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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26. April 2010 by admin.

KEEPING SECRETS:  SPEECH & DEBATE

F. J. Hartland

Three high school misfits are drawn together by two unrelated events.  One, the mayor of their town is embroiled in an on-line sex scandal involving underage boys.  Two, their high school is forming a speech and debate team.

This is the basis for Speech & Debate, the current offering at Bricolage Theatre.Each of the students is harboring dark secrets that draw them together into an uneasy bond.

There’s Diwata (Laura Melchiorre),the star-struck girl who can’t get cast in any role larger than walk-on; Howie (Paul Victor), an out-and-proud senior who is new to the school; and Solomon (Matt Henderson), the ultimate high school geek who dreams of becoming a journalist.  The one adult in the cast is Gayle Pazerski, who is saddled with playing two characters (a teacher and a journalist) whose only function is to make the plot happen.  But Pazerski does an admirable job creating two distinct characters.

Director Jeffrey Carpenter has assembled a wonderful cast of young performers.

Melchiorre is delightfully funny as Diwata.  She is loud, brash and really endears herself to the audience.  Victor plays Howie with loads of sass and attitude.  But it will be Henderson who breaks your heart as a teen caught up in a situation that overwhelms him.  Together the three create an ensemble that is sometimes humorous…sometimes charming…sometimes painfully honest. 

(From what I can tell, the emotions and problems of high school students haven’t changed much in the thirty—er, I mean, twenty—years since I was that age.  Only the technology has changed!)

Carpenter has kept the production moving at an excellent pace and has gotten top-notch performances from his youthful actors.

The script by Stephen Karam has an interesting and timely premise as well as fascinating framework, but it is about ten minutes too long.Jesse Connor’s set captures the feel of a school room—but quickly changes into over locales.  It seems that sometimes it’s the costumes changes—and not the set—that results in some extended black-outs between scenes.

But overall, it is an excellent production in keeping with Bricolage’s high standards.  Kudos to Carpenter and his bright, young cast!

For anyone who ever felt outcast in high school (and quite frankly, who didn’t?) see Speech & Debate.

Speech & Debate runs through May 8. 

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24. April 2010 by admin.

PAST, PRESENT AND FUTURE: TIME OF MY LIFE

F. J. Hartland

The Public Theatre’s newest production Time of My Life plays fast and loose with that very subject—time.

And while  British playwright Alan Ayckbourn’s play is a comedy, a better word for it would be “bittersweet.”

Set in an Italian restaurant, the play begins at a party.  The Stratton family has gathered to celebrate the birthday of it’s matriarch, the shrewish Laura (Ann McDonough).  There is her long-suffering husband Gerry (Paxton Whitehead), her son Glyn (Tim McGeever), his wife Stephanie (Leah Curney), another son Adam (Jeffrey Withers) and his fiancée Maureen (Sarah Manton).

As the play progresses, we move forward in time to see the future of Glyn and Stephanie and also go back to see the past of Adam and Maureen.

It’s a fascinating device…I’m just not sure why it’s there.

McDonough is delightfully bitchy as the mother who adores one son—all while despising the other.  She has opinions about everything—and everyone.  And she’s not shy about expressing any of them.

Whitehead is wonderful as the long-suffering patriarch.  He plays his voice like a musical instrument, creating sonorous tones—all while capturing a dry sense of wit.  I would l listen to him read the Pittsburgh telephone directory!

The sons—and their respective mates—do an excellent job of creating seamless transformations, becoming the people they were—or will be.  McGeever has captured a veritable “Prince Charles” persona…and Curney offers up some real surprises in completing the arc of her character.

Stealing the show is the engaging Tom Beckett, who plays ALL the restaurant personnel.  From owner Ernesto Calvinu to the entire wait staff, Beckett’s changes are so complete that you will be constantly checking your program to make sure it is indeed the same actor!

Director John Tillinger, renowned for his work on Ayckbourn plays, does what he can to keep the plays moving…but it is a play about people who sit in a restaurant and talk.  Act Two moves at a much better pace than Act One—which has a great deal of exposition.

The set by James Noone is detailed and attractive.  The incidental music by Scott Killian sounds more apropos for a restaurant featuring cuisine from New Delhi and not Florence.

The play offers some good laughs as well as a disturbing look into the soul of a dysfunctional family.  It also makes us question of we know when we are truly having “the of our lives.”

Time of My Life continues at the O’Reilly Theatre through May 16.

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7. April 2010 by admin.

THE TIES THAT BIND…AND STRANGLE

F. J. Hartland

Meet the Westons…the warmest, fuzziest family since the Walton clan took twenty minutes to tell each other “good night.”

NOT!

In August: Osage County playwright Tracy Letts gives us a family so full of vitriol that you’ll find yourself saying, “Hey, my family doesn’t seem so bad…”

Alcoholic patriarch Beverly Weston (John DeVries) has gone missing.  His pill-popping wife Violet (Oscar-winner Estelle Parsons) along with their three daughters (and other family members) have gathered at the family home.  Before it’s all over, toxic secrets are revealed, relationships are shattered and lives crumble.

And did I mention it’s a comedy?

It’s NOT a comedy in the witty, urbane Noel Coward genre.  But it’s a dark comedy with blistering dialogue that makes you laugh out loud…and then wonder “why am I laughing at this?”  You laugh—even though you think you shouldn’t.  It’s like trying to avert your eyes from an automobile accident.

August: Osage County is not for the faint of heart.  There’s vulgarity, sexual situations, drug use and a slew of colloquialisms for female genitalia.  But be brave–it’s worth it.

The cast is nothing short of brilliant.  Each performance is nuance and memorable.

Estelle Parson is a national treasure.  She spews her lines, lashing out hatred and truth…that is, when her character isn’t so hopped up on a cornucopia of pharmaceuticals that her words are garbled and unintelligible.  She commands the stage and navigates the three-story set with ease.  It is an amazing performance that makes you laugh and cry.

In a production full of showy roles, Paul Vincent O’Connor stands out as Uncle Charlie.  His quiet, understated portrayal shows what power and strength there is in gentleness.

As daughter Barbara, Shannon Cochran captures both the wit and the physical comedy of her role as a woman tortured by her failing relationship with her mother, her failing relationship with her husband and her failing relationship with her daughter.  In a cast of powerful characterizations, Cochran is a stand-out.

The Benedum was experiencing sound problems with its amplification system on opening night.  Hopefully, that problem will soon be solved.

August; Osage County is a huge show (3 ½ hours) with a huge cast (13) on a huge set (three stories high)…and it would be a HUGE shame if you miss this very powerful, very funny show!

August: Osage County continues through April 11.

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28. March 2010 by admin.

A BEAUTIFUL LIGHT

F. J. Hartland

Italy, 1953.  A young American woman travels with her mother to Florence—and falls in love with a handsome young man.  But before the final curtain falls, relationships are shattered or repaired and secrets revealed.

It’s the musical A Light in the Piazza, the current offering from the Pittsburgh Playhouse Conservatory Theatre Company.

Director Scott Wise lends his deft hand to create a lush and breath-takingly beautiful production.  A Light in the Piazza is a delight to both the eye and the ear.

He works with an energetic and amazingly talents cast of Point Park University students.  Some are  much too young to play these roles, but still turn in polished and completely believable performances.

Katie Sexton is nothing short of spectacular in the role of the mother Margaret Johnson.  She carries herself with such poise and presence and maturity that I was shocked to see that she is only a junior.  Never for a moment did I see a girl in her twenties—but always a mature Southern matron.

Handsome Jaron Frand plays Fabrizio Naccarelli, who falls in love-at-first sight with Margaret’s daughter Clara.  Frand’s character speaks little English—but thanks to his performance, the audience always understands what he is communicating.  (Special kudos to Frand, Adam Soniak and Andrew Swankhammer who play a lengthy scene in the men’s shop entirely in Italian—and make themselves understood to someone whose knowledge of Italian doesn’t extend beyond “si” and “ciao.”)

In the role of Clara, Courtney Bassett captures the complexities and range of her character.  I don’t want to give any of the plot away—but let’s just say that Bassett creates a fully drawn portrait of Clara with all her charms and flaws.

Sexton, Frand and Bassett (along with the rest of the cast) have powerful, spectacular voices that soar with Adam Guetell’s music.The supporting cast is very strong—as has always were the case with Point Park’s Conservatory productions.  There is not a weak link in this chain.

Michael Thomas Essaud’s set (along with lighting by Andrew Ostrowski and Christopher Stabell and projections by Jessi Sedon) is sheer poetry.  Scenes glide seamlessly along and the final effect is unforgettable.  (My only complaint was the wire used to make Clara’s hat blow off her head.  It was so obviously there—and so distracting—that it was a nuisance.  But this is a minute point in the overall effect of the spectacular visuals).

Director Wise fills this gorgeous space with an unending parade of nuns, clergy, tourists, prostitutes, soccer players, street thugs.  They are all costumed beautifully by Michael Montgomery, who really brings the style of 1950’s Italy to life (although one wishes some of the men’s tailoring was better).

Everyone involved really deserved a better script.  Craig Lucas’s script is so full of contrived circumstances, unbelievable resolutions and conflicts that seem to exist only to add length to the show.  A Light in the Piazza darts between musical comedy and operetta, never really finding its niche.

Adam Guettel’s songs are lovely—but you don’t leave the theatre humming any of them.

But all that being said, this is a top-notch production, filled with memorable performances and beautiful voices.

A Light in the Piazza continues through April 3. 

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22. March 2010 by admin.

SHOP ‘TIL YOU DROP

F. J. Hartland

Big box stores that offer everything from lettuce to tires to diamond rings have come under a great deal of criticism lately.  We’re all heard how they drive out smaller “mom-and-pop” stores, how they monopolize towns. 

But what about the crushing effect they have on the people who work there?

Valu-Mart, the current offering at Pittsburgh Playwrights Theatre, explores that particular angle—and is a thought-provoking drama.

Written by Sean O’Leary, Valu-Mart is set in the employee break room of just such a store. 

Five employees are being held captive until one of them admits who stole the key to the jewelry display counter.

O’Leary’s cast of characters cuts across genders, races and generations.

Earl Plummer (Tommy LaFitte) is a former schoolteacher.  Lanie Welch (Kelly Marie McKenna) is a rich girl who is left with no self-esteem by a domineering mother.  Khalid Burroughs (Rico Parker) is a young man with a criminal past.  Genna Styles plays Brandi Sobers, a single mom trying to get ahead in the corporation.  Susan McGregor Laine is Dorothy Shay, a bored senior citizen, looking for something to fill her lonely hours.  Finally, Bill Dalzell plays security guard Chad Crowley.

Under the direction of Mark Clayton Southers, the cast does a tremendous job capturing the pathos of these human beings, who are not only trapped in the break room—but are trapped in their dead end jobs.  In a field of very strong performances, Parker (as Khalid) manages to stand-out—portraying a wide range of emotions.

Adding humor to the script are cheerful announcements over the company loudspeaker.  They make ironic comment on what is happening in the stark break room.

Southers’ set also captures the claustrophobic atmosphere of a company lunch room.  It is almost naturalism with its working microwave oven and soda machine.  Completing the look are harsh overhead fluorescent tube lights.  The stark realism ends at the door, however.  Each time it opens, the audience can see the back of unfinished flats; the ambiance is broken.

The configuration of the audience also adds problems.  Each row is set off by half walls—which is too tall.  From my vantage point on the side section, there were moments actors totally disappeared from view. (At one point, LaFitte was talking to another character—and I wasn’t sure to whom he was speaking because I couldn’t see the other performer.)

Valu-Mart has an excellent concept, a powerful theme and six interesting characters.  The play would be strengthen by editing it down to a ninety-minute, sans intermission show with stronger jokes.

Valu-Mart continues through March 28.

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12. March 2010 by admin.

THE PRICE IS (NOT) RIGHT

F. J. Hartland

In Act One of Arthur Miller’s The Price, the current offering at the Pittsburgh Public Theatre, furniture appraiser Gregory Solomon points out that nothing brings out the worst in a family than dividing up an estate.

The Price pits two brothers against one another.  Victor (Joseph Adams) is a reluctant cop facing retirement and a mid-life crisis; the other Walter (Sherman Howard) is a successful—maybe too successful doctor.  Each has a different interpretation of past events with enough regret to go around.

The play begins with Victor roaming the room he used to share with his father—a room filled with (maybe) valuable furniture, household items and memories.  Director Tracy Brigden launches the show with a paralyzing pace that gets the show started in neutral gear as Walter removes his hat…his coat…plays with a fencing foil.

The arrival of Walter’s wife Esther (Chandler Vinton) at least brings some life (and dialogue) in to the attic. Unfortunately, Vinton plays Esther as a shrewish harpie with a voice more annoying than fingernails being dragged across a chalkboard.

Esther and Walter go ‘round and ‘round arguing the same issues.  Then furniture appraiser Solomon (Noble Shropshire) appears.

Shropshire is a delight as the colorful Solomon, an 89-year-old, married three (or is it four) times, still carrying his discharge papers from the British Navy.  It is a wonderful performance, full of humor and wisdom.  For me, he saves the show!

Sadly, the appraiser and the cop also go ‘round and ‘round and ‘round having the same discussion/arguments.  Walter, the estranged brother, arrives after Solomon and Victor have (at last!) agreed on a price for the attic full of furniture.

At this point I thought, “Finally, the exposition is over and the play can begin.”Instead, it was the end of Act One and intermission could begin.

Adams is saddled with playing the “good” brother; Howard never comes across as being sincere.  Neither one is likeable, so it’s difficult to have empathy for either one of them.

The Price is a very talky play and is not aided by Brigden’s repetitive blocking.  One could nearly set a watch by her “okay-it’s-time-for-everyone-to-move-to-your-next-position” staging.

The set by Luke Hegel-Cantarella is beautifully detailed with antiques, including an old harp and a gramophone.  However, like most of the Public’s sets, it overwhelms the tiny actors in front of it.  It’s difficult not to get absorbed in looking at it instead of the play.  “Oh, look.  My grandmother had a breakfront just like that!”

The curtain rang down after two-and-a-half hours; all I could think was, “I gave up Project Runway for this?

The Price continues through April 4.

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6. March 2010 by admin.

POWERFUL PERFORMANCES ELECTRIFY THE MERCY SEAT

F. J. Hartland

Currently at Off The Wall Theatre in Washington PA, Neil LaBute’s two-character drama The Mercy Seat examines the far-reaching effects of the tragedy of 9/11.  But LaBute does not focus his story on the victims or the heroes or even the villains of this shattering event. 

Instead he tells the story of two people who want to use it to their advantage.

It is 9/12.  Ben (Michael Moats), a married business executive, is holed up in the New York loft of his boss Abby (Adrienne Wehr) with whom he has been having an affair for the last three years.  His family doesn’t know that he has survived the terrorist attack.  In fact, his cell phone keeps ringing as his wife makes desperate attempts to locate him.

Ben does not answer.  Why?  Because he sees this as his chance to leave his family and his job to begin a new life with Abby.

Director Robyne Parrish has done an outstanding job creating the highs and lows of The Mercy Seat.  Sometimes it’s brutal, sometimes it’s funny and it’s always disturbing. Parrish has paced the play beautifully and had wrung two powerful performances from her cast.  I do question a few of her choices…like would Abby, who polishes silverware in the middle of a national tragedy happening just outside her window, really stand on her coffee table?  Or allow Ben’s shoes to sit in the middle of her living room floor?

Moats has been on the Pittsburgh acting scene since 1996.  While his roles have been many, he has never been better.  His portrayal of the confused, dominated, wishy-washy Ben is the finest of his career thus far.

Wehr gives a multi-layered performance.  At times she is a shrew of an inquisitor…but Wehr also allows us to have a peak at the damaged, vulnerable woman beneath her caustic surface.

In two years as scenic designer for Off The Wall, Paul A. Shaw has done brilliant work—but he has out done himself with a stunning recreation of a New York City apartment.  Shaw utilizes black-and-white with just a hint of color to create a space that is both realistic while also reflecting the themes of The Mercy Seat.  The detail is amazing from the tiles counter tops to the original art work on the wall.

Likewise, Debi Meny’s costumes compliment both the set and the play’s darker themes.

The only fault of the show lies with Neil LaBute’s script.  While he has given us a unique perspective on a national event, he has also created two characters that are hard to find likeable.  I would fake my death, too, just to escape Ben and Abby.

Judging from the enthusiastic response of the sold-out opening night crowd, one would be wise to make a reservation ahead of time to see these two electric performances.

The Mercy Seat continues through March 20 at Off The Wall Theatre in Washington PA. 

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3. February 2010 by admin.

VISUALLY STUNNING—IN THE HEIGHTS

F. J. Hartland

The Tony Award-winning In The Heights opened at the Benedum Center last night, and it is a visually stunning production.  The set, the lights, the costumes and the dancing create a production that is simply eye-popping.

Unfortunately, the show is saddled with a book that is so predictable and contrived, replete with two-dimensional characters.  While In The Heights entertained my eyes, it left my heart feeling rather empty.

Set in a crumbling section of New York City, Washington Heights seems to be a place everyone would like to leave.

Recent CMU grad Kyle Beltran plays Usnavi, a young man who runs the corner bodega along with his cousin Sonny.  As Usnavi, Betran brings a great deal of charm to the role.  He also moves very well.  Some of his rap songs, however, re delivered so quickly (and are often overpowered by the orchestra) often making him unintelligible.

The women have powerful voices.  Arielle Jacobs as college drop-out Nina and Sabrina Sloan as hairdresser-with-a-dream Vanessa belt out their songs with total emotion and conviction.  Rogello Douglas, Jr. plays Nina’s love interest Benny is a fine actor—but the chemistry with Jacobs is lacking.  I don’t see any sparks between them.

As Graffiti Peter, Jose-Luis Lopez is a spectacular dancer.  If only his acting was on a par with his dancing.  Elise Santora captures the audience with her caring Abuela Claudia, the neighborhhood’s “grandmother.”

In the cameo role of the Piragua Guy, David Baida makes a memorable impression.  His soaring voice, humor and slick choreography prove the old adage, “There are no small parts, only small actors.”

A true delight are Vanessa’s co-workers at the salon.  Isabel Santiago is a sexy, sultry take-no-prisoners boss, and Genny Lis Padilla wrings every laugh out of her role.

And what a hard-working ensemble!  Hats off to these seemingly tireless singers, dancers and actors who bring so much to their roles.

Director Thomas Kail has done a brilliant job of filling the stage with movement and utilizes the set completely.  There is so much detail in terms of creating a realistic look for In The Heights.  He utilizes the windows and balconies of the worn apartment buildings and the streets behind the scene.  People move and criss-cross, greet one another.  The effect is almost cinematic.

I just wish that ten-minutes into the show, I was unable to predict everything that was going to happen in the two-and-a-half hours that were to follow…but I was.

In The Heights continues through February 7.

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