It’s December 1963, and “Queen of the Blues” Dinah Washington (Delana Flowers), affectionately nicknamed Miss D, is appearing at a club in Pittsburgh’s Hill District, in a time when the historic hill was populated by the hippest jazz clubs this side of Harlem. This particular club is run by Jimmy Hyde (James Howard). Jimmy and the club have seen better days. He’s in debt and called on his friend from the old days, Dinah Washington, to help him out of his financial difficulty.
Miss D plans on swooping into the ‘burgh and saving Hyde’s hide. She brings her closest confidant, LaRue (Krystal Waller), and her band (Dwayne Fulton, Tony Campbell, Dwayne Dolphin, and Jason Washington, Jr.) to the Steel City.
She calls a friend to help, Brook Benton (Les Howard), and hires two local backup singers, Rachel (Destiny Nwafor) and Lu (Marissa Lily), to assist.
But that’s not all! There are several other cast members. There’s even a videogram from Dick “Night Train” Lane (Sam Lothard). There were a few tech issues with his recorded message (his lips didn’t move with his mouth), but he was still engaging on the screen in his brief cameo.
In the story, we get flashes of Dinah Washington’s famous – or infamous – perfection. Luckily, we don’t get any signs of her addiction (a good thing to leave out of a Christmas show), even though the show is set days before her overdose (she died December 14, 1963).
There’s a plot, written by Ernest McCarty. It’s simple, but it doesn’t matter. The singing is the reason to see this show.
Delana Flowers dressed to the nines as Miss Dinah Washington.
Flowers is captivating when she’s singing, whether it’s Washington’s standards or traditional Christmas songs; it’s glorious.
Nwafor and Lily get a brief time in the spotlight, and it’s joyful and triumphant!
Waller also gets to sing with Flowers, and it’s just as delightful.
Howard gives Brook Benton dashing swagger. His voice, on the December 11th show, sounded a little gravelly, raspier than usual.
Personal note: There were some Ricola lozenges on our table (courtesy of another local critic), and I wanted to lob them into Howard’s mouth.
Howard powered through with a beautiful duet of “White Christmas” with Flowers.
The band was sensational, with Tony Campbell’s shimmering saxophone. Campbell’s sax solo was worth the price of admission.
The band, under Fulton’s musical direction, does a version of the Vince Guaraldi Trio’s “Christmastime is here,” made famous by “A Charlie Brown Christmas,” and it’s spectacular. Visions of Peanuts will dance in your head.
Co-director Mark Clayton Southers even designed the set. It’s a hip joint, and the whole room gives off a swinging ’60s jazz club vibe.
There are a lot of entertainment choices this holiday season, but if you want to hear some good old-fashioned Christmas music, with a little bit of Jazz and the Blues wedged in, then the “Dinah Washington Christmas” is for you.
-MB
“Dinah Washington Christmas” runs until December 22 at the Madison Arts and Entertainment Center, 3401 Milwaukee Street, Pittsburgh, PA 15219. For tickets and additional information, click here.
Tired of traditional Christmas events with happy, sappy songs and goofy holiday cheer? Then you’re ready for Vigilance Theater Group’s Spooky Holiday, which is more kooky than spooky, but a guaranteed good time.
It’s in the least likely venue for a holiday party, Grim Wizard Coffee in the heart of Allentown. The coffee shop is laden with quirky knick-knacks that look like they were curated by Gomez and Morticia Addams, with weird and wonderful art inspired by Hieronymus Bosch.
Creative Director and Emcee Sean Collier welcomes an assortment of unusual performances to the stage in an evening that promises comedy, burlesque, music, and seasonal hijinks.
Promo image from Vigilance Theater’s Spooky Holiday.
Collier, a writer and stand-up comedian, has an easy charm on stage, and even when he stumbles or stammers, he’s enjoyable to watch.
Eden Ivy from a photoshoot with Nick Beckner Photography.
Seasonal hijinks include a strange array of Christmas folx. There was Buttons the Elf (Isaac Miller, last seen in “Enron”), a chimney sweep (Allie Lampman-Simms, last seen in “Campfire Stories from Camp Guyasuta”), and Santa Claus (there’s only one Santa Claus).
Eden Ivy and Amoxie Villain, most likely to be on Santa’s naughty list, performed sexy burlesque numbers (hotter than the coffee in the aforementioned coffee shop).
Stand-up comedy, Kimberly Bennett regaled the audience with a plethora of jokes, some naughty, some nice, all funny.
Bevin Baker, who sang two incredible songs: the Counting Crows’ “Long December” and Tori Amos’s “Icicle,” was an incredible moment on stage. It was worth the price of admission.
Buy a wrapped Christmas gift and discover a surprise, or play it safe and get a trio of homemade cookies.
Even though Santa makes an appearance, it’s best to leave the little ones at home, or you’ll get coal in your stockings.
Its a weird, wonderful and very different Christmas show.
-MB
There are a few tickets left for Vigilance Theater Group’s Spooky Holiday, which runs one more night on Wednesday, December 10, at Wizard Coffee, 1206 Arlington Avenue, Pittsburgh, PA 15210. For tickets and additional information, click here.
The nuns of Saint Helen’s Convent and School in Hoboken are going live with their first cable-access television Christmas special. What could go wrong? Nearly everything! A steady stream of comical mishaps rains down on the hapless nuns and their students. The very loose plot of “Nuncrackers” provides a satirical backdrop for the cleverly written, witty songs, double entendres, and visual humor in the show.
Meghan Child plays Sister Mary Regina, the Reverend Mother. Her strong melodic voice dazzles every one of her numbers. She’s particularly amusing when she sings “Carnival Christmas.” This song is a perfect example of the play’s irreverent yet never offensive tone.
In a touching moment, John Herrmann’s Father Virgil Manly Trott stands out as he sings “The Christmas Box” to comfort an upset child. Herrmann’s hilarious cooking demonstration scene as Sister Julia Child is over-the-top comical. His Julia Child impersonation rivals Dan Ackroyd’s SNL skit!
From left to right – Joyce Miller, Krista Strosnider, John Herrmann, Meghan Child, Gianna Tress, Sandy Boggs
Joyce Miller’s mostly good-natured Sister Mary Hubert delights with her delivery of some humorous (out of character) streetwise comments. Her unmistakable, winsome vocals charm in every musical number.
Krista Strosnider is beyond amusing as her character sings, “All I Want for Christmas” is a one-night stand. However, it’s not what you think!
Sandy Boggs skillfully plays the comical Sister Mary Paul (Amnesia). Although she’s hilarious, she can’t be credited with providing comic relief, since the show is consistently funny throughout!
Six children play the students at Mt. Saint Helen’s School. Every one of them is absolutely adorable. They all sing well and look totally natural and relaxed on stage. Their “Santa’s Little Teapot” number touchingly reminds the audience of the beauty and purity of young children.
All the musical numbers are original and loaded with unexpected, sometimes surprising, witty lyrics. The parody of The Village People’s popular “In the Navy” is reimagined as “In the Convent.” A real riot!
Mount Saint Helen’s version of “The Nutcracker” ballet is not to be missed. It’s guaranteed to leave you in stitches.
Briana Ryan (costumer) and her assistant, Cindy Berg, hit the right note with whimsical touches to all costumes.
The live music provides lovely, not too loud, accompaniment and enhances the vocals.
“Nuncrackers” is a riotously funny, feel-good, tiny bit naughty, yet heartwarming show. Treat yourself to an early holiday gift — take the time to relax and laugh with this charming holiday treat!
-LtTL
“Nuncrackers” runs through December 14, Old Schoolhouse Players, Hickory, PA. For tickets and additional information, click here.
“Imagine instead of posting your life on your social media, imagine you are a member of a community where you can print your photographs, and once a week, you come to an event where you can share those with other people. You can share the work you’ve made, which gives you time to really understand and learn what your work is. And you don’t have to come and say ‘I made this photograph with a Nikon this and that, with this lens, and F8 at 125’—all of that can fade away because the work is what matters now. The work is what matters, not how you made it. I want to see the work become what’s important.”
For Robert Ketcham, imagining a place to practice photography that focuses on seeing the photograph just as much as seeing the photographer, has been a work in progress. However, when Ketcham first entered the building located in downtown Braddock, he captured a vision of what this place could be.
Artist Robert Ketcham
“The building kind of chose me,” Ketcham said. “I was working for Gregg Kander, [who] was in the middle of the Ohringer building, and he bought another property up the street that everyone just knew of, which had been Woolworth’s. That’s as far back as anybody went. It took me a lot of digging to figure out that Andrew Carnegie, himself, in 1891, bought that piece of property where the building at 818 Braddock Ave, it’s called the Braddock Arts and Media building now, where Braddock Photo Works will be housed, was bought to move the Carnegie Cooperative Store.”
Braddock Photo Works
He described looking at the back of the first floor, which has a 15-foot ceiling, and he thought, “I could do a dark room here. This could be something related to photography, and this is in 2019 that I’m starting to have these ideas.”
He imagined it much like the former Pittsburgh Filmmakers, where people could use a traditional dark room or computers, including any editing software for digital photography.
“It was always not far from my mind that this would be a great photo center,” Ketcham stated. “I want to make sure that this space has what every photographer or aspiring photographer or retired photographer or anybody with even a casual interest in photography would want to visit and learn more about what we do.”
Eventually, Ketcham decided he needed to start a nonprofit focused on photography education. In naming the new nonprofit, Ketcham resolved on Braddock Photo Works. He had considered using “Cooperative” to tie into the building’s historical lineage. Still, he intentionally chose “Works” as a homage to Edgar Thomson Steel Works and the US Steel Mills of Pittsburgh, especially in Braddock.
“Works is a place where work is done, where things are made…It told the story in the name, which is what I wanted.”
Ketcham was just as intentional about selecting Braddock as the location for his photography nonprofit. As Ketcham describes it, when he first came to Pittsburgh in 2002, he asked to see the steel mills and was told that there weren’t any, except in Braddock, but he shouldn’t go there. “That’s all I needed to hear,” Ketcham reflected, “I was here [in Braddock] with a camera immediately and have been photographing Braddock ever since.”
This year, Braddock Photo Works has already engaged with the community in meaningful ways. From an introductory community gathering at Public House in February of this year to the first of many photo walks around Braddock, taking place just this past October, what happens inside the building is equally important to Ketcham as what happens to the community outside it.
“Our first event as Braddock Photo Works was recently a partnership with the American Society of Media Photographers, Pittsburgh branch, to do a photo walk in Braddock, and the response was overwhelming. We had a great group of photographers who were very enthusiastic about photography, but by the time they left, they were enthusiastic about Braddock.
“It was just so gratifying to watch as everyone just went off, they would see something, and they would go off to make a photograph that they wanted. And that’s exactly what I wanted to see. I wanted to see people immersed in photography, then come together with people they didn’t know, never met, to discuss things, introduce themselves, and talk about their work and their goals in photography. Over the course of 5-6 hours, that’s what happened.”
Ketcham’s own photography, which he primarily exhibits in black and white, also documents the changing landscape of Braddock and now seeks to share it with and contribute to the community he knows and honors so well.
“I had a camera firmly in my hand since I was 15 years old,” Ketcham continued, “My photography began in the dark room. I got tired of paying someone else to develop my film, so I took the photography classes. When I had a study hall, I would get a pass to go to the darkroom. After school, as long as I could stay, I would work in the dark room.
“There’s almost nowhere to go that you can use a dark room…where you can go and complete the process. While you’re developing the film, you’re learning to interpret your vision. What you have tried to make in the camera into a negative, and ultimately into a print…I want everybody to have the full experience of what making a photograph can be.
“Photography has been around for a long time. And a lot of the technique and process have come and gone. But a lot of those alternative, old processes like tin type, platinum printing…and all of these absolutely gorgeous and magnificent ways to make a print exist… For any of these processes, I want to be able to offer the education and facilities where they can be done.
“The educational component of [Braddock] Photo Works would also include the basics, looking at photographs. There are all kinds of different ways to, even people who are not photographers could take advantage of something like that—seeing, learning to see again. Part of the ultimate goal from doing classes with kids, local kids, summer programs, [is] you get to keep the camera we got you. Those are the things I look forward to seeing.”
In our modern society, teaching people to see again has become increasingly important, given the shortened attention spans caused by social media scrolling and the various risks posed by an onslaught of AI-generated images. Ketcham is rightfully concerned about how AI will affect the future of photography.
“From a generative standpoint, it’s a genie that you can’t put back in the bottle. It’s cheap, it’s the lazy way out as opposed to sending a photographer to use their brain and imagination and skills and talent, to make a photograph… I don’t want AI to doctor my photo. The idea is to get it right in the camera so that you don’t have to do that. And that goes all the way back to film: you’re spending less time in the darkroom trying to correct a print. Get it right in the camera, you don’t have to worry about it.”
For Braddock Photo Works’ role in a mainstream AI-dominated world, Ketcham stated, “All I want to do, in my own little piece of the world, is provide an alternative. Ketcham went on to quote one of his favorite quotes from Alfred Stieglitz, an early pioneer in the movement to make photography seen as art. The quote, “Photography is not just about capturing what’s in front of you; it’s about capturing what’s inside of you as well,” reflects much more about the process of making a photograph, and for Ketcham, “That’s something that I can’t imagine AI will ever do.”
Having stood in the place where Braddock Photo Works will eventually be filed with seasoned and budding photographers, I can say with confidence this space is much needed for the arts in Pittsburgh. Its interior mirrors the collaborative hub of any great artistic community, and Braddock is all the better for it. The exterior, adorned with colored lights and mural art painted by internationally recognized artists, is a beacon for the future of Braddock.
My conversation with Ketcham covered more subjects than this article can convey, including the current risks to investigative journalists, the return of Polaroid cameras among Gen Z, Ketcham’s personal pet peeve, his Henry Project, and much more. For the complete conversation, take a listen below. To stay updated on Braddock Photo Works, follow along on Instagram @braddock_photo_works. Any questions on how to get involved, please get in touch with Robert Ketcham directly through his website: https://rjketchamphotography.com/contact/
It’s Christmas Eve in Bedford Falls, and George Bailey (Mike Goffus) feels his life is useless. He faces financial disaster and is close to committing suicide.
Enter Angel Second Class Clarence Odbody (Stuart McNiell), who tries to help Bailey over this crisis. As part of that remedy, Odbody encourages Bailey to look back on his life and reflect on how the decisions and choices he made were valuable not only to him but also to those who knew him.
Bailey’s thoughts of his past begin.
Bailey had high expectations for the path his life would take. He wanted to attend college and travel. These plans were short-circuited when his father, the owner of a building and loan company, died suddenly.
Bailey stayed in Bedford Falls, married his sweetheart Mary Hatch (Leah Grimm), had a family, and took over his father’s business.
Uncle Billy (John Henry Steelman) was part of that business.
Nemesis Henry F. Potter (Kevin B. McGuire) owns everything in the town except Bailey’s company. Potter was devious, constantly trying to gain control of the one thing in the city he didn’t own – Bailey’s building and loan business.
An unfortunate loss of company funds puts Bailey on the defensive, both personally and legally, and brings us back to his meeting with Odbody. It’s time to decide – face the consequences or end his life.
Bailey chooses what his action will be.
The cast of “It’s A Wonderful Life.”
Goffus is superb as Bailey. What a powerful emotional range! He transitions from a buoyant, excited husband, family man, and well-liked member of the community to an almost deranged human, angry at the entire world.
Angel 2nd class Odbody, McNiell, attempts to have a positive influence on Bailey. Since he’s aiming for a promotion, he is proactive in his approach to Bailey. At the same time, his vulnerability comes through as he occasionally seeks support and guidance from an unseen angel.
Grimm is great as the ever-supporting, loving wife. She is the steadfast equalizer in George’s life, without the fanfare.
Steelman’s portrayal of Uncle Billy is spot on. He is Bailey’s loyal supporter, but it’s apparent he has no business sense and, at times, is a bit befuddled and distracted.
McGuire wonderfully plays our bad guy in this production. He is verbally vindictive, conniving, and smug.
Excellent direction by Barbara Burgess-Lefebvre.
Two notes:
I mentioned this in a previous review, but, amazingly, such detailed, well-executed multiple-set scenes are accomplished in a small space.
Depending on the performance date, many of the actors’ roles are performed by other members of the cast.
A nicely done production of a yearly Christmas favorite!
-CED
“It’s a Wonderful Life” is a production of The Pittsburgh Savoyards. Performances run from December 5th to December 20th at the Margaret Partee Performing Arts Center, 523 Lincoln Avenue, Pittsburgh, PA 15202. For tickets and additional information, clickhere.
Clark (Patrick Jordan), Ellen (Tami Dixon), and their kids, Rusty (Jason McCune) and Audrey (Jamie Slavinsky), are planning the perfect holiday in “Midnight Radio Lampoons Christmas Vaca-Yinz,” a Midnight Radio parody of “National Lampoon’s Christmas Vacation.”
The family – and we won’t spoil their crude last name, but it’s not exactly spelled Griswold in this adaptation – is joined by a slew of relatives (all played by Dave Masueto and the aforementioned actors above – only Jordan has a solo role, which he does with aplomb).
All the film’s best sequences are here: the oversized Christmas tree, the super slick sled ride, the….deposits from Cousin Eddie’s RV, the world’s driest turkey, the moose cups, the fricasseed pussy cat, the squirrel, and more.
There’s even a parody version of “Holiday Road,” which is delightful. Music Director Camille Rolla beautifully and hilariously renders this version.
Moose and Squirrel in the poster for “Midnight Radio Lampoons Christmas Vaca-Yinz.”The turkey carcass from the original movie.The house from the movie version of “National Lampoon’s Christmas Vacation.”
How do you lampoon the National Lampoon? Easy call Tami Dixon to get the job done. The actor also adapted the film into a Midnight Radio show with a decidedly Yinzer flair.
Note: Midnight Radio is not shown at midnight, nor is it on the radio, but it has become a holiday tradition (Midnight Radio has skewered other Christmas cinematic favorites such as “Die Hard,” “A Christmas Carol,” and “A Christmas Story”).
The evening is clearly suited for people familiar with the film, but it’s easy to follow along. Audiences who have never seen the movie might miss one or two of the jokes (because the previous visual components are missing), but there are plenty of laughs that don’t require homework.
Jordan’s rant as Clark in the final act is off the chain. He embellishes the rant with a list of hilarious epithets; a string of nonsense words that – when joined together – surpass anything that Chevy Chase could have ever concocted, let alone said aloud. It contains all the usual hits, such as “cheap, lying, no-good, rotten, four-flushing, low-life, snake-licking, dirt-eating, inbred, overstuffed, ignorant, blood-sucking, dog-kissing, brainless, dickless, hopeless, heartless, fat-ass, bug-eyed, stiff-legged, spotty-lipped, worm-headed sack of monkey shit, ” and builds from there.
Dixon is marvelous, especially as Aunt Bethany, playing sweet, vulnerable, and clearly cuckoo!
Slavinsky goes full Yinzer in several parts of the performance, and it’s magnificent n’nat.
McCune and Masueto garner plenty of laughs as well.
All of the actors double as foley artists, creating raucous, rollicking special effects with the help of sound engineer Brendan Kepple.
Lighting designer Forrest Trimble keeps everything festive. He, literally and figuratively, shines when Clark plugs in the extension cord.
Director Jeffrey Carpenter leans into his cast’s natural talents. Letting Jordan be Jordan and giving the cast the freedom to go as wild as they want. The result is uproarious.
There’s a lot of crude and scatological humor, but if you’ve seen the original movie, you’re most likely aware that it’s coming. See: Cousin Eddie’s most famous line is a prime example.
Instead of watching the same old movies on TV, come out and see one of those Christmas perennials live and in person, or see the film and the Midnight Radio show.
Signing off in 3…2….1.
-MB
“Midnight Radio’s Christmas Vaca-Yinz” runs until December 21 on the Bingo O’Malley Stage at barebones productions, 1211 Braddock Avenue, Braddock, PA 15104. For tickets and additional information, click here.
“Mrs. Bob Cratchit’s Wild Christmas Binge” takes the classic Charles Dickens’ “A Christmas Carol” and turns it upside down.
It starts with the traditional characters of the Ghost (Chelsea Davis) attempting to convince Ebenezer Scrooge (Tony Bingham) that goodness is a virtue and one he should embrace. He’s not convinced.
We’re introduced to some of those characters we’re familiar with from Dickens’ classic. Bob Cratchit (Michael McBurney) is kind, poor, and family-oriented. Tiny Tim’s (Sami Sollon) upbeat personality prevails, and Mr. and Mrs. Fezziwig (Gordon Robertson and Candice Fisher) are as charming as ever.
Tonilyn Jackson as Mrs. Bob Cratchit and Michael McBurney as Bob Cratchit
And then we meet Mrs. Bob Cratchit (Tonilyn Jackson), who is no longer the long-suffering, kind character we remember. She is miserable, mean, and constantly complains. Now burdened with twenty children, she tends to indulge in a drink or two (or more) and continually threatens to throw herself off London Bridge.
Ghost attempts to redeem Scrooge, constantly zapping him with her ever-present wand as she takes him back to the past and into the future. Her strategy to see goodness often goes awry as her wand-driving inadvertently carries both timelines out of step with the story.
The cast of “Mrs. Bob Cratchit’s Wild Christmas Binge.”
This hilarious parody takes on the components of the original classic, elevating it to a new height of absurdity.
Note: And that is the beauty and complete comedy of this production. If you think you hear references to a multitude of other Christmas-themed works, you are right! Flashes from “It’s a Wonderful Life,” “Oliver Twist,” and many more are inserted subtly into the script.
If you’re wondering how this parody ends, I’m not telling. My lips are sealed!
Davis delivers as the Ghost, balancing humor, determination, and constant pressure as she attempts to convince Scrooge to see the light. She effectively manages a multitude of emotions. She is witty, sassy, engaging, and sometimes perplexed.
Bingham is excellent as the grouchy Scrooge. His facial expressions, gymnastics, and bent-over posture enhance his characterization of the “mean old man”. His reaction and antics to children singing “Silent Night” are classic.
As Mrs. Cratchit’s husband, McBurney, constantly sees the positive side of his situation, which is bleak, but he’s too nice to see it. He is always happy and never stands up for himself.
Many of Jackson’s lines are sarcastic and mostly mean. She delivers them with relish, often with a larger-than-life grin on her face. Her performance as a “meanie” is convincing.
There’s never been a Little Nell quite like Gallagher. With long blonde braids and a large dress, and a straight face, he is side-splittingly funny.
Nackman plays Angel Clarence, a character not in Dickens’ original classic. Never smiling and with an enormous set of wings attached to his back, he is not angelic, but his comedy comes from his deadpan expressions, movements, and remarks.
Although appearing briefly, Robertson and Fisher sing a funny duet as one of the few genuinely happy people in the play. Balancing their flamboyant wigs (almost a foot high) while cavorting around the stage is itself an accomplishment.
Sollon’s kind, gentle nature comes through as Tiny Tim.
“Mrs. Bob Cratchit’s Wild Christmas Binge” was written by Christopher Durang. with terrific costume design by Alex Righetti, and excellent direction by Nathan Walter.
-CED
“Mrs. Bob Cratchit’s Wild Christmas Binge” runs from December 4th to December 21st at Little Lake Theatre, 500 Lakeside Drive, Canonsburg, PA. For tickets and additional information, clickhere.
Richard Marsh is quite a bard; he’s written and performed a rhyming “Die Hard.” You don’t need a formal invitation to his one-person show; know that, to the Greer, is the place you must go. Most holiday tales are jolly and gay, but not the tale he’s calling, “Yippee Ki Yay.”
This version of Gruber’s diabolical crime is told completely in meticulous rhyme.
Marsh is on stage alone; no one else has to get ready. It’s just Marsh, and a bear – a bear he calls Teddy. The bear is a stand-in for a terrorist thug, but, honestly, you’ll just want to give it a hug.
It’s all quite insane, he plays all of the parts, including McClane.
“Die Hard” is an action flick and it gets pretty gory. Marsh also slides in a personal story. He spins a tale about his girlfriend-turned-wife. It starts out sweet, but it’s a tale full of strife. The two stories come together, they weave, in a way that you would have to see to believe.
It’s a sweet story of two toothsome lovebirds, they consider each other brilliant film nerds. The two meet and bond over the flick. There chemistry is good, they really click. In a year, the couple’s love grows, soon he summons the strength to propose.
Between his story and “Die Hard” does our actor switch. Its quite a feat for the performer named Rich.
Fans all know what happens on the big screen, McClane’s a hero and Hans Gruber is mean. Meanwhile, if you want some new drama, wait till Rich’s wife becomes a mama.
Looking insane, here’s Richard Marsh as John McClane.
The show’s got quite a kick, man. I loved his impression of Alan Rickman.
The show is amusing, but somewhat confusing. There’s ninety minutes of rhyme, but it goes by quick, a very fun time.
Another Christmas, another year, another rhyming show fills the Greer.
Robbie Butler’s lighting design, is terrific, definitely better than fine.
Voice and accent coach Alice White, keeps Rich’s American accent extremely tight. Marsh does his level best, though he has to explain the word ‘vest.’ Frankly, I hate the word American’s use for said sleeveless shirt. Hearing ‘wifebeater’ makes my heart hurt.
The team also has Hudson and Adams, both men named Ben. Hudson’s the composer and I’d score him ten out of ten. Ben Adams is the manager of the stage, he deserves a mention on this very page.
Who’s the director of this show you might ask? It’s Hal Chambers and he keeps Marsh on his task.
Another Christmas, another year, another rhyming show fills the Greer.
Marsh is terrific, you might even say groovy, but he confirms once and for all that “Die Hard” is…a Christmas movie!
-MB
“Yippie Ki Yay (a parody of Die Hard) runs until December 21 at the Greer Cabaret Theater, 622 Penn Avenue, Pittsburgh, PA 15222. For tickets and more information, click here.
Playwright Caryl Churchill explores multiple facets of modern life, spinning Fortuna’s Wheel, and wrapping her play into the randomness of life in “Love and Information.”
Churchill devised the play so that scenes (or rather, individual short plays with a common theme of love, information, or both) can be mixed and told in different orders, with one character, Gray (McKenna Reiser), providing a sad throughline to hold it all together.
Imagine a play as a jigsaw puzzle: some pieces are beautiful on their own, like a corner of sky, such as “God’s Voice + Dance,” and others are but tiny fragments that don’t make much sense. Other pieces don’t seem to belong, like “Torture,” where a man is beaten for information he never provides (yes, technically on theme, because a recurring idea is the nature of pain, but seemingly brutal for little reason).
There’s a lyrical beauty to “Love and Information,” but there are times when an actor comes on stage, utters half a line of dialogue, and exits the stage. Other times, actors flit about on stage or perform a chaotic ballet that looks like a Stanislavski acting exercise.
You might be reminded of Yesmina Reza’s “Art.” Watching the show, you might ponder such questions as “Is this art?” “Is this art for art’s sake?” “Is it pretentious bullshit?”
The play is, however, a beautiful showcase of a terrific ensemble, a grand experiment wherein actors must memorize material out of sequence (thanks to the aforementioned randomized order).
The cast of “Love and Information” gathers around the television.
This ensemble of actors is exceptional. Each performer gets to play a variety of emotions; each had a moment to shine.
In “Facts” the final piece of the puzzle, Nai’Ron Arnett’s Lime was outstanding.
There is a luminous quality to Alika Samora (who played Green). Her movements were sharp and crisp. Every line delivery was expressive, heartfelt. It was hard to take your eyes off of her when she was on stage.
Don’t count your chickens in front of Mustard (Benjamin Kucharski) and Yellow (Lexi Casey). The two are hilarious in “Lab.”
Jamie Spurrell and Lucas Lee deliver the most shocking scene in a vignette called, “Mother.” Spurrell delivers devastating dialogue with aplomb. Lee’s reaction to the news is also heartfelt and real.
Reiser carries the emotional weight of the show as Gray. She does it with superbly.
The set, by Jonmichael Bohach, is elegant and spartan, a series of polished slabs of squares and boxes, superbly lit by Katie Gordy to give them a futuristic gleam.
Director Carlos E. Martinez is a croupier with a poetic Roulette wheel. His direction is kinetic, visceral. He pushes his ensemble past their comfort zones (with the help of fight and intimacy director Tonya Lynn), and that’s a good thing. His actors are up for every challenge and that’s what makes “Love and Information” a joy to watch.
Because the kaleidoscopic cast members are playing a variety of characters, sexuality is fluid here, and representation matters.
“Love and Information” might not be your cup of tea, but if you want to see some excellent experimental theater in Pittsburgh, this is the ticket.
-MB
“Love and Information” runs through December 7 at the Highmark Theatre, inside the Pittsburgh Playhouse, 350 Forbes Avenue, Pittsburgh, PA 15222. For additional information and tickets, please click here.
In the Robert Owens, Wilton E. Hall Jr, and William A. Miles Jr adaptation of “Orwell’s 1984,” every moment is an alarming wake-up call. Big Brother rails against “fake news” and constantly spouts propaganda over omnipresent two-way telescreens. He broadcasts a daily message of “Today’s Hate.” He touts a multitude of wartime “victories” he claims as his own. Those so-called “victories” are reminiscent of former empty promises heard in the U.S. Let’s not forget, “You will win so much you’ll get tired of winning.” The parallels to the present make this play frighteningly relevant.
In Orwell’s world, “If facts say otherwise, then the facts must be altered.” After all, “Who controls the past, controls the future and who controls the present, controls the past.” This leads to the dumbing down of the comrades living in Oceania. Citizens are living in constant fear in their world of no privacy, memory control, and fear-mongering. They’re bombarded with alternative facts. “Freedom is slavery,” and “Ignorance is strength” are two of the most relevant slogans today.
Ryan Rattley as Winston Smith.
Winston (Ryan Rattley) works at the ironically named Ministry of Truth, where truth is destroyed and replaced with lies. He has in his possession a photograph that provides evidence of a past event that the party has erased. He falls in love with his co-worker, Julia (Veta Piscitella), and has a forbidden romantic relationship with her. The couple meets with O’Brien (Trent Wolfred), a trusted, high-ranking comrade in the privileged inner party. Winston makes the mistake of asking about the past and then acts on rumors of a conspiracy against Big Brother and the government. This lands him and his beloved Julia in a governmental facility where they’re tortured and ultimately brainwashed.
Rattley is a natural on stage. His curiosity, confusion, fear, courage, and pain are conveyed with convincing sincerity and a measure of innocence. Rattley gazes lovingly at Piscitella with a glowing warmth in his eyes.
Veta Piscitella as Julia.
Piscitella is a likable, sweet, feminine Julia. Her delight in shedding the drab uniform coveralls brings a lighthearted moment of normalcy to the colorless sameness of the world, where individuality is squashed. She has excellent chemistry with Rattley.
Trent Wolfred as O’Brien.
Wolfred is well cast as the party loyalist, O’Brien. He looks the part. His nuanced performance reveals a multidimensional O’Brien who is convincingly not who he seems to be — at least temporarily.
In the director’s notes, M.A.C. states, “I hope you don’t enjoy this, but rather wake up.” Mission accomplished. One can’t help but appreciate the talented cast, technical expertise, and the clever, versatile rolling set (Viscaya Wilson, designer). This show is meant to enlighten, shock, and provoke thought, not to provide enjoyment.
Cody Duke’s original musical compositions enhance the action on stage. In the scene where Winston is losing his grip on reality, the dissonant music is wildly effective at creating an eerily alarming mood.
Congratulations to Point Park graduate, Marc Palumbo, the founder of Playbox Productions and the Executive Producer of “1984”. This exceptionally well-done maiden voyage Playbox production is an auspicious start for this new company’s future successes.
-LtTL
Playbox Productions, at Three Stories, 937 Liberty Avenue, Runs December 4- 7. Burgh Vivant followers receive a $10 discount with code VIVANT. For tickets and additional information, click here.
