Inside dish on interviews, editorials, events listings, musings from the minds of BV’s contributors, viewer mail, and other bits of fabulousness — It all goes into The Shaker, ‘Burgh Vivant’s bacchanalian bulletin board. Saddle up to the bar, and get ready for another round of what’s shakin’!
The Iron Horse Theatre Company made the bold choice to produce the complex “Painting Churches”, a 1984 Pulitzer Prize finalist, Tina Howe play that digs deeply into the impactful mother/daughter, father/daughter and husband/wife relationships. It explores familial love frequently clouded by hurt, anger, frustration and disappointment.
The play begins with Gardner Church (Patrick Conner) and Fanny Church (Lynne O’Meara) excitedly anticipating a visit from their daughter Mags (Sarah Brunner), a successful portrait painter who will be arriving in Boston from New York City, where she lives. She’s planning to not only help her parents pack up their belongings in preparation for their upcoming move to Cape Cod but to paint their portrait, as well. (Get it–Painting Churches)
It becomes glaringly obvious that this is a family that doesn’t listen to each other. They talk over each other, none of them hearing a word the others are saying. They often don’t bother to even look at each other when they “converse.” They take the “fun” out of dysfunctional family dynamics.
Brunner’s Mags wants nothing more than validation from her mother and approval from her father. Her moods swing from childlike, giddy giggling when she’s feeling validated to anger and despair when she’s not getting the reaction that she so desperately wants from her parents. She’s as disappointed in them as they are with her.
O’Meara’s Fanny and Conner’s, increasingly demented, Gardner have an intricate relationship where they sometimes slip into their own silly, imaginary world excluding Mags.
The cast of “Painting Churches,” from left to right: Lynne O’Meara, Patrick Conner and Sarah Brunner.
O’Meara fluctuates from showing a demonstrative, fawning, lavish love for her husband to cruelly ridiculing him for his incontinence. She is self-absorbed, often cold and narcissistic. Her fascination with garish, quirky designer hats is a welcome humorous depiction of one of her many idiosyncrasies.
Conner has the difficult task of portraying a man with dementia. He’s sometimes very clear minded—especially when it’s time to enjoy drinking a glass of Dubonnet! At other times he’s frustrated, angry, confused, clownish and childlike. Conner shines in a beautiful moment of clarity when he lyrically recites, from memory, a poem by Yeats. Moving and memorable scene.
The sweet, tender last scene with Conner and O’Meara slow dancing makes it clear that although tenuous, the two are still clinging to their fragile humanity. Touching and heartwarming.
Note: This was my first visit to the Iron Horse Theatre. It’s a charming intimate, newly remodeled space. The cozy lobby is decorated with a few candlelit high top tables. The lovely outdoor courtyard adjoining the theater is the ideal place to relax and have a drink before the play or during intermission. Upstairs, the welcoming lounge features comfy sofas and a bar area stocked with snacks, soft drinks and wine. The art work and hanging photographs displayed throughout add to the warm, inviting, ambiance.
*An added bonus is the free large parking lot across the street from the theatre, in addition to plenty of on street parking in a quiet residential area.
-LTL
“Painting Churches” runs until August 24 at the Iron Horse Theatre, 348 Maplewood Avenue, Ambridge, PA 15003. For more information, click here.
Growing up, I always wanted to be a superhero like Batman or Spider-Man. All these years later, the only thing I checked off the list was similar trauma. Donning a mask and fighting for justice was simply a pipe dream of childhood, and, admittedly, four-ish years ago. Much like superheroes and Constantinople, justice doesn’t exist in this world. And while I’m too dumb to be a supervillain (I was not a STEM student, obviously), I think I could convince some people to lace up a pair of Nike Decades. It’s at this unsettling intersection that we become immersed in the world of the latest production from The Rage of the Stage Players and writer/director/producer James Michael Shoberg, “Mor Dred,” now running at the Margaret Partee Performing Arts Center in Bellevue, PA.
Taking inspiration from both comic books and Arthurian Legend, this show acknowledges said inspirations but blends them with plenty of originality to create something truly unique. Well researched and full of Easter Eggs that would evade even the most ardent literary scholars and historians, James Michael Shoberg combines drama, tragedy, and heaps of humor to craft a tale that takes somewhat familiar characters on a wild and wordy journey through the darkest recesses of our world. Throughout the story, many powerful themes like vigilantism, the role of police, good vs. evil, and so on, are brought up and handled with seasoned consideration. His phenomenal writing is best realized with him at the helm, which is why he serves as director and producer, not to mention a few other duties. Knowing the script inside and out, over the course of all of its permutations, lends itself to him eliciting the best possible performances out of the actors involved.
Luke Frederick is Mordred in “Mor Dred.”
Powerful performances populate this production. Boasting a smaller-than-usual cast size for a Rage show, “Mor Dred” offers the actors involved more of an opportunity to showcase their talents and their respective characters, especially with a handful of characters existing solely on video.
Luke Frederick delivers a truly mesmerizing performance as the man himself, Mordred. Just like infamous Beach Boys fanatic, Charles Manson, Mordred doesn’t need to actually carry out any deeds. He simply inspires chaos…and people to scrawl misspellings in blood on walls. Frederick appears to be superpowered himself, tapping his unmatched energy to display his fine-tuned prowess.
Arcturus aka Arthur Pendragon is played by Hozier…er, I mean, Cameron Webb, who also handles the intimacy choreography. He masterfully balances Arthur’s two lives/personalities like he’s the one with an actual secret identity. It’s as Arthur he really steps into his role, bringing a nuanced realism to the splintered psyche of a powerful person.
Anthony Babeaux is beautifully pathetic as Agravain, Mordred’s desperate acolyte. His slimy physicality mixed with outrageous dialogue allows him to shine, albeit through the dirt and grime he’s collected from his days as a street urchin.
Gwen Grant, the Lady Guinevere of Rage’s world, is brought to life by Sophia Clegg. Conflicted as soon as she’s introduced, Clegg helps Gwen to be seen as a complex character whose true self is camouflaged by the various masks she wears in an attempt to enjoy the spoils of her deceit.
Bill Herring delights and disgusts as Dr. Ambrose Merlin, Arthur’s father figure and most trusted ally amongst the city’s elite. Simultaneously conniving and charming, Merlin’s magic comes from Herring’s ability to wield those two attributes so well. Monologues that would lose steam delivered by most other performers are made engrossing thanks to him.
Weapons master Justin Havens gives a solid performance as the physically imposing and morally compromised Officer Lance Dulac, Arthur’s best friend and biggest critic of Arcturus. His biggest strength, aside from brute force, is his ability to convey so much nonverbally.
Lindsay Glover is absolutely intense as Morgan Cornwall/Morgan Le Fay. Despite showing up a little later than some of the other characters, Glover quickly makes up for it with a malevolent magnetism that could sway the most principled do-gooders.
Mayor Stone oozes into existence with greasy ease thanks to the awesome Kevin Mahler. Playing such a repugnant individual isn’t for the faint of heart. Luckily for audiences, Mahler fully embraces the character, committing to his pitiful and occasionally physical antics.
The newscasters and disembodied voices are a nice addition to the regular cast, as they help to develop and flesh out the world a bit more. Not only do reporters like Chrétien Troyes (Joseph Stammerjohn) and Malory Thomas (Carrie L. Shoberg) serve as bookends to the story, but also as creative exposition. Andrew Lasswell, aside from his contributions to film segments, sound design, and original score, is fantastic as Geoffrey “The Mouth” Monmouth, a ranting and raving nutcase with a catchphrase to make him one of the most unforgettable parts of the show.
Technical aspects are phenomenal. Being that they are such an integral element of the show, it puts a lot of extra pressure on the crew to make sure that everything is as it should be. Everything, from the lights and sound to the program, is astounding, especially given the congested time frame it was all accomplished in.
Multimedia is at the heart of this production, not just in influence, but in its execution as well. Screens are most notably used to run the news segments but are eventually employed to display comic book panels that elevate and enhance the story. Not to be limited by the trappings of an ordinary piece of theatre, “Mor Dred” is replete with plenty of techno-wizardry to set it apart from anything seen before.
Costumes and props, along with prosthetics by Eric Valko, are absolutely marvelous in this show. Masterminded by Carrie L. Shoberg, with assistance from Brittany Spinelli, these elements are a terrific complement to Shoberg’s and Spinelli’s set decoration, from a set designed by Robert Hockenberry and constructed by Justin Havens, Bill Herring, and production manager Jen James, all tied together by scenic artist Rachel Roach.
Margaret Partee Performing Arts Center is a wonderful venue and such an asset to the community, and to Pittsburgh’s theatre scene as a whole. While it primarily serves The Pittsburgh Savoyards as their home base, allowing other companies/productions and even artists working in other mediums, like comedy or spoken-word or music, can really benefit it continuing to be a staple of Bellevue. Its existence is testament to the fact that smaller places can host big stories.
The Rage of the Stage Players are a collective of unorthodox artists who passionately strive to bring boundary-pushing productions to stages around Pittsburgh, and beyond. Curated over the course of a multitude of productions, this Ship of Theseus-style outfit is full of talented and driven folks who manage to put on some of the most interesting and original shows ever conceived. It’s absolutely incredible that this nomadic ensemble is able to stage such productions without a permanent venue of their own—a perfect example of how dedicated artists can still create great shows. They are instrumental in keeping Pittsburgh theatre weird and entertaining, and we hope that’s the case for a long time to come.
-JS
“Mor Dred” continues its runs until August 16th at the Margaret Partee Performing Arts Center in Bellevue, PA. For more information, click here.
On one fateful night, under the full moon and a multitude of stars, anything can happen, confessions of unrequited love, acts of kindness or cruelty, deep desires quenched and unquenched, maybe even forgiveness. All of those things and more could happen in Eugene O’Neill’s “A Moon for the Misbegotten.”
Things are rough for the Hogan family in 1923 Connecticut. They are tending to the farm on land owned by the Tyrone family. Phil Hogan (Wali Jamal) is a drunkard and tyrant. He has driven his three sons away. The youngest, Mike (Jordan Drake) runs away with the help of his sister, Josie (Melessie Clark).
Josie is the only one who seems to be able to stand up to Phil, her father. She knows she’s strong, but she doesn’t know she’s pretty. She talks a big game, but most of it might be false bravado.
Then, James Tyrone, Jr. (Brett Mack) walks up from the main house.
Side note: If the name James Tyrone, Jr. sounds familiar, you might remember him from “A Long Day’s Journey Into Night,” another iconic Eugene O’Neill play.
James is itching to tell the Hogan family (not to be confused with 1986 Valerie Harper/Sandy Duncan sitcom, “The Hogan Family”) that T. Steadman Harder (Allen Law) is coming to visit.
The Iceman cometh and he’s pissed. Hogan’s pigs have gotten into his spring water which will taint the batch of ice. Harder threatens to buy the Tyrone estate from James and throw the Hogan’s off the land. James, an alcoholic who wants to leave town and go back to the city, is intrigued by the offer, but he promised to sell the land back to the Hogan’s.
Phil concocts a scheme to get James drunk, catch him in bed with his daughter, bilk him out of money and secure the land. Josie believes Phil’s devious plot and goes along with him in his scheming.
James and Josie decide to meet up under the moon for a romantic interlude.
When James finally arrives, he’s is drunk, but Josie quickly forgives in order to execute the plan. Things take a variety of turns and Josie Hogan and James Tyrone take a long night’s journey into day.
Josie (Melessie Clark) cradles James (Brett Mack) in her arms in “Moon for the Misbegotten.” Photo credit: Jason Snyder.
The plot is simple, but the language is dense, poetic. O’Neill is the first to admit that nothing is simple to understand in the world (a line from the show). Humans and their spectrum of emotions are complex. Anyone who has ever been in love with an alcoholic will feel a special connection.
It is a story of buried emotions that bubble to the surface. It is profound, lyrical, beautiful. There is a reason that Eugene O’Neill was classic American playwright alongside Tennessee Williams and Arthur Miller.
Clark is spectacular as Josie Hogan, the indomitable daughter. She is tough, strong and beautiful, but also deeply vulnerable. She is everything Josie needs to be and more. She adds a layer to the character that deepens Josie. This is coming from a longtime Colleen Dewhurst fan (Dewhurst played the character in a 1975 film version).
Jamal shines in the role of Phil Hogan. He gets some of the best comedic lines in the show and he delivers them flawlessly.
Mack does a terrific job as James Tyrone, Jr. The chemistry between Mack and Clark is undeniable. It is palpable.
Stephanie Mayer-Staley’s set is a work of beauty, the elegant skeleton of a shack set against a verdant hillside.
Side note: Mike’s pitchfork is pitch perfect, a rusty three-pronged garden tool that matches the set, an excellent find from the Emily Landis, the assistant scenic designer, props artisan and scenic painter. It’s astounding how a perfect prop can add to the magic of the evening.
C. Todd Brown’s lighting design set the time and moment. You didn’t need to imagine the moonlight, or know that dawn was approaching. His lighting design clued the audience in.
J. Cody Spellman directs a taut and suspenseful drama, an extraordinary story about ordinary lives. The story is timeless.
All Quantum Theatre shows are unique experiences. “A Moon for the Misbegotten” is unforgettable, set on the shooting range of the Longue Vue Country Club, where broken clay skeets litter the path to the outdoor venue.
The final moment, Mack ascending a flight of stairs, is a poetic and fantastical end to the drama. “Misbegotten” will not be forgotten. It is a powerful story well told.
There’s a plethora of material written by Dr. Seuss (Theodor Geisel), the beloved children’s author and poet, but Lynn Ahrens and Stephen Flaherty (with some help from Eric Idle) have distilled some of the iconic author’s stories into song in “Seussical.”
The Cat in the Hat (Beth Malone) meets up with JoJo (Henry Thomas) and tells him an extended, remixed version of “Horton Hears a Who.” Horton (Jacob Keith Watson), a talking elephant, discovers a microcosmic world populated by teeny, tiny people.
Nerd Alert: “Horton Hears a Who” was first published in 1954, long before Stan Lee and Jack Kirby invented the Microverse in Fantastic Four #16 (1963).
The Mayor (Devin Neilson) and his wife (Laura Guley) are concerned about their world as it drifts aimlessly on top of a speck of dust until Horton hears their pleas and rescues them.
Horton makes friends with the Microworlder, the aforementioned JoJo. A Sour Kangaroo (a gloriously bigger-than-life drag diva Darius Harper) thinks Horton is one peculiar pachyderm. She enlists the aid of the Wickersham Brothers, a ragtag group of monkeys (Zephaniah Divine, Ian Dominguez Ball, and Davis Wayne) to get the Who’s from Horton.
Gertrude McFuzz (Susana Cordón), a bird with substandard plumage, is Horton’s fine feathered friend, who is not-so-finely-feathered. She is tormented by Bird Girls (Kylie Edwards, Jessica Ice, and Brittany Pent Rohm), basically, avian Mean Girls.
The plot doesn’t matter. “Seussical” has the LSD trip-feeling you’d get from classic Hanna-Barbera Saturday morning shows like “H. R. Puff ‘N’ Stuff” and “Lidsville.” The animals talk, birds and elephants can fall in love, and the microscopic mayor’s son can make a big difference.
The colorful cast of “Seussical.” Photo Credit: Kgtunney Photography
“Seussical” is silly fun. When Seuss couldn’t find a rhyme, he created a word and wedged it in. I was ga-fluppted by every zizzer-zazzer-zuzz and zong! The whole thing made my mind murky-mooshy!
Warning: If you take a child, they are likely to catch the performance bug, or, luckily, enjoy a lifetime of live theater. “Seussical” could be a gateway drug for theater.
The performances are spectacular. Thomas is adorable as JoJo. He has superstar potential. He’s a terrific singer and actor.
Malone’s Cat in the Hat makes the most of her role. She’s more of a narrator and crazy side character than hero of the story, but Malone steals every scene, as any hat-wearing-cat should. She gives off Robin Williams vibes, in a zany and in-on-the-joke kinda way. She’s giving full razzmatazz (not a Dr. Seuss word).
Cordón is a standout here. She gets some great moments and uses them to her fullest potential.
Harper sashays around the stage as if they own it. They are Fabulous with a capital F.
Side note: While the Cat in the Hat’s hat is red (and white), MAGA hats might want to stay away from a show that has a drag queen Kangaroo.
There are some amazing costumes from Leon Dobowski (with some of the original costume designs from George Bacon), particularly the fish. The fish were kaleidoscopic marvels. Yes, there is a red fish and a blue fish, dancing along to some great choreography by Robbie Roby to excellent music by Catie Brown.
Director Michael Heitzman kept the whole rigamarole (another actual non-Seuss word) moving.
To quote Dr. Seuss (in “One Fish, Two Fish, Red Fish, Blue Fish”), “Oh me! Oh my! What a lot of funny things go by!”
If you have children, go. Oh! This should be one of the places you’ll go!
-MB
“Seussical the Musical” runs until August 4 at the Byham Theater, 101 Sixth Street, Pittsburgh, PA 15222. For more information, click here.
By Lonnie the Theater Lady (with some assistance from 12 year old Theron Raymond)
As we entered the South Park Theatre, Theron exclaimed, “The lighting is amazing!” The other worldly purplish lighting (Liam Grande,designer) on the versatile celestial set, enhanced by a star studded night sky in the background, (Alex Keplar, designer) define the mood for this cosmic show. The tone is further enhanced by the musical numbers, all related in one way or another to space and the cosmos. (Joe Eberle, sound design. Asley Manion, sound composition.) A very effective loud humming/rumbling sound is employed at times. It’s unclear if the sound represents the sound of the object nearing the earth or if it indicative of the rumblings in Dr. Cummings mind. Either way, it’s effectively disturbing.
Dr. Lynn Cummings (Naomi Grodin), a renowned astrophysicist is dealing with some difficult challenges. Her beloved husband died suddenly two years ago and then she is diagnosed with a serious health condition. As if that’s not enough, she’s misquoted by a less than ethical reporter, Jason Harper (Cameron Nickel) who writes an article about an unidentified meteor like object that is speeding towards earth. The out of context quote leads to her being put on an involuntary leave of absence from her job as a college professor.
Circumstances lead Dr. Cummings, her daughter Olive (Katie Kerr) and Jason to an observatory out in the middle of nowhere where they observe the object as it flies by them. The observatory is at the point where the rock passes Earth at its closest proximity. While they are there, an unexpected, unnamed visitor (Mary Meyer) from an undetermined place appears to Dr. Cummings.
There are a lot of clever, funny lines in this play, and at the same time many serious topics are addressed. Life after death, the point of life, ethics in journalism, mother/daughter relationships, and faith versus science.
From Left to Right: Naomi Grodin, Cameron Nickel, & Katie Kerr in “A Rock Sails By.”
Grodin’s remarkable performance delivers a relatable character with facial expressions that mirror her every emotion. Her face telegraphs grief, confusion, fear, anger, amusement and love for her daughter. Her lack of expression, on the occasions when she lapses into what can best be described as a fugue state, is notable as she has a completely blank look on her face, devoid of any emotion. She embodies her character with nuance that shows both toughness and vulnerability. Wonderful seeing her on stage again after a 13 year hiatus.
Nickel goes through a believable transition from a likable, somewhat unethical reporter to a contrite, charming, more principled man.
Kerr has a real chemistry with Grodin making their loving, complex mother/daughter relationship organic and authentic. Her fresh innocence shows that she and her mother have more in common than she would like to admit.
Meyer, the mysterious messenger from the unknown, provides energetic, somewhat frenetic comic relief. Her humorous delivery of the deep, thought provoking questions she poses is a sheer delight. Coupling that with her amusing physicality makes for hilarity!
Danette Pemberton skillfully and convincingly plays four very different roles. She’s somewhat of a quick change artist!
Melissa Hill Grande (director) pays close attention to the pacing and rhythm of the play which is instrumental in the providing the ebb and flow of the changing landscape of moods throughout. Ranging anywhere from melancholy and grieving, to hopeful and forward looking.
This thought provoking, engaging, witty, complex show with a somewhat supernatural feel to it is sure to spark some vigorous discussions. As my companion Theron observed, “I like the way the ending is sort of a mystery.” And, I must say that I concur!
-LTL (with TR)
“A Rock Sails By” runs from July 25 to August 10 at the South Park Theatre, Corrigan Drive & Brownsville Road, South Park, PA 15129. For more information, click here.
Growing up, house shows were the best way to be exposed to live entertainment. What could be better than enjoying underground art being made in a house none of the artists own? Now that we’re older, it’s comforting to know that house shows are still a thing. Only someone’s parents’ garage has been replaced with an Airbnb, and the post-hardcore band we saw has been swapped with an experimental theatre company. And apparently everyone is now really confused when I get up to do my spoken word set. But that’s no matter because Vigilance Theater Group’s latest production, Hide, directed by Brooke Echnat, is bound to confound, terrify, and entertain its unprepared audiences in its cozy Highland Park neighborhood.
Written by Sean Collier, Hide offers theatergoers a glimpse into the life of the dysfunctional Mercer Family. However, unlike a typical play, the story doesn’t just simply unfold before one’s eyes, it invites one to be a part of it. Folks are encouraged to schmooze with the characters—for any socially anxious patrons, conversation isn’t mandatory, and the performers are fantastic at coaxing even the most reluctant into chatterboxes. Parts of the house, like the bathroom, are open to explore. Throughout the rest of the show, the immersive aspect mutates, as does the role of the audience. All of this is brilliantly in balance with a solid narrative. A risk of immersive theater is that story suffers in favor of gimmick, this isn’t the case here. Everything is fleshed out and metered masterfully. I’d love to explore this world more, especially in such an imaginative way.
A photo from the interactive set of “Hide.”
Performances are stellar across the board, most notably the cast’s ability to improvise. It is interesting to notice how characters act amongst the crowd in the living room, with particular characters elsewhere, or just with the audience. The dynamics seem realistic and seasoned. Everyone helps make the world seem lived in, as opposed to only existing to showcase some drama. Aside from the off-the-cuff stuff, the prepared parts of the script are terrific too. Tension, humor, love, forced civility, make one forget they have been granted access to a fictional world. Kudos to the incredibly talents of Marisa Postava, Maddie Kocur, Bradleigh Bell, Tamara Siegert, John Feightner, Sarah Dugan, Tyler Ray Kendrick, and Allie Lampman-Sims.
From a technical perspective, this production is awe-inspiring. Unlike more traditional theatre that isn’t as reliant on everything working smoothly, immersive entertainment must maintain the illusion to keep folks appropriately engaged. Add the fact the crew has to work in a space that isn’t normally used to stage shows and a space they do not own, makes it all even more challenging. From the wrangling of curious wanderers, to the costuming, to the props, to the lights and sound, to the amusing easter eggs amongst the books, CD’s, and DVD’s, and beyond, these crew members outdo themselves.
Highland Park is a beautiful area of the city that immediately conjures images of nice neighborhoods and memories of the zoo. It’s really cool to be able to not only see a show out that way, but also to see it in such an unconventional space. While this particular location may or may not continue to moonlight as a theatre, I hope that the spirit of hosting house shows and staging events in atypical areas becomes more of a trend.
Vigilance is a theater company that passionately pushes the medium forward. They eschew the passivity that is pervasive in a lot of theatre, and instead, advocate for more demanding productions that share powerful messages, whether they be completely original works or wild interpretations of more familiar fare. Pacifying people with run-of-the-mill entertainment is easy. Crafting an experience that will be sure to stimulate and stick with them, not so much. But time and time again, Vigilance Theater Group puts on a show that does exactly that.
JS
“Hide” runs Friday, July 26th-Sunday August 11th in Highland Park. For more information, click here.
Reviewed by Dr. Tiffany Knight Raymond, PhD and Theron Raymond (rising 6th grader)
The newly remodeled Greer Cabaret Theater plays host to Pittsburgh CLO’s Young Frankenstein, a book by Mel Brooks and Thomas Meehan, and music and lyrics by Mel Brooks.
The show has a redwood’s worth of meta tree rings to unpack. This production is the 2017 version of Young Frankenstein, which is an edited version of Brooks’ 2007 musical of the same name, which is based on the 1974 Mel Brooks and Gene Wilder film, Young Frankenstein, which was created as a parody of the classic horror genre, specifically the 1931 film, Frankenstein, which is based on Mary Shelley’s famed 1818 novel, Frankenstein. That’s quite the monster mash-up.
Brooks’ version centers on Dr. Frederick Frankenstein (Dan DeLuca) who travels to Transylvania to claim his inheritance after the passing of his grandfather, Victor. Video designer Kylee Loera stunningly projects a black and white ship across the stage. It spills across the confines of the stage with borders as amorphous as the seas. The imposing ship is named the Queen Mary Shelly, which is a witty visual homage to both the Queen Mary ocean liner and Frankenstein’s authoress that would have been more impactful if her name was spelled correctly (Shelley, not Shelly).
As Frederick, DeLuca delivers unfaltering energy levels. The young doctor gets caught up in replicating his grandfather’s experiments after reading his journals. However, Frederick’s shift in perspective from radical no to eager yes is breathtakingly fast, stretching credulity. Brooks should have started Frederick from intrigued maybe. Breaking the Hippocratic Oath feels too morally effortless for the doctor.
The Monster (Tim Hartman) is dressed up like a million dollar trouper in “Young Frankenstein.”
Tim Hartman easily steals the show as The Monster, and not just because of his towering height. Director and choreographer Joel Ferrell directs Hartman to a stilting, lumbering walk that captures the Monster’s undead essence. Hartman’s primitive and guttural speech utterances are perfection. Ferrell masterfully guides Hartman’s speech to get subtly more discernable as the play progresses, reflecting The Monster’s worldly exposure and adaptation.
The most memorable musical number is Irving Berlin’s “Puttin’ on the Ritz,” which assembles the ensemble. Ferrell shines as choreographer with Hartman’s rocking lumber that puts The Monster charmingly offbeat. Costume designer Alexander Righetti has The Monster and Frederick twinning in tuxedos with tails. Righetti makes The Monster even more imposing and otherworldly with foreshortened tuxedo sleeves that visually symbolize how The Monster doesn’t fit in this world, regardless of his garb.
The fact that the Irving Berlin song is the most catchy and memorable highlights that the sardonic Brooks is more writer than lyricist. Brooks’ comedic dialogue sizzles with innuendo-heavy one-liners and slapstick-worthy wordplay. On the flipside, his songs are adequate, but don’t spark any Swiftie-level earworms.
Frankenstein family servant, Igor (Anthony Marino) captures the physicality of Brooks’ humor. Igor’s humpback keeps casually switching sides, sparking inquiry from Dr. Frederick. Igor cleverly recruits lascivious local community college student Inga (Alex Sheffield) to be Frederick’s assistant – as well as a romantic intrigue to keep Frederick in Transylvania. Sheffield exaggerates a rural Transylvanian accent and country naivete that flatters the brainy young Frederick.
Escape to Transylvania with Pittsburgh CLO’s production of Young Frankenstein, which runs through September 1, 2024 at the Greer Cabaret Theater (655 Penn Avenue, Pittsburgh, PA). Purchase tickets online here.
Centuries before Facebook and Instagram were Meta; long before Christopher Nolan released his pretentious snoozefest about dreams within dreams, William Shakespeare wrote every narcoleptic thespian’s favorite play, A Midsummer Night’s Dream. Being a veritable nightmare to stage in its entirety, the talented folks at Hobnob Theatre Company have decided to produce their own adaptation, directed by Elizabeth Smith, with performances being held at Preston Park in Butler, Pennsylvania.
This sleepy reimagining is written by producer Ken Smith and cast member/co-choreographer Deanna Sparrow, who plays Egeus, Titania, and Quince. Filled with contemporary comedy audience participation, humorous analysis/reflection, and riddled with gags, this show is sure to delight everyone, even those who’d normally catch a few “z’s” at any other Shakespeare play. A nice medium between doing something new/original and taking a shot at a timeless classic. Breathing new life into The Bard’s work is what sets this apart from any other rendition, or anything else Hobnob has attempted prior.
The cast of “A Midsummer’s Night’s Dream” performing outdoors on opening night.
Performances are fantastic across the board! The whole cast completely surrenders to the show’s evergreen goofiness, committing not just to the combo of old and modern lingo, but also to the physicality required of their respective roles.
Deanna Sparrow gets to show off her skill(s) with her roles of Egeus, Titania, and Quince. Not only does she do a tremendous job assuming her various identities, but she clearly has a lot of fun doing it. Employing props, like a clipboard, she morphs from one person to another with humorous ease. A feat made more incredible when paired with her contributions to the script and choreography.
The only thing I can say about Jack Senske is he’s quite the jackass. No, that’s not a slight, he just makes a good donkey-man or barnyard chimera or whatever he is. Nick Bottom may be his most magnetic character, however, his other two, Pyramus and Demetrius are entertaining as well.
Grant Jones brings laughs and a lot of heart with his roles of Lysander, Flute, and Fairy. In true service to Shakespeare, he even portrays a woman in a brilliantly zany fashion. His willingness to be made fun of, particularly for his breath, is equally endearing and exploitable for laughs. Likewise, Sarah Altomari is fantastic as Hermia, Snug, and Fairy. Her ridiculous get-ups and self-effacing humor make her a great addition to the cast.
Armed with a microphone and a mischievous sense of humor is Jonathan Hutmire as Puck. The only one in the cast to solely play one character, as he’s too busy crooning and clowning around. An intermediary between the real and the fictional, he is instrumental in realizing this wacky world.
Louis Hutmire pulls triple-duty with Oberon, Theseus, and Snout, oscillating between wily, courageous, and affable. Casey Hoolahan rounds out the cast with dazzling turns as Helena, Robin Starveling, and Fairy.
What would spirited performances be without a bit of choreography? Luckily this production boasts marvelous movement masterminded by the multi-talented Ellie Jedrzejewsk, a junior at Slippery Rock High School. Drawing upon her background in dance, theatre, and music, she plots comedic courses for the cast to follow, employing a whimsy that really helps draw audiences in.
Props and costumes are standout elements of this production. Factoring in a limited budget and the constraints that come with staging an outdoor event means that people have to get a little innovative. Everything from portable stereos to faux swords are used to hilarious effect. Vikki Safran’s costuming is impeccable. Wardrobe-wise, the funniest apparel sported is a shirt that reads, “Pretend I’m a Babylonian.” Might have to get one for myself…
Concerning the set, I’d say things are…minimal. A celestial curtain, framed boundaries, and some lights, decorate the madness. The rest is up to the cast and the audience’s ability to suspend belief. It’s wild how a wooded meadow can rival the most adorned indoor space. Bonafide magic!
Preston Park is an absolutely gorgeous outdoor venue, which explains why Hobnob keeps staging shows there year after year, despite having their own studio space on Main Street. Nothing beats a little bit of art on a nice day. Even rainy performances are blessed by beautiful scenery and uproarious comedy.
Hobnob continues to demonstrate why they are one of the most exciting theatre companies in the Greater Pittsburgh Area, and such an asset to their community. Between classes, camps, and a litany of unorthodox events/shows, they introduce more of the weird and wonderful back into a medium they are evidently passionate about. While some of the jokes make it seem like they don’t take themselves too seriously, one can’t help but recognize how seriously everyone involved takes their work. As time progresses, Hobnob becomes more and more emboldened to take creative risks, and it’ll be very interesting to see what they have in store.
A Midsummer Night’s Dreamcontinues its run Friday, July 26th—Sunday, July 28th at Preston Park in Butler, PA. For more information, click here.
Taking inspiration from the original “La Bohéme” opera by Giacomo Puccini about impoverished artists in 1890’s Paris, “RENT” brings us into the 1990’s in New York. The New York artists are also impoverished.
The underlying threat in 1890’s Paris more than poverty was tuberculosis. In New York in the 1990’s the cloud of HIV/AIDS hangs over our artists, either directly or indirectly.
Film maker Mark Cohen (Jeremy Poynton), a film maker is recording the lives of his friends and will do so for an entire year. He is one of the few members of the group who doesn’t have HIV/AIDS. He is an observer of life and not much of a participant. He sees life through the lens of his camera.
Roger Davis (Travis Myers-Arrigoni), a musician, is a depressed soul recovering from the suicide of his girlfriend.
Exotic dancer Mimi Marquez (Chelsea Davis) struggles with HIV/AIDS and drugs.
Angel Dumott-Schunard (Chris Russell) is gay and open about it, dressing most of the time as a drag Santa. He is the most loved member of the group.
Maureen Johnson (Richelle Szypulski) is the group’s more flamboyant and outrageous member.
Lawyer Joanne Jefferson (Randi Walker) is currently Johnson’s partner.
Tom Collins (Reed Verdesoto) dreams of life beyond New York, envisioning operating a restaurant in Santa Fe.
Former member of the group, Benjamin Coffin III (Allante Walker) married a wealthy woman whose family owns the building the group now occupies. He is pushing them to pay rent which is long overdue.
With all the handicaps and problems each member faces independently, they coalesce in their determination to fight Coffin and his attempt to collect rent (past due and current).
In spite of all their disparities, this group with all their problems and flaws love each other.
The cast of “Rent.”
Considered a rock opera, “RENT” is almost completely performed through song.
In talented Davis we see the slow transition from a young girl full of life who reaches the depths of despair. Her movements and facial expressions change as her physical condition deteriorates. What a great rendition of “Out Tonight!”
Russell is dynamic as the effervescent Angel. He has great gymnastic moves and a wonderful singing voice. “You Okay, Honey” is a lovely duet with Verdesoto.
Myers-Arrigoni portrays musician Roger as sad and morose as he sings “One Song Glory.” He dreams of creating a hit song.
Poynton is observant and introspective as the film maker. He expresses his thoughts and concerns over the past year in “Halloween.”
More free-spirited than her cohorts, Szypulski speaks her mind and acts on her physical needs with complete abandon. Szypulski pulls off “Over the Moon,” a bizarre song that is both serious and at times funny.
Verdesoto’s support for Angel is endearing. His rendition of “I’ll Cover You” is beautifully done.
Randi Walker cleverly delivers “We’re Okay”, working with two phones while handling two conversations, one with her office, the other with Maureen.
Allante Walker plays the antagonist who now owns the building he once shared as a member of the group. There are strings attached with his rent demands.
The entire cast is superb and well-balanced!
Jeff Way’s set design is simplistic but effective. A white sheet hung at the beginning of Act I and Act II was used as a screen that showed original TV clips of the concern and general lack of knowledge everyone had about HIV/AIDS during the 1990’s.
“RENT,” a Tony and Pulitzer Prize winner, was written by Jonathan Larson.
Excellent direction by Nik Nemec.
Note from Stage 62: “RENT” contains mature themes and language that may be unsuitable for children. We encourage parental discretion.
-CED
“RENT” is a production of Stage 62. Performances run from July 18th – July 28th at the Andrew Carnegie Free Library & Music Hall, Carnegie, PA. Andrew Carnegie Free Library & Music Hall, 300 Beechwood Avenue, Carnegie, PA 15106
Something is buried in the backyard of a fragmented, dysfunctional family in Illinois.
Hint: The title of Sam Shepard’s “Buried Child” is a bit of a spoiler, but the Pulitzer-winning play is darker than you might imagine.
The play starts, like Warhol’s “Sleep,” with Dodge (Brett Sullivan Santry) sleeping in the basement, possibly dying, possibly not. His wife Halie (Susana Garcia-Barragan) shouts at him from another room. She’s not-so-secretly having an affair with a local Protestant minister, Father Dewis (Edward Kunz).
Dodge and Halie’s son Tilden (Jeff Johnston) lives with them. He isn’t all there either. There other living son, Bradley (Michael McBurney) lives nearby. He has taken to tormenting his dying father. Another son, Ansel, died under mysterious circumstances.
When Tilden’s son Vince (Eric Molina) brings his girlfriend (Cecilia Staggers) into town, long-festering secrets are unearthed.
Bradly (Michael McBurney) hovers over his father, Dodge (Brett Sullivan Santry) in “Buried Child.”
Though the play was first produced in 1978, it feels very current, like an episode of “Black Mirror.” A farming couple who are both very disturbed. Its American Gothic…gone very, very goth. During the curtain speech, the audience is warned about the delicate subject matter the play covers.
The performances are the number one reason to “Buried Child,” particularly Sullivan Santry, Johnston and McBurney. They all burn with intensity.
Sullivan Santry is amazing as a grumbling, grouchy alcoholic, who, in the third act, is finally ready to face the consequences of his actions. He barely leaves the sofa but he’s always moving. He has a series of oft-repeated tics and movements that keep your eyes the actor.
Johnston is terrific as the eldest son. He’s hiding a deep dark, too. He is possibly concealing multiple secrets.
McBurney limps around the stage with ferocity. His character had a chainsaw accident that left him with only one leg, its never clear which leg, though.
The men are oozing with rage, barely holding back their violent natures. There are several moments in the play where you want to get up from your seat and tell Staggers’ Shelley, “Get the hell out of there!”
Sound Designer Tony Risotto heightens the drama with eerie high-pitched noises at key moments during the drama, enough to put your nerves on edge. His work is outstanding.
While Sullivan Santry spends most of the play on the sofa or on the floor, Director Katie Chmura keeps the play from being stagnant. It’s very kinetic. She lets the actors take bold swings and they knock it out of the park.
If you can handle the indelicate subject matter, you’ll want to run down to the Carnegie Stage and see Throughline Theatre’s “Buried Child.”
-MB
“Buried Child” runs from July 19 till July 28 at the Carnegie Stage, 25 West Main Street, Carnegie, PA 15106. More information can be found here.
