'Burgh Vivant

by Claire DeMarco

Alida (Virginia Wall Gruenert) talks to herself as she meanders around the stage, intent on picking up Post-it notes scattered on the floor.  She reads them, then speaks the word on each note.  Sometimes she furiously writes a new word and just as rapidly crumbles it and tosses it aside. Each word doesn’t connect with the others, but to Alida, they are remnants of a world she is slowly losing, yet trying fervently to hold on to.

Alida is in the early stages of dementia.  She is a writer and is attempting to complete what will probably be her last work.  She is naturally reclusive, not outgoing or social.

She is evaluated for dementia by Beth (Erika Cuenca), who works at a clinic.  Beth is Alida’s opposite – she’s social, vibrant, youthful, but also has her own baggage.  Both women’s problems stem from their respective pasts.

Alida lives alone and likes it, insisting she doesn’t need anyone.  She also indicates that she writes for herself, not for others.  Her life is and always has been structured.

On the other hand, Beth doesn’t like to be alone and seems to need someone at all times, especially a man.  Her life is fluid, with frequent changes (in both jobs and personal relationships).

When Beth quits her job at the clinic, she approaches Alida, proposing to help her finish her book.  And so begins a questionable union of two unique women.

At times, the women can maintain a semblance of normalcy, but as Alida’s mental acuity diminishes, Beth’s frustration rises.

Dementia affects many individuals and is devastating.  Although this is a serious play, it is not without its humorous moments.

Gruenert is superb as the flawed Alida.  Her facial expressions whether it be anger, confusion, frustration or at times, a bit of happiness are excellent.  Physically she doesn’t move much on stage, walking slowly with a gait suggestive of an older woman mentally slipping away.

Cuenca shines as the young woman whose life is definitely not structured and, at times, is out of control.  She is physically active on stage, in stark opposition to Gruenert.  Her enchantment with helping Alida finish her book is evident.  Cuenca transitions easily from her usually upbeat, high-energy personality to a more subdued one when she faces intermittent confrontation with Alida.

Note: Both Gruenert and Cuenca have worked together many times, and their rapport and onstage interaction are exciting to watch. A dynamic duo excellently directed by Ingrid Sonnichsen.

The set is simple with a desk and two chairs.  It is the backdrop that provides an emblematic symbol of Alida’s decline.  Several rows of airy, see-through.  Material resembling leafless tree stumps provides a backdrop that Alida often meanders through, symbolizing her declining mental health. Tree leaves are scattered on the stage.

This production is a farewell from Virginia “Ginny” Wall Gruenert.  Many theater productions were produced by off the Wall at Carnegie Stage.  “Breadcrumbs” is a personal thank you from Ginny to all those patrons who have supported her over the years.  Now residing in Iceland, she is planning new adventures there.

-CED

“Breadcrumbs” is a production by Wall Stageworks dba off the Wall & Viva Holding, Iceland. Performances run from April 10^th to April 18^th at Carnegie Theater, 25 W Main Street, Carnegie, PA. For more information, click here.

 

 

By Michael Buzzelli

The Stage Manager (Cecilia Staggers) welcomes us to the burgeoning burg of Grover’s Corners at the turn of the century in Thornton Wilder’s “Our Town.”

The omniscient and omnipresent Stage Manager acts as the god (small g) of Grover’s Corners, citing facts and statistics, and even gathering local experts, Professor Willard (Nathan LeSane, III) and Editor Webb (Gabriel Hammesfahr), to pinch-hit with historical and anthropological data.

The aforementioned Stage Manager introduces us to two local families, the Webb family and the Gibbs family.

Mrs. Gibbs (Emilee Edick) is having trouble with her son, George (Rayhan Khimji), who has been playing baseball and ignoring his chores. George also has a crush on the neighbor girl, Emily Webb (Emma Delaware).

Even though “Our Town” follows many of its citizens, George and Emily’s romance is the centrifugal force around which the play rotates. The audience is invited to their most significant interactions, including their hesitant courtship, first date, and wedding day.

On the wedding day, Mrs. Gibbs is reluctant to let George go. She’s afraid he won’t be able to get on without his mother at his side. Later that same morning, Mr. Webb has an excruciatingly awkward chat with George.

Things move along happily for George and Emily, but “Our Town” has three distinct acts:

• • • Daily Life
    • Love & Marriage
    • Death & Eternity

Suffice to say, life has a bad habit of ending.

The cast is enormous, but there is no weak link. Each player seems to have an integral part to play in the small-town life of Grover’s Corners.

Because Director Ricardo Vila-Roger lets the actors lean into the humor, he lets Thornton get wilder.

Staggers (no stranger to Pittsburgh stages) is, much like her character, a force of nature. She is a warm, inviting host, filled with the gravitas of the role. She also manages to deliver humor with a wry smile or a subtle gesture.

Khimji is a breakout here. He is charismatic and charming in every scene, playing a younger George very differently from the older George (even though the age is only a few years apart). Young George is earnest and innocent. Older George stands up for his convictions and is passionate about his interests, especially his betrothed.

Delaware’s Emily also grows up between acts one and two, but learns the most during act three (even though the play is nearly a century old, there will be no spoilers here). Delaware has to hold Act Three together nearly by herself, but she does it with aplomb.

Hammesfahr figuratively and literally, leans in hard. The actor matches the kinetic and comedic spirit of a young David Hyde-Pierce. He is magnetic to watch. Each line is delivered with his own remarkable style.

Edick’s Mrs. Gibbs is a sympathetic character. She and Chang have a heartfelt scene together, shelling invisible peas. It’s superb acting from both actors.

Other standouts include – but are not limited to –  Ocean Chang’s Mrs. Webb, Devin Claudio’s Howie Newsome, Kennedy Hawthorne’s Rebecca (“I love money) GIbbs, LeSane’s bespectacled Professor Williard, and Allie Wahl’s Mrs. “I love a wedding” Soames.

Damian Dominguez’s costumes are Abner Doubleday meets Edwardian elegance. Stiff collars and long dresses, perfect for the era.

There isn’t much to the set until a third-act reveal, which is a stunning work by Scenic Designer Johnmichael Bohach.

When the play starts, it’s dawn in Grover’s Corners, and Lighting Designer Piper Steffek brilliantly illustrates that morning light.

One note of improvement: Actors need to get a little better with their space work, the placing and replacing of imaginary objects. An actor sets down an imaginary cup of coffee on a table, and then glides his hand right through the space where the cup was last placed. If it were a real mug of coffee, it would have splattered all over the floor.

This is not your father’s “Our Town.” It bursts with energy. Because it’s so alive with humor, the third act’s impact is devastating. If you’ve seen “Our Town” and didn’t like it, now is the time to give it another try. And if you love the show, you must go!

-MB

“Our Town” runs through April 12 at the Highmark Theatre, inside the Pittsburgh Playhouse, 350 Forbes Avenue, Pittsburgh, PA 15222. For tickets or more information, click here. 

By Michael Buzzelli

“Not everything that is faced can be changed, but nothing can be changed until it is faced.”

-James A. Baldwin

Madison & Taylor College President Woods (Stacey Rosleck via video) welcomes incoming freshmen, Makeda (Marissa Lily) and Xavier (Manny Waker), to the Black Excellence Scholarship program, wherein the two meet the remaining members of the program in a room at the student union in Ty Greenwood’s “Paradox of Education.”

Madison & Taylor College is a thinly veiled reference to Greenwood’s alma mater, Washington & Jefferson College (think: “If Beau Street Could Talk”).

Ebony (Krystal Waller), president of the student group, wants her other members, Miles (Amon Jamaal), Zara (Tajinna Clinton), and Emmerson (Brenden Peifer), to be on their best behavior when meeting the new kids. Miles and Zara want to warn the incoming frosh that the college made a lot of false promises, such as the benefits and amount of the scholarship, the school’s rampant racism, and the racism in the surrounding community. Most of the promises came from a campus Administrator (Melissa Edmond), who is the queen of microaggression. She says a few things out loud that would make your average Karen cringe, including “Have you ever read a philosophy book?”

Emmerson struggles with his status as a mixed-race kid, while Zara, Miles, and Ebony dismiss his problems because he’s light-skinned (Colorism). Meanwhile, Emmerson confesses to the Administrator that he doesn’t feel wholly comfortable in Black or white spaces.

When a tragedy happens on campus, the students have to grapple with their feelings over the inherent racism and their own prejudices.

The play is superbly and authentically acted. At times, the dialogue feels real, as if each actor is having the thought out loud for the first time.

Waller’s Ebony leads this small army of freedom fighters.  Waller manages to find the wisdom and grace in her character. She commands herself like the leader Ebony is meant to be.

Peifer always enchants. He is likable and charming even when his character is saying the wrong thing. His charm makes the event that leads to the second act (no spoilers) even more tragic.

Walker is restrained here. His Xavier has an arc. He goes from timid newcomer to strident supporter of causes.

Carter’s Zara is the most difficult character to like. She is played with an almost sociopathic lack of empathy, but when Carter nails a monologue about death, you can see that her character’s emotional distance is a protective device. The actor finds beauty in the cracks.

Lily’s Makeda has an epic Slam Poetry moment about her hair. She is also the emotional heart of the story, leading with compassion.

Jamaal plays Miles as an affable student. His best scene is in his reactions to Edmond’s Administrator as she continues to subtly and not-so-subtly put him in a narrow, Black box.

The cast is completed by Rosleck, Charles Timbers, Jr., and Richard McBride, appearing in recorded voices and video, but not on the actual stage.

Producing Artistic Director Mark Clayton Southers also designed the set, which looks as if it were plucked from an august university and dropped into the Madison Arts Center.

Director Maurice Redwood is an impressive leader. He gets convincing performances from each actor. The play is infused with youthful vitality.  Redwood also shot and directed the video transitions, intermingling shots of the real, predominantly white institutions (PWIs) and their mostly white students.

Greenwood’s play wrestles with serious issues, a tragic turn, and some divisive opinions. While the play could use a little more dramaturgy and editing, the subject matter is more relevant than ever. Greenwood’s play may be preaching to the choir, but the message is still important. “Paradox of Education” is thought-provoking and emotional.

To quote Redwood, “This powerful, thought-provoking production follows six Black students navigating life at a predominantly white institution, confronting the realities of race, identity, and belonging. It’s raw. It’s honest. It’s necessary.”

-MB

“Paradox of Education” runs until April 20 in the Carter Redwood Theater, inside the Madison Arts Center, 3401 Milwaukee Street, Pittsburgh, PA 15219. For tickets and additional information, click here.

 

 

By Timothy Ruppert

“It’s the Cultural Trust,” magician David Williamson reminded the audience on the opening night of his delightfully ebullient show, Ridiculous. “It’s supposed to be art!” His legerdemain satisfies that qualification from the very first trick, proving card after card that Williamson is a Dalí of light-speed sleight-of-hand. Yet his act has great dimensionality beyond clocking decks and tracking shuffles. As a humorist, Williamson puts one in mind of Phil Silvers, with a faux exasperation that never quite conceals the very real heart behind every gag. Williamson’s flawless intermingling of illusion and levity renders this show terrifically impressive, a joyful mélange of distractions.

Williamson himself possesses a likeably avuncular air equally suited to brash mischief or quiet wisdom. Blue-suited and yellow-vested, Williamson has the look of the great Ian Richardson as he appeared in the 1990s British series House of Cards—Francis Urquhart with a benevolent soul and several wicked packs of cards. All the evening’s tricks are performed with help from audience volunteers, older and younger people alike, contributing to a show designed like a Fibonacci sequence, progressing in scope and complexity without ever losing the semblance of natural, logical progression. Taken together, these qualities of Ridiculous and its star make the show ideal for families and fellow travelers, especially those who appreciate the mirth and adventure afforded by Williamson’s interactive wizardry.

While Ridiculous offers numerous tricks that evolve in complexity and intensity over the course of the evening, ranging from sealed envelopes to a magic paper shredder to citrus fruits, the show frames its wonders decisively within an intellectual context. Williamson cites the importance of “793.8,” the Dewey Decimal designation for books, such as S. W. Erdnase’s 1902 The Expert at the Card Table, on performing magic. At another point, he quotes speculative-fiction writer Arthur C. Clarke’s remark that “any sufficiently advanced technology is indistinguishable from magic”—a maxim that places the enigmatic within orbit of science and art. Williamson rarely misses a chance to philosophize about his craft, encouraging us to consider the liminal spaces between mirage and reality without diminishing the mystique of his act. And so, when he urges one young assistant from the audience to “treat this as a think piece,” Williamson strives after far more than comedic effect. For all its heart-lifting entertainment, Ridiculous serves too as an open course in the psychology of theatricality, a thoughtfully structured and lovingly presented seminar in spectacle that reflects Williamson’s many years as an inestimable performer and indefatigable advocate for the creative spirit.

And there one finds the true magic in Ridiculous. Williamson’s love for his art and for those who share in its expression carries the freight of a lifetime devoted to both the theory and the practice of amazement. Like any memorable piece of theatre, Ridiculous has a past, a present, and a future, reflecting years of training and research manifest in the here and now to inspire a new generation to seek out astonishment. For an evening of incredible magic rendered with talent, thought, and heart, make sure not to miss David Williamson and this hilarious and edifying schoolhouse of cards.

-TR

Ridiculous” plays through Sunday, May 3, at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA 15222. Visit here or contact the Liberty Magic box office at 412-456-6666.   

 

 

By Michael Buzzelli

For actors, Tech Week has always been the moment magic and mayhem collide. It’s never been better represented than in Anne Washburn’s hilarious and immersive play, “10 Out of 12.”

When you enter the Mellon Institute Library on the University of Pittsburgh campus, you are given a headset. Real Life Associate Producer and Patron Relations Manager Hazy J will show you how to wear and operate the headset. They will be one of the few real-life crew members you will meet.

In this show, the actors play stage crew, the director, and even, oddly enough, actors.

Elliot (Tim McGeever) is directing a troubled production of an untitled play. While Molly (Jamie Agnello), the stage manager, and crew members, Eric (Conor McCanlus), Jamie (Olivia Ruhnke), and the assistant director, Diego (José Pérez, IV), run around making last-minute adjustments.

Ben (Mark August) plays Charles in the show-within-the-show. His character may or may not be in love with Richard (Evan Vines), played by a TV and film actor named Jake (think Elordi, but it could easily be any Tom, Dick, or Timothée).

Jake has his eyes on the leading lady, Eva (Melessie Clark), and a showmance develops.

Waiting in the wings is Paul (Corey Rieger), who brings a boatload of added tension to the production.

Headset hilarity ensues.

Tensions rise, and the mousetrap snaps shut!

P.S. There is a reference to a mouse in the show, but mousetrap is being used in the Shakespearean context of a show-within-a-show.

The acting is superb. Washburn’s comedy comes from a real and heartfelt place. The characters seem real, lived-in.

On every crew, there is a crew member who makes themselves so indispensable that they refuse to leave the set when injured. McCanlus milks out every bit of humor from each of his lines without being over-the-top or unreal. The performance is so genuine. The only thing missing was the cargo shorts.

McGeever’s Elliot is our tour guide into this unique world.  His frustrations are delightfully comic.

Pérez is in top form here. His character is so hopped up on Jake’s rizz that he blunders in every interaction with the movie star. It’s comic, but. Once again, coming from a grounded place.

Shammen McCune plays a variety of roles, each with an unflattering name and/or profession. She plays Old Lady, Imp, and whore. Each character is unique. Lucille, the aforementioned harlot, is so far from her normal slate of imperious and regal characters that it’s astonishing.

Rieger shines bright in “10 Out of 12.” His Paul is a temperamental genius, admired and feared by cast and “crew.” He brings a gravitas that befits the role. Rieger gets two brilliant monologues that will be oft-repeated in auditions by actors and wannabe actors far and wide.

Clark is another delight here, lighting up the stage with her mere presence. Her best scenes come in stolen moments between snafus. Her chemistry with the rest of the crew is palpable. Her interactions with McCune and August between “scenes” are filled with loving energy.

August is terrific here. His Ben is an affable actor, but his Charles gives off Matt Berry vibes (“The IT Crowd,” “What We Do In Shadows,” etc.).

Runke and Agnello’s best lines are delivered over the headsets, but they nail each one.

It won’t be long before Vines develops a fan base like his character. He is charming and charismatic on the stage.

Now onto the real behind-the-scenes crew:

It’s another fantastic set by the “retired” Tony Ferrieri. The set opens like a Mad Magazine Centerfold or a Barbie Camper, transforming from a Victorian Drawing Room to a Cartoon Jungle.

Carrie Ann Huneycutt’s costumes are perfect for the on-stage actors and crew (though I really would have put McCanlus in Cargo shorts).

The madness is deftly directed by Andrew William Smith (a longtime Quantum actor, now behind the scenes).

Warning: Actors in the audience may experience PTSD, but in the most fun way possible. Side note: In actual productions. There’s a lot more yelling.

“10 Out of 12” is part “Noises Off,” part “The Play That Goes Wrong,” but with added layers of depth. Washburn and Smith manage to work in some “Locals Only” jokes that are uniquely Pittsburgh.

“10 Out of 12” isn’t just the title. It’s the number of stars in the production’s rating.

-MB

“10 Out of 12” runs from April 3 to April 26 at the Mellon Institute, Fifth and  Bellefield (use the Bellefield entrance), Pittsburgh, PA, 15213. For tickets and additional information, click here.

 

by Claire DeMarco

Dorothy Gale (Alaina Turocy) lives with her Aunt Em (Greta Healy) and Uncle Henry (Anthony Costulas) and her beloved dog, Toto.  Dorothy is a dreamer, wishing for a more exciting life than the one she has now in Kansas.

After a kerfuffle with nasty Miss Gulch (Mairead Roddy) over Toto, Dorothy runs away from home.  Along the way she meets Professor Chester Marvel (Patrick Conner), a kind but obvious con man. With his crystal ball he just happens to have with him, he seems to know a lot about Dorothy.  Playing on Dorothy’s emotions, Marvel suggests that Aunt Em is ill and needs her back home.  And anyway, Dorothy, there’s a big storm coming!

Dorothy and Toto make it home but not in time to avoid it.

When the violent tornado strikes, Dorothy and Toto are swept up in her house and land unceremoniously in the magical kingdom of Munchkinland, killing the Wicked Witch of the East as they plummet to the ground.

Now more than ever Dorothy yearns to go back home.  The Munchkins and Glinda the Good Witch (Greta Healy) tell her she needs to get to Oz and find the Wizard of Oz.  He can help her. “Follow the Yellow Brick Road.” You can’t miss it!

Glinda gives Dorothy a pair of magical red shoes meant to protect her from the evil Wicked Witch of the West (Mairead Roddy) who’d love to have those shoes to enhance her power.

As Dorothy travels towards Oz, she meets three fascinating characters.

Scarecrow (Timothy Macuski) laments that he doesn’t have a brain.  He’s stuffed with straw.  “Woe is me,” Dorothy encourages him to come to Oz with her and see the Wizard.

The next encounter in their travels is with Tin Man (Cole Vecchio), whose many body parts have been replaced with tin due to accidental mishaps.  He is prone to rusting but becomes the third part of the traveling group. Tin Man wants a heart.

Their final traveling companion is Cowardly Lion (Cole McGlumphy) whose attempts at bravery fall short.  He is fearful and even afraid of heights.

After many trials, adventures and tribulations as they travel, the foursome finally reach Oz. They are a cohesive unit, each supporting and encouraging one another.  After much cajoling, they meet the famed Wizard of Oz (Patrick Conner).

Do the travelers find the strengths or attributes they think they lack, or do they realize they had them all along? We all know the answer, but it’s about the journey not the destination.

See this wonderful production of a classic, and you’ll find out!

Note: It was great to see so many young attendees (and hopefully future theatergoers) at the show.

Turocy’s performance grows as she transitions from a girl not satisfied with her life to a caring supporter and cheerleader to the new friends she meets on the way to Oz.  She sings a wonderful rendition of “Somewhere Over the Rainbow.”

It’s so easy to love Macuski as the gentle and kind Scarecrow.  He professes that he doesn’t have a brain, but he often comes up with clever ideas as the journey to Oz continues.

Vecchio’s Tin Man often frets that he doesn’t have a heart, but his compassion is evident as he cries at his companions’ dilemma in the poppy fields.

With a wonderfully timed comedic flair, McGlumphy shines as the cowardly lion, afraid of his own shadow.

Macuski, Vecchio, and McGlumphy entertain with renditions of the song “If I Only Had …,” inserting a brain, heart, or nerve applicable to their situation.

Roddy explodes on the stage as the “Wicked Witch of the West”.  Always calculating, cackling, and conjuring up schemes to get Dorothy, her facial features as the conniving witch are spot on.

Conner, as the smooth-talking Professor Marvel and part con man, somehow knows a lot about Dorothy. He is dramatic and strong, yet subtly shifts into a gentle, soft-spoken grandfather type as he convinces Dorothy to return home.

With a trilling, sugary sweet voice and constantly holding or waving a wand, Healy epitomizes goodness.

There are nineteen delightfully talented children in the Child Ensemble, all with wonderful singing voices and coordinated dance steps.

Applause to the Adult Ensemble whose timing, singing, and exceptional acting contribute to the success of this musical production.

Dylan Blussick does an outstanding job as costume designer, creating many clever, unique, and colorful designs.

An additional list of reasons to see this production:

• • Great work by Choreographer Caroline Connell.
  • Marvelous makeup by Makeup Artist Dylan A. Blussick.
  • Shout out to Music Director Daniel Guillaro and his accompanying musicians.
  • Excellent direction by Patrick Cannon.

“The Wizard of Oz” was written by L. Frank Baum with Music and Lyrics by Harold Arlen and E. Y. Harburg.  Background music by Herbert Stothart.

-CED

“The Wizard of Oz” is a production of Little Lake Theatre Company.  Performances run from April 2 to April 19th at Little Lake Theatre, 500 Lakeside Drive, Canonsburg, PA. 15317. For more information, click here.

by Michael Buzzelli

When his parents die in a car crash, Jake (Zachary Keller) runs away to the circus and finds a brand new life in “Water for Elephants.”

The musical, based on the novel by Sara Gruen, is told in flashback by Mr. Jankowski (Robert Tully), or, rather, Jake when he’s older.

On the train, Young Jake (to keep our character separate from our narrator) is immediately befriended by Camel (Javier Garcia), an older, gruff carnie with bad knees and a drinking problem.

Side note: Camel is not an actual camel, but several performers in the show are playing animals.

Camel introduces him to the troupe, including the thuggish Wade (Grant Huneycutt), a disagreeable clown named Walter (Tyler West), and Barbara (Ruby Gibbs).

He meets the circus star, Marlene (Helen Krushinski), and is instantly smitten. Unfortunately, he meets her husband, August (Connor Sullivan), seconds later.

August, the ringmaster and owner, runs the circus with an iron hand. He’s not a good dude. In an effort to keep his wife, he commits a series of unforgivable acts, including, but not limited to, beating Rosie, the elephant (operated by Ella Huestis, Bradley Parrish, John Neurohr, Carl Robinett, and Grant Huneycutt).

Glossary of circus terms:

Kinker; circus performer. Performers usually stretch and warm-up before their act to get the “kinks” out.

Rousts or roustabouts: Roustabouts are workers who help set up and take down the circus tent and equipment.

Rubes: A “rube” refers to an unsophisticated or naive person, often from a rural background.

Keller exudes charm and charisma as young Jake. Each song he sings is filled with the character’s raw emotion. He has star quality. It won’t be long before he’s headlining touring engagements or appearing on TV and in movies (he already has a few credits, including “Shameless,” “Law and Order,” and “Chicago Med”).

While Tully is too young to play a nonagenarian, he is so good in the role that it’s a forgivable offense.

West is hilarious as the circus clown. He and Sullivan perform a comedic duet that is gloriously funny.

Krushinski is terrific as Marlene. She also has a small role as June (in the “present), and each character is distinctly different.

While you will want to boo August, Sullivan does an amazing job. He also appears in a dual role, the hated August and the much more likeable Charlie.

The puppetry is impressive enough that there’s a separate director, Joshua Holden, just for the circus’s creatures. Rosie, the precious pachyderm, is first shown bit by bit: a large flapping ear, a trunk, and a leg (and in shadow). Then, by the end of the first act, the magnificent beast becomes a fully realized puppet, controlled by several puppeteers. It’s pure stage magic.

The show is filled with amazing theatrical feats and astonishing aerial acrobatics. The show is filled with spectacle. There are several moments where the audience oohed and awed, gasping at the incredible acts.

In the movie business, a tentpole production is a film that supports a studio, featuring high production budgets and special effects. The term originated with the circus. This show has an actual tentpole! Naturally, it’s filled with high production budgets and special effects.

Regardless of the pomp and circumstance, the bread and the circuses, at the heart of “Water for Elephants” is an actual heart. The musical has a tender love story at its core, making it a Must See Show.

-MB

“Water for Elephants” runs until April 5 at the Benedum Center, Seventh and Penn Avenue, Pittsburgh, PA 15222. For tickets and additional information, please click here. 

By Michael Buzzelli

Kenneth (Monteze Freeland) invites us into his neighborhood, a small town outside of Rochester, New York, where we learn the patterns of his lonely life in Eboni Booth’s “Primary Trust.”

Kenneth lives a small life in his small town. He works at a bookstore and drinks Mai Tai’s every night with his best friend, Bert (Malic Maat), in a Tiki bar called Wally’s.

Side note: There’s a secret that Kenneth and Bert share, but it takes us far into Spoiler Territory that might make you yell out, “Holy Manoj Nelliyattu Shyamalan!”

Sam (Sam Turich) tells Kenneth that he is closing the bookstore, where Kenneth worked for twenty years. Suddenly, Kenneth is on a hunt for a new job. At the bar, Kenneth meets a server, Corrina (Bria Walker-Rhoze), who tells him the bank is hiring.

Soon, Kenneth interviews with Clay (Sam Turich again) and lands a job as a teller at Primary Trust.

P.S. Bria Walker-Rhoze shows up as ALL of the bank’s customers, men and women, young and old.

The actors (all local favorites) excel in their roles.

Freeland has always been one of Pittsburgh’s best Top Tier Talents (he is a writer, director, actor, educator, and more), but he is at his best here, bringing us into Kenneth’s world with a deliberate grace and ease. He immerses himself in the role.

Walker-Rhoze is tasked with creating multiple roles in “Primary Trust,” and she shines in each. Her Corrina has the most down-to-earth realness of the roles, but some of the other characters are laugh-out-loud funny. It’s easy to love Corrina, and even easier to laugh at the rest.

Turich plays three distinct roles as well. He’s Clay, Sam, and a fussy French bartender in a snooty high-end restaurant, Le Pousselet (which may or may not translate into the French word for “baby carriage”). Turich’s Clay is a boisterous manager reliving his high school halcyon days. The character of Sam (the fictional one) has a gruff exterior but is full of heart. His bartender is hilarious.

Maat is charming as Bert, but to speak more of him would reveal the tragic twist. His Bert is both the devil and the angel on Kenneth’s shoulders.

In the small-town setting, I was hoping Kenneth would run into the OG Bert (sorry, that’s a little spoilery).

Antonio Troy Ferron’s set design is impressive. Building facades hang in darkness, giving the town a bleak, nearly monochromatic look until we enter the Primary Trust bank setting, where everything is bright and green.

Kudos to production stage manager Pamela Brusoski and stage crew for tracking the props, shrimp cocktail, endless Mai Tais, hats, sunglasses, etc.

Director Kyle Haden draws nuanced performances from the actors, even when the characters are at their biggest. His vision of “Primary Trust” is flawless.

Booth’s “Primary Trust” is a deep meditation on loneliness, the power of friendships, and the beauty of being seen.

-MB

“Primary Trust” runs from March 25 to April 12 at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information, click here. 

 

By Michael Buzzelli

“The Party told you to reject the evidence of your eyes and ears. It was their final, most essential command.” – George Orwell, “1984.”

Morgan Vaughn (Bugz Baltzer) gets promoted to Chief of Staff in the Trump White House, near the final days of his term, as a VP is about to be sworn in to become the next president. Meanwhile Trump (Liam Hartman) isn’t ready to hand over the job to someone else in Eoin Carney’s “The Last Days of Trump.”

General Reese (Gavin McKinnon) suggests that Morgan find a way to distract the president from causing chaos during the power transition. The duo recruits a librarian, Carla Heart (Angela Vincent), to help construct the Trump Library.

The president doesn’t want a library. Trump says, “Libraries are lame,” but when Morgan tells him Obama has one, Trump insists on having the biggest and best presidential library.

Right before the VP is sworn in, he is assassinated, leaving Trump an open door to claim the power once more.

From that, a Rubik’s Cube of power struggles among all four players, each with an idea of what is best for the country, in their own madcap way.

“The Last Days of Trump” is a delightful romp, prognosticating the future in the funniest way imaginable.

Baltzer is the harried assistant, desperately trying to keep everything together. They do a magnificent job in the role.

Gavin McKinnon is commanding as General Reese. His baritone voice and posture make him the perfect choice to play the leader of an army.

Vincent plays the soft-spoken librarian without any malice, but the skittish bunny rabbit becomes a bear, and Vincent can make the transition marvelously.

Hartman’s Trump is too authentic. He manifests PTSD for the audience as he plays a full-on impression of the disdainful president.  It’s a bit of “Dawson’s Casting” wherein someone plays a character that is vastly different from their own age (named after the 30 year-olds playing high school juniors on “Dawson’s Creek.” See the Urban Dictionary). Hartman is in his 20s but plays the president 50-to-60 years his senior. It’s the Fringe! And it works.

Carney creates a fragile yet eerily possible world. It’s hard to parody a president who says outlandish things every day. The current state of the media is making it hard for satirical websites like The Onion to poke fun at reality because the world has been so bizarre under Trump’s presidency.  Carney can walk a fine line between parody and theatrical drama. There’s a moment when you actually feel sorry for the asshole-in-chief.

There are parts of the show that are hard to watch at some points. While Carney skewers the right with gusto, he does take some jabs at the left as well. No one is safe in Carney’s crazy vision of the future.

The Fringe gets fringy. The play definitely has an Off-Off-Broadway appeal, probably because Carney writes, directs, designs the sets, stage-manages, and does whatever else the production needs to make the show happen.

-MB

“The Last Days of Trump” plays

 

By Timothy Ruppert

Draw a card, any card—you’ve nothing to lose but your life! Well, sort of.

Welcome to The Pittsburgh Savoyards’ current production of The Grand Duke; or, The Statutory Duel, Gilbert and Sullivan’s last and perhaps least-known opera. The secondary title refers to a strange tradition for settling disputes in the Grand Duchy of Pfennig-Halbpfennig: the selection of playing cards. The high card wins, entitling the victor to take the place of the vanquished, with all the privileges and responsibilities that such a substitution entails. The low card signifies death. The loser, though, does not shuffle off the mortal coil in the corporeal sense. Rather, the vanquished disappears for a time, unable to intervene directly in the new scheme of things (covert skullduggery, though, remains a viable option). When the comic actor Ludwig (Mike Goffus) bests the reviled Grand Duke Rudolph (Corey Nile Wingard) with an ace, the wine flows and the good times roll—until Ludwig realizes that he may be affianced to four different women.

With their production of The Grand Duke, The Pittsburgh Savoyards miss no opportunity to play up the terrific fun of Gilbert and Sullivan’s final piece as a duo. This show succeeds in all particulars, thanks in no small part to the superb guidance of Olivia Hartle (stage director) and Guy Russo (music director and conductor), as well as to the inestimable contributions of the Savoyards’ production staff and orchestra. The elements of spectacle—scenic design (Robert Hockenberry), costumes (Trace Swisher), choreography (Krista Kaley Strosnider), lighting (Garth Schafer)—prove perfectly companionate with Gilbert’s clever libretto and Sullivan’s vivacious score. To a person, this team impresses.

To commend the cast of The Grand Duke properly, I would need far more than the two hundred or so words still available to me in this review. I’ll begin with Goffus, who plays the love-beleaguered Ludwig with breathtaking skill. In numbers such as “Won’t it be a pretty wedding? / Pretty Lisa” (with Abigail Arhart as Lisa, singing with the ensemble) and “With fury indescribable I burn” (with Sally Denmead as Baroness von Krackenfeldt), Goffus gives a brilliant performance worthy of the Winter Garden Theatre.

While the words “Broadway-good” appeared in my notes regarding several performers, including Arhart and Denmead, I found Alessandra Gabbianelli as Julia Jellicoe and Katie Kirby as the Princess of Monte Carlo to be especially admirable. The conspiratorial acting troupe supervised by Ernest Dummkopf (Cecil Treleven) comes to life with wonderfully heartfelt contributions from Deborah Geary (Olga), Denise Allen (Elsa), Hannah Balash (Bertha), and Savannah Simeone (Gretchen). Note that, because many roles in this production are double cast, other keenly gifted actors appear as the parts alternate, meaning that some performances afford the audience a chance to see and hear more of top-tier actors such as Brienne Sharo (as Bertha), Amanda Leigh (as Gretchen), Hockenberry (as the Notary, played nicely by William Carter when I saw the show), and the incomparable Leah Grimm (as the Princess). The Savoyards bring together an astonishing group that reminds us how expressly fortunate Pittsburgh is in its arts community.

So draw a card, any card—you’ll have a royal time with this four-ace show.

-TR

“The Grand Duke” runs until March 29 at the Andrew Carnegie Free Library & Music Hall, 300 Beechwood Avenue, Carnegie, PA, 15106. For tickets and additional information, please visit https://pittsburghsavoyards.org/tickets/.