Author: VivantAdmin

The Silver Theater Project is proud to announce their first in a monthly series of Salon Style play readings by local performers, 40 and over, of plays written by local playwrights, 40 and over.

This event launches the brainchild of Michael McGovern, who felt that there is a need in Pittsburgh to create opportunities for older writers and performers to have their voices heard, both literally, and by the pen (or in this age, the computer word processing program). There is a lack of material that engages the older generations, as well as a lack of opportunities for the mature performer to show that they still have the chops, and The Silver Theater Project’s aim is to fill that void.

The plan for the company is to stage a series of monthly Salon Style readings to raise awareness of the group, to begin to build a base audience, and to begin the fundraising process. Readings will be held in September, October and November, taking December off for the holidays, leading to a fundraising event in February, followed by an ‘Ageless’ Cabaret, and leading ultimately to a full staged production in the fall.

The first two plays on their roster will be ‘Coffee and Kisses’ by Michael McGovern, and ‘Retrospect’ by Kim El.

‘Coffee and Kisses’ Is a short play in four scenes. Are coffee shops the new singles bars? And is love still magical? Find out the answers in this delightful comedy of manners. If you like old Cary Grant/Katherine Hepburn movies you’re going to love the romantic antics of these crisscrossed lovers!

‘Retrospect’ is a short play that centers around a family of three African-American women, the matriarch Aunt, and two nieces, one hard hitting career gal, and one devoted mom, as they gather for a special Mother’s Day brunch.

Michael McGovern received his BFA in Theatre from Point Park College and his MFA in Playwriting from Carnegie-Mellon University. While at Carnegie-Mellon his play Ireland’s Shakespeare won the Bud Yorkin Award.

His work has been performed at such diverse theaters as the 13th Street Theatre and The Nat Horne Theatre in New York, the Pittsburgh Playhouse Jr., Bricolage, Prime Stage, and Rage of the Stage in Pittsburgh. His short play PREPARING BANQUO was a favorite in his Beat Cabaret series.

Kim El is a Pittsburgh-born poet, playwright, actor and director with extensive stage and technical experience in various venues including theater, educational facilities and social organizations. She uses words and movement to stimulate human consciousness. Her theatrical experience has been developed from various venues in the city, including New Horizon Theater, Pittsburgh Playwrights Theater Company, Kuntu Repertory Theatre, Bricolage Production Company, No Name Theatre, The Shadow Lounge and Quiet Storm Coffee House. Included in her repertoire are two full length plays, Turnabout and The Poet’s Corner (co-written with playwright, KL) and nine one-acts, You Must Be Outta Your Mind, No Kiddin, Speakeasy, Just Fishin, The Sunday God Gave Me, Detention Wish, Habari Gani! Children Celebrating Kwanzaa, When Souls Whisper, and this evening’s piece, Retrospect.

The reading will be held at The Glitter Box Theater located at 460 Melwood Avenue, in Oakland. Doors will open at 7 pm, and the readings will begin at 7:30. As admission, the Salon readings have a suggested donation of $10.

For more information, connect with The Silver Theater Project here.

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

Since her ascension to the throne in 1952, Queen Elizabeth, II (Allison Cahill) has held weekly meetings with Great Britain’s Prime Ministers from Sir Winston Churchill (Eric Mathews) to Gordon Brown (David Hoffman). Those appointments are depicted in Peter Morgan’s play, “The Audience.”

Think of them as the queen’s dirty dozen. Some of them are dirtier than others.

Historical side note: Theresa May doesn’t make the cut because the play premiered in 2013 at the Gielgud Theatre in London’s West End, before her tumultuous takeover after Brexit.

There’s not much to say about the story of “The Audience.” There really is no plot, just a series of historical sketches; dramatic encounters between the queen and country. Sometimes the queen reminisces about her earlier life and has conversations with her younger self (an absolutely adorable Madeline Dalesio).

Imagine being a time-traveler dropping out of the time-stream at various points in history and listening in on these important social gatherings without a calendar. One minute you’re eavesdropping on Elizabeth’s cordial visit with Harold Wilson (Joe Eberle) and the next you’re at a pivotal meeting with Anthony Eden (Bracken Burns), who’s Machiavellian back-dealings lead Great Britain into the Suez Canal Crisis.  Watching the play is a little jarring. You are bounced around like Dr. Sam Beckett without Al and Ziggy to tell him where – more importantly – when he is. Another notable time-traveling doctor would diagnose it as “It’s wibbly-wobbly timey-wimey stuff.”

Some sections of the play drag on, such as the aforementioned fiasco with Eden and the Suez Canal. Other scenes are on fire, particularly the volatile encounter between Queen Elizabeth and Margaret Thatcher (Patricia Cena Fuchel). Some scenes are also purely delightful such as the queen’s dealings with Labour Party PM James Harold Wilson – the man of the people.

The scenes with Young Elizabeth give interesting insight into the girl who would be queen. Young Elizabeth is more playful than petulant. She is willfully hoping to avoid wearing the crown, frustrated by her tightly scheduled life, like Princess Ann (Audrey Hepburn) in “Roman Holiday.” Elizabeth grows up quickly, however, when  the fourteen-year-old princess delivers her speech to the children of the Commonwealth in 1940.

Act I closes on a the Coronation of Queen Elizabeth, II in 1953, a solemn and stately affair. Kudos to director Ponny Conomos Jahn, costume designer (and queen) Cahill, technical director Jared Pfennigwerth  and the rest of the production team for infusing the scene the right amount of pomp and circumstance.

The weight of the play falls on the shoulders of the queen. William Shakespeare would remind us that “Uneasy lies the head that wears a crown,” Cahill carries it with aplomb.  She does a terrific job.

Side note: It’s a glowing account of the queen’s life. While the playwright tries to capture Queen Elizabeth’s complexities, she is portrayed as charming and likable with a hint of mischief. It’s an uneven account of the woman’s life. It mostly sidesteps her bitter rivalry with Diana and never mentions Camilla Parker Bowles by name.

Thatcher, of course, comes off like a badass. She is marvelously rendered by Cena Fuchel in her brief moments on stage. The two women wrestle for power in an energetic and vibrant scene. Thatcher is blustering and bullying as Elizabeth deftly deflects with wit and grace.

Personal aside: Growing up and hanging out with punks in the mid-to-late 80s, it seems completely incongruous to make the demand, “More Margaret Thatcher, please,” but the play really could another heaping helping of the Iron Lady. Cahill and Cena Fuchel are a dynamic duo.

While there is a string of male Prime Ministers that walk in and out of Elizabeth’s long life, there are two more notable performances, Mathews’ Winston Churchill and Eberle’s Harold Wilson. Her relationship with Churchill is contentious, and the tension is palpable.

The scenes with Wilson are thoroughly enjoyable.  The queen seems keen on the intelligent, affable Wilson, deftly played by Eberle.

Queen Elizabeth, II once said, “Good memories are our second chance at happiness.” “The Audience,” while not a cohesive whole, should produce some very good memories.

“The Audience” runs through August 26 at the Little Lake Theater, 500 Lakeside Drive, Canonsburg, PA 15317. For additional information, please click here.

 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

When Roxie Hart (Lexie Rohlf) shoots her lover Fred Casely (Dylan Berkshire) and begs her husband, Amos (Tyler Handford), to take the blame, it’s only a matter of time before the sultry sex kitten gets locked up in the big house in Broadway’s iconic musical, “Chicago.”

In the slammer, Hart encounters vixen Velma Kelly (Rebecca Kaufman Taylor) and a classic rivalry begins. Both femme fatales are pleading for the same lawyer, Billy Flynn (Jeremy Kuharcik) to take their respective cases. For the right price, Flynn will defend them, but he is only interested in the publicity and cold cash.

The villainous duo compete for everything. They both try to sidle up to Big Mama Morton (Kellie Wilson), and pander to star reporter Mary Sunshine (Matt Fawcett). They are both filled with lust for fame and fortune. Neither of them, however, know the difference between fame and infamy. But Hart and Kelly live by Oscar Wilde’s famous aphorism; “There is only one thing in life worse than being talked about, and that is not being talked about.”

The duo are quickly upstaged by Go-to-Hell Kitty (Melissa Murtha), a villainess even more ruthless than both of them combined. Then, Roxy comes up with a devious plan.

Side note: The musical has been around since 1975, but there will be no spoilers here.

Check out a sneak peek of “All that Jazz” here.

t’s an exceptional production mostly due to its leads, Rohlf’s Roxie and Taylor’s Velma.

Rohlf’s Roxie is engaging, literally charming the pants off of her string of paramours. She is fearless, fierce. This Roxie has moxie. Rohlf pulls it off effortlessly.

Not to be upstaged, but Taylor’s Velma is outstanding. She hits every note with style and panache. She is very charismatic. Her dance moves are sharp and precise. It’s a flawless performance.

Director John F. Wagner, III cast well. His choices for Flynn (Kuharcik), Mama (Wilson) and Mary Sunshine (Fawcett) are pitch perfect.

Kuharcik exudes charm as the smarmy lawyer. Dazzling the audience with the greatest of ease as any great Billy Flynn can. He plays the beguiling Film-Flam man with aplomb.

Wilson’s Mama has the smoky, husky qualities to her voice that make her a spot-on pick.

Fawcett is operatic as Mary Sunshine. To say more would spoil some of the surprise.

This production’s rendition of “Cell Block Tango” is masterful. The number is early in the show and easily convinces the audience they are in for a helluva good time.

The show is not without flaws. It is overstuffed with extras. That said, Brennen Malia pushed his way out of the background with some very fluid and precise dance moves. He was an extra who stood out from the others. He also has some cute comic bits as “The Jury.”

There is one GLARING problem with this production. There’s a little too much razzle dazzle from lighting designers Jeremy Rolla of Vincent Lighting. Several times during the show, the audience is assaulted by lights so bright, you’d think you were having a Close Encounter of the Third Kind. If you’re going, shield your eyes during at top of the show and the beginning of act two. A blinding red light will melt your eye sockets.

However, with the delivery of the snappy dialogue, the crisp movement of the choreography and star turns for Taylor Rohlf and Kuharcik make this “Chicago” a winner. It’s a bit far from Pittsburgh, but the theater is grand, elegant and worth the trip.

“Chicago” runs July 29 and 30 at the State Theatre Center for the Arts, 37 East Main Street, Uniontown, PA 15401. For additional information, click here.

– MB

By Michael “Buzz” Buzzelli, Burgh Vivant

Moriah Ella Mason gives us the dirty details of working as a stripper in her one-woman show “Sex Werque.”  The show may be dirty with a capital D, but it’s a dark and surprisingly humorous journey into the seedy underbelly of this special brand of American entertainment.

Mason, who wrote, choreographed and performed the show, tries to answer the question, “Why do women take their clothes off for money?” Her answer is complicated, misleading, and an almost unending series of lies.  The real answer is; “Because they can.”

While strippers exist in some realm of fantasy, Mason shows us how real she really is. She will be the first to tell you that she is tall, gangly and small-breasted. When she dances, she is divine, beautiful; a writhing work of art.

When Mason is on the pole, she defies gravity in a way that would make Elphaba green(er) with envy. She contorts while moving upward and downward on the steel post, pushing and pulling her body effortlessly.

There are some extremely light moments, unexpected bursts of sharp wit and some general silliness. You will learn your stripper name, and share it with other audience members.

Side note: Mason uses the most trusted formula of your-first-pet plus the-street-where-you-grew-up equals your stripper name. Since I was Turtle Saranac, who I assume is a WASP from Long Island, I decided to go with my favorite flavor of ice cream, Cherry Vanilla.

Video artist Liz Barentine provides interstitial material of strippers discussing the ups and downs of life on the stripper pole. The women are shot from the neck down, and while you will see an occasional bare breast or naked buttock, you never see their faces.

J.F. Winkles and Eric Weidenhof perform music to her movements (and make a brief appearance on center stage).  The musicians gel together quite well. Winkles’ provides some additional recorded music – let’s call it ‘recorded sounds’ since it’s a bit grating to the ear; industrial noises that sound like a passel of pigs partying in their pen.

Mason’s perspectives may not be new (everything you imagine happens in a strip club does really happen), but it’s candid, raw and sometimes unsettling. The show isn’t just tits and ass, but it’s a unique look into a private world.

“Sex Werque” runs this weekend (July 27, 28, 29 and 30) at the Carnegie Stage, 25 W. Main Street, Carnegie, PA 15106. For additional information, show times and tickets, click here.

 

 

 

 

 

 

 

 

 

 

By Mike Buzzelli, ‘Burgh Vivant

Long ago, Pierre Corneille wrote “Le Menteur,” but here comes “The Liar,” a David Ives’ adaptation. No one knows why Ives’ chose this French farce to remake, but disregard speculation. Ives’ tells the story completely in verse. His dialogue rhymes, but it’s also witty and terse. Timid audience members, you have nothing to fear. It’s much easier to understand than William Shakespeare.

It will take few stanzas to untangle this tale. It’s a simple story, but the rhyme mustn’t fail.

A charmer named Dorante (Ethan Saks) wanders the streets. An out of work Cliton (Patrick Halley) is the first person he meets. Cliton needs work and becomes Dorante’s new hire. Though Cliton learns quickly he now works for a liar.

Our boy Dornate has trouble telling the truth. Clinton can’t lie and it’s much more uncouth. Both men get in deep trouble from their affliction. But they are firm in their position with utmost conviction.

Within a few hours walking ‘round the City of Lights, Dorante’s in love and he’s picked a few fights.

He’s fallen for Clarice (Erika Strasburg) though he doesn’t know her name. Unfortunately for him, there’s a rival who’s put in a claim. Brash Alcippe (Charlie Murphy) desires Clarice’s hand. It’s not a request; it’s more of a demand. When Alcippe believes Dorante has had his way with Clarice, he won’t stop till the boy’s gravestone says “Rest in Peace.”

Meanwhile, Lucrece (Sarah Silk) Clarice’s bestie is single, prickly and little testy. When it comes to beauty, she is just as divine. Don’t worry, my friends, it all works out fine.

There’s more plot to mention, but we can’t go line by line (I can’t transcribe the full folio). Let’s just not leave out Isabelle and Sabine (both played by Julianne Avolio).

There’s also Geronte (Sam Tsoutsouvas) who is not immune to Dorante’s wicked ways. The boy’s a terrible liar, but his father thinks it’s a phase.

Alcippe has a comrade, Philiste (John Michnya). Sabine’s is his mistress, and he is her mister. Isabelle likes Cliton, but he’s unaware she’s a twin sister.

There’s more to the story, it’s quite a bit meaty. But this review must remain spoiler free, sweetie.

Kinetic director hires actors from across America. We’re glad he stayed local when he hired our Erika. Her smile luminescent, her skin alabaster. It’s easy to see why Andrew Paul cast her.

This critic tries hard to stick to the facts, but he sees a bright future for Ethan Saks.

There are few performers of her ilk, high praise must be heaped on Sarah Silk.

Sam Tsoutsouvas has a booming, commanding presence and voice. When casting a show, he’s a superb choice.

You won’t miss a moment when Charlie Murphy charges the stage, his character half testosterone – the other half rage. If you couldn’t quite tell, I think his performance was swell.

Many times I have noted Avolio’s face is elastic, but she’s more than just a funny face, she utterly fantastic. Keep one eye on her while the others are talking. When our Liar is lying, she’ll drop her jaw, roll her eyes, or be otherwise mocking.

Whether you pray to Jesus, Allah or Krishna, let’s hope we see much more of John Michnya.

Halley’s character Cliton is pivotal role. With a lesser talent the show would be droll. His performance is great. See for yourself – get there by eight.

It seems sycophantic to praise each member of the troupe, but this review is up first…so call it a scoop!

Michael Petyak trained the actors to fight with a sword. When combatants meet, you will not be bored.

With a costume designer of quite renown, know that they were designed by our own Kim Brown. The colors bright, the combinations of style myriad, her clothes transcended the play’s French period.

If there’s a gripe it’s with some of Ives’ rhymes. It strains the ear one or two times. The dialogue flows, it’s lyrical and loose, and sometimes it sounds a lot like Doctor Seuss.

This play is joyous, hilarious and fun. Please see it before the end of the run.

 “The Liar” is at the Henry Heyman Theatre, 4301 Forbes Avenue, Pittsburgh, PA 15213. For more information, click here.

-MB

 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

When Benjamin Barker – now using the non de guerre Sweeney Todd (Andrew Cummings) – returns to London, his mournful cries of retribution and revenge fill the streets in Stephen Sondheim’s “Sweeney Todd: The Demon Barber of Fleet Street.” Based on the Victorian Penny Dreadful, “String of Pearls” from 1847-48, “Sweeney Todd” is a reimagining of the tale. It is a story of a vicious killer told – not in murky gothic tones – but with light comic touches. It is a wickedly, dark comedy with a haunting romantic heart beating at its center.

There are no spoilers here, since the tale is told in the opening number, “The Ballad of Sweeney Todd.”

After being exiled on trumped-up charges, Todd returns to England with Anthony Hope (Adam Hollick) in tow. The shipmates separate but their lives are inexplicably tied together by fate.

Todd plans his revenge on the men who destroyed his marriage, the villainous Judge Turpin (Adam Cioffari) and his sycophantic lackey, Beadle Bamford (Robert Frankenberry). Fate brings Todd to Mrs. Lovett (the aptly named Anna Singer), purveyor of putrid pies – made from lesser quality meat (Hello, Kitty).

Lovett offers him a place to dwell. She tells a lurid tale of the barber who used to live there. A man named Barker who lived there with his wife Lucy (Lesley Baird) and their baby Johanna until Judge Turpin tore their happy home to shreds with his lust for Lucy. The contemptable Judge sent Barker off to a penal colony on the other side of the world and ravaged Barker’s beautiful wife. When Lucy went mad, Turpin took the child as his ward. Lovett retells the tale to Todd, all the while knowing that Barker and Todd are one in the same.

Meanwhile, the handsome sailor, Anthony, spies the fully-grown Johanna (April Amante) on her balcony, and falls madly in love with her. But as the bard would muse, “The course of true love ne’er did run smooth.” The vile Judge decides that his ward, whom he raised as a daughter, should now be his wife (Someone get Jerry Springer on the phone…stat!).

Back at his barber shop on Fleet Street, Todd begins dispatching his clients with his straight razor. As the aforementioned ballad goes, “Sweeney Todd kept a shop in London Town, of fancy clients of good renown, and what if none of their souls were saved? They went to their maker impeccably shaved.”

Mrs. Lovett decides she wants a piece of the action, and begins grinding the victims into meat for her pies. The idea comes forth in a dark, delightful ditty, “A Little Priest,” where the duo sing about the former occupations of the once and future pies. Business in the pie shop is booming, and Lovett hires Toby Ragg (John Teresi) to scuttle about, aiding her in the restaurant.

Where will the loathsome tale end? If you guessed in “blood and gore,” you’ve won the big money prize! Luckily, director Tome Cousin handles the carnage artfully. When Todd slices a throat, scarlet billows forth from the victims neck like an explosion of rose petals. It is beautiful and macabre.

Cummings does an incredible job as the demon barber, and Singer is a joy to watch and listen to on the stage. They do wonderful work together, with devilish chemistry.

Hollick is a dashing romantic lead with powerful voice. The audience has no problem rooting for the hero named Hope.

Frankenberry is a charismatic villain. Picture Jonathan Pryce in “Adventures of Baron Munchausen” or in any of the Pirates of the Caribbean movies, mix in a little bit of Robert Helpmann’s Child Catcher from “Chitty Chitty Bang Bang” and add a mellifluous voice.

He is a slick villain, slicker than Turpin. Though the Judge is sinister and creepy. Even though his actions will make you squirm, Cioffari humanizes Turpin with a modicum of sympathy. The Judge knows he’s evil and he can’t help himself, and it makes him a terrific baddie.

Special attention should be made to Teresi. The petite blond man – who plays a child of indeterminate age –  has a potent voice.

Hank Bullington’s set is saturated in dark blues and deep purples. Scene changes are deceptively simple affairs; a grouping of chairs are reordered and the names of the shops and restaurants are projected on the walls.

Kudos to costume designer Rachel Wyatt for time-traveling back to Victorian London for the wardrobe.

The two hour and twenty minute run time breezes by.

“Sweeney Todd: The Demon Barber of Fleet Street” is a must-see for any Sondheim fans in Southwestern Pennsylvania.

“Sweeney Todd: The Demon Barber of Fleet Street” runs a series of dates through July 22 at the Falk Auditorium in the Winchester Thurston School, 555 Morewood Avenue, Pittsburgh, PA 15213. For more information, click here.

– MB

by Michael “Buzz” Buzzelli, ‘Burgh Vivant

Take Carlo Goldoni’s “The Servant of Two Masters,” add English accents and blend in some fourth wall breaking bits with the audience and you have Richard Bean’s “One Man, Two Guvnors,” a twentieth century piece of commedia dell’arte.

Francis Henshall (Tom Protulipac) doesn’t like to skip a meal. His pockets are empty and he’s starving. Knowing his boss, Roscoe Crabbe (Jenny Malarkey) won’t pay him until the end of the week, Francis takes on a second job with Stanley Stubbers (Connor McNelis). All he wants to do is grab some haddock and chips with mushy peas or whatever English grub he can grab at the pub in Brighton.

But having two guvnors is a tricky business, and Francis learns it the hard way.  He must keep the two men from meeting, or the jig is up. Unfortunately, unbeknownst to Francis, Roscoe Crabbe is really Rachel Crabbe and she’s in Brighton to rendezvous with her fiancé Stanley Stubbers. Stubbers is fleeing from the law after killing Rachel’s twin brother, Roscoe. Even though Stubbers slew her brother, Rachel is in love with him (family reunions must be extremely awkward). Basically, Francis must keep the two from meeting, even though the only reason they’re in town is to meet. Whew! That’s not even the tricky part.

For Rachel, posing as her dead brother has an unusual set of complications. Roscoe was betrothed to Pauline Clench (Marsha Mayhak), but she’s in love with Alan Dangle (Craig Ketchum). To snatch the dowry from Pauline’s dad, Charlie (Keith Zagorski), Rachel (still disguised as Roscoe) must marry her – and since the action is set in Brighton, England in 1965 (well before Marriage Equality) that’s just not gonna happen.

Of course, Francis mucks everything up.  The comedy picks up steam in the second act after Francis is finally fed – in a hilarious scene involving an ancient accident-prone waiter (Neil Donaldson), flaming Crepe Suzette, a mousetrap and an unfortunate audience member. Once sated, Francis pursues two new deadly sins; lust and avarice – pushing gluttony off to the side like parsley. He promises Dolly (Erin Bock), Charlie Clench’s voluptuous bookkeeper, that he’ll whisk her off to Spain. The passionate pursuit leads to additional complications.

Director TJ Firneno keeps a lot of plates spinning in this riotous production. There is a balletic choreography to the comedy. Protulipac has the lion’s share of the plate-spinning, seizing the stage with gusto. He is happily chewing the sparse scenery, excelling in the aforementioned bits involving audience participation. He’s a whirling dervish.

There are several fine performances. Malarkey’s androgynous Roscoe and Bock’s lusty Dolly stand out.

Between scene changes, the cast provides some interstitial material singing songs or otherwise entertaining. Side note: there is some technical tomfoolery afoot.

It’s a madcap, crazy show. Not all of it works. Some of the material seems dated – and must have felt dated even in the first performance in the National Theatre in 2011 (since the show is set in 1965). When it does work, it’s hilarious! There are several bust a gut moments.

Special mention to Jill Spear, Little Lake’s volunteer coordinator, who does a lot more than keep the volunteers busy.

“One Man, Two Guvnors” is wacky, whimsical evening out.

“One Man, Two Guvnors” runs through July 15 at the Little Lake Theatre, 500 Lakeside Drive South, Canonsburg, PA 15317. For more information, click here.