Category: The Shaker

By Claire DeMarco

Set sometime in the future, Urinetown is gripped by a twenty-year drought.  The government attempts to reduce water consumption by banning private toilets. However, the wealthy continue to have theirs.  People with low incomes are forced to use public bathrooms (controlled by the government) and are charged a fee for their use.  Anyone who fails to pay the cost is in serious trouble.

Caldwell B. Cladwell (Ben Allen Carter) is the executive in charge of Urine Good Company.  He is wealthy, not very friendly, and controls everything concerning water consumption with a handful of cronies.

To ensure that water is conserved, the police, led by Officer Lockstock (Leandro Bilello) and Officer Barrel (Devin Claudio), always hover near the public toilets, looking for problem citizens.  Lockstock is corrupt.

Cladwell’s daughter Hope (Andrea Paulina Robles), having none of the corrupt, unfeeling emotions of her father, wants to understand the plight of people experiencing poverty.

At the same time, she attempts to reach out to the less fortunate, and she meets Bobby Strong (Marshall Benton).  Strong is part of the poorer element and is Penelope Pennywise’s (Morgan Zeidman) assistant in Urinetown.

Hope and Strong meet and have strong feelings for one another.  They are both crossing (or attempting to cross) into worlds unfamiliar to them.

As their romantic involvement grows, they become part of a world that drastically affects both those from the lower class and the governing class.

How or will anything be resolved?   Will life go on in the same way with people separated from one another?   Will Cladwell succeed or will Strong and his contingent?

Carter’s portrayal of Cladwell is over the top.  He’s as cruel as the money-hungry executive but deliciously funny as he contorts and cavorts across the stage.  He has excellent facial expressions and great comedic timing.

As the narrator and policeman, Bilello plays his part with gusto.  He easily transitions from funny to sarcastic to belligerent.  He has great comedy instincts.  How he acts depends on who’s on the receiving end!

As the leading man, Benton plays Strong with youthful enthusiasm, yet he also develops into a strong leader for those caught in the tangle with Cladwell and his company.  He and Robles sing a lovely duet of “Follow Your Heart.”

Jensen is delightful as the precocious Little Sally.  She loves to discuss town happenings with Lockstock, and she appears to stare into space when in deep thought.  Although a juvenile, she has a mature outlook on what’s happening in Urinetown.

Robles develops her character as Cladwell’s daughter from a naïve young girl recently back from college to a more mature woman slowly discovering her father’s evil.  She has compassion for the poor class and falls for Strong.

As the warden of one of Urinetown’s worst public toilets, Zeidman effectively controls her domain.   Although she is part of the public arena, she also commands Cladwell’s attention.  She has no problem meeting, talking, or demanding action from him.

All of the characters are ridiculous and exaggerated.  That’s a compliment!  It does seem absurd to be singing songs about the human function of peeing like “It’s a Privilege to Pee.”  But it’s a clever satire, void of any constraints.

The entire cast is well-balanced.  They are all great actors, singers, and dancers!

Note:  So, whatever you call it – whizz, tinkle, pee, piss, take a leak, or more formally, urinate, when you gotta go, you gotta go! And that’s always a relief!

Music and Lyrics by Mark Hollmann, Book and Lyrics by Greg Kotis.

Conductor Camille Villalpando-Rolla and the orchestra deliver.

Cathleen Crocker-Perry’s creative futurist costumes for those characters associated with the Urine Good Company are unique and striking.

Excellent choreography by Lucas Fedele. Kudos to Director Benjamin Viertel.

-CED

“Uniontown” runs from November 12th to November 16^th at the Pittsburgh Playhouse, 350 Forbes Avenue, Pittsburgh, PA. 15222.  Produced by the Conservatory of Performing Arts.  For tickets and additional information, click here. 

 

By Claire DeMarco

Sierra Boggess has a musical theater resume a mile long. A few of those productions she has been involved with include “The Little Mermaid” (as Ariel), “The Phantom of the Opera” (as Christine), “Master Class,” and “It Shoulda Been You.”  She traveled to Pittsburgh with a handful of those songs plus several stories near and dear to her.

Note:  Although she never mentioned it, Andrew Lloyd Webber said that she has “one of the most sublime voices I have ever worked with.”

Since Sierra played Christine in “Phantom of the Opera”, she knew there were songs from that show that she MUST sing this evening.  Her rendition of “Think of Me” was phenomenal. She sang several of the lines in French, teasingly telling the audience that “I sing it in French cause I learned it.” And a snippet in Japanese!

Many of the songs Sierra sang revolved around stories, especially those that were especially meaningful to her. Sierra was close to her grandparents.  She read several excerpts from love letters her grandmother had written to her grandfather, who was serving in World War II.  They were touching and humorous, delivered with love.  Her exceptional renditions of “Smoke Gets in Your Eyes” and “You’ll Never Know” were a tribute to her grandparents.

Sierra’s last musical was “Harmony,” a show that, unfortunately, didn’t last long on Broadway but held deep meaning for her.  “Every Single Day” was a tribute to that show.

“How Could I Ever Know” was written by Lucy Simon for  “The Secret Garden,” and a recording of Lucy’s voice was woven into Sierra’s version of that song as a beautiful memory of her friendship with Simon.

She’ll be off to London soon, involved in a project that brings her joy.  Plans are underway to record some of the old masterpiece musicals like “Oklahoma”, “Guys and Dolls”, and “Carousel.”  This endeavor is to preserve and record those musicals as they were intended to be heard.  That involves having the full orchestra and the singers in the same room when recording.

Boggess is a natural entertainer.  She has a lovely, powerful voice.  She’s animated and has a natural rapport with the audience, often interacting with audience members.  There is nothing artificial about her. With excellent comedic chops, it seemed natural to see this lovely entertainer make faces, laugh at herself, and tease the audience.

She enjoyed every moment of the evening, and so did we! Excellent piano accompaniment by Joseph Thalken.

The next performance in the 2025-2026 Trust Cabaret Season is on February 16, 2026, featuring Jessica Vosk.

-CED

The Trust Cabaret series is at the Greer Cabaret, 655 Penn Avenue, Pittsburgh, PA 15222.  Learn more about the Cabaret series here.

 

 

 

By Lonnie the Theater Lady

“Nicole Cordoza in Revival” opens with Cordoza literally plucking coins out of midair around the theater. At that time, she’s clad in a form-fitting, sleeveless top that permits no possibility of concealing coins or anything else. That stunning, attention-grabbing trick is the first of many magical moments performed to the delighted amazement of the audience.

Every magician includes elements of their own persona and beliefs in their act. Cordoza is no exception. Her belief in our ancestors passing down inherent memories to us fuels her spellbinding storytelling.  She believes that recognizing the magic within us, stemming from our memories, is the best source of wonder, joy, and revival.

She recounts a true story about the black illusionist and former slave, Henry “Box” Brown. In 1849, to achieve his freedom, he shipped himself, tucked into a three-foot wooden box, from Richmond to Philadelphia. He later used the same box in his magic shows. She honors Brown’s memory with an amazing card trick of transposition (No spoilers here).

Cordoza speaks with a gentle, soothing voice as she spins stories and performs astounding magic using cards, intuition, and coincidences. Her tricks and illusions include a lot of audience participation — all of which emphasize that magic cannot be made alone. We are all connected and must tap into others’ magic to revive ourselves.

Cordoza is a dedicated equity activist and social justice advocate who uses her magic as a vehicle to bring people together. “Reclamation Ventures” is a funding organization she started. It invests in marginalized individuals who are beginning various projects and require financial support.

Cordoza not only entertains with her skillful magic, but she also delivers an uplifting, hopeful message about our inherent personal magic, inclusion, and possibilities. By remembering yesterday and reimagining tomorrow, we can all contribute to a positive change in the future. Her inspiring philosophy is guaranteed to boost one’s spirits and instill hope for a better tomorrow.

-LtTL

The show runs until November 30 at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA 15222. For tickets or more information, click here. 

By Michael Buzzelli

Edgar Allan Poe (Sam Lander) introduces four of his most famous stories in Lawrence C. Connolly’s adaptation, “Mr. Edgar A. Poe Presents: Tales of Mystery, Horror and Imagination.”

From the vast collection of work, the author and poet introduces us to four of his most famous stories: “The Murder of the Rue Morgue,” “Fall of the House of Usher,” “The Telltale Heart,” and his most iconic poem, “The Raven.”

Side notes from the program: The Baltimore Ravens are named after the black bird and the poem, to honor the author.

The four vignettes are each their own play-within-the-play, with a rotating cast of characters.

Lander makes a spectacular Poe.  He immerses himself in a character sketch of the historical figure. From notes and essays, Lander, with playwright Connolly and director Arthur DeConciliis, pieces together a jigsaw puzzle of Poe. It’s a very distinct and interesting model of their subject. With their research, Lander plays Poe with a Virginian accent (with the help of dialect coach Lisa Bansavage), which adds a warm touch to the eccentric author. It’s a star turn for the young actor.

Alex Blair, Jenn Rian, Jess Uhler, and Justin Mohr play a variety of characters from Poe’s stories. In two spooky tales, Mohr plays Dupin, and Mrs. Smith acts as his Watson (Dupin predates Sherlock Holmes).

It’s a fine cast.  However, the French accents are a bit thick and a little challenging to understand in the first vignette.

Uhler gets the only laughs in the show, playing Mrs. Smith with an irresistible charm.

Blair particularly excels when he’s playing the unnamed narrator of the “Telltale Heart.” His character goes from agreeable to agitated to aberrant. Toward the end of the tale, he is frenzied and insane.

Alex Barnhart’s set is a gothic wonderland, with the perfect mix of antique-looking furniture—special shout-out to properties designer Alex Keplar for providing a gnarled and very creepy gorilla hand.

The lighting and the lightning design by Jason Kmetic is phenomenal. During a scene transition, Kmetic creates web designs on the floor to keep our attention while stage crew moves beds, dressers and whatnot.

Costume designer Ricky Lyle manages to make a scary Raven without making it look too much like Moira Rose’s costume from “The Crows Have Eyes III: The Crowening.”  Cah! Cah!

Connolly’s script could use a trim, and there are some unnecessary additions, including insertions of characters into scenes.  For some reason, Connolly pilfers dialogue from Sir Arthur Conan Doyle and inserts it into one of Dupin’s monologues. It would have probably gone unnoticed if it wasn’t such an iconic line.  In the final vignette, Lander could have simply narrated “The Raven,” and it would have been even more dramatic than this reimagined retelling.

While this show is not perfect, it is informative and entertaining. There is an educational value to this show that cannot be ignored. Like Vincent Van Gogh and so many artists and writers who were ahead of their time, Poe was a genius and underappreciated in his lifetime It’s good to know that he’s appreciated in the here and now.

-MB

“Mr. Edgar A. Poe Presents: Tales of Mystery, Horror, and Imagination” runs until November 17 at the New Hazlett Theater, 6 Allegheny Square, Pittsburgh, PA 15212. For tickets and additional information, click here. 

By Claire DeMarco

“Oklahoma” takes place in the early 1900’s before Oklahoma became a state.

Curly (Brian Ferris) is a happy guy, optimistic and obviously in love with Laurey (Anna Chensny).  He’s at the top of his game, joyful in just being alive.  Laurey, also taken with Curly is less outward about her infatuation.  It’s obvious, though, that she loves Curly.

But someone else also loves Laurey but unlike Curly with his upbeat personality, Jud Fry (Brad Smoak) is a dark, mean, sullen and generally unlikeable character.  Laurey does not like Jud at all.  He frightens her.

Aunt Eller (Rachel Fox) is Laurey’s aunt and caretaker.  She’s always looking out for Laurey.

While Curly, Laurey and Jud’s situation is more dramatic and serious, Ado Annie (Paulina Neuschwander) and her love interests offer an infusion of comedy.  Ado loves Will Parker (Ian C. Olson) who in turn adores her.  She also loves Ali Hakim (Connor Brady), a sleazy salesman.

Well let’s just say that she loves the guy that she’s with at the time, whether that’s Will or Ali.  She can’t say no!

Tension between Curly and Jud over Laurey and Laurey’s fear of Jud reaches a climax.

How does Jud ultimately fit into the picture or does he?  And does Ado finally decide which of her two suitors she loves?

“Oklahoma” was the first musical written by the team of Rodgers and Hammerstein.  It debuted in 1943, some 80 years ago.  It had an enormous influence on musical theater since the songs and dance (their meaning and movement) became an integral part of the story line.

Ferris strikes the right chord with both his singing and acting.  He’s a congenial guy full of life and optimism but so believable as he faces off and shows his angry side when confronting a rival.  Great vocals by Ferris on “Oh, What a Beautiful Mornin.'”

Chensny plays the lovely ingenue in love with Curly.  She is innocent but also has a mind of her own.  She and Ferris’s rendition of “People Will Say We’re in Love” is magical.

As the over exuberant Ada Annie, Neuschwander is delightful as the somewhat scatterbrain woman who can’t decide who she loves.  Her wonderful rendition of “I Can’t Say No” says it all.  Along with Olson, she supplies most of the comedic side of the production.

Olson epitomizes the exuberant, heel-kicking, lovable hayseed.  His eyes glaze over as he sometimes is unsure of what’s going on but his love for Ado never wavers. He and Neuschwander make a perfect pair.

Smoak is a tortured soul whose piercing eyes reflect his anger, yet they soften when he is thinking of the woman he loves.  “Lonely Room” highlights his rich, deep voice. He is exceptional as the “bad guy.”

Fox is the consummate organizer, supporter, cohesive overseer of her family and friends, stern and/or compassionate as needed.

Brady is convincing as the wily salesman who doesn’t appear as enamored with Ado as she is with him.

Without speaking a word, Hannah Taylor’s ballet as Dance Laurey is brilliant.

Note:  I struck up a conversation with Roseann Rosnick who was sitting in front of me at the theater.  She is a big fan of “Oklahoma” and actually portrayed Aunt Eller several years ago in another Pittsburgh production.

After the show I asked her what she thought of the production.  Roseann responded: “The entire production was wonderful.  Excellent choreography [Choreographer Hannah Feldhues] and the actors fit the characters.”

I couldn’t agree more, and I’ll add a special hoorah to the entire cast of talented singers and dancers.

This is an exceptional production of a Broadway classic!

Music for “Oklahoma” by Richard Rodgers with Book and Lyrics by Oscar Hammerstein II. Shout out to Music Director Cynthia Dougherty and Orchestra Conductor Chad Dougherty.

Excellent Direction by Rob James.

-CED“

Oklahoma” runs from November 6 to November 16^th at the Andrew Carnegie Free Library and Music Hall in Carnegie, PA.  Production by Stage 62. For tickets and additional information, click here. 

 

By Michael Buzzelli

“Civilization is just a thin veneer. Scratch it, and you’ll find the animals underneath.” 

– Yasmina Reza (Translated by Christopher Hampton)

When a violent incident occurs in a schoolyard, the parent’s step in to mitigate the issue with shocking and hilarious results in Yasmina Reza’s pitch-black comedy, “God of Carnage.”

Veronica (Daina Michelle Griffith) and her husband Michael (Patrick Jordan) have invited the Raliegh’s, Alan (David Whalen) and Annette (Gayle Pazerski),  AKA Woof Woof, over to settle the dispute between their boys. They have differences of opinion on what went down in that schoolyard.

To say “an argument breaks out, and things escalate quickly” would be the world’s biggest understatement.

The play satirizes modern civility, our attachment to our cell phones, and our attachment to all of our material objects. Actually, no subject is off limits in “God of Carnage.” There is a commentary on art, culture, food, alcohol, slavery and, even, oddly enough, genocide in Darfur.

The Novak’s aren’t always a united front against the Raleigh’s. The parents often change allegiances with one another, a twisting Rubik’s Cube of alliances form; Husband against wife. Women against men. Men against each other. Every possible iteration.

Their worst night of their lives is possibly the audience’s best.

This play only works when all four actors are able to commit to the material and deliver superb performances, and this cast nails every single line and gesture.

Griffith is at her finest here. She doesn’t just commit to the bit; she attacks the material with gusto and ferocity. She is marvelous playing the complexities of Veronica Novak.

Jordan exudes charisma as a complicated husband, torn between machismo and the model of the modern man. When Michael tries to deescalate the situation, he infuriates Veronica.  He is emasculated in one moment and empowered in the next, but Jordan pulls it off effortlessly, realistically.

Whalen plays a savage in a suit, a shark of a Big Pharma lawyer swimming toward his next victim. This shark is also broken, especially when he loses his most powerful tool, his precious cell phone. Suddenly, he’s Thor without his hammer, turning into the lame Dr. Donald Blake (the deep cut comic nerd reference won’t be for everyone, but Spider-Man is name-checked in this play).

Pazerski gives a masterful performance as well. Her character, Annette, seems like the meekest member of the querulous quartet, but gains more and more strength as the play moves forward.

The “retired” Tony Ferrieri (no one works as hard as this retiree) creates a sumptuous urban set, a stark monochromatic and stylish set, beautifully enhanced by Andrew David Ostrowski’s lighting design.

Side note: This reviewer has often commented he would like to live inside a Tony Ferrieri set, particularly this production’s set and/or City Theatre’s production of Molly Smith Meltzer’s “Elemeno Pea.”

No spoilers for those who have never seen the show but are some crafty special effects by Tolin FX.

Director Melissa Martin takes the comedy and dials it up to eleven. The tone, nearly impossible to grasp as it goes from biting wit to pratfall, would be challenging for any director, but not Martin. This reviewer has seen other productions of this show, but none have been as laugh-out-loud funny as this fantastic foursome in the Bingo O’Malley Theater.

The show runs a brisk 75 minutes with no intermission, and, frankly, you will either be glued to your seat or rolling in the aisles.

This barebones show is sure to sell out quickly. Pray for seats, your god awaits.

-MB

“God of Carnage” runs until November 23 at the Bingo O’Malley Theater at barebones theater black box theater, 1211 Braddock Avenue, Braddock, PA 15104. For tickets and additional information, click here.

By Michael Buzzelli

Ali (Maya Drake in her professional stage debut) navigates the mean streets of Manhattan while sparring with her mother, Jersey (Kennedy Caughell), and chasing after bucket-drumming street performer, Knuck (Jonavery Worrell), in Alicia Keys’ musical, “Hell’s Kitchen.”

Ali is a latchkey kid in a New York City high-rise. Her mother wants to keep her off the streets, but, of course, that’s where Ali wants to be. Her attraction to Knuck will not be denied; she follows him to work, and they share a kiss in Gramercy Park, thus beginning her “Teenage Love Affair.”

When things go wrong, she seeks refuge in the Ellington Room, where she meets the imperious Miss Liza Jane (Roz White), who teaches her piano lessons. The piano is where Ali discovers her true self.

Jersey, at her wits’ end, calls on Ali’s deadbeat dad, Davis (Desmond Sean Ellington), to help with their child. Unfortunately, Davis complicates matters even more. He trying to be  a good father, but his musical career comes first.

‘Hell’s Kitchen’ is a jukebox musical with a hip-hop vibe. It’s a showcase of phenomenal talent. While there is an incredible display of skills, there isn’t much of a story there. Like all jukebox musicals, the story is hung around the songs, instead of the other way around. It’s a series of life lessons and anecdotes from a fictionalized biographical version of Alicia Keys’ life.

The aforementioned songs, however, such as “Girl on Fire,” “Fallin’,” and “Empire State of Mind,” are all excellent.

Drake is amazing in the lead.  The girl is literally on fire.  She has the charm and charisma of a Broadway star. Even when she’s bowing her head in shame, and she’s just a pile of rumpled clothes and hair, it’s hard to take your eyes off of her.

Caughell is an outstanding performer. Her character’s pain of motherhood feels lived-in, honest, and raw. The woman can belt! She crushes every musical number, especially “Pawn It All.”

Ellington’s Davis is another incredible singer. Davis’s attempt to woo back Jersey is a sexy will-they/won’t they tango in “Fallin’.” The scene oozes with seduction.

White is magnificent as the regal queen of the Ellington Room. She is Ali’s Gandalf, Merlin, and Dumbledore rolled into one—the voice of wisdom in the young girl’s life.

While the sets are simple —a kitchen table, a sofa, and some scaffolding —the visual projection by Peter Nigrini elevates everything, giving the show a sleek, New York vibe.

Camille A. Brown’s choreography is off the chain. The movements are sharp and crisp, jagged poses and jutting arms, thrusting hips. The ensemble dancers, especially Christopher Miller, Mae-Lynn Flores, and Ethan Zundell, contort in magical ways.

Michael Grief’s direction is kinetic. While it takes “Hell’s Kitchen” a minute to get moving, he brings it all together with panache. While Kristoffer Diaz’s book has some notable flaws (including its length), the production was beyond amazing.

The show closes with “Empire State of Mind,” a love letter to New York City in pop perfection. Bolstered by Mayor-Elect Mamdani’s recent win, it was easy to be in a New York state of mind.

While you may only learn a little about Alicia Keys here, you will grow your appreciation of her songwriting expertise, and, if you’re already a fan, “Hell’s Kitchen” is a must-see event.

-MB

“Hell’s Kitchen” plays until November 9 at the Benedum Center, 237 Seventh Street, Pittsburgh, PA 15222. For tickets and additional information, click here.

by Lonnie the Theater Lady

“The Last Five Years”, Jason Robert Brown’s Drama Desk winner, was inspired by Brown’s failed marriage to Theresa O’Neil. She was so disturbed by the content of the show that she sued Brown on the grounds that it violated a non-disclosure agreement within their divorce settlement.

The relationship and marriage of Cathy (Madison Eveland) an aspiring actress, and Jamie (Evan Krug) an emerging novelist, are the basis for “The Last Five Years.”

The timeline of their story is uniquely told— backwards from Cathy’s viewpoint. She starts the show at the end of their relationship. Conversely, Jamie’s story is told from the beginning to the end.

The aspiring novelist, Jamie, is a frustrated Jewish man who is unimpressed with the single women he’s been meeting, until he meets Cathy. He’s enchanted with her because she is so very different from other women he has met.  He sweetly sings, “Shiksa Goddess” with surprise and wonder.

As Jamie’s career explodes, Cathy struggles with hers. This fuels the rift that distances them from each other.

The show has minimal dialogue and depends on the clever, poignant, sometimes comical, lyrics to advance the story. It is far from a conventional musical. It feels like a hybrid of a musical combined with an operetta.

It requires two gifted musical theater performers to make this unusual show work. Eveland and Krug have oodles of both vocal and acting talent. Their strong chemistry and commanding stage presences are compelling. They click– it works.

Eveland’s mercurial vocals range from sweet and demure to powerful and heart-wrenching. The pain and frailty in her voice as she sings “Still Hurting” is excruciating. Her natural, nuanced performance endears her to the audience.

Krug highlights his comedic abilities in “The Schmuel Song.” He seamlessly switches back and forth from Jamie to an old Jewish man, Schmuel. He strikes the right formula of funny, sweet and romantic. His portrayal of Jamie’s transformation from tender, besotted lover to wildly ambitious writer is convincingly well done.

Pianist and music director Justin Feild masterfully tickles the keyboard to accompany the vocals. A few times the piano overplays the dialogue and vocals but mostly the accompaniment delivers a welcome, mood enhancing complement to the show.

Director, Jeff Johnston, deserves congratulations on this first full length show produced by Steel City Cabaret. He guides a crowd pleasing show to a large, sold out enthusiastic audience.

Here’s hoping this enjoyable, well performed show is produced again sometime in the not too distant future. It deserves to be appreciated by more than just one audience.

LtTL

Performed one time (November 3) by Steel City Cabaret in The Cellar at The Original Pittsburgh Winery.

 

by Claire DeMarco

Knobby (Art Terry) waits (somewhat patiently) in his Chicago dance studio in the 1990’s.  He’s expecting a group of singers that he hasn’t seen for some time.  Known as a Doo-Wop group called the Doves in the 1950’s, this former African American group has been enticed to come together again and perform in a comeback tour.  Knobby was the original choreographer/manager for the group and will perform that function again.

Note:  Doo-Wop is a genre of music that originated in African American communities in the late 1940’s.  It became popular in the 1950’s.

The back-up singers from the Doves arrive:  Frankie (Emir Hardy), Vern (Leslie Howard), Harvey (Sam Lothard) and Johnson (Charles Timbers).  Conversation is non-stop as the group catches up with one another about what they’ve been up to currently.  They then reminisce about the past, and their time (both pro and con) on the road. Each man has their own particular memories.

Knobby gets them into a semblance of order, maneuvering them into the familiar steps they performed years ago.  After a few missteps they’re back in the swing again.

Lead singer Roscoe (Kevin Brown) arrives late (to no one’s surprise).  He’s always been a source of contention to the other guys but now his decision about the group could affect their comeback.

Roscoe’s plan is to branch out on his own without the other Doves.  He’s still looking for fame as a standalone singer.  His contract with Eva Dee (Angelique A. Strothers), Roscoe’s wife, holds the key to the Doves’ future as well as the comeback tour itself.

Strothers is a standout. Her acting as the mercurial Eva Dee covers a range of emotions from sassy to vulnerable to dominating. Her singing and vocal range is outstanding.  Excellent rendition of “Is There a Heaven for Folks with the Blues.”

Terry has many functions in his role as choreographer, and he plays them all exceptionally well.  He is a mediator, a mentor, a voice of reason when things go awry.

Still trying to reach the top as a solo singer Brown’s performance covers a wide range of emotions.  He is both cocky and vulnerable.

Timbers’ facial expressions are spot on.  His emotions, whether happy, sad or indifferent are seen through that lens.

Howard portrays Vern as the wise and practical member of the group.  He reminds them of tough times in the South when they were touring.

Lothard’s character loves to eat and his comedy often centers around his need for food even when the conversation is essential for the Doves’ future.

Between the many dance moves and songs Hardy’s eye patch becomes a matter of concern to the guys.  The concern turns into comic interchanges as he confesses that his woman has his artificial eye and is holding it captive.

Manny Walker as J.R., does a great job as Knobby’s young assistant, showing off his youthful moves at the same time enjoying the Doves’ gymnastics as well.

All of the actors are exceptional entertainers.  As a group they are well-balanced and their performances complement one another.

Get ready for an evening with super dancing, singing, splashes of drama and a dash of comedy.

“Get Ready” was written by Jaye T. Stewart and Joe Plummer with music composed by Joe Plummer and lyrics by Joe Plummer, Jaye and Debi Stewart.

Excellent Direction and Choreography by Joe Plummer.

-CED

“Get Ready” runs from October 30^th to November 9^th at the Pittsburgh Public Theater’s Helen Wayne Rauh Rehearsal Hall, 3^rd Floor, 621 Penn Avenue, Pittsburgh PA 15222.   “Get Ready” is a production of New Horizon Theater, Inc. For tickets and additional information, click here. 

 

by Michael Buzzelli

Chairman and CEO Ken Lay (Ken Bolden) is torn when choosing his successor. Everyone thinks he will choose Claudia Roe (Christina Weber), but he pivots and picks Jeffrey Skilling (Joseph McGranaghan) instead, setting up one of the largest corporate scandals in American history in Lucy Prebble’s whip-smart play, “Enron.”

When Andy Fastow (John Michnya) figures out how to hide Enron’s debt in a series of Matryoshka doll corporations, playing the shell game with the books, the new leader doesn’t fire him; he promotes him to CFO. Skilling, an atheist working for the religious (the Republican kind of religious) Lay, has turned greed into his god, displacing Gordon Gekko as Greed’s greatest spokesmodel.

If “Enron” was “King Lear,” Claudia was the Cordelia. While far from innocent, Prebble posits that she would have been a more intelligent choice to lead the doomed company.

Prebble isn’t interested in telling a straight docudrama about the history of corporate malfeasance; she populates the story with myth and metaphor. The Board of Directors is depicted as Three Blind Mice, Fastow’s accounting folders, affectionately dubbed the raptors after the insidious creatures from Jurassic Park, writhe about in the accounting office (though the dinosaurs look more like Sleestaks from Sid & Marty Krofft’s “Land of the Lost),  the Lehman Brothers (Jax RF McAtee and Joes Perez IV) are portrayed as Tweedledee and Tweedledum, the lawyers are gussied up like icons of Justice, and the accounting firm of Arthur Andersen (Jamie Agnello) is a ventriloquist’s dummy.

The cast is huge (bigger than “The Cherry Orchard’), but they are equally talented.

McGranaghan is excellent as the ruthless leader with two Achilles’ heels: his initial affair with Roe and his daughter (Zelda Ungerman, in an on-screen-only appearance).

It’s a star turn for Michnya, a mild-mannered nerd among tech bros who becomes the biggest, meanest bully, still struggling with his inner and outer demons (see: Dancing Sleestak).

Weber plays the tough-as-nails Roe with ingenuity and some integrity (it’s a fraction, but its a slightly higher ground than the other snakes in the pit). The actor gives a strong performance.

Bolden’s Lay is delightful. He plays him as befuddled and bewildered by the stronger personalities in Skilling and Roe.

There are some standouts in some smaller roles; particularly Amy Landis as a no-nonsense lawyer and later as a Southern-fried Congresswoman, Perez in a variety of roles, Tru Verret-Fleming as a lawyer, and Jamie Agnello as the aforementioned ventriloquist at Arthur Andersen.

Co-choreographers Peter Kope and Michele de la Reza are gloriously responsible for the writhing raptors and stock traders wheeling furniture around in a Office Depot ballet.

Director Kyle Haden has an eye for the absurd, but keeps tight reins on the zaniness in favor of the emotional weight of the story, especially at the end when Landis and Parag S. Gohel portray victims of the corporation’s collapse.

The projection design is clever. Kolton Cotton’s stock tickertape is akin to Landru (the imperious god of Beta III in Star Trek’s “Return of the Archons”).

The scenic design by Sasha Jin Schwartz is divine, especially when exiting the show.  There is a reveal (no spoilers) that is stunning and comical as you leave the show.

If you’re looking for an Oliver Stone/Jordan Belfort sort of ” The Wolves of Louisiana Street, Houston, TX” historical drama, you won’t find it here. Instead, you will find a clever, intelligent longform poetic masterpiece on America and how it has failed its people in favor of the almighty dollar.

The show is brilliant, but be prepared to shed a tear for your country, because the Enron corporate greed machine was kindergarten for the slimiest of slimeballs who are now running the U.S.A.

-MB

“Enron” runs from October 30 to November 23 at One Oxford Centre, 301 Grant Street, Pittsburgh, PA 15219. For tickets and additional information, click here.