!

The sets by Robert Bingham are large and impressive—but some of the scene changes on opening night were rather slow.

In The Student Prince the voices are grand and the look is spectacular.  But in the end, the characters are somewhat two-dimensional and the story is somewhat simplistic…but I suppose that’s what light opera is all about.

The Student Prince runs through August 8 and brings the CLO Summer Season to a close.

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