Author: VivantAdmin

by Mike “Buzz” Buzzelli, ‘Burgh Vivant.

It’s not every day a boy comes flying through your window looking for his shadow, but Peter Pan (Michelle Coben) is no ordinary boy. Actually, in the Pittsburgh Musical Theater’s “Peter Pan,” as many before it, Pan is no boy whatsoever. However, in this review, Pan will be referred to in a masculine pronoun, even though Corben is female.

Wendy Darling (Jillian Ferguson) and her brothers Jonathan (Brecken Newton Farrell) and Michael (Benjamin Godley-Fisher) are preparing for bed, just as their parents (played by Katie Oxman and Tim Hartman) are preparing for a night on the town. Mrs. Darling, however, has a sense of trepidation about leaving the house, mostly because she believes she saw a boy hovering out the second story window. Mr. Darling scolds the dog, Nana (Rush Hodgin), and escorts her out of the children’s bedroom. The watchdog was the only thing keeping the elfin boy and his sidekick Tinkerbell out of their room.

Right after Wendy and her brothers are tucked into bed, Pan shows up to capture his wayward shadow. When Peter Pan flies into the Darling home for the first time, it’s a magical moment.

Peter and Wendy meet. It is a fateful turn of events for both of them. Wendy agrees to fly off with him to Never Land. Accompanied by her younger siblings Michael and John, who are best distinguished by their props, a top hat and teddy bear, respectively, the four prepare for their journey to Never Land (“Second star to the right, and straight on till morning.”)

After a sprinkling of pixie dust, you just need to think happy thoughts, and, before you know it, you’re flying! Flying! Even though the wire is fairly visible, it’s easy to believe in the magic, because, deep down, everyone wants to believe in the magic of Peter Pan.

Soon, we’re off to Never Land where we encounter mysterious mermaids, exotic Indians and an infamous pirate and his inept crew. The pirate, of course, is Captain Hook (Tim Hartman). Hook and his first officer Smee (Quinn Patrick Shannon) are aided by a ghastly group of scoundrels. Arrr, matey, this crew of pirates includes a Pittsburgh Steeler. Charlie Batch is one of Hook’s dastardly deckhands.

There are mermaids, pirates, Indians, dancing animals and fairies. Author and playwright J.M. Barrie threw everything into his classic story about a boy who doesn’t want to grow up. He pretty much stuck in every conceivable character from a child’s imagination. The 1954 musical version still holds up. It’s an exciting show with fun for the whole family. It appeals mostly to children and those adults who refuse to grow up (me!).

Coben is a perfect Peter Pan. She carries a large portion of the show deftly conveying Peter’s personality, with and charm.

Hartman is a delightful Hook. In the manner of the best one-handed pirate captains, he minces and chortles, preens and roars, chewing the scenery with muster. Shannon’s Smee is a great comedic foil to the craven captain.

Ferguson manages to keep up with both hero and villain. She’s a darling Wendy Darling.

With a few notable exceptions, it’s a very, very young cast. Don’t let them fool you. They are very talented kids.

The first scene drags a bit, until Pan shows up. Then, the show zips by.

Barrie’s classic story, even makes you cheer on the contemptuous fairy Tinkerbell, who nearly gets Wendy killed, but redeems herself by drinking poison meant for Peter. Tink is played by a trick of green laser light and a tinkling of the piano, but she is a visceral and vital part of the show. After drinking the aforementioned poison, Peter breaks the fourth wall and everyone is clapping along to save her life. It’s important to note, fairies only survive if you believe in them. I believe.

The costumes are exquisite thanks to Kim Brown of Spotlight Costumes. Tiger Lily (Victoria Buchtan) looked like a dancing sunset. The Indian chieftain and her Indians look particularly beautiful in their flowing polychromatic costumes, especially during Lisa Elliot’s finely crafted choreography.

With elegant costumes, excellent make-up (by Christopher Patrick), great singing and dancing, “Peter Pan” is fun for the whole family.

You don’t need much else to enjoy the show. After all, as the author and playwright J.M. Barrie once said, “All you need is faith, trust and a little bit of pixie dust.”

(“Peter Pan” runs through May 3 at the Byham Theater, 101 Sixth Avenue, Pittsburgh for more information, go to http://www.pittsburghmusicals.com)

-MB.

by Michael “Buzz” Buzzelli, ‘Burgh Vivant.

The green-eyed monster rears his ugly head in William Shakespeare’s “Othello.”

One lone malcontent, Iago (Jeremy Kushnier) decides to stir up a big, boiling pot of trouble when he decides he dislikes the new command structure in his regimen. The vicious ensign launches a treacherous campaign to undermine his new general, Othello the Moor (Teagle F. Bougere).

WATCH/LISTEN: ‘Burgh Vivant’s interview with Broadway actor and musician Jeremy Kushnier.

Iago struts and frets about the stage with malicious glee. First he poisons the mind of Roderigo (Christopher Michael McFarland) when he learns that the Moor has married Desdemona (Amanda Leigh Cobb) in a secret ceremony. Iago and Roderigo approach Othello’s newfound father-in-law, a Venetian senator named Barbantio (Edward James Hyland), who was unaware that his daughter married the black general. Barbantio is unhappy with the new marriage, but when Desdemona gives an impassioned speech about her new husband, the senator racism melts away. If only all senators can be dissuaded from racism as easily (Hello, 21^st Century America, I’m looking at you).

The Duke of Venice (David Whalen) orders Othello to Cyprus to quell an uprising of Turks. Othello takes his Venetian army to the isle. Along with his assemblage of soldiers, he takes his new lieutenant Cassio, Iago, and Iago’s wife Emilia (Jessica Wortham), who also happens to be Desdemona’s attendant.

By the time they arrive in Cyprus, the Turkish soldiers have withdrawn when a frightful storm destroys their fleet. The Venetian forces celebrate, all but Iago, who uses the peacetime to wage an internal war. He pollutes Othello’s mind with thoughts of jealousy. Othello demands proof of his wife’s infidelity, and, as luck would have it, Desdemona drops a handkerchief.

Yes. A handkerchief! The fate of so many lives revolve around a tiny square piece of cloth. But this handkerchief is nothing to sneeze at (so to speak).

Iago plants the hanky on Cassio and seals his fate. “Othello” is a famous tragedy, so we know things aren’t going to end well. In the final act, the body count rises. Not as many die here as in “Macbeth” or “Hamlet,” but it’s a bloody final act.

And while the play is titled “Othello” but it is clearly Iago’s show. Kushnier does a superb job as the malevolent adversary. Iago is one of Shakespeare’s most sinister villains, often considered such because of the unique trust that Othello places in him, which he betrays while maintaining his reputation of honesty and dedication. Othello frequently refers to his ensign as “Honest Iago.” The incongruity of the appellation causes raucous laughter.

Actually, for a tragedy, “Othello,” under Ted Pappas’s direction, is played big and broad, and there are plenty of laughs. Most of the humor stems from Iago’s ignoble acts. He slithers about drawing the unsuspecting into his lair. Kushnier is a masterful villain. His scenes with the unwitting Roderigo are a joy to watch. Thanks to the talents of both men.

Any lesser actor would let Kushnier usurp the show from the titular star of the tale, but Bougere is more than a match for him. Othello’s jealousy is visceral, palpable. His rage shakes the stage. He commands the stage, chewing the sparse scenery. Some may find the show over-the-top, but Shakespeare is meant to be played to the highbrows and the cheap seats.

Because it is a show about soldiers, there are very few women around. Two of the roles are stereotypes (Madonna and whore), the fair and chaste Desdemona (a solid performance from Cobb), and the sly and lascivious Bianca (deftly played by Robin Abramson).

However, there is a third woman, Iago’s wife, Emilia. Her role is the juiciest of the female roles, even though could easily be considered “info-dump,” because she parses out a good deal of exposition in the play’s final moments. Wortham finds nuances in the character. It’s another terrific performance in a show filled with terrific performances.

Normally, the Pittsburgh Public Theater wows the audience with scenic design. Scenic Designer James Noone’s set is magnificent and austere. It’s a bit more Spartan than usual, but it works well for this production.

William Shakespeare’s birthday is April 23. I can’t think of a better way to celebrate.

(“Othello” runs till May 17 at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information, go to www.ppt.org)

-MB.

by Mike “Buzz” Buzzelli, ‘Burgh Vivant.

A stoned out lawyer, Dixon (Quentin Mare), and his frazzled, uptight wife, Pam (Lisa Velten Smith), struggle with their daughter’s unusual decision in Carly Mensch’s “Oblivion.”

It’s become a postmodern trope; the only way to rebel against iconoclastic parents is to go in the opposite direction and become more traditional. The plot has been around since “Family Ties.” In this case, Dixon and Pam’s daughter, Julie (Julia Warner), wants to be baptized Christian.

The aforementioned daughter has been sneaking off to a Korean Baptist Church with her bestie, Bernard (Christopher Larkin). The play opens when Pam suspects that Julie didn’t go off to a trip to Wesleyan University as planned. Secretly, she and Bernard went off to a church retreat where ate a pancake breakfast, prayed, and learned wood-carving. Her parents suspect that she was up to much more devious activities. It turns out that said parents would have preferred that she went off on a drug-filled orgy instead. When the secret is finally revealed, it shatters the family’s domestic bliss, sending Pam into a total tizzy. To be fair, most of the domestic bliss between Dixon and Pam comes after a few puffs off a joint.

Once the cat is out of the bag, Pam finds other cats in the bag; unlocking a secret about her spouse that sends her into Tizzy Number Two.

P.S. There’s also a strange subplot about Bernard’s infatuation with late film critic Pauline Kael. It’s odd because Bernard knows intimate details of her life, except that she passed away in 2001 (it’s the first thing that comes up when you Google her).

“Oblivion” is a comedy, and, in the traditional form, it is. It’s just not laugh out loud funny. The play does pose a few very interesting questions. Is spirituality an archaic notion in the 21^st Century? Can God give someone a sense of fulfillment, if He can’t be seen or heard? If you have an idol and a laptop, shouldn’t you know if your idol is living or dead? Sorry, the Pauline Kael thing is hard to get past (probably because I’ve also worshipped at her altar).

There’s one other niggling thing that could be fixed in a rewrite. Julie doesn’t seem to be learning anything about forgiveness at the Korean Baptist Church. She rails against her mom in the entire first act. It makes it easy to sidle up to Pam’s POV. She talks a lot about Jesus, but walks around with deep-seated anger at her mom. What is that church teaching her?

It seems “Oblivion” was written for film or television. While brisk to-the-point scenes are appreciated over lengthy, wordy ones, the scene changes are overwhelming. Director Stuart Carden could have simplified the movement a bit, especially since the actors are pulling double-duty as stage hands. It’s like aerobic exercises with a sofa and coffee table instead of barbells.

Luckily, these furniture movers happen to be extraordinary actors. Carden cast it well. Mare hands in a stellar performance as the clueless but caring father, Dixon. He also has the best lines in the play. Larkin is delightful as the budding auteur, Bernard. Warner was perfectly cast (there’s a “Julie & Julia” joke in there somewhere, but I just can’t get at it).

Though it was tough to sympathize with Pam, Velten Smith won me over with a simple gesture in the final scene.

Side note: Pam also had the best wardrobe. Cheers to Costume designer Angela M. Vesco for making look comfortable yet elegant.

Though it had a lot of moving parts, the set is a masterpiece from Gianni Downs. On Tuesday’s show, a few audience members were so enamored of the bevy of trinkets on stage that they wandered up onto the set during intermission and gawked at the gewgaws up close. Luckily, they returned to their seats before the ushers escorted them off.

There’s a lot of moving parts in “Oblivion,” metaphorically as well, and they do come together in a satisfying way. However, like Julie after her baptism, I stood up and said, “Is that it?” The City Theatre has set unusually high standards, and, because of that, I was expecting something greater.

(“Oblivion” runs until April 26 at the City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. For more information, call (412) 431-4400, or go to www.citytheatrecompany.org)

-MB.