The aptly named “My First Play,” is unsurprisingly, the first play written by Pittsburgh native and CMU graduate of the John Walls Directing Program, Spencer Byham-Carson. He and fellow graduate Pria Dahiya, formed New Product Company, dedicated to “making plays about URL, IRL and everything in between.” They brand their company as an experimental theater company dedicated to boundary pushing original and adapted works that explore digital worlds.
“My First Play” is comprised of two one-act plays. Both highlight the influence the digital world plays in our lives.
“Youtube.com/The Family-Family” is set in the home of Youtube content creators, in the not too distant future. Mother (Siggy Bijou) is the offstage director/producer, clearly in charge, leaving Father (Mark Palmerine) and Child (Hannah Wyatt) with no control over what is included on the daily “shot list.” Father and Child must submit to Mother’s rigid demands. Every videoed segment must look spontaneous, no matter how many attempts are needed to do so. In one scene, Child must smash a birthday cake into Father’s face. After many attempts, Father is exhausted. It becomes glaringly obvious that this family exists only to create content. Nothing else matters. No friends, no other human interaction beyond their four walls other than Workers 1 and 2 (Evan Vines and Edward Patrick) The initial humorous familial interactions fade as the interactions evolve into a chilling foreshadowing of a future where, “Content is life.”
Wyatt skillfully and convincingly portrays Child at eight, sixteen and twenty something years old. Her engaging demeanor as an exploited child garners empathy from the audience, She depends on her adoring followers likes and comments to give her validation.
Palmerine is an energy fueled dynamo. At one point he deviates from the ‘shot list’ and morphs into Daniel Day Lewis in the movie “Lincoln” to deliver the Gettysburg Address. His great comedic timing reflects his experience performing improvisational comedy.
The deft actors, Vines and Patrick devise a plan (or is it a pact,) to rescue Child from her sequestered life. The scene where they’re debating the definition of plan versus pact is hilarious.
This entertaining, thought provoking glimpse at the possibilities of a digital future is worth contemplation.
“Earth Angel,” the second play, is an adaptation of a short story by Madeline Cash, adapted by Spencer Byham-Carson. Madeline (Siggy Bijou) is floundering in her life. She’s thirty years old, admittedly friendless and abusing copious prescription drugs that are prescribed by her online therapist. Her drug induced bizarre dreams are projected in real time on several screens including one huge wall sized screen. Her job is with a company that rebrands people and companies that have fallen from favor. Islamist terrorists are more palatable when they’re identified as a group qualifying for Affirmative Action status.
Dorian/Boss (Darryl Ifote) is a scene stealer in both of his roles. He is very funny, quirky and irresistible in his absurd character roles.
Both of these noteworthy provocative plays use technology in a striking way. The amazing display of technological artistry leaves one hoping to be dazzled by a sequel — perhaps entitled “My Second Play.”
Congratulations to New Product Company on their auspicious first production.
– LTL
“My First Play” ran at the Vernell Lillie Theater, Inside the City Theatre, 1300 Bingham Street, South Side, from August 23, 24, 2024. For more information, click here.
It’s 1942 and the Oberon Theater’s director and male actors have gone overseas to fight in WWII. Rather than closing the theater for the season, Maggie Dalton (Mary Randolph), the theater director’s wife, decides to produce Shakespeare’s “Henriad” with an all female cast—dressed as men.
Maggie convinces leading lady Celeste Fielding (Diana Ifft) to join the production. Persuading the theater’s benefactor, Ellsworth Snow (Kevin Bass) to fund the show isn’t quite as easy. It’s accomplished when Maggie agrees to cast Snow’s wife, Winifred (Marianne Shaffer) in the show.
Disappointing auditions produce only two actors. June Bennet (Annabel Lorence) and Grace Richards (Julie Ann M. Boles), both of whom are completely, comically inexperienced. The show must go on so the actors are required to play multiple roles.
A plethora of challenges pop up during the very comical rehearsal process. In one hilarious scene, the women are instructed in “man walking” (So silly and yet so funny).
The cast of “Into the Breeches.”
Randolph’s Maggie is the glue that holds everyone and everything together. She’s human and convincing as the sometimes rattled, sometimes poised director.
Ifft glows as the glamorous self-assured diva who poignantly accepts that she has aged out of her ingenue stage roles.
Bass is a talented character actor who delights as he uses his masterful comedy chops to embody the sometimes stuffy, yet lovable Ellsworth.
Shaffer channels her inner Betty White as the clueless, sweet Winifred. She knows exactly how to play it for laughs and she does so with smashing success.
Lorence plays it just as sweet and innocent as she needs to, in order to endear June to the audience.
Boles authentic portrayal of Grace’s ambivalence rings true. The audience easily relates to and empathizes with her.
The characters Stuart Lasker (Noah Kendall) and Ida Green (Lynette Goins) are playwright, George Brant’s nod to social commentary –beyond the previous alluding to feminism.
Kendall is sympathetic and likable as Lasker, who is denied acceptance into the military because, in 40’s jargon, he is a “swish.”
Goins, a mild mannered, agreeable costume designer, is rejected as a blood donor because the blood bank already has enough “Negro blood.” This serves as a reminder of the cruelty of Jim Crow laws.
It’s clear that the entire well cast troupe is having a ball onstage.
This thoroughly enjoyable, delightful, laugh-filled show will keep you in stitches. Beyond that, it is a reminder of the gains that have been made in equal rights over the past 80 years, as well as a sobering warning of what is currently at stake.
LTL
“Into the Breeches” runs through September 7th at South Park Theatre, Corrigan and Brownsville Road, South Park, PA. For more information, click here.
Growing old has its positive and negative components. It’s a plus if you’re still here and functioning but a minus if your mental capacities are slipping. But whatever the situation, loving friends and family make a big difference. “On Golden Pond” is an example where love triumphs.
Norman Thayer Jr. (John Reilly) and Ethel Thayer (Kathy Hawk) are ensconced at their vacation cottage for their 48th annual summer retreat. The cottage shows signs of age as does Norman. He is approaching his 80th birthday.
Norman was probably always a bit ornery, sarcastic and quick-witted but combined with the early signs of dementia, his outbursts now are mainly concentrated on death.
Ethel keeps Norman in line as much as possible, keeping him involved in their annual summer activities of picking strawberries, going for walks in the woods and listening to the loons. Being married to Norman requires both compassion and fortitude.
This summer their daughter Chelsea Thayer Wayne (Anne Marie Sweeney) makes a rare visit to the cottage, bringing her new boyfriend, Bill Ray (Justin Mohr) and Bill’s son, Billy Ray (Colin Bozick). Chelsea does not have a great relationship with her father. She hugs Ethel ferociously, acknowledges Norman but has no physical contact with him. She addresses her father as “Norman”.
The annual summer retreat takes on some unusual twists and turns when Chelsea and Bill head off for Europe, leaving Billy in Norman and Ethel’s care.
John Reilly and Kathy Hawk
Reilly is phenomenal as Norman. His physical movements and facial expressions indicate his current state of mind, whether he’s befuddled or as sharp as a tack. His comedic timing is excellent as he spits out one of many sarcastic retorts. He is adept (at times) in concealing his frustration and fear when he realizes his diminishing mental state.
Hawk plays Ethel as compassionate, caring but stern when necessary. She expresses her concern for Norman’s decline sometimes through her facial expressions and at times through vocal, yet mostly tender interjections. Ethel loves Norman.
Hawke and Reilly are well-matched as Norman and Ethel Thayer.
Sweeney’s demeanor changes when Norman is mentioned as part of a conversation. She is noticeably tense when Norman is physically in the same room.
Mohr’s first interaction with Norman is slow as he tries unsuccessfully to converse with the elderly man. He tries to insert himself into a conversation that Norman tries to control. Mohr’s expressions throughout their discussions highlight his frustration.
Bozick shines as the teenager with the smart aleck mouth who is a pretty nice kid under that outward veneer.
Steve Gallagher is delightful as Charlie, the local mailman. As the town gossip, he loves a good conversation. With eyes bulging, he salivates waiting for or delivering the next juicy tidbit.
A fantastic well-balanced cast in a well-executed production!
Scenic Designer Tucker Topel’s detailed set emphasizes the well-worn summer cottage, filled with memorabilia, older furnishings, and in general need of repairs and updates.
Great direction by Dana Hardy Bingham.
Book by Ernest Thompson.
-CED
“On Golden Pond” runs from August 22nd – September 8th at Little Lake Theatre, 500 Lakeside Drive, Canonsburg, PA. For more information, click here.
Reviewed by Dr. Tiffany Knight Raymond, PhD and Theron Raymond (6 th grader)
The 2017 Tony-awarding winning musical Bandstand has its Pittsburgh Premiere thanks to Front Porch Theatricals. The music is by Richard Oberacker with book and lyrics by Robert Taylor and Richard Oberacker.
The musical is set in Pittsburgh-rival Cleveland in 1945 and follows a collective of WWII veterans who return home. This year’s 80th anniversary of D-Day was the inspiration for Front Porch to showcase this musical.
Bandstand opens with visual strength that anchors us in the horrors of war. Nameless soldiers crouch in defense, and the cacophony of war is amplified. The opening scene culminates in the collapse of a woman transformed from wife to widow. Director (and choreographer) Joe Jackson positions her in center stage as the war rages around her. Costume designer Michelle Nowakowski outfits her in a red dress. When she collapses upon notice of her husband’s death, the red fabric puddles on the floor, reminiscent of a pool of blood, visually mirroring her husband’s death. She is both one grieving woman and all of those touched by wartime loss.
Pianist Donny Novitski (David Toole) is one of those men in the foxhole. He returns home without his best friend, Michael, whose wife Julia Trojan (Marnie Quick) is that widow. Toole is magnetic. He is both vulnerable and assertive, and his vocals are as strong as his acting. Quick’s captivating voice manifests the tension of life marching on in the shadow of loss.
While all of the songs are powerful, the play’s most significant song is the opener: “Just Like It Was Before.” This song is sung stateside when the end of the war is announced in anticipation of the soldiers’ homecoming. We are painfully aware that the optimistic refrain of “it’ll be just like it was before” is a fantasy – and this refrain becomes a touchstone through the musical. It’s not the same for Julia or Michael or even Donny who struggles with survivor guilt and finding employment.
The cast of “Bandstand.”
Donny forms a 6-man band to compete in a nationwide swing band competition that’s a tribute to the troops. He strategizes that a band composed of veterans could be a competitive advantage given the theme. The bandmembers represents a spectrum of strategies in combatting PTSD from insomnia to rigid control to addiction in an era when mental health was not widely acknowledged, and everyone wanted it to “be just like it was before.”
However, the band provides these veterans with an outlet, shared experience, and hope in their quest to win the competition. Keeping six band members straight can be a challenge, but director Joe Jackson ensures all of them shine and contribute. The sax player, Jimmy Campbell (Patrick Breiner), is a logic-driven lawyer, and drummer Johnny Simpson (Kamran Mian) is lovably loopy. Strait-laced trombonist Wayne Wright (Dylan Pal) still relentlessly assembles and reassembles his gun.
As choreographer, Jackson puts the ensemble at the forefront for the swing dance sequences. Their movements are stunningly crisp. They bring high-volume energy and joy to the show with each step that leaves the audience wanting to jump up and join the Bandstand.
-TKR, Ph.D and TR
Front Porch Theatricals’ production of Bandstand runs through August 25, 2024 at the New Hazlett Theater (6 Allegheny Square East, Pittsburgh, PA). Purchase tickets online at https://newhazletttheater.org/events/bandstand/.
Harmond Wilks (Roosevelt Watts, Jr.) has hope for the future. He’s planning a redevelopment project in Pittsburgh’s Hill District and running for city mayor. Everything is going smoothly until he learns that there’s an old man painting a property on 1839 Wylie Avenue, a home that he has scheduled for demolition. Suddenly, Harmond’s “Blue Skies” are turning gray in August Wilson’s “Radio Golf,”
Enter Elder Joseph Barlow (Mike Traylor), son of Citizen Barlow and Black Mary (from “Gem of the Ocean”). He claims to be the owner of the property that Wilks and his business partner, Roosevelt Hicks (Rich Dickson), are trying to tear down.
Harmond faces an ethical quandary when he discovers that it may have been obtained illegally.
Meanwhile, Harmond’s wife Mame (alternatively played by Dominique Briggs and Karla C. Payne, with some last minute pinch hitting by Delana Flowers) doesn’t like the historic Hill District. She wants to move on up and spending time on Bedford Avenue makes her feel like she’s going backwards.
Sterling Johnson (Maurice Redwood/Sam Lothard) is a young man with some anger management issues, whose heart is in the right place.
If Sterling’s name sounds familiar, you may remember him from “Two Trains Running,” another one of August Wilson’s interconnected plays in his ten-play cycle.
Throughout the show, Harmond grapples with the past and the future as he tries to hold on to the present.
Watts, Jr. exudes the perfect dose of charm and charisma as befits the successful Wilks. His depiction of the conflict Wilks struggles with conveys his palpable torment.
Dickson’s Hicks radiates joy over his financial successes. Swag is his middle name as he confidently, energetically struts on stage.
Traylor is a scene stealer! His Barlow somehow manages to turn the stubborn, dotty old man into a lovable old coot. He has some of the best laugh lines and delivers them all with perfect timing.
Redwood’s strong stage presence captivates as Johnson. He convincingly delivers the complex Johnson with his extreme contradictory mood swings. He alternates from ominously volatile, to passionately defending the underdog, to deftly delivering some comedic lines.
Briggs radiates an authentically human Mame. She demonstrates a strength and ambition contrasted with the softness and warmth of her love for Harmond. The chemistry between Briggs and Watts, Jr. is touchingly real.
The very specific details of the noteworthy, well-done costumes accurately reflect the personalities and social standing of the characters. (Kudos to Cheryl El Walker, designer)
Compliments to director, Montae Russell, for ensuring that all of the cast members understand their complex characters and are able to embody them with insightful nuance.
This riveting, stunning, intense and sometimes humorous production tells a timely story. Do not miss this one. Exceptional!
LTL
“Radio Golf” runs until September 14 at the August Wilson House, 1727 Bedford Avenue, Pittsburgh, PA 15219. For more information, click here.
The Iron Horse Theatre Company made the bold choice to produce the complex “Painting Churches”, a 1984 Pulitzer Prize finalist, Tina Howe play that digs deeply into the impactful mother/daughter, father/daughter and husband/wife relationships. It explores familial love frequently clouded by hurt, anger, frustration and disappointment.
The play begins with Gardner Church (Patrick Conner) and Fanny Church (Lynne O’Meara) excitedly anticipating a visit from their daughter Mags (Sarah Brunner), a successful portrait painter who will be arriving in Boston from New York City, where she lives. She’s planning to not only help her parents pack up their belongings in preparation for their upcoming move to Cape Cod but to paint their portrait, as well. (Get it–Painting Churches)
It becomes glaringly obvious that this is a family that doesn’t listen to each other. They talk over each other, none of them hearing a word the others are saying. They often don’t bother to even look at each other when they “converse.” They take the “fun” out of dysfunctional family dynamics.
Brunner’s Mags wants nothing more than validation from her mother and approval from her father. Her moods swing from childlike, giddy giggling when she’s feeling validated to anger and despair when she’s not getting the reaction that she so desperately wants from her parents. She’s as disappointed in them as they are with her.
O’Meara’s Fanny and Conner’s, increasingly demented, Gardner have an intricate relationship where they sometimes slip into their own silly, imaginary world excluding Mags.
The cast of “Painting Churches,” from left to right: Lynne O’Meara, Patrick Conner and Sarah Brunner.
O’Meara fluctuates from showing a demonstrative, fawning, lavish love for her husband to cruelly ridiculing him for his incontinence. She is self-absorbed, often cold and narcissistic. Her fascination with garish, quirky designer hats is a welcome humorous depiction of one of her many idiosyncrasies.
Conner has the difficult task of portraying a man with dementia. He’s sometimes very clear minded—especially when it’s time to enjoy drinking a glass of Dubonnet! At other times he’s frustrated, angry, confused, clownish and childlike. Conner shines in a beautiful moment of clarity when he lyrically recites, from memory, a poem by Yeats. Moving and memorable scene.
The sweet, tender last scene with Conner and O’Meara slow dancing makes it clear that although tenuous, the two are still clinging to their fragile humanity. Touching and heartwarming.
Note: This was my first visit to the Iron Horse Theatre. It’s a charming intimate, newly remodeled space. The cozy lobby is decorated with a few candlelit high top tables. The lovely outdoor courtyard adjoining the theater is the ideal place to relax and have a drink before the play or during intermission. Upstairs, the welcoming lounge features comfy sofas and a bar area stocked with snacks, soft drinks and wine. The art work and hanging photographs displayed throughout add to the warm, inviting, ambiance.
*An added bonus is the free large parking lot across the street from the theatre, in addition to plenty of on street parking in a quiet residential area.
-LTL
“Painting Churches” runs until August 24 at the Iron Horse Theatre, 348 Maplewood Avenue, Ambridge, PA 15003. For more information, click here.
Growing up, I always wanted to be a superhero like Batman or Spider-Man. All these years later, the only thing I checked off the list was similar trauma. Donning a mask and fighting for justice was simply a pipe dream of childhood, and, admittedly, four-ish years ago. Much like superheroes and Constantinople, justice doesn’t exist in this world. And while I’m too dumb to be a supervillain (I was not a STEM student, obviously), I think I could convince some people to lace up a pair of Nike Decades. It’s at this unsettling intersection that we become immersed in the world of the latest production from The Rage of the Stage Players and writer/director/producer James Michael Shoberg, “Mor Dred,” now running at the Margaret Partee Performing Arts Center in Bellevue, PA.
Taking inspiration from both comic books and Arthurian Legend, this show acknowledges said inspirations but blends them with plenty of originality to create something truly unique. Well researched and full of Easter Eggs that would evade even the most ardent literary scholars and historians, James Michael Shoberg combines drama, tragedy, and heaps of humor to craft a tale that takes somewhat familiar characters on a wild and wordy journey through the darkest recesses of our world. Throughout the story, many powerful themes like vigilantism, the role of police, good vs. evil, and so on, are brought up and handled with seasoned consideration. His phenomenal writing is best realized with him at the helm, which is why he serves as director and producer, not to mention a few other duties. Knowing the script inside and out, over the course of all of its permutations, lends itself to him eliciting the best possible performances out of the actors involved.
Luke Frederick is Mordred in “Mor Dred.”
Powerful performances populate this production. Boasting a smaller-than-usual cast size for a Rage show, “Mor Dred” offers the actors involved more of an opportunity to showcase their talents and their respective characters, especially with a handful of characters existing solely on video.
Luke Frederick delivers a truly mesmerizing performance as the man himself, Mordred. Just like infamous Beach Boys fanatic, Charles Manson, Mordred doesn’t need to actually carry out any deeds. He simply inspires chaos…and people to scrawl misspellings in blood on walls. Frederick appears to be superpowered himself, tapping his unmatched energy to display his fine-tuned prowess.
Arcturus aka Arthur Pendragon is played by Hozier…er, I mean, Cameron Webb, who also handles the intimacy choreography. He masterfully balances Arthur’s two lives/personalities like he’s the one with an actual secret identity. It’s as Arthur he really steps into his role, bringing a nuanced realism to the splintered psyche of a powerful person.
Anthony Babeaux is beautifully pathetic as Agravain, Mordred’s desperate acolyte. His slimy physicality mixed with outrageous dialogue allows him to shine, albeit through the dirt and grime he’s collected from his days as a street urchin.
Gwen Grant, the Lady Guinevere of Rage’s world, is brought to life by Sophia Clegg. Conflicted as soon as she’s introduced, Clegg helps Gwen to be seen as a complex character whose true self is camouflaged by the various masks she wears in an attempt to enjoy the spoils of her deceit.
Bill Herring delights and disgusts as Dr. Ambrose Merlin, Arthur’s father figure and most trusted ally amongst the city’s elite. Simultaneously conniving and charming, Merlin’s magic comes from Herring’s ability to wield those two attributes so well. Monologues that would lose steam delivered by most other performers are made engrossing thanks to him.
Weapons master Justin Havens gives a solid performance as the physically imposing and morally compromised Officer Lance Dulac, Arthur’s best friend and biggest critic of Arcturus. His biggest strength, aside from brute force, is his ability to convey so much nonverbally.
Lindsay Glover is absolutely intense as Morgan Cornwall/Morgan Le Fay. Despite showing up a little later than some of the other characters, Glover quickly makes up for it with a malevolent magnetism that could sway the most principled do-gooders.
Mayor Stone oozes into existence with greasy ease thanks to the awesome Kevin Mahler. Playing such a repugnant individual isn’t for the faint of heart. Luckily for audiences, Mahler fully embraces the character, committing to his pitiful and occasionally physical antics.
The newscasters and disembodied voices are a nice addition to the regular cast, as they help to develop and flesh out the world a bit more. Not only do reporters like Chrétien Troyes (Joseph Stammerjohn) and Malory Thomas (Carrie L. Shoberg) serve as bookends to the story, but also as creative exposition. Andrew Lasswell, aside from his contributions to film segments, sound design, and original score, is fantastic as Geoffrey “The Mouth” Monmouth, a ranting and raving nutcase with a catchphrase to make him one of the most unforgettable parts of the show.
Technical aspects are phenomenal. Being that they are such an integral element of the show, it puts a lot of extra pressure on the crew to make sure that everything is as it should be. Everything, from the lights and sound to the program, is astounding, especially given the congested time frame it was all accomplished in.
Multimedia is at the heart of this production, not just in influence, but in its execution as well. Screens are most notably used to run the news segments but are eventually employed to display comic book panels that elevate and enhance the story. Not to be limited by the trappings of an ordinary piece of theatre, “Mor Dred” is replete with plenty of techno-wizardry to set it apart from anything seen before.
Costumes and props, along with prosthetics by Eric Valko, are absolutely marvelous in this show. Masterminded by Carrie L. Shoberg, with assistance from Brittany Spinelli, these elements are a terrific complement to Shoberg’s and Spinelli’s set decoration, from a set designed by Robert Hockenberry and constructed by Justin Havens, Bill Herring, and production manager Jen James, all tied together by scenic artist Rachel Roach.
Margaret Partee Performing Arts Center is a wonderful venue and such an asset to the community, and to Pittsburgh’s theatre scene as a whole. While it primarily serves The Pittsburgh Savoyards as their home base, allowing other companies/productions and even artists working in other mediums, like comedy or spoken-word or music, can really benefit it continuing to be a staple of Bellevue. Its existence is testament to the fact that smaller places can host big stories.
The Rage of the Stage Players are a collective of unorthodox artists who passionately strive to bring boundary-pushing productions to stages around Pittsburgh, and beyond. Curated over the course of a multitude of productions, this Ship of Theseus-style outfit is full of talented and driven folks who manage to put on some of the most interesting and original shows ever conceived. It’s absolutely incredible that this nomadic ensemble is able to stage such productions without a permanent venue of their own—a perfect example of how dedicated artists can still create great shows. They are instrumental in keeping Pittsburgh theatre weird and entertaining, and we hope that’s the case for a long time to come.
-JS
“Mor Dred” continues its runs until August 16th at the Margaret Partee Performing Arts Center in Bellevue, PA. For more information, click here.
On one fateful night, under the full moon and a multitude of stars, anything can happen, confessions of unrequited love, acts of kindness or cruelty, deep desires quenched and unquenched, maybe even forgiveness. All of those things and more could happen in Eugene O’Neill’s “A Moon for the Misbegotten.”
Things are rough for the Hogan family in 1923 Connecticut. They are tending to the farm on land owned by the Tyrone family. Phil Hogan (Wali Jamal) is a drunkard and tyrant. He has driven his three sons away. The youngest, Mike (Jordan Drake) runs away with the help of his sister, Josie (Melessie Clark).
Josie is the only one who seems to be able to stand up to Phil, her father. She knows she’s strong, but she doesn’t know she’s pretty. She talks a big game, but most of it might be false bravado.
Then, James Tyrone, Jr. (Brett Mack) walks up from the main house.
Side note: If the name James Tyrone, Jr. sounds familiar, you might remember him from “A Long Day’s Journey Into Night,” another iconic Eugene O’Neill play.
James is itching to tell the Hogan family (not to be confused with 1986 Valerie Harper/Sandy Duncan sitcom, “The Hogan Family”) that T. Steadman Harder (Allen Law) is coming to visit.
The Iceman cometh and he’s pissed. Hogan’s pigs have gotten into his spring water which will taint the batch of ice. Harder threatens to buy the Tyrone estate from James and throw the Hogan’s off the land. James, an alcoholic who wants to leave town and go back to the city, is intrigued by the offer, but he promised to sell the land back to the Hogan’s.
Phil concocts a scheme to get James drunk, catch him in bed with his daughter, bilk him out of money and secure the land. Josie believes Phil’s devious plot and goes along with him in his scheming.
James and Josie decide to meet up under the moon for a romantic interlude.
When James finally arrives, he’s is drunk, but Josie quickly forgives in order to execute the plan. Things take a variety of turns and Josie Hogan and James Tyrone take a long night’s journey into day.
Josie (Melessie Clark) cradles James (Brett Mack) in her arms in “Moon for the Misbegotten.” Photo credit: Jason Snyder.
The plot is simple, but the language is dense, poetic. O’Neill is the first to admit that nothing is simple to understand in the world (a line from the show). Humans and their spectrum of emotions are complex. Anyone who has ever been in love with an alcoholic will feel a special connection.
It is a story of buried emotions that bubble to the surface. It is profound, lyrical, beautiful. There is a reason that Eugene O’Neill was classic American playwright alongside Tennessee Williams and Arthur Miller.
Clark is spectacular as Josie Hogan, the indomitable daughter. She is tough, strong and beautiful, but also deeply vulnerable. She is everything Josie needs to be and more. She adds a layer to the character that deepens Josie. This is coming from a longtime Colleen Dewhurst fan (Dewhurst played the character in a 1975 film version).
Jamal shines in the role of Phil Hogan. He gets some of the best comedic lines in the show and he delivers them flawlessly.
Mack does a terrific job as James Tyrone, Jr. The chemistry between Mack and Clark is undeniable. It is palpable.
Stephanie Mayer-Staley’s set is a work of beauty, the elegant skeleton of a shack set against a verdant hillside.
Side note: Mike’s pitchfork is pitch perfect, a rusty three-pronged garden tool that matches the set, an excellent find from the Emily Landis, the assistant scenic designer, props artisan and scenic painter. It’s astounding how a perfect prop can add to the magic of the evening.
C. Todd Brown’s lighting design set the time and moment. You didn’t need to imagine the moonlight, or know that dawn was approaching. His lighting design clued the audience in.
J. Cody Spellman directs a taut and suspenseful drama, an extraordinary story about ordinary lives. The story is timeless.
All Quantum Theatre shows are unique experiences. “A Moon for the Misbegotten” is unforgettable, set on the shooting range of the Longue Vue Country Club, where broken clay skeets litter the path to the outdoor venue.
The final moment, Mack ascending a flight of stairs, is a poetic and fantastical end to the drama. “Misbegotten” will not be forgotten. It is a powerful story well told.
There’s a plethora of material written by Dr. Seuss (Theodor Geisel), the beloved children’s author and poet, but Lynn Ahrens and Stephen Flaherty (with some help from Eric Idle) have distilled some of the iconic author’s stories into song in “Seussical.”
The Cat in the Hat (Beth Malone) meets up with JoJo (Henry Thomas) and tells him an extended, remixed version of “Horton Hears a Who.” Horton (Jacob Keith Watson), a talking elephant, discovers a microcosmic world populated by teeny, tiny people.
Nerd Alert: “Horton Hears a Who” was first published in 1954, long before Stan Lee and Jack Kirby invented the Microverse in Fantastic Four #16 (1963).
The Mayor (Devin Neilson) and his wife (Laura Guley) are concerned about their world as it drifts aimlessly on top of a speck of dust until Horton hears their pleas and rescues them.
Horton makes friends with the Microworlder, the aforementioned JoJo. A Sour Kangaroo (a gloriously bigger-than-life drag diva Darius Harper) thinks Horton is one peculiar pachyderm. She enlists the aid of the Wickersham Brothers, a ragtag group of monkeys (Zephaniah Divine, Ian Dominguez Ball, and Davis Wayne) to get the Who’s from Horton.
Gertrude McFuzz (Susana Cordón), a bird with substandard plumage, is Horton’s fine feathered friend, who is not-so-finely-feathered. She is tormented by Bird Girls (Kylie Edwards, Jessica Ice, and Brittany Pent Rohm), basically, avian Mean Girls.
The plot doesn’t matter. “Seussical” has the LSD trip-feeling you’d get from classic Hanna-Barbera Saturday morning shows like “H. R. Puff ‘N’ Stuff” and “Lidsville.” The animals talk, birds and elephants can fall in love, and the microscopic mayor’s son can make a big difference.
The colorful cast of “Seussical.” Photo Credit: Kgtunney Photography
“Seussical” is silly fun. When Seuss couldn’t find a rhyme, he created a word and wedged it in. I was ga-fluppted by every zizzer-zazzer-zuzz and zong! The whole thing made my mind murky-mooshy!
Warning: If you take a child, they are likely to catch the performance bug, or, luckily, enjoy a lifetime of live theater. “Seussical” could be a gateway drug for theater.
The performances are spectacular. Thomas is adorable as JoJo. He has superstar potential. He’s a terrific singer and actor.
Malone’s Cat in the Hat makes the most of her role. She’s more of a narrator and crazy side character than hero of the story, but Malone steals every scene, as any hat-wearing-cat should. She gives off Robin Williams vibes, in a zany and in-on-the-joke kinda way. She’s giving full razzmatazz (not a Dr. Seuss word).
Cordón is a standout here. She gets some great moments and uses them to her fullest potential.
Harper sashays around the stage as if they own it. They are Fabulous with a capital F.
Side note: While the Cat in the Hat’s hat is red (and white), MAGA hats might want to stay away from a show that has a drag queen Kangaroo.
There are some amazing costumes from Leon Dobowski (with some of the original costume designs from George Bacon), particularly the fish. The fish were kaleidoscopic marvels. Yes, there is a red fish and a blue fish, dancing along to some great choreography by Robbie Roby to excellent music by Catie Brown.
Director Michael Heitzman kept the whole rigamarole (another actual non-Seuss word) moving.
To quote Dr. Seuss (in “One Fish, Two Fish, Red Fish, Blue Fish”), “Oh me! Oh my! What a lot of funny things go by!”
If you have children, go. Oh! This should be one of the places you’ll go!
-MB
“Seussical the Musical” runs until August 4 at the Byham Theater, 101 Sixth Street, Pittsburgh, PA 15222. For more information, click here.
By Lonnie the Theater Lady (with some assistance from 12 year old Theron Raymond)
As we entered the South Park Theatre, Theron exclaimed, “The lighting is amazing!” The other worldly purplish lighting (Liam Grande,designer) on the versatile celestial set, enhanced by a star studded night sky in the background, (Alex Keplar, designer) define the mood for this cosmic show. The tone is further enhanced by the musical numbers, all related in one way or another to space and the cosmos. (Joe Eberle, sound design. Asley Manion, sound composition.) A very effective loud humming/rumbling sound is employed at times. It’s unclear if the sound represents the sound of the object nearing the earth or if it indicative of the rumblings in Dr. Cummings mind. Either way, it’s effectively disturbing.
Dr. Lynn Cummings (Naomi Grodin), a renowned astrophysicist is dealing with some difficult challenges. Her beloved husband died suddenly two years ago and then she is diagnosed with a serious health condition. As if that’s not enough, she’s misquoted by a less than ethical reporter, Jason Harper (Cameron Nickel) who writes an article about an unidentified meteor like object that is speeding towards earth. The out of context quote leads to her being put on an involuntary leave of absence from her job as a college professor.
Circumstances lead Dr. Cummings, her daughter Olive (Katie Kerr) and Jason to an observatory out in the middle of nowhere where they observe the object as it flies by them. The observatory is at the point where the rock passes Earth at its closest proximity. While they are there, an unexpected, unnamed visitor (Mary Meyer) from an undetermined place appears to Dr. Cummings.
There are a lot of clever, funny lines in this play, and at the same time many serious topics are addressed. Life after death, the point of life, ethics in journalism, mother/daughter relationships, and faith versus science.
From Left to Right: Naomi Grodin, Cameron Nickel, & Katie Kerr in “A Rock Sails By.”
Grodin’s remarkable performance delivers a relatable character with facial expressions that mirror her every emotion. Her face telegraphs grief, confusion, fear, anger, amusement and love for her daughter. Her lack of expression, on the occasions when she lapses into what can best be described as a fugue state, is notable as she has a completely blank look on her face, devoid of any emotion. She embodies her character with nuance that shows both toughness and vulnerability. Wonderful seeing her on stage again after a 13 year hiatus.
Nickel goes through a believable transition from a likable, somewhat unethical reporter to a contrite, charming, more principled man.
Kerr has a real chemistry with Grodin making their loving, complex mother/daughter relationship organic and authentic. Her fresh innocence shows that she and her mother have more in common than she would like to admit.
Meyer, the mysterious messenger from the unknown, provides energetic, somewhat frenetic comic relief. Her humorous delivery of the deep, thought provoking questions she poses is a sheer delight. Coupling that with her amusing physicality makes for hilarity!
Danette Pemberton skillfully and convincingly plays four very different roles. She’s somewhat of a quick change artist!
Melissa Hill Grande (director) pays close attention to the pacing and rhythm of the play which is instrumental in the providing the ebb and flow of the changing landscape of moods throughout. Ranging anywhere from melancholy and grieving, to hopeful and forward looking.
This thought provoking, engaging, witty, complex show with a somewhat supernatural feel to it is sure to spark some vigorous discussions. As my companion Theron observed, “I like the way the ending is sort of a mystery.” And, I must say that I concur!
-LTL (with TR)
“A Rock Sails By” runs from July 25 to August 10 at the South Park Theatre, Corrigan Drive & Brownsville Road, South Park, PA 15129. For more information, click here.
