6. March 2011 by admin.

And the world goes boom

F. J. Hartland

When a young marine biologist is convinced the world is ending, he does what he has to do to save the human race.  He stockpiles supplies in a bomb shelter.  Now all he needs is a woman to help him re-populate the earth.

So he does what any modern man does who’s in need of companionship—he places an ad on craigslist.

This is the basis for boom by Peter Sinn Nachtrieb, the currently production at Off The Wall Productions in Washington PA.The twist in boom is that unbeknownst to the young man and woman, they actions are being watched and controlled by Barbara, a kind of narrator. 

 It’s a wild and wacky script—full of laughs, but also leaves you thinking.

Off The Wall stays true to form by finding thought-provoking plays and giving them top-rate productions.

Rachel Downie gives one of her most memorable and perhaps best) performances as Barbara.  As a woman on the verge of a breakdown, Downie totally engages the audience on a roller coaster ride with her maniacal over-the-top portrayal…and she plays a mean timpani, too.

Matt Henderson, who has cornered the market on playing geeks, plays the penultimate science nerd Jules.  Having lost his own family in a variety of bizarre consequences, Jules is desperate to start his own family—despite the fact he’s gay.  Henderson is hysterically funny—especially when he imitates Jo

.As Jo, the woman who answers an ad for sex and ends up trapped in a bomb shelter, is the talented Lauren Michaels.  Michaels handles both the witty dialogue and the physical humor with finesse.  She and Henderson have excellent chemistry and play off each other very well.

Under the direction of Michael E. Moats, the production is fast-paced and packed with laughs.  He gets the most out of his highly talented trio of actors.

Paul A. Shaw has created a very realistic and gritty underground bomb shelter.  Boxes are piled floor to ceiling, the concrete walls are stained with water seepage and there’s a real fish tank (with real fish!).  Shaw always does an amazing job finding creative ways to transform the small Off The Wall stage into any location.Boom runs at less-than-ninety intermission-less minutes. 

And you’ll laugh for almost eighty of them!

The adult comedy runs through March 19.  Don’t miss it! 

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29. January 2011 by admin.

I HAD A DREAM…

F. J. Hartland

High school student Marcus Eshu is troubled by three things: his father died when he was a small boy, he is haunted by a recurring dream and he is “sweet” (slang for gay).

This is the basis for the current production of Marcus; Or the Secret of Sweet by Tarrell Alvin McCraney at City Theatre.

First may I say…what a terrible title.

The second thing that bothered me was the constant narration by the character.  For example, when a character would enter, she would say “Oba enters.”  What?  I can’t see that she has entered?  Granted, occasionally it was good for a chuckle—but it got tiresome…quickly.

Overall, the cast of Marcus… is riveting. 

Larry Powell is freah and sweet and charming as Marcus. 

Bria Walker are sassy and fun as Marcus’ two gal-pals Osha and Shaunta lyun.  Maurice McRae has some interesting moments in the role of Ogun Size.

But it is Starla Benford and Jaime Lincoln Smith who steal the show.  Both of these fine actors play dual roles, and (if you’re as impressed as I), you’ll be checking and re-checking your program to see if it really is the same actor.  Benford and Smith each play three separate characters—each one so distinct, you will be amazed.

Director Robert O’Hara keeps the play moving at a good pace. 

He is greatly added by Tony Ferrieri’s set.   Real rain falls on an interlocking maze of weathered wooden “docks” which bridge a real pool of water.  (Mr. Smith has the dubious honor of taking several plunges into the water).

Andrew Ostrowski’s lighting seem to be having technical difficulties on opening night as lights would pop on and off without any real purpose.

Fight choreography by Catherine Moore was so amateur that it bordered on embarrassing.

The style of this very presentational play seemed very unbalanced.  What kind of play is Marcus…?  Don’t ask me.  I haven’t a clue.  And about 75 minutes into it, I didn’t really care what Marcus’s dream was all about.

I am sure I was in the minority as the Friday night audience seemed to be thoroughly engaged.  Other than the powerful performances and Mr. Ferrieri’s set, I was not so entertained.

Marcus; Or the Story of Sweet continues through February 13. 

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9. January 2011 by admin.

F. J. Hartland

When Greek philosopher Aristotle wrote about the six elements of theatre, he listed spectacle as the least important.

The current tour of Mary Poppins could serve as a good example of why Aristotle knew what he was talking about.

Don’t get me wrong…all the special effects in Mary Poppins are, well, spectacular.  The set is stunning and moves flawlessly.  The lighting is superb.  The dancing is breath-taking.  The costumes are colorful.  Magical effects abound.  And Mary Poppins flies…several times.

It is a beautiful show to watch…so why was I so bored?

Many of the characters are flat…whatever conflict exists is contrived—and you know it’s going to be easily solved.  Quite frankly, there just isn’t enough of a story here to justify a running time of two hours and forty-five minutes.

Most of the material from the original film still works; much of the new material does not.  In particular the production number “Playing the Game” adds nothing to the show but time.

(And for those fans of the movie song “I Love to Laugh,” you’re out of luck.  It’s gone.  And why?  It suits itself ideally to this spectacle-driven production.  And what about Admiral Boom’s cannon?  This adaptation portrays him as a lecherous old man).

An addition that does work is the reappearance of Mr. Banks’ former nanny Miss Andrews (a jab at Julie Andrews, star of the film?)  Ellen Harvey is funny and scary all at the same time! 

Blythe Wilson makes a lovely and charming Mrs. Banks.  Rachel Izen adds much humor as the housekeeper Mrs. Brill.  And Mary VanArsdel is touching as the Bird Woman.

Caroline Sheen looks the part of Mary Poppins but comes across somewhat dull.  (In her defense, the character is somewhat flat).  And Nicolas Dromard’s Bert lacked the charisma and charm the role requires.

A huge hats off to the hard-working ensemble.  Not only do they make their way through countless costume changes, they perform Michael Bourne’s choreography beautifully. (And bless them for having the energy to do it twice a day when there’s a matinee!)

Bob Crowley’s Tony-winning set is marvelous…alternating between colorful backdrops and black-and-white drawings.  Ditto on his detailed costumes.  Howard Harrison’s lighting nearly steals the show. 

If you like your musicals long on flash and short on substance, than Mary Poppins is the show for you! 

Mary Poppins continues through  January 23 at the Benedum Center. 

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29. December 2010 by admin.

F. J. Hartland

Describing itself as “Ballroom.  Reinvented,” Burn the Floor is igniting the stage at Heinz Hall this week.

Divided into four segments (“Inspiration,” “Things That Swing,” “The Latin Quarter” and “CODA”), Burn the Floor highlights a variety of dance form, including: the cha cha, Viennese Waltz,  foxtrot, samba, swing, tango, paso double, lindy and the rumba.

And the show is sure to delight fans of dance.

There are breaks between each of the segments.  But thanks to director/choreographer Jason Gilkinson, within each segment, the show moves flawlessly from number to number.

Featuring nearly twenty dancers, the cast is headlined by Mark Ballas (of Dancing with the Stars) and Giselle Peacock.  In truth, all the performers work up a sweat and are given the chance to shine.

Accompanying some of the numbers are outstanding vocalists Peter Saul and Vonzell Solomon (of American Idol fame).While all the numbers are high-energy and highly entertaining, I did prefer the ones which included Saul and Solomon.

Everyone will be sure to have their personal favorites, but for me, the stand-out numbers include the sensuous “Burn for You,” a raucous rendition of ”Proud Mary,” and an abbreviated history lesson in the development of ballroom dance entitled “History Repeating.”

The music is pre-recorded, but Burn the Floor feature two live, on stage percussionists Joseph Malone and Henry Soriano, who do their part to keep the temperature rising.

Kudos also to the strong lighting design of Rick Belzer.  Lighting can make or break a dance performance, and Belzer’s work certainly compliments Burn the Floor.

If you enjoy dance (or sexy, shirtless men), this is the show for you!

After a very chilly December, temperatures this week in Pittsburgh are scheduled to climb.  Certainly Burn the Floor is partly responsible for that!

Burn the Floor continues through January 2.

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22. December 2010 by admin.

A CIRCUS FOR CHRISTMAS

F. J. Hartland

Until last night, I was not familiar with Cirque Dreams and their current production Holidaze.

Today if I had to describe it, I would say it’s one part music, one part dance and several parts circus (without the animals acts).

Set in a world of giant nutcrackers, wrapped holiday packages and bows and holiday ornaments, Holidaze is an international three-ring circus filling the stage of Heinz Hall with color and movement.  There are spinning plates, gymnastics and high flying aerials acts, all performed to holiday tunes.

While all the acts are entertaining, some go on too long.

Others, however, are stand-outs.

 The muscular American Rocco Lapaire performs gravity defying acts of strength with a giant candy cane in “Movin’ Up.” 

From China Qiang Xie and Jian Zhang appear in “A Chill in the Air,” and their acts of power and balance will give you goose bumps.

Latvian Victor Dodonov shows great control as he balances on a variety of cylinders in “Penguins Slide.”

A very funny segment is when audience members are persuaded in assisting with musical effects in “A Symphony of Bells,” under the comic conducting of Brazilian Ptereson Jardim.

A final highlight is “Angels in Flight: as Ukranians Dmytro Deyneko and Svitlana Gurancky are high flying angels, suspended in mid-air with flowing fabric.

The singing is quite good, but at times the sound system is overpowering and drowns out the lyrics by Jill Winters and David Scott.

Director Neil Goldberg fills the stage with many visuals—sometimes bordering on overload.  I am sure I was missing part of the gymnastics as Christmas trees danced across the stage or missed some juggling when someone on a bicycle raced across the stage.

If you like the circus, in particular specialty acts, then Holidaze is the show for you.

Holidaze continues through December 26.

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7. December 2010 by admin.

Guest reviewer Michael Buzzelli fills in this week for F.J. Hartland

Sometimes a kiss is just a kiss, but in Diana Son’s riveting play Stop Kiss (at the Off the Wall Theatre, Washington, Pa) a kiss can be everything.

Two allegedly heterosexual women meet over a pussycat.  Sara (Karen Baum), a naïve school teacher from St. Louis just arrived to Manhattan, but she can’t keep her cat in her new apartment. She finds Callie (Erika Cuenca), a jaded New York City traffic reporter, to take care of her beloved pet.  A fast friendship develops between the women.

As time goes by, their friendship evolves.  Finally, one night Callie grabs Sara, puckers up, and plants one on her.  Unfortunately, a malevolent man catches them and wants to join in, but Sara curses him. Suddenly, he brutally attacks them both, and nearly kills Sara.

Sara is beaten into a coma. Now, Callie must decide where she really stands. Is she Sara’s lesbian lover? Are they just friends? What is really going on?

When Detective Cole (F.J. Hartland) interviews Callie about the attack, she is hesitant to explain the details. It’s a cathartic moment when she finally reveals the truth about herself and her newfound friend.

The play shifts back and forth through time quicker than an episode of “Lost,” but it is easy to follow the action. Director Robyne Parrish uses a Brechtian technique to define time jumps. In the present, the actors face the audience instead of facing each other. It’s a little disconcerting but pays off with emotional resonance later in the play.

Squonk Opera’s own Autumn Ayers provides hauntingly beautiful musical transitions. 

The cast is exceptional. Erika Cuenca’s Callie is a walking billboard for the Missed Connections section of Craig’s list. She hesitantly reaches out and withdraws in a variety of ways. You’ll want to cheer when she finally plants that wet one on Sara, but, unfortunately, the dark consequences will keep you quiet.

Sara is double cast in the production. There’s Sara and Sara Lite. One is the bubbly Past-Sara and the other is the mute coma victim Present-Sara. The part is alternately split between Karen Baum and Theo Allyn (this reviewer saw the Dec. 4^th performance). It’s difficult to imagine anyone in Karen Baum’s sensible shoes after her vibrant performance.

Atom Pribila delivers a multi-layered portrayal as Callie’s on-again-off-again bartender beau, George. It’s a role that could easily be played for over-the-top comic buffoonery, but Pribila delivers a more nuanced performance.

Matt Lamb reminds us that there are no small parts. He bites deep into his role as Peter, Sara’s ex of the wrong sex (when Sara gives up Peter, she REALLY gives up peter…wink, wink, nudge nudge).

Linda Haston stands out in dual roles. She is the Mrs. Winsley, the only witness to the hate crime, and the Nurse, a gentle Jamaican hospital worker.

Son’s dialogue is crisp and sharp. There are plenty of laughs, considering the gloomy subject matter. Some of the best moments are completely silent. A good playwright knows that actions speak louder than words.

Off the Wall Theatre is dong daring works for quaint, little Washington, PA. From the outside the theatre doesn’t look like much, but it’s what’s-on-the-inside that counts. 

Stop by Stop Kiss and let a brisk 90 minutes of your time go by. You’ll be glad you did.

(Stop Kiss runs through Dec. 18 at Off The Wall Productions, 147 N. Main St., Washington. Dates and times vary. More info: www.insideoffthewall.com or 724-873-3576. Tickets: 412-394-3353 or www.proartstickets.org)

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3. November 2010 by admin.

F. J. Hartland

At 60 Rodgers and Hammerstein’s South Pacific is considered an old “war horse” of American musical theatre.

But the new Lincoln Center revival currently playing at the Benedum Center is as fresh and exciting as any musical.  It truly looks and feels “Younger Than Springtime.”

Under the direction of Barlett Sher, this production is flawless and flows seamlessly from scene to scene.

Despite it’s age, South Pacific is as modern as today.  Young American men and women are fighting in wars half a world away.  And—despite the progress that has been made in our society—we are foolish if we think prejudice and racisms isn’t still alive.

Nellie Forbush, a nurse serving in the South Pacific during World War II.  Far from her home in Little Rock, she falls in love with older French planter Emile de Becque.  But there are obstacles to overcome—such as deBecque’s dark and mysterious past.

Meanwhile, Marine Lieutenant Joe Cable from mainline Philadelphia has fallen in love with the beautiful islander Liat, but finds himself in the same self-doubt as Nellie.

Carmen Cusack’s Nellie is so full of pluck and humor that one can not help but to fall in love with her.  Cusack also has a powerful singing voice.

As de Becque, David Pittsinger also has a powerful bass voice, ringing the rafters of the Benedum with his rendition of “This Nearly Was Mine.”

Handsome Anderson Davis gives a powerful interpretation of Cable, and Sumie Maeda is a stunningly beautiful Liat.

Jodi Kimura shows not only her singing talent, but her comedic abilities as well, in the role of scheming Bloody Mary, Liat’s mother.

Michael Yeargan’s sets are magnificent and make the transition from scene to scene glide.  Lighting by Donald Holder adds to the effects—as do costumes by Catherine Zuber.

The orchestra under conductor Lawrence Goldberg adds a lush sound to the show, reminding us just how glorious Richard Rodgers’ music is.

There is simply not a weak link in this chain.If you’ve never seen South Pacific (or even if you’ve seen it ten times), don’t miss this revival  It is a remarkable and glorious and evening of theatre, song and dance.

South Pacific runs through Nov. 7.

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31. October 2010 by admin.

F. J. Hartland

Director Scott Wise has given the Conservatory Theatre Company of Point Park University another huge triumph with the musical Thoroughly Modern Millie.

Set in 1922 in New York City, Thoroughly Modern Millie follows the trials and tribulations of a young girl from Kansas who wants to become a “modern woman” and find love.  With a book by Richard Morris and Dick Scanlan and new music and lyrics by Scanlan and Jeanine Tesori, the musical is based on the film of the same name.

My only complaint is that Act One is a little long, but that is not the fault of Wise and his spirited cast.  And for those of you who read my reviews, it’s that’s my only gripe, then it must be a pretty marvelous production.

Tall and leggy Jessica Ernest plays Millie.  Not only does she have the ideal look of a 20’s flapper, she can really belt out a tune.  She totally wowed the audience by belting out “Gimme, Gimmee.”

Leah Fox is hysterically funny as the evil Mrs. Meers.  When Fox is “on,” she is brilliant.  Now if she could make her performance consistent, she could get applause at each and every one of her exits and steal the show.

Sam Tanabe and Adam Soniak are charming as the brothers Ching Ho and Bun Foo who serve as Mrs. Meers’ flunkies.

As night club chanteuse Muzzy, Jaclyn McSpadden has an amazing voice, and her presence lights up the entire stage.

In the role of office manager Miss Flannery, Elissa DeMaria is a delight and proves there’s no such thing as a “small” role.

And as is typical in a Point Park production, the chorus is high-energy and oozes with talent.

The art deco set by Michael Thomas Essad is stunning and glides effortlessly from scene to scene.  Costumes by Don Difonso capture the feel of the Roaring Twenties (although I do question the color palette of Millie’s outfits).  Choreographer Jeremy Czarniak (who also serves as assistant director) puts the dancers through their paces; while I usually am blasé about dance,  I was mesmerized.

The orchestra (under the baton of Douglas Levine) is spectacular, giving Thoroughly Modern Millie a rich, lush sound.

From the opening moments to the choreographed curtain call, Scott Wise and the Conservatory Company give Pittsburgh audiences a show well worth seeing.  It is a delight to the eye and the ear.  Be sure to put it on your “Must See” List!

Thoroughly Modern Millie runs through November 7.

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30. October 2010 by admin.

F. J. Hartland

Several years ago, the University of Pittsburgh Repertory presented both parts of Tony Kushner’s Angels in America.  It was a landmark achievement and a pinnacle for the Department of Theatre.

History is made again with their current production of Allison Moore’s Slasher, billed as a “horrifying comedy.”

It is an embarrassing low point.  A real nadir.

When I arrived at the Stephen Foster Memorial, I was greeted by a young woman in the box office—who was eating soup.  In her defense, the soup looked really good.  Little did I know that the soup would be the highlight of the evening!

The curtain on opening night went up a full FIFTEEN MINUTES late.  Normally, this wouldn’t be a problem, but Slasher runs ninety-minutes without an intermission.  In truth the show runs ninety-six minutes, so we were trapped for nearly two full hours without a break.

With Slasher director Holly Thuma has a real hot mess on her hands that goes wrong on so many, many levels.

First is the location. Pitt has a perfectly fine Studio Theatre (where Slasher would be ideal).  Instead, this production (and the audience) is shoe-horned onto the STAGE of the Charity Randall.

The acoustics are ghastly; the sight-lines, worse.  (I actually sat through several two-person scenes where I saw the face of only ONE of the actors).

And this decision to place the show on the stage means the acting space is slightly larger than a postage stamp (always such a wise move when you have a character in a motorized wheelchair).

Also, the audience is so close that the “special effects” look cheesy and amateurish.  If the audience was given some distance, the effects might have worked.

The entrances are narrow passageways, and the poor, hardworking stage crew has to navigate through them with cumbersome set pieces…sometimes slamming into the actors.  (Perhaps this was Thuma’s attempt at creating comedy?  If so, it was a success because it was damn funny).

And let’s talk pace.  Slasher is about a low…low…low budget horror film being made in Texas.  Consequently, the scenes are short and episodic.  Instead of using a unit set so scenes could move quickly, Thuma has chosen to do black-outs (to facilitate scene changes), totally disrupting any pace the play might have.  So it’s an evening of short scene…scene change…short scene….scene change…short scene…you get the picture.  Slasher ends up being a herky-jerky stop/start ride.

Then there’s the problem with tone.  What kind of play is this?  Thuma never seems to know, so each scene appears to be from a different show, making Slasher uneven at best.

The cast has talent (like the wonderful Sam Turisch.  Between this and last year’s campy Dracula, I hope the University is paying him a bundle of money!)) and shows promise (Sarah Turocy is very funny in a multitude of roles, but especially as do-gooder Christi Garcia.  Likewise, Fred Pelzer has a great opening scene with Turich).  But like the audience, they, too, are trapped like rats on this sinking ship run aground by Captain Thuma.

She, though, is not alone to blame.

Who is the Theatre Department at the University of Pittsburgh deemed this dreck worthy of an educational institution?  Really?  (Slasher would be so much more at home at some third-rate community theatre instead of a prestigious university).

Probably the same “genius” who said, “Let’s open the play on the Friday night of Pitt’s Homecoming.  That way streets will be closed…Oakland’s already limited parking will be even further compromised…and there’ll be a half-hour fireworks show right outside the theatre, making much of the play even more inaudible than it already is?”

Why not open the play Thursday and take Friday off?  Or wait and open the play Saturday?

Although with Slasher, I might have been grateful for a ninety-six minute fireworks display to drown the entire thing out.

My advice…stay home and find out where that young woman got the soup!

Slasher continues through November 7.

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24. October 2010 by admin.

PART SPOOF, PART HOMAGE: THE 39 STEPS

F. J. Hartland

It used to be that Hollywood made movies out of play; now they make Broadway plays out of Hollywood movies.

Part spoof, part homage, The 39 Steps brings Alfred Hitchcock to the stage and is the current offering at City Theatre.

Richard Hannay is a bored Englishman who tries to escape the monotony of his life by going to the theatre.  In keeping with the mantra “be careful what you wish for,” he ends up embroiled in murder and international espionage on the bring of World War II.

Like the play The Mystery of Irma Vep relies on rapid costume changes to enable a small ensemble of actors to play a long list of characters.

Hats off to Tom Beckett and Evan Zes (as Man 1 and Man 2) who play a multitude of characters (sometimes several in a single scene).  They are amazing as they switch from costume to costume, accent to accent, gender to gender.

Sam Redford makes a dashing Richard Hannay.  He channels Robert Donat, Ronald Coleman and Rex Harrison into one polished performance.

Rebecca Harris is hysterically funny as femme fatale Annabella (her fur is a hoot), but she isn’t as compelling as the sensitive Pamela (which, unfortunately, is the role she plays the longest).

All the actors, however, are as nimble and adept as gymnasts in all the physical demands placed upon them in The 39 Steps.

Director Tracy Brigden keeps the play moving swiftly, but the gimmick wears thin by Act Two.  The play would be funnier if condensed to a ninety-minute no-intermission romp.

Peter Cooke’s set is paradoxically lush and shabby at the same time.  The side stages are beautifully detailed, looking like the prop store room of an old MGM Studio.  The main playing space pieces look rather flat in comparison.  I understand that with all the scenes, the sets need to be simple (using old trunks for the train is brilliant), but more could be done.

Lighting by Andrew David Ostrowski captures both the feel of a film set AND the genre of film noire.

There are some good belly-laughs and Hitchcock aficionados will appreciate the inside jokes.

When The 39 Steps is funny, it is very, very funny.  When it’s not, it’s somewhat flat.

The 39 Steps continues through November 7.

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