14. July 2011 by admin.

F. J. Hartland

Pittsburgh CLO continues its 2011 summer season with a revue—Love Changes Everything: The Music of Andrew Lloyd Weber.

Utilizing four main singers (Liz Callaway, Frank D’Ambrosio, Kevin Kern and Laurie Gayle Stephenson) and an ensemble of eight, Weber fans will be delighted as the show is loaded with hits from shows, such as Sunset Boulevard, Evita, Cats…and perhaps a little too much Starlight Express and Joseph and the Amazing Technicolor Dreamcoat. 

Lesser known shows are also highlighted such as The Beautiful Game, Whistle Down the Wind and The Woman in White.  It was refreshing to hear them and made me interested in hearing more of those shows.

The evening opens with a prologue called Love Trio which features the title tune combined with two other love songs (including the “Unexpected Song” from Song and Dance which gets a short-shrift in the show as I was hoping to hear my favorite Weber ballad “Tell Me on a Sunday.”)  Had the production done more of these “mash-ups” I think it would’ve made for a more entertaining evening.

The title of the revue is a little misleading as I thought it would be an evening of love songs, but it’s not (for example “Jellicle Ball” from Cats and the title song from Jesus Christ Superstar).  In fact nothing really holds the evening together except for the fact the composer is the same for all the numbers.

And as a revue, it’s almost too small to fill the massive Benedum Center.

It was a thrill to have the orchestra out of the pit on stage.  Under the baton of Frank Ostrowski, the musicians give the show a lush sound and feel.

Kern, Callaway and Stephenson are powerful vocalists.  Kern’s voice is pure and beautiful.  Callaway shines doing “You Must Love Me” from Evita and “As If We Never Said Goodbye” from Sunset Boulevard.  (Sadly though, her microphone had a crackle in it that was very distracting).  And Stephenson soars with “Don’t Cry for Me, Argentina” and “Wishing.”

D’Ambrosio also has an amazing voice, but perhaps because he played the title role in The Phantom of the Opera for so long on Broadway, he plays ALL his numbers in this revue like the Phantom.  It doesn’t always work.

If you love any of Weber’s shows, this revue is a real treat.

And if you don’t like Weber, here is an anecdote you’ll love: Weber once said to Cole Porter, “Why is it people take an instant dislike to me?”  Porter replied, “Because it saves so much time.”

Posted in Uncategorized | Print | 1 Comment »

18. June 2011 by admin.

F. J. Hartland

Director Don DiGuilio has assembled a top-notch group of artists for the No Name Players’ production of The Book of Liz by Amy and David Sedaris.

Trouble is…they deserve a better script.

The Book of Liz plays like a lengthy sketch from Saturday Night Live.  In its favor, the play does have an ending—unlike most of SNL’s vignettes.

Liz, a devote member of the Squeamish (think Amish) leaves the sect and has a series of adventures that result in a life-changing decision.

Gayle Pazerski does an excellent job as the cherubic Liz, whose sweet disposition makes the best of any situation.  Pazerski captures the character’s good nature and outlook that everything is an adventure.

The ensemble of Jody O’Donnell, Kelly Marie McKenna, John Feightner and Allison Fatla play all the other characters—more than dozen total.  And they do a remarkable job!  O’Donnell and Feightner are probably at their best as the gay wait staff at the Plymouth Crock Restaurant.  McKenna is very funny as the love-smitten Sister Butterworth.  And Fatla does an excellent job as the sophisticated visitor from New York.

This cast represents some of the finest performers Pittsburgh has to offer…and they do not disappoint.  They manage to wring laughs out of a script that doesn’t give them much to work with.

If they had better material, they could soar!

The evening does begin with an odd “dumb” show set to music that really doesn’t add anything to the production.  There is also a lengthy curtain call.But other than that DiGuilio keeps the show moving along, flying through countless scenes.

Alanna James’ cartoonish set creates the perfect backdrop for the play.  And they are painted flawlessly.

It’s an enjoyable evening.  But I couldn’t help thinking that with all this talent, it could be so much more.

The Book of Liz continues at Pittsburgh Playwrights through June 25.

Posted in Uncategorized | Print | No Comments »

16. June 2011 by admin.

F. J. Hartland

Surely everyone knows the story of Jekyll and Hyde, but for those of you who don’t…

Dr. Henry Jekyll is a mild-mannered physician who feels he has found the link between good and evil.  He drinks his chemical concoction and turns into the evil Edward Hyde…a murdering sadist.  In short each of us possesses a good side and an evil side…

So it is with Jekyll & Hyde, the musical, now playing at CLO.  It’s like the little girl with the little curl.  When she was good she was very, very good.  But when she was bad, she was horrid!

In the title role, Kevin Gray has an amazing voice and incredible stamina.  This is good.  Gray is also wonderfully menacing as Mr. Hyde—also good.  Where he doesn’t fair as well is with Dr. Jekyll.  There is a stiffness about his performance that keeps an audience from really liking the good doctor.  And if you don’t like Jekyll, the thrust of the show is lost.

To his credit, Grey does an amazing job as he transforms rapidly between the two roles in “Confrontation.”  (And manages not to look silly as David Hasselhoff did he played the role).  Too bad the light changes didn’t keep up with him during the number.

Also good: Brynn O’Malley as Emma (Jekyll’s intended bride) and Elizabeth Stanley as “bad girl” Lucy.

Both women are stunningly beautiful on stage…and talk about powerhouse voices!  WOW!O’Malley gives a soaring rendition of “Once Upon a Dream.”  Stanley performs the moving “Someone Like You” and “A New Life.” 

And when the two sing the duet “In His Eyes,” it brings down the house!

Not good:  Act One.  Slow and boring.  And director Robert Cuccioli creates some odd stage pictures.

Good: Act Two.  Not only is it shorter, but the tempo (and the songs) are better.

Good and bad: the set.  James Noone’s set features some gorgeous black-and-white drops.  Some of the other set pieces look cheap, though.  And it looked like not Dr. Jekyll’s entire lab made it on stage during Act One.  When the missing set pieces showed up in Act Two, I thought, “Did Mr. Hyde force him to re-decorate?”

Also good and bad: the ensemble.  When they have energy (like in Act Two), they are good.  Can’t say the same for the energy in Act One.

I had never seen Jekyll & Hyde live before, so I am glad to say I say it.  But like all of us humans, it has two sides, too: good and bad.

Jekyll & Hyde continues through June 26 at the Benedum Center.

Posted in Uncategorized | Print | No Comments »

10. June 2011 by admin.

F. J. Hartland

First, hats off to Throughline Theatre Company on two counts.

Number One: They have founded (and kept afloat) a theatre company in difficult economic times to launch a second season.

Number Two:  They strive to bring art (particular classics) to the South Hills of Pittsburgh—and were recently recognized for this accomplishment by having a day named in their honor.

Now I wish I could say I loved their current production of Cat on a Hot Tin Roof. 

But I can’t.

The trouble starts early.

Scenic designer Ryan Tierno has provided a set (and ground plan) that has saddled the director (also Ryan Tierno) with uncertain failure.

It’s a box set…that could almost work…if it weren’t for that gaping space on the back wall.  It looks like the two halves of the set don’t meet…or that they ran out of money or walls or something.  The overall impression is that wealthy Big Daddy’s fancy plantation home (which sits on more than 20,000 acres) is like a doll house.  The rooms have no back walls.

If you’re going to do a box set, do a box set. If you just want to use pieces to indicate the room, that’s fine, too.  But don’t mix it up.  It’s confusing and looks foolish.

It also causes some unintentional comedy.  Brick (Big Daddy’s son) questions Maggie the Cat when she locks the door of their bedroom in an attempt to seduce him.  “Why are you locking the door?” he inquires.  I wanted to answer, “Why bother when there’s no back wall and anyone could walk in on you both in bed!”

A lack of places to sit creates awkward stage pictures and often leaves actors standing around with nothing to do!  My heart went out to poor Maggie the Cat (played by Maggie Mayer) who is left standing for most of her famous opening monologue.  Overall, blocking is stiff and unbelievable for most of the production.

And what little furniture that exists is so oddly placed.  The bed (which should be center…this is a play teeming with sex, after all) is off to one side…blocking the only real door on the set. The sofa is angled against a flat on stage right making it impossible to see anyone sitting on the upstage end if two were sitting there.

I am glad there were levels…but again, they are so strangely placed that the bench meant for the bottom of the bed is actually downstage and on a lower level than the bed).

The lighting features hot spots and dark spots.  Sometimes actors are lit only from the neck down…sometimes not at all.  Poor Big Daddy had some amazing moments—but was standing in a dark spot at center stage when they happened.

Tierno did assemble some fine actors:  Maggie Mayer, Joey Yow, Mary Chess Randolph, Jack Goodstein and Bill Crean.  Of those, Yow and Crean fair the best.  Joey Yow as Brick has a lost-little-boy look that is perfect for troubled, alcoholic Brick.  Crean has some fine moments as patriarch Big Daddy.  But Tierno could have done so much more to find levels in Tennessee Williams’ nuanced characters.  This is a very difficult script, and the director has barely scratched the surface of these complex lives.  For example, Gooper and Mae (played by Eric James Davidson and Rachel Enck) come across like villains in an old Warner Brothers cartoon.

The play is set in the 1950’s, but looking at April May Ohms’ costumes, the play might be in the 50’s…or the 70’s…or now.  The children all look like an ad from this week’s JC Penney’s summer sale catalogue.  And again, poor Maggie Meyer is forced to perform in an ill-fitting slip.  It should cling to her body, giving her the sensuality of Maggie the Cat.  Also, wouldn’t a garter belt and hose been appropriate for this time period?

The devil is in the details.  Are Brick and Big Daddy really drinking out of plastic cups like you’d find in a room at Motel 6?  The bed is obviously just a platform with no padding because each time Big Daddy pushed Brick on the bed, there is a resounding clunk!  No wonder Brick prefers sleeping on the sofa!  And are we really to believe that anyone but a four-year-old could stretch out on that tiny wicker loveseat?  And when Brick references “the liquor cabinet,” isn’t he really referring to bottles placed on top of the television set?  If you’re going to do that, there needs to be irony or sarcaism in the remark to keep from looking foolish.

I do salute Throughline for tackling this classic (especially on Williams’ 100^th birthday), but also honor him by doing your homework.The production in is the un-air conditioned Seton Center Auditorium, so if this balmy weather doesn’t soon break, I suggest bringing a fan.  (Throughline graciously supplied bottled water to the audience on opening night).

Cat On A Hot Tin Roof continues through June 18. 

Posted in Uncategorized | Print | No Comments »

3. June 2011 by admin.

F. J. Hartland

Civilization is what keeps us from all being Neanderthals.

But it’s just a very thin veneer according to playwright Yasmina Reza in her script God of Carnage, now playing at the Pittsburgh Public Theatre.  Scratch even gently—and you’ll see what’s lurking underneath!

Two perfectly civilized couples meet to have a perfectly civilized chat about an uncivilized incident involving both their eleven year-old sons on the playground.

The “chat” quickly disintegrates into a riotous funny farce as each character throws all etiquette and manners to the wind.  And the rum doesn’t do anything to make the meeting better!

Director Ted Pappas gives us a very fast-paced evening, filled with big belly laughs, clocking in at less than ninety minutes.

David Whalen is spot-on on the loutish husband who—when he isn’t glued to his cell phone—flat out admits his son is a “savage.”  And to him, that isn’t so bad.  After all, his hero is Spartacus.

Susan Angelo plays his nauseous wife with the cloying nickname “Woof Woof.”

In the role of Michael is Ted Koch, who confesses his is only pretending to be a liberal to please his wife Veronica.  He is all too thrilled to reveal that he belonged to a “gang” in his youth…and had to beat up another boy to gain admittance.

Stealing God of Carnage is Deirdre Madigan as Veronica.  She plays a woman who writes about art and Africa, buys tulips at $40 a bunch and is steeped in Dr Spock-like child-rearing.

Anne Mundell’s sleek and stylish set even fits with this idea of tearing away the veneer.  Ripping across this room, filled with shiny hardwood floors, crisp furniture and art books, there is a huge gash—revealing rough hewn logs.

Like her play Art, Reza uses a small cast, a single set, and lots of talking to make us question our core of values and beliefs. In less capable hands, Art and God of Carnage could be total bores.

Thanks to Pappas, his sparking cast and talented designers, this is a production not-to-be-missed.

God of Carnage continues through June 26.

Posted in Uncategorized | Print | 1 Comment »

3. June 2011 by admin.

F. J. Hartland

Based on the movie with the same name, 9 to 5, The Musical harkens back to the days when women in the workplace were relegated to making coffee—not corporate decisions.

Three women, Violet (Dee Hoty), Doralee (Diana DeGarmo) and Judy (Mamie Parris), outwit their chauvinistic tyrant of a boss Mr. Hart (Joseph Mahowald) and turn their company around—for the better.

This is CLO’s first offering for 2011—and it jumpstarts the season on a high note.

Hoty, DeGarmo and Parris have amazing voices that soar!  And each woman creates a distinct persona.  Best of all, they have a real chemistry on stage that creates a believable camaraderie.

Also, each one gets a moment to shine.  Hoty sings and dances her way through “One of the Boys” with finesse.  DeGarmo brings irresistible charm to “Backwoods Barbie.”  Parris shakes the rafters of the Benedum Center with her powerful rendition of “Get Out or Stay Out.”

Dolly Parton (one of the films original stars) even makes guests appearances—providing video narration for the show.

Two of the featured cast members give most memorable performances.

Kristine Zbornik shines as office manager/spinster Roz.  (I apologize for the term “spinster”—but in those days, that’s how they were referred to).  Hopelessly in love with her boss, Zbornik is hysterically funny, particularly in the number “Heart to Hart.”

As the always drunken Margaret, Jane Blass knows how to land a punch line.  Staggering about with a multitude of pencils stuck in her bird’s nest of a hair-do, she is unforgettable…and makes an amazing transformation by show’s end.

Hats off to the chorus (which includes my old pal Janet Dickinson)!  Not only do they sing, dance and play multiple roles—they perform the numerous set changes smoothly and flawlessly.

And speaking of the set, it is beautiful and features a false proscenium that brings back many memories of the 1970’s.

The show is thin on conflict and things seem a little too “pat.”  And there are some transitions that don’t always ring true.  But this cast gives it 110% for all two hours and fifteen minutes.

Beware…the title song will be stuck in your head for days.  You’ll catch yourself singing it over and over—whether you want to sing it or not!

No, it’s not a great musical.  But 9 to 5, The Musical is an energetic evening of fun.

The show continues through June 5.

Posted in Uncategorized | Print | 1 Comment »

8. May 2011 by admin.

Guest reviewer Michael Buzzelli is in the critic’s seat this week.

Gather around the fire, it’s time for a ghost story. The Off the Wall Theatre presents Conor McPherson’s Shining City, a tale about secrets and lies, but, at the heart of the play, is a compelling ghost story.

John (Out’s own F.J. Hartland) is an insomniac. He turns to Ian (Dennis Schebetta) for help. Ian is a brand spanking new therapist willing get at the heart of John’s fears, but John believes his fears are metaphysical not psychological; he is plagued by the ghostly image of his dead wife.

The pragmatic psychologist doesn’t believe in ghosts but he does believe in guilt (they are Irish, after all). He believes John’s ghost sightings of his dead wife revolve around the widower’s tumult of emotions; the unhappily married business man was prone to looking for a solution outside of his marriage. John discusses a sad tale about a beautiful new woman he fixates on, and then, discloses a weirdly comical experience in a brothel.

As the play progresses, we learn that Ian would benefit from the old aphorism, “physician heal thyself.”  The disheveled therapist is a former priest with more than one secret.  The psychologist’s fiancé Neasa (a terrific Karen Baum) pays a social call and exposes one of Ian’s secrets and one of her own (she had a brief  affair with another man while living with Ian’s relatives). Laurence (a charismatic James Maschiovecchio) reveals Ian’s other secret. Without being too spoilery, Out Online readers may find this aspect of the storyline very interesting.

Set in Dublin, the Baum and Hartland have masterful Irish accents. Maschiovecchio has a decent one, but his scene is short and his character is the least talky of the cast. Hat’s off to Dialect Coach Erika Cuenca. Though,  Schebetta’s accent could use a little work.

Baum’s Neasa is an amazing portrayal of the downtrodden new mum. You can feel her pain as she begs for a reconciliation with her boyfriend/baby daddy, Ian.

Hartland commands the stage when he espouses the details of his marriage and his attempts at infidelity.  His monologues munch up the scenery. The play is mostly monologues and as such it’s a gabfest, but Director John Shepard keeps the action moving. Like any McPherson play, the story is both hilarious and tragic, sometimes at the exact same time.  The play is bookended with a joke about an uncooperative speaker phone.

Lighting is not normally critiqued in a play review, but the lighting in this show has to be flawlessly timed. Michael E. Moats does a splendid job lighting throughout the show, but, especially, the final moments of the performance, when the timing is critical. By the way, Set Designer Paul A. Shaw has a nice eye for detail and pulls off a brilliant magic trick. Several audience members must have been wondering, “How did he do that?”

The play has a surprise ending which jolted Friday’s audience; loud gasps reverberated through the theater. If you know the ending, keep your lips sealed for the finale.

Shining City runs from May 6^th to May 21st at the Off the Wall Theater, 147 N. Main Street, Washington, PA. Contact them at www.insideoffthewall.com.

Posted in Uncategorized | Print | No Comments »

6. April 2011 by admin.

F. J. Hartland

If I were permitted but one sentence to write about the production of Next to Normal currently running at the Benedum Center, it would be this…

DON’T MISS IT!

Yes, it really is that good. 

The Pulitzer Prize-winning musical (and it’s really more of a modern day rock opera) centers around Diana, a middle class housewife, whose mental illness is having a shattering effect on her relationships with her husband Dan and her children Gabe and Natalie.

Diana’s doctors (Madden and Fine) resort to many forms of treatment.  Is she bi-polar…is it chronic depression…no one seems to know for sure.

Alice Ripley re-creates her Tony Award-winning performance as Diana.  Diana is an intelligent, witty woman battling something so much bigger than herself.  Ripley captures the multiple layers of her character, and the audience comes to love her and feel her pain.  We laugh with her; we cry with her.

It is a powerful and memorable performance…but the great thing about this production is that ALL the performers are powerhouse!

As husband Dan, Asa Somers will break your heart.  He loves Diana so much and wants back the young woman with whom he fell in love many years ago.

Emma Hunton captures the young daughter Natalie perfectly.  Natalie is a genius and musical prodigy…she is also a tempestuous teen-ager, tired of living in an unbalanced home.  She finds love with stoner Henry.  Played by Preston Saidler, Henry is charming and lovable.

In the dual role of Drs. Madden and Fine, Jeremy Kushnier creates two totally different characters, capturing both the arrogance and the uncertainty of their profession.

Curt Hansen as Diana’s son Gabe is nothing short of phenomenal.  His amazing vocals are matched with powerful athleticism.  Hansen takes command of the stage with incredible presence.  It’s impossible to keep your eyes off him.

Best of all, this small ensemble cast works together seamlessly.

Director Michael Grieff keeps the show moving at a breathless pace.  I did feel Act Two begins to drag a little—but that’s more to do with Brian Yorkey’s book than Grieff’s direction.

Mark Wendland’s set is a three-tiered scaffolding of platforms and stairs that fills the Benedum stage.   Panels move in and out, creating a wide-range of beautiful visual effects.  It is lit by hundreds of lights.  While Kevin Adams’ lighting is effective, sometimes it is a little over-powering.

Next to Normal is a powerful (sometimes painful) story that is beautifully told.

The lovely ladies sitting next to me last night informed me that they have been coming to see shows downtown for thirty-five years.  When they found out I was reviewing, they told me to say that Next to Normal is “excellent.”

And they were right.  It is excellent!

Again, DON’T MISS IT!

Next to Normal runs through April 10.

Posted in Uncategorized | Print | 1 Comment »

16. March 2011 by admin.

FLYING YOUR FREAK FLAG

F. J. Hartland

First, it was a book.  Then it was an animated film.  Now it’s a musical.

It’s Shrek, the Musical now playing through March 20 at the Benedum Center.

Technical glitches stopped the show on opening night even before the first number was over.  It was a long wait as the problem was solved.  Kudos to the three performers (Carrie Compere, Danielle Soibelman and Brian Gonzales) who returned to the stage and re-sang “Bright Beautiful World” and recaptured the audience’s interest and enthusiasm!

Shrek covers the same material as Beauty and the Beast and The Hunchback of Notre Dame.  All that “beauty is just skin deep” and “real beauty is on the inside” and “love conquers all” stuff.

Directed by Jason Moore and Rob Ashford, Shrek, the Musical will entertain youngsters—but has enough “hidden material” to keep adults amused as well.

Eric Peterson plays the green ogre Shrek with so much charm that you will love him even when he’s mean and grumpy.  He moves the audience with such songs as “When Words Fail” and “Build a Wall.”  Peterson is a performer who really knows how to engage an audience!

As the villainous Lord Farquaad David F. M. Vaughn is hysterically funny. Visually, he’ll make you laugh even before he opens his mouth!

Alan M. Mingo, Jr. has the daunting task of playing the Donkey (made famous in the movie by Eddie Murphy).  While he gives it his best, after a while he becomes very grating.

My favorite performance was Haven Burton as Princess Fiona. Bright and engaging, Burton sings beautifully and makes the most of all the humor.  She is far more layered than any of the fairy tale princesses Disney has given us in the past.  I was especially taken by her number “I Know It’s Today.”

The use of puppetry in the show is nothing short of amazing.  There’s a huge flying dragon, a mouthy gingerbread man and scampering rates just to name a few memorable moments.

One element of Shrek, the Musical that theatre aficionados will enjoy is the send-ups of other popular Broadway musicals as Dreamgirls, Les Miserables, Lion King and Wicked.

The set and costumes by Tony Award-winner Tim Hatley are colorful and amazing.  The show is filled with all kinds of special effects and, overall,  is a delight to the eye!

While the plot is too thin to justify the running time, Shrek, the Musical ends with a rousing curtain call.  It’s an energetic rendition of “I’m a Believer” that keeps the audience clapping and singing along

.CHILD ALERT:  Shrek, the Musical is popular family entertainment and there were a number of children in the opening night audience.  The vast majority of the children were well-behaved, and I salute their parents.  However, the little girl behind me spent all of Act One kicking the back of seat, wheezing bronchitis germs on my neck, putting her fingers in my hair and vomiting into a bag (I kid you not).  If your children are sick, keep them home please.  Exchange your tickets for another night, I beg you.  A sick child will not enjoy the experience…nor will those audiences members seated near you!

Shrek, the Musical runs through March 20. 

Posted in Uncategorized | Print | 1 Comment »

14. March 2011 by admin.

BE TRANSFORMED

F. J. Hartland

Five individuals have their lives changed forever through a creative dramatics class in Annie Baker’s Circle Mirror Transformation, now playing at the Pittsburgh Public Theatre.

Set at a dance studio in the small town of Shirley, Vermont, the new class is taught by Marty (Bridget Connors).  Her pupils are her husband James (John Shepherd), an angst-ridden teen Lauren (Lauren Blumenfeld), a New York City transplant Theresa (Daina Michelle Griffith) and the recently divorced Schultz (Daniel Krell).

Playwright Baker brilliantly uses theatre “games” to reveal the complex internal lives of these five people.  The purpose of the games is to bring them together as a cohesive unit; and they do—to a point.

At first, it is difficult getting accustomed to the long silences and continuous blackouts in Circle Mirror Transformation, but once you do, the play is a most engaging 80 minutes (without intermission).  There is humor; there is pathos.  And a wonderful ending twist!

Director Jesse Berger has assembled a very strong cast, and each has the opportunity to shine.

Griffith is full of life (and sexuality) as the former actress.  Connors does an excellent job of capturing the persona an encouraging acting teacher. 

Beautifully capturing the vulnerability and desperateness of a lonely man, Krell will break your heart.  Shepherd excellently portrays the anguish of a father struggling to reconnect with his estranged daughter…all while suffering from his own mid-life crisis.

But it is Bluemnfeld who steals the show with her performance a teen struggling between her unhappy home life and her personal dreams of glory.  Of all the characters who are “transformed” through the course of the play, hers is the longest arc.

The set by David M. Barber is stunning with its hard-wood floor and dance mirrors.  But is somewhat over-designed.  Much of it is left unused and is nothing more than window dressing.  It also creates some lengthy blackouts when the actors have to walk all the way downstage to pick up their personal belongings, then all the way upstage to leave through the only exit.

That being said, Circle Mirror Transformation is a very interesting and entertaining play with a superb cast…and that makes it well-worth seeing!

Circle Mirror Transformation continues through April 3.

Posted in Uncategorized | Print | No Comments »