Category: The Shaker

By Michael Buzzelli

“Not everything that is faced can be changed, but nothing can be changed until it is faced.”

-James A. Baldwin

Madison & Taylor College President Woods (Stacey Rosleck via video) welcomes incoming freshmen, Makeda (Marissa Lily) and Xavier (Manny Waker), to the Black Excellence Scholarship program, wherein the two meet the remaining members of the program in a room at the student union in Ty Greenwood’s “Paradox of Education.”

Madison & Taylor College is a thinly veiled reference to Greenwood’s alma mater, Washington & Jefferson College (think: “If Beau Street Could Talk”).

Ebony (Krystal Waller), president of the student group, wants her other members, Miles (Amon Jamaal), Zara (Tajinna Clinton), and Emmerson (Brenden Peifer), to be on their best behavior when meeting the new kids. Miles and Zara want to warn the incoming frosh that the college made a lot of false promises, such as the benefits and amount of the scholarship, the school’s rampant racism, and the racism in the surrounding community. Most of the promises came from a campus Administrator (Melissa Edmond), who is the queen of microaggression. She says a few things out loud that would make your average Karen cringe, including “Have you ever read a philosophy book?”

Emmerson struggles with his status as a mixed-race kid, while Zara, Miles, and Ebony dismiss his problems because he’s light-skinned (Colorism). Meanwhile, Emmerson confesses to the Administrator that he doesn’t feel wholly comfortable in Black or white spaces.

When a tragedy happens on campus, the students have to grapple with their feelings over the inherent racism and their own prejudices.

The play is superbly and authentically acted. At times, the dialogue feels real, as if each actor is having the thought out loud for the first time.

Waller’s Ebony leads this small army of freedom fighters.  Waller manages to find the wisdom and grace in her character. She commands herself like the leader Ebony is meant to be.

Peifer always enchants. He is likable and charming even when his character is saying the wrong thing. His charm makes the event that leads to the second act (no spoilers) even more tragic.

Walker is restrained here. His Xavier has an arc. He goes from timid newcomer to strident supporter of causes.

Carter’s Zara is the most difficult character to like. She is played with an almost sociopathic lack of empathy, but when Carter nails a monologue about death, you can see that her character’s emotional distance is a protective device. The actor finds beauty in the cracks.

Lily’s Makeda has an epic Slam Poetry moment about her hair. She is also the emotional heart of the story, leading with compassion.

Jamaal plays Miles as an affable student. His best scene is in his reactions to Edmond’s Administrator as she continues to subtly and not-so-subtly put him in a narrow, Black box.

The cast is completed by Rosleck, Charles Timbers, Jr., and Richard McBride, appearing in recorded voices and video, but not on the actual stage.

Producing Artistic Director Mark Clayton Southers also designed the set, which looks as if it were plucked from an august university and dropped into the Madison Arts Center.

Director Maurice Redwood is an impressive leader. He gets convincing performances from each actor. The play is infused with youthful vitality.  Redwood also shot and directed the video transitions, intermingling shots of the real, predominantly white institutions (PWIs) and their mostly white students.

Greenwood’s play wrestles with serious issues, a tragic turn, and some divisive opinions. While the play could use a little more dramaturgy and editing, the subject matter is more relevant than ever. Greenwood’s play may be preaching to the choir, but the message is still important. “Paradox of Education” is thought-provoking and emotional.

To quote Redwood, “This powerful, thought-provoking production follows six Black students navigating life at a predominantly white institution, confronting the realities of race, identity, and belonging. It’s raw. It’s honest. It’s necessary.”

-MB

“Paradox of Education” runs until April 20 in the Carter Redwood Theater, inside the Madison Arts Center, 3401 Milwaukee Street, Pittsburgh, PA 15219. For tickets and additional information, click here.

 

 

By Timothy Ruppert

“It’s the Cultural Trust,” magician David Williamson reminded the audience on the opening night of his delightfully ebullient show, Ridiculous. “It’s supposed to be art!” His legerdemain satisfies that qualification from the very first trick, proving card after card that Williamson is a Dalí of light-speed sleight-of-hand. Yet his act has great dimensionality beyond clocking decks and tracking shuffles. As a humorist, Williamson puts one in mind of Phil Silvers, with a faux exasperation that never quite conceals the very real heart behind every gag. Williamson’s flawless intermingling of illusion and levity renders this show terrifically impressive, a joyful mélange of distractions.

Williamson himself possesses a likeably avuncular air equally suited to brash mischief or quiet wisdom. Blue-suited and yellow-vested, Williamson has the look of the great Ian Richardson as he appeared in the 1990s British series House of Cards—Francis Urquhart with a benevolent soul and several wicked packs of cards. All the evening’s tricks are performed with help from audience volunteers, older and younger people alike, contributing to a show designed like a Fibonacci sequence, progressing in scope and complexity without ever losing the semblance of natural, logical progression. Taken together, these qualities of Ridiculous and its star make the show ideal for families and fellow travelers, especially those who appreciate the mirth and adventure afforded by Williamson’s interactive wizardry.

While Ridiculous offers numerous tricks that evolve in complexity and intensity over the course of the evening, ranging from sealed envelopes to a magic paper shredder to citrus fruits, the show frames its wonders decisively within an intellectual context. Williamson cites the importance of “793.8,” the Dewey Decimal designation for books, such as S. W. Erdnase’s 1902 The Expert at the Card Table, on performing magic. At another point, he quotes speculative-fiction writer Arthur C. Clarke’s remark that “any sufficiently advanced technology is indistinguishable from magic”—a maxim that places the enigmatic within orbit of science and art. Williamson rarely misses a chance to philosophize about his craft, encouraging us to consider the liminal spaces between mirage and reality without diminishing the mystique of his act. And so, when he urges one young assistant from the audience to “treat this as a think piece,” Williamson strives after far more than comedic effect. For all its heart-lifting entertainment, Ridiculous serves too as an open course in the psychology of theatricality, a thoughtfully structured and lovingly presented seminar in spectacle that reflects Williamson’s many years as an inestimable performer and indefatigable advocate for the creative spirit.

And there one finds the true magic in Ridiculous. Williamson’s love for his art and for those who share in its expression carries the freight of a lifetime devoted to both the theory and the practice of amazement. Like any memorable piece of theatre, Ridiculous has a past, a present, and a future, reflecting years of training and research manifest in the here and now to inspire a new generation to seek out astonishment. For an evening of incredible magic rendered with talent, thought, and heart, make sure not to miss David Williamson and this hilarious and edifying schoolhouse of cards.

-TR

Ridiculous” plays through Sunday, May 3, at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA 15222. Visit here or contact the Liberty Magic box office at 412-456-6666.   

 

 

By Michael Buzzelli

For actors, Tech Week has always been the moment magic and mayhem collide. It’s never been better represented than in Anne Washburn’s hilarious and immersive play, “10 Out of 12.”

When you enter the Mellon Institute Library on the University of Pittsburgh campus, you are given a headset. Real Life Associate Producer and Patron Relations Manager Hazy J will show you how to wear and operate the headset. They will be one of the few real-life crew members you will meet.

In this show, the actors play stage crew, the director, and even, oddly enough, actors.

Elliot (Tim McGeever) is directing a troubled production of an untitled play. While Molly (Jamie Agnello), the stage manager, and crew members, Eric (Conor McCanlus), Jamie (Olivia Ruhnke), and the assistant director, Diego (José Pérez, IV), run around making last-minute adjustments.

Ben (Mark August) plays Charles in the show-within-the-show. His character may or may not be in love with Richard (Evan Vines), played by a TV and film actor named Jake (think Elordi, but it could easily be any Tom, Dick, or Timothée).

Jake has his eyes on the leading lady, Eva (Melessie Clark), and a showmance develops.

Waiting in the wings is Paul (Corey Rieger), who brings a boatload of added tension to the production.

Headset hilarity ensues.

Tensions rise, and the mousetrap snaps shut!

P.S. There is a reference to a mouse in the show, but mousetrap is being used in the Shakespearean context of a show-within-a-show.

The acting is superb. Washburn’s comedy comes from a real and heartfelt place. The characters seem real, lived-in.

On every crew, there is a crew member who makes themselves so indispensable that they refuse to leave the set when injured. McCanlus milks out every bit of humor from each of his lines without being over-the-top or unreal. The performance is so genuine. The only thing missing was the cargo shorts.

McGeever’s Elliot is our tour guide into this unique world.  His frustrations are delightfully comic.

Pérez is in top form here. His character is so hopped up on Jake’s rizz that he blunders in every interaction with the movie star. It’s comic, but. Once again, coming from a grounded place.

Shammen McCune plays a variety of roles, each with an unflattering name and/or profession. She plays Old Lady, Imp, and whore. Each character is unique. Lucille, the aforementioned harlot, is so far from her normal slate of imperious and regal characters that it’s astonishing.

Rieger shines bright in “10 Out of 12.” His Paul is a temperamental genius, admired and feared by cast and “crew.” He brings a gravitas that befits the role. Rieger gets two brilliant monologues that will be oft-repeated in auditions by actors and wannabe actors far and wide.

Clark is another delight here, lighting up the stage with her mere presence. Her best scenes come in stolen moments between snafus. Her chemistry with the rest of the crew is palpable. Her interactions with McCune and August between “scenes” are filled with loving energy.

August is terrific here. His Ben is an affable actor, but his Charles gives off Matt Berry vibes (“The IT Crowd,” “What We Do In Shadows,” etc.).

Runke and Agnello’s best lines are delivered over the headsets, but they nail each one.

It won’t be long before Vines develops a fan base like his character. He is charming and charismatic on the stage.

Now onto the real behind-the-scenes crew:

It’s another fantastic set by the “retired” Tony Ferrieri. The set opens like a Mad Magazine Centerfold or a Barbie Camper, transforming from a Victorian Drawing Room to a Cartoon Jungle.

Carrie Ann Huneycutt’s costumes are perfect for the on-stage actors and crew (though I really would have put McCanlus in Cargo shorts).

The madness is deftly directed by Andrew William Smith (a longtime Quantum actor, now behind the scenes).

Warning: Actors in the audience may experience PTSD, but in the most fun way possible. Side note: In actual productions. There’s a lot more yelling.

“10 Out of 12” is part “Noises Off,” part “The Play That Goes Wrong,” but with added layers of depth. Washburn and Smith manage to work in some “Locals Only” jokes that are uniquely Pittsburgh.

“10 Out of 12” isn’t just the title. It’s the number of stars in the production’s rating.

-MB

“10 Out of 12” runs from April 3 to April 26 at the Mellon Institute, Fifth and  Bellefield (use the Bellefield entrance), Pittsburgh, PA, 15213. For tickets and additional information, click here.

 

by Claire DeMarco

Dorothy Gale (Alaina Turocy) lives with her Aunt Em (Greta Healy) and Uncle Henry (Anthony Costulas) and her beloved dog, Toto.  Dorothy is a dreamer, wishing for a more exciting life than the one she has now in Kansas.

After a kerfuffle with nasty Miss Gulch (Mairead Roddy) over Toto, Dorothy runs away from home.  Along the way she meets Professor Chester Marvel (Patrick Conner), a kind but obvious con man. With his crystal ball he just happens to have with him, he seems to know a lot about Dorothy.  Playing on Dorothy’s emotions, Marvel suggests that Aunt Em is ill and needs her back home.  And anyway, Dorothy, there’s a big storm coming!

Dorothy and Toto make it home but not in time to avoid it.

When the violent tornado strikes, Dorothy and Toto are swept up in her house and land unceremoniously in the magical kingdom of Munchkinland, killing the Wicked Witch of the East as they plummet to the ground.

Now more than ever Dorothy yearns to go back home.  The Munchkins and Glinda the Good Witch (Greta Healy) tell her she needs to get to Oz and find the Wizard of Oz.  He can help her. “Follow the Yellow Brick Road.” You can’t miss it!

Glinda gives Dorothy a pair of magical red shoes meant to protect her from the evil Wicked Witch of the West (Mairead Roddy) who’d love to have those shoes to enhance her power.

As Dorothy travels towards Oz, she meets three fascinating characters.

Scarecrow (Timothy Macuski) laments that he doesn’t have a brain.  He’s stuffed with straw.  “Woe is me,” Dorothy encourages him to come to Oz with her and see the Wizard.

The next encounter in their travels is with Tin Man (Cole Vecchio), whose many body parts have been replaced with tin due to accidental mishaps.  He is prone to rusting but becomes the third part of the traveling group. Tin Man wants a heart.

Their final traveling companion is Cowardly Lion (Cole McGlumphy) whose attempts at bravery fall short.  He is fearful and even afraid of heights.

After many trials, adventures and tribulations as they travel, the foursome finally reach Oz. They are a cohesive unit, each supporting and encouraging one another.  After much cajoling, they meet the famed Wizard of Oz (Patrick Conner).

Do the travelers find the strengths or attributes they think they lack, or do they realize they had them all along? We all know the answer, but it’s about the journey not the destination.

See this wonderful production of a classic, and you’ll find out!

Note: It was great to see so many young attendees (and hopefully future theatergoers) at the show.

Turocy’s performance grows as she transitions from a girl not satisfied with her life to a caring supporter and cheerleader to the new friends she meets on the way to Oz.  She sings a wonderful rendition of “Somewhere Over the Rainbow.”

It’s so easy to love Macuski as the gentle and kind Scarecrow.  He professes that he doesn’t have a brain, but he often comes up with clever ideas as the journey to Oz continues.

Vecchio’s Tin Man often frets that he doesn’t have a heart, but his compassion is evident as he cries at his companions’ dilemma in the poppy fields.

With a wonderfully timed comedic flair, McGlumphy shines as the cowardly lion, afraid of his own shadow.

Macuski, Vecchio, and McGlumphy entertain with renditions of the song “If I Only Had …,” inserting a brain, heart, or nerve applicable to their situation.

Roddy explodes on the stage as the “Wicked Witch of the West”.  Always calculating, cackling, and conjuring up schemes to get Dorothy, her facial features as the conniving witch are spot on.

Conner, as the smooth-talking Professor Marvel and part con man, somehow knows a lot about Dorothy. He is dramatic and strong, yet subtly shifts into a gentle, soft-spoken grandfather type as he convinces Dorothy to return home.

With a trilling, sugary sweet voice and constantly holding or waving a wand, Healy epitomizes goodness.

There are nineteen delightfully talented children in the Child Ensemble, all with wonderful singing voices and coordinated dance steps.

Applause to the Adult Ensemble whose timing, singing, and exceptional acting contribute to the success of this musical production.

Dylan Blussick does an outstanding job as costume designer, creating many clever, unique, and colorful designs.

An additional list of reasons to see this production:

• • Great work by Choreographer Caroline Connell.
  • Marvelous makeup by Makeup Artist Dylan A. Blussick.
  • Shout out to Music Director Daniel Guillaro and his accompanying musicians.
  • Excellent direction by Patrick Cannon.

“The Wizard of Oz” was written by L. Frank Baum with Music and Lyrics by Harold Arlen and E. Y. Harburg.  Background music by Herbert Stothart.

-CED

“The Wizard of Oz” is a production of Little Lake Theatre Company.  Performances run from April 2 to April 19th at Little Lake Theatre, 500 Lakeside Drive, Canonsburg, PA. 15317. For more information, click here.

by Michael Buzzelli

When his parents die in a car crash, Jake (Zachary Keller) runs away to the circus and finds a brand new life in “Water for Elephants.”

The musical, based on the novel by Sara Gruen, is told in flashback by Mr. Jankowski (Robert Tully), or, rather, Jake when he’s older.

On the train, Young Jake (to keep our character separate from our narrator) is immediately befriended by Camel (Javier Garcia), an older, gruff carnie with bad knees and a drinking problem.

Side note: Camel is not an actual camel, but several performers in the show are playing animals.

Camel introduces him to the troupe, including the thuggish Wade (Grant Huneycutt), a disagreeable clown named Walter (Tyler West), and Barbara (Ruby Gibbs).

He meets the circus star, Marlene (Helen Krushinski), and is instantly smitten. Unfortunately, he meets her husband, August (Connor Sullivan), seconds later.

August, the ringmaster and owner, runs the circus with an iron hand. He’s not a good dude. In an effort to keep his wife, he commits a series of unforgivable acts, including, but not limited to, beating Rosie, the elephant (operated by Ella Huestis, Bradley Parrish, John Neurohr, Carl Robinett, and Grant Huneycutt).

Glossary of circus terms:

Kinker; circus performer. Performers usually stretch and warm-up before their act to get the “kinks” out.

Rousts or roustabouts: Roustabouts are workers who help set up and take down the circus tent and equipment.

Rubes: A “rube” refers to an unsophisticated or naive person, often from a rural background.

Keller exudes charm and charisma as young Jake. Each song he sings is filled with the character’s raw emotion. He has star quality. It won’t be long before he’s headlining touring engagements or appearing on TV and in movies (he already has a few credits, including “Shameless,” “Law and Order,” and “Chicago Med”).

While Tully is too young to play a nonagenarian, he is so good in the role that it’s a forgivable offense.

West is hilarious as the circus clown. He and Sullivan perform a comedic duet that is gloriously funny.

Krushinski is terrific as Marlene. She also has a small role as June (in the “present), and each character is distinctly different.

While you will want to boo August, Sullivan does an amazing job. He also appears in a dual role, the hated August and the much more likeable Charlie.

The puppetry is impressive enough that there’s a separate director, Joshua Holden, just for the circus’s creatures. Rosie, the precious pachyderm, is first shown bit by bit: a large flapping ear, a trunk, and a leg (and in shadow). Then, by the end of the first act, the magnificent beast becomes a fully realized puppet, controlled by several puppeteers. It’s pure stage magic.

The show is filled with amazing theatrical feats and astonishing aerial acrobatics. The show is filled with spectacle. There are several moments where the audience oohed and awed, gasping at the incredible acts.

In the movie business, a tentpole production is a film that supports a studio, featuring high production budgets and special effects. The term originated with the circus. This show has an actual tentpole! Naturally, it’s filled with high production budgets and special effects.

Regardless of the pomp and circumstance, the bread and the circuses, at the heart of “Water for Elephants” is an actual heart. The musical has a tender love story at its core, making it a Must See Show.

-MB

“Water for Elephants” runs until April 5 at the Benedum Center, Seventh and Penn Avenue, Pittsburgh, PA 15222. For tickets and additional information, please click here. 

By Michael Buzzelli

Kenneth (Monteze Freeland) invites us into his neighborhood, a small town outside of Rochester, New York, where we learn the patterns of his lonely life in Eboni Booth’s “Primary Trust.”

Kenneth lives a small life in his small town. He works at a bookstore and drinks Mai Tai’s every night with his best friend, Bert (Malic Maat), in a Tiki bar called Wally’s.

Side note: There’s a secret that Kenneth and Bert share, but it takes us far into Spoiler Territory that might make you yell out, “Holy Manoj Nelliyattu Shyamalan!”

Sam (Sam Turich) tells Kenneth that he is closing the bookstore, where Kenneth worked for twenty years. Suddenly, Kenneth is on a hunt for a new job. At the bar, Kenneth meets a server, Corrina (Bria Walker-Rhoze), who tells him the bank is hiring.

Soon, Kenneth interviews with Clay (Sam Turich again) and lands a job as a teller at Primary Trust.

P.S. Bria Walker-Rhoze shows up as ALL of the bank’s customers, men and women, young and old.

The actors (all local favorites) excel in their roles.

Freeland has always been one of Pittsburgh’s best Top Tier Talents (he is a writer, director, actor, educator, and more), but he is at his best here, bringing us into Kenneth’s world with a deliberate grace and ease. He immerses himself in the role.

Walker-Rhoze is tasked with creating multiple roles in “Primary Trust,” and she shines in each. Her Corrina has the most down-to-earth realness of the roles, but some of the other characters are laugh-out-loud funny. It’s easy to love Corrina, and even easier to laugh at the rest.

Turich plays three distinct roles as well. He’s Clay, Sam, and a fussy French bartender in a snooty high-end restaurant, Le Pousselet (which may or may not translate into the French word for “baby carriage”). Turich’s Clay is a boisterous manager reliving his high school halcyon days. The character of Sam (the fictional one) has a gruff exterior but is full of heart. His bartender is hilarious.

Maat is charming as Bert, but to speak more of him would reveal the tragic twist. His Bert is both the devil and the angel on Kenneth’s shoulders.

In the small-town setting, I was hoping Kenneth would run into the OG Bert (sorry, that’s a little spoilery).

Antonio Troy Ferron’s set design is impressive. Building facades hang in darkness, giving the town a bleak, nearly monochromatic look until we enter the Primary Trust bank setting, where everything is bright and green.

Kudos to production stage manager Pamela Brusoski and stage crew for tracking the props, shrimp cocktail, endless Mai Tais, hats, sunglasses, etc.

Director Kyle Haden draws nuanced performances from the actors, even when the characters are at their biggest. His vision of “Primary Trust” is flawless.

Booth’s “Primary Trust” is a deep meditation on loneliness, the power of friendships, and the beauty of being seen.

-MB

“Primary Trust” runs from March 25 to April 12 at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information, click here. 

 

By Michael Buzzelli

“The Party told you to reject the evidence of your eyes and ears. It was their final, most essential command.” – George Orwell, “1984.”

Morgan Vaughn (Bugz Baltzer) gets promoted to Chief of Staff in the Trump White House, near the final days of his term, as a VP is about to be sworn in to become the next president. Meanwhile Trump (Liam Hartman) isn’t ready to hand over the job to someone else in Eoin Carney’s “The Last Days of Trump.”

General Reese (Gavin McKinnon) suggests that Morgan find a way to distract the president from causing chaos during the power transition. The duo recruits a librarian, Carla Heart (Angela Vincent), to help construct the Trump Library.

The president doesn’t want a library. Trump says, “Libraries are lame,” but when Morgan tells him Obama has one, Trump insists on having the biggest and best presidential library.

Right before the VP is sworn in, he is assassinated, leaving Trump an open door to claim the power once more.

From that, a Rubik’s Cube of power struggles among all four players, each with an idea of what is best for the country, in their own madcap way.

“The Last Days of Trump” is a delightful romp, prognosticating the future in the funniest way imaginable.

Baltzer is the harried assistant, desperately trying to keep everything together. They do a magnificent job in the role.

Gavin McKinnon is commanding as General Reese. His baritone voice and posture make him the perfect choice to play the leader of an army.

Vincent plays the soft-spoken librarian without any malice, but the skittish bunny rabbit becomes a bear, and Vincent can make the transition marvelously.

Hartman’s Trump is too authentic. He manifests PTSD for the audience as he plays a full-on impression of the disdainful president.  It’s a bit of “Dawson’s Casting” wherein someone plays a character that is vastly different from their own age (named after the 30 year-olds playing high school juniors on “Dawson’s Creek.” See the Urban Dictionary). Hartman is in his 20s but plays the president 50-to-60 years his senior. It’s the Fringe! And it works.

Carney creates a fragile yet eerily possible world. It’s hard to parody a president who says outlandish things every day. The current state of the media is making it hard for satirical websites like The Onion to poke fun at reality because the world has been so bizarre under Trump’s presidency.  Carney can walk a fine line between parody and theatrical drama. There’s a moment when you actually feel sorry for the asshole-in-chief.

There are parts of the show that are hard to watch at some points. While Carney skewers the right with gusto, he does take some jabs at the left as well. No one is safe in Carney’s crazy vision of the future.

The Fringe gets fringy. The play definitely has an Off-Off-Broadway appeal, probably because Carney writes, directs, designs the sets, stage-manages, and does whatever else the production needs to make the show happen.

-MB

“The Last Days of Trump” plays

 

By Timothy Ruppert

Draw a card, any card—you’ve nothing to lose but your life! Well, sort of.

Welcome to The Pittsburgh Savoyards’ current production of The Grand Duke; or, The Statutory Duel, Gilbert and Sullivan’s last and perhaps least-known opera. The secondary title refers to a strange tradition for settling disputes in the Grand Duchy of Pfennig-Halbpfennig: the selection of playing cards. The high card wins, entitling the victor to take the place of the vanquished, with all the privileges and responsibilities that such a substitution entails. The low card signifies death. The loser, though, does not shuffle off the mortal coil in the corporeal sense. Rather, the vanquished disappears for a time, unable to intervene directly in the new scheme of things (covert skullduggery, though, remains a viable option). When the comic actor Ludwig (Mike Goffus) bests the reviled Grand Duke Rudolph (Corey Nile Wingard) with an ace, the wine flows and the good times roll—until Ludwig realizes that he may be affianced to four different women.

With their production of The Grand Duke, The Pittsburgh Savoyards miss no opportunity to play up the terrific fun of Gilbert and Sullivan’s final piece as a duo. This show succeeds in all particulars, thanks in no small part to the superb guidance of Olivia Hartle (stage director) and Guy Russo (music director and conductor), as well as to the inestimable contributions of the Savoyards’ production staff and orchestra. The elements of spectacle—scenic design (Robert Hockenberry), costumes (Trace Swisher), choreography (Krista Kaley Strosnider), lighting (Garth Schafer)—prove perfectly companionate with Gilbert’s clever libretto and Sullivan’s vivacious score. To a person, this team impresses.

To commend the cast of The Grand Duke properly, I would need far more than the two hundred or so words still available to me in this review. I’ll begin with Goffus, who plays the love-beleaguered Ludwig with breathtaking skill. In numbers such as “Won’t it be a pretty wedding? / Pretty Lisa” (with Abigail Arhart as Lisa, singing with the ensemble) and “With fury indescribable I burn” (with Sally Denmead as Baroness von Krackenfeldt), Goffus gives a brilliant performance worthy of the Winter Garden Theatre.

While the words “Broadway-good” appeared in my notes regarding several performers, including Arhart and Denmead, I found Alessandra Gabbianelli as Julia Jellicoe and Katie Kirby as the Princess of Monte Carlo to be especially admirable. The conspiratorial acting troupe supervised by Ernest Dummkopf (Cecil Treleven) comes to life with wonderfully heartfelt contributions from Deborah Geary (Olga), Denise Allen (Elsa), Hannah Balash (Bertha), and Savannah Simeone (Gretchen). Note that, because many roles in this production are double cast, other keenly gifted actors appear as the parts alternate, meaning that some performances afford the audience a chance to see and hear more of top-tier actors such as Brienne Sharo (as Bertha), Amanda Leigh (as Gretchen), Hockenberry (as the Notary, played nicely by William Carter when I saw the show), and the incomparable Leah Grimm (as the Princess). The Savoyards bring together an astonishing group that reminds us how expressly fortunate Pittsburgh is in its arts community.

So draw a card, any card—you’ll have a royal time with this four-ace show.

-TR

“The Grand Duke” runs until March 29 at the Andrew Carnegie Free Library & Music Hall, 300 Beechwood Avenue, Carnegie, PA, 15106. For tickets and additional information, please visit https://pittsburghsavoyards.org/tickets/. 

 

 

 

 

 

 

 

 

By: Joseph Szalinski

Every family has that one relative who’s probably better off sequestered from society, at their own volition or otherwise. If you’re struggling to think of someone who fits the bill, you’re likely that individual. And what better place to live low than in the basement? Granted, my family kept me in an attic, where I was free to worm through the crawlspace, but basements are a solid option for most people. It’s in a basement that we meet a rather peculiar trio in BLT’s production of Downstairs, directed by Jud Stewart, and produced by Jessica Sanzotti, now running at Butler Little Theatre in Butler, PA.

Written by Theresa Rebeck, Downstairs begins with Teddy couch surfing at his sister Irene’s place following a momentary setback, all the while avoiding Irene’s husband, Gerry. During his stay, the siblings bond while reminiscing about their deceased mother and absentee father. All goes fairly well until Gerry finally decides to pay a visit…

The acting is phenomenal. Shows are always demanding on the performers when the number of characters is so few, but this cast rises to the challenge magnificently. They’re even in charge of their own wardrobes! Jud M. Stewart is fantastic as Teddy. Channeling his charm through wiry physicality and impressive feats of dialogue, whether he’s monologuing or playing off of one of the other actors, his dedication pays off beautifully.

Teddy’s sister, Irene, is wonderfully brought to life by Elizabeth Smith. Irene’s the most dynamic character in terms of temperament, going from concerned relative to friendly sister to skittish housewife, and so on. Smith effortlessly embodies every iteration of the character when required. Even though she’s enjoyable throughout the entire show, she really shines in the first half when it’s just Irene and Teddy for 45 minutes or so. When the two of them are seated at the table, recalling childhood memories, she lets out a warm, sincere laugh that one can’t help but relish as they bond.

Every story needs a villain, and Tom Smithyman is astoundingly sinister as Irene’s husband, Gerry, who, much like Linda Patrik, isn’t a huge fan of his brother-in-law, Teddy. The most menacing element of Smithyman’s approach is the reserved attitude he brings to the character. He’s cruel and calculated, cautious to compromise his carefully crafted façade until it’s necessary. Physically imposing, he attracts the audience’s attention with every step but is still considerate enough to cede the stage to his scene partners when it’s their turn to show off their skills. He complements the production with his seething rage and his biting insults that leave crowds flabbergasted.

While not a character in the standard sense, the basement set almost functions like one. Designed by George Arnold and constructed by him, Glen Bittner, Art Black, Gayle Funk, Larry Scott, Jud Stewart, Rachel Wayne, and Katy Wayne, it is something to behold. Every single detail is incredible. Equally unique and eerily familiar. I’d love to crash there. Props to George Arnold and Jud Stewart, who handled, well, the props that really flesh out the scenes. Lighting by Philip Ball and stage manager Min Barlowe assist in illuminating the brilliant cast and set. Matt Leslie, Katy Wayne, and Rachel Wayne provide the necessary backstage magic that allows the show to operate as it does.

Butler Little Theatre is a great venue and theatre company that has been staging stellar productions for the better part of a century. Since its inception, it’s drawn attendees from down the street and from towns away to marvel at the majesty of live performance. A beautiful building, BLT provides a reason to venture up north for a show. Despite reservations some might have about visiting the “Birthplace of the Jeep,” Pittsburghers have no ground to be pretentious. They are doing themselves a tremendous disservice by missing out on an historic arts and cultural scene.

Downstairs continues its run March 24^th-28^th at Butler Little Theatre in Butler, PA. For more information or tickets, click here. 

By Michael Buzzelli

I’m sitting in the theater watching Hunter Bell and Jeff Bowen’s [Title of Show], and I am wondering if the review can be as meta as the actual show. I think, “I can’t insert myself into the review. That goes against the journalistic AP style I grew up with,” but I decide, “Fuck it. I’m going for it.”

I write a review in three parts: I provide a teaser synopsis without spoilers. I then describe the talent involved, actors, set designers, lighting designers, musical directors, choreographers, directors, etc. Then, I close with a summary paragraph.

Let’s get started:

As I’m sitting there, watching actors playing Hunter (Jake Froelich) and Jeff (Noah Kendall) come out on stage and talk about writing a musical for the New York Musical Theater Festival. As they riff on possible ideas, they decide that this should be the show. The duo is actually using their lives to write the show as the show. It’s the George Constanza moment, “This! This should be the show!”

I get to write about how Heidi (Chelsea Davis) and Susan (Rebekah Hukill) show up and help them create the show that doesn’t have a title, until the foursome are filling out the submission form, when they have to list the title of the show. Hunter and Jeff decide that the title of the show should be [Title of Show].

Meta meets meta, and my mind is blown watching the actors dance and sing on stage. Things get crazier and crazier as they narrate their lives with scenes, songs, and dance.

This is the part where I write about the actors:

The four stars of the show are fantastic.

Froelich gives a tremendous performance as Hunter. He fully commits to the role, having to bare his soul… and his chest. The real Hunter Bell exposes some of his darker impulses, and Froelich plays the scenes with such honesty that it’s almost hard to watch when he decimates his friends during a photo shoot.

Kendall, who has been praised for his performances before at ‘Burgh Vivant (inside joke inside the show and now inside the review). It was no surprise that he nailed the role of Jeff Bowen.

Hukill is delightful as Susan. She plays the harried part-time actor who has let her day job take over her life with such sincerity.

Davis is charismatic in the role of Heidi. She has total Heidi energy (ebullient, bubbly, and a joy to watch).

Now, I come to the part where I discuss other pertinent points; things with the construction of the set by Jamie McDonald and Jamie Brunner, or the costumes by Randi Ippolito and Dana Schulte (I enjoyed seeing Kendall’s classic Justice League T-shirt, since Jeff Bowen is a comic book collector and avid Wonder Woman fan).

Travis Rigby is the musical director and the character of the musical director, Terry. There are some great sympathetic moments for the character, the fifth wheel in the story. They do a great job with a few lines, and the music is superb.

Then, I say something about the director and the choreographer. Caitlin Dobronz does a fantastic job getting the actors to immerse themselves in the roles.

I usually close with a summary of the show. This show is pure gay joy. It’s also for everyone and anyone who wants to get in touch with their creative side. Everyone who has to kill their vampires – those inner critics that try to take you down when you create anything, a play, a song, a painting, or even a theater review. This is a must-see show.

I run a check with Grammarly before posting, since I’m my own editor. If there are any mistakes, someone will let me know and I’ll fix them. Trust me, I made a major mistake in my “The Tragedy of Richard II” earlier today and the director reached out to me to get it fixed ASAP.

Case in point:  I had forgotten to credit the photography, but I have revised it.

I close with my initials, and below that, in italics, I will post the details on how to get tickets. I can’t stress this enough… get tickets!

-MB

[Title of Show] runs until March 28 at the Three Stories Theatre, 937 Liberty Avenue, Pittsburgh, PA 15222. For more information or tickets, click here.