Category: The Shaker

By Michael Buzzelli

Ripped from the headlines! Five eclectic one-act plays based on Pittsburgh area news stories comprise one entertaining evening in Throughline Theatre Company’s “Living News Festival.”

The plays include “Trauma Response,” by Matt Henderson; “Smithfield Shelter Shutdown,” by Melannie Taylor; “Gardening Tips for A Swiftly Tilting Planet,” by Clare Drobot; “Be Ashamed,” by Patrick Cannon; and “U-Haul In A Tree” by Jose Perez IV.

Each play is an amuse-bouche, a single, bite-sized hors d’oeuvre of a play, putting the amusing in the amuse-bouche.

The festival opens with a bang with “Trauma Response” based on the headline: “Mail Carrier vs. Beast: Pennsylvania Among Worst in the Country for Dog Bites.” In the story, a dog (Marsha Mayhack) is having an existential crisis while Nona (Becky Hukill) flirts with her mail carrier, Michael (Maria Postava).  Henderson’s story is outrageously funny and deftly performed.

“Smithfield Shelter Shutdown” is based on City Paper article about the Smithfield Shelter Shutdown. Of all the stories, this one stays closest to the facts but does go off wildly in the end.

“Gardening Tips for A Swiftly Tilting Planet” is based on an article about climate change and horticulture. Drobot quickly fast-forwards us into the future in an almost-post-apocalyptic-Pittsburgh. Kerry McGrath delivers a fine performance as a content creator and cat owner who is beginning to fray at the edges at the end of the world. Michael McBurney shows up in the smog and upends her life.

“Be Ashamed” is based on a story titled, “Street Artists Protest White-Out “Refresh” of Graffiti in Pittsburgh’s Color Park. The story is told with wit and charm.

“U-Haul in a Tree” is based on a story titled, “25 Years After Tornados Devastate Pittsburgh, Survivors Look Back.” It’s also loosely based on an old joke about lesbians and a U-Haul. Jeyneliz  Ortiz Valentin’s character’s has a meet-cute after a tornado destroys her home.

Festival standouts include Mayhak’s self-actualized, neurotic puppy and Leroy’s angry artist.

Mayhak’s facial expressions add an extra layer of hilarity in Henderson’s already-comedic story.

Leroy’s Queenie is full of righteous indignation. Watching Leroy swing her cane and curse as the city paints over an iconic graffiti landmark, Jaggerbush the Turtle, is hilarious and, ultimately, poignant.  Her scenes with AJ Wittman sparkle.

In all five stories, there’s only one villain, Katy Chmura’s Pittsburgh Yuppie. She does a great job of out-Karening the most despicable of the Karens.

Ortiz Valentin is a charismatic lead in “U-Haul in a Tree,” while Mike Barnett provides some goofy charm.

Artistic Director J. Cody Spellman resurrected an old idea by turning the city’s headlines into writing prompts. It works because of the sheer talent of the writers and the strengths of their casts.

“Living News Festival” is a engaging and fun evening.

-MB

“Living News Festival” runs from August 17 until August 20 at the Carnegie Stage, 25 W. Main Street, Carnegie, PA 15106. For tickets or more information, click here. 

 

 

By: Joseph Szalinski

Bust out the wet floor signs, because Disney’s The Little Mermaid is currently running at Comtra Theatre. Directors Brandon Keller and Dylan Baughman bring their version of the adapted classic to Cranberry, PA.

Fans of the Hans Christian Anderson fairytale should expect lighter fare than his narrative, as this production is inspired by the animated musical from the 90s. Whether you’re a “Disney Adult” who’s feeling nostalgic, or you’re looking for a family-friendly outing that’s enjoyable for audience members of any age, this show is for you.

For those unfamiliar, the story follows Ariel, a mermaid, and the favorite daughter of Triton, the sea king. Feeling limited by the ocean(s), which cover most of the earth’s surface, she decides to check out what’s going on above. Usually, she finds odd items to include in her museum of recycling, but this time she finds a body that washed ashore! However, the body is still alive, and he’s a prince! After his rescue, he vows to find his savior with a beautiful voice.

Desperate to fall in love on land, Ariel makes a deal with her aunt Ursula, a sea witch with a penchant for all things devious and an army of eels and trades her voice for legs and the ability to breathe out of the water. She must race against the clock before three days are up, get a kiss from Prince Eric, or be Ursula’s mute slave for the rest of her life.

Turning a cartoon, let alone one that is a fairytale/fantasy, into a stage play calls for innovative ideas to facilitate the switch in medium. Luckily, Disney adapted their work, but this show’s crew pulls off some neat stuff. The space, though small and surrounded by seats, is decorated in nautically inspired accouterment; movement of set pieces is superfluid, despite physical limitations; props and costumes are interestingly done; and lighting and sound are good. The standout scenes in that regard are the ones that take place in Ursula’s lair. The look and feel are eerily established, and the writhing sea creatures make it feel extra creepy.

Kristin Pacelli is marvelous as Ursula. She distinguished herself from her cartoon counterpart between menacing energy and incredible singing. Her eel cronies, Flotsam (Mary Narvett) and Jetsam (Grace Fritsch) complement her nicely, or, I guess, meanly. The way those two move around is awesomely unsettling.

Ariel (Anna Chensny) and Prince Eric (Ian C. Olson) were cast wonderfully as well. Apart, they have great scenes, but it’s when they’re together that they shine. Their dancing scene demonstrates their chemistry.

Comic relief is always a great addition to family-friendly musicals/stage shows, and this one has plenty. While the Disney references and fish jokes got annoying, these characters buoyed the humor with their performances. Scuttle (Palmer Masciola IV) is a goofy gull who helps add extra levity to the story. Taylor Anderson and Sam Carter are Ariel’s entrusted companions, Sebastian, and Flounder, respectively. The former is exceptionally funny when fleeing the clutches of the crazed Chef Louis (Patrick Daniel). Louis is a fun character and Patrick noticeably relishes portraying him.

A musical wouldn’t be a musical without, well, music, and while the singing and dancing is impressive from everyone, it’s the live music courtesy of George Milosh, Celeste Callahan, Chris Petricca, Aldo Diiani, Kamran Mian, and Zach Spondike that really elevates the production.

Live entertainment is special for many reasons, and one of the biggest reasons is how the audience enjoys the show. Hearing audience members of all ages, from the super young to the elderly, singing along to their treasured songs, is nice. Even if the show isn’t your thing, it’s great seeing those who enjoy it, enjoy it as much as they do, and potentially witness an instance where future thespians are inspired to bring stories to life too.

– JS

“The Little Mermaid” runs until August 13 at Comtra Theatre, 20540 Route 19, Cranberry, PA 16066. For more information, click here. 

 

by Michael Buzzelli

Herald Loomis (Roosevelt Watts, Jr.) and his daughter Zonia (Saniya J.E. Lavelle) have come to Holly’s boarding house in Pittsburgh in search of his missing wife in August Wilson’s “Joe Turner’s Come and Gone.”

Bertha (Shaunda Miles McDill) welcomes them, but her husband Seth (Kevin Brown) is leery of his new boarder.

People come and go from the boarding house. Though it’s most eccentric resident, Bynum (Mike Traylor), a former-slave-turned-shaman, is a fixture.

Bynum tells Loomis that, for one dollar, Rutherford Selig (Marcus Muzopappa) can find Herald’s missing wife, Martha (Karla Payne).

Meanwhile, another boarder, Jeremy Furlow (Dionysius Akeem) has taken up with Mattie Campbell (Dominique Briggs) and has invited her to share his room. Unfortunately, it’s on the same day that Molly Cunningham (Jamaica Johnson) moves into the boarding house, and Jeremy is instantly smitten.

Pittsburgh playwright Wilson was inspired by a collage, “Mill Hand’s Lunch Bucket,” by Romare Bearden. Chronologically, it’s the second play in Wilson’s Century Cycle.

Abandonment seems to be at the core of the story.  Everyone is being ghosted. Mattie Campbell’s first beau left her, Martha left Herald. Zonia has to leave her father to be with her mother.

There’s also a supernatural element.

Brown is sensational as the beleaguered Holly, especially in his scenes with Watts. Each man is boiling with rage, but it’s sublimated in different ways. Seth has big plans for the future and Herald wants to reconcile with his past.

Watts is charismatic. He commands the stage every time he steps into a scene.

Traylor’s Bynum is the most fun. He tells tale tales and spins supernatural yarns. The character is goofy, but charming. It’s hard to discern if he’s a crackpot or the wizard of Wylie Avenue (probably a little bit of both).

Bertha Holly spends much of her time calming her hot-headed husband down, but McDill makes the most of the role.

Briggs plays Mattie Campbell as prim, proper and no-nonsense, but Mattie is a deeply lonely woman. Briggs manages to project that loneliness throughout her performance.

Lavelle’s Zonia was a darling. The young girl has a plethora of emotions to run through in the show and Lavelle excels at it, particularly in her scenes with Cameron Edwards as Reuben Mercer, the boy next door.

Note: In our COVID-cautious era, many of the roles are double cast and there is a healthy list of understudies. The review reflects the cast as they appeared on opening night.

Kudos to costume designer Cheryl El-Walker and Jameelah Platt in replicating the hats, coats and trousers of the period.

Mark Clayton Southers does a magnificent job with the material. While the first act idles as it introduces a large cast, the second act rockets to the end.

Trigger warning: Because it’s set in the 1910s, the N word is used unsparingly.

There is something to be said for outdoor theater. Despite the motorcycles roaring by, the helicopters booming overhead and the Lantern flies jumping on unsuspecting patrons, there is a visceral thrill to experiencing theater outside, especially in August Wilson’s backyard.  When the characters talk about Wylie Avenue and Locust Street, you can point to them.

“Joe Turner’s Come and Gone” is an emotional experience.

-MB

“Joe Turner’s Come and Gone” runs from August 5 to September 10 at the historic August Wilson House, 1727 Bedford Avenue, Pittsburgh, PA 15219. For more information, click here.

by Michael Buzzelli

Nary two months from his funeral, the ghost of the former king (Dereck Walton) warns his son, Hamlet (Treasure Treasure), that he has been murdered by his brother, Claudius (Sam Turich). The ghost wants revenge and it’s the Danish prince’s duty to carry out his father’s final wish in William Shakespeare’s “Hamlet.”

Claudius now wed to Hamlet’s mother, Gertrude (Robin Walsh), is suspicious of the young prince because he can’t seem to stop mourning his dead dad. He’s unaware that his dead bro snitched from his ditch.

Hamlet must prove his father’s apparition is telling the truth and sets about a course to prove the ghost. Only his one true friend Horatio (Brett Mack) witnessed the spectral sighting and Hamlet has sworn his pal to secrecy.

Elsewhere in Elsinore, Laertes (Brenden Peifer) sets off for school after saying goodbye to his sister Ophelia (Saige Smith). Right before his departure, his father, Polonius (Thom Delventhal), counsels the youth with a plethora of advice.

When a group of players come to town, Hamlet convinces them to perform “The Murder of Gonzago,” wherein a king is murdered in the same circumstance as Hamlet’s dad. Claudius gets visibly upset and Hamlet realizes he’s caught the conscious of the king.

Now, he must act. It’s time to kill his uncle and set the kingdom to right, but he is hampered by his own hesitation…and it costs him everything.

Jeffery Carpenter directs a delightful rendition of the play. It’s swift and buoyant, speeding by under three hours (plus intermission). Carpenter brings out the comedy in the tragedy. He finds the moments of Hamlet’s wit and brings them forward in this brisk retelling of the tale. It’s energetic.

Treasure is a treasure as Hamlet. She is not the morose, brooding teen, but an effervescent trickster.  While plagued with doubt, her Hamlet takes pleasure in being the smartest person in the castle, casting jibes and spilling out bon mots with electricity.

Turich is a villainous Claudius. He cuts a magnificent presence, looming large over the cast, spitting out his venomous lines in a bold baritone.

While Smith shines in every scene as Ophelia, she sings her manic monologue and it’s soulful, rocking dirge that leads to her final moments on the stage. Smith is delightfully demented.

Yes. There’s music. It’s not a full-on nod to Harold Hecuba’s production of “Hamlet: The Musical,” but it rocks out a few times. Gilligan and his fellow castaways would be proud.*

*60s sitcom reference alert.

Polonius himself would praise Delventhal as the best actor in the world for either tragedy or comedy. Here Delventhal’s comic timing is on full display. He’s chewed up the dystopian scenery. While he has some of the most memorable lines in the show, some of the best laughs come at Polonius’s expense.

Peifer is a spot-on Laertes, full of rage and passion. While it’s tough to mourn his father’s death, Laertes and Ophelia are tragic figures caught up in Claudius and Hamlet’s deadly chess game.

Rosencrantz (Dave Mansueto) and Guildenstern (Theo Allyn) are very much alive in this production. They are bright and cheery foes for the prince. They have some clever repartee expertly delivered. Mansueto pulls double duty as the Gravedigger and the humor between he and Hamlet is marvelously executed.

The Carrie Furnace is the setting for Tony Ferrieri’s castle Elsinore. A place that lives simultaneously in a crumbling past and apocalyptic future.  It’s the Thunderdome with lots of gray brick and mortar, overshadowed by the decaying metallic monolith lit in blues and purples by C. Todd Brown. It casts a striking shadow over the entire production, rife with rusting pipes, pillars and parapets. It’s a moody, post-industrial extravaganza.

Susan Tzu’s costumes are works of art.  They are sleek, black, functional with a militaristic flare. Though a gray evening gown was an awkward choice for a swordfight, it works on Treasure’s Hamlet.

There are many “Don’t Miss it” shows in Pittsburgh, but this is more than that. It’s Shakespeare, but it’s also a grand experience. It’s a hit, a palpable hit.

– MB

“Hamlet” runs from August 4 to August 27 at the Carrie Furnace, Carrie Furnace Boulevard, Rankin, PA 15104. for more information, click here.

By Lonnie “The Theatre Lady” Jantsch

This powerful production is based on a true story about four young girls who work at the Radium Dial Company in Ottawa, Illinois in the 1920’s. It highlights the dangers that exist in the workplace as well as the company’s total lack of concern for their employee’s health. The company encourages the women to use their tongues to make a fine point on the paint brushes that are dipped in the radium used to paint the glow in the dark numbers on the watch dials. They lie to the women, telling them that radium is beneficial to their health and that it cures a variety of ailments. This leads to a lawsuit when the women become seriously ill from the radiation. However, this is more than a Norma Ray type story. It’s a story about deep friendship, resilience and courage.

The upbeat beginning shows the excitement of Catherine Donahue (Samantha Hawk) as she is hired to work painting numbers on watch dials. It is a novel concept for women to work outside the home at that time, and Catherine is thrilled to be a modern woman. A very touching scene when her husband Tom, sweetly tells Catherine “a story”–(the story of how they met), shows their deep connection. This scene showcases the wonderful chemistry between the two actors and convincingly conveys their strong love for each other. Their body language is believably warm, intimate and loving. (Kudos to the director, Barbara Burgess-Lefebvre.)

Michael Church plays his role as loving husband with great sensitivity and charm, even as he embraces the human flaws in his character.

Samantha Hawk shines (sorry, couldn’t resist) in her role. She expresses many deep emotions — all of which seem authentic. Hers is a strong performance that endears her to the audience. She brought tears to my eyes.

At her workplace, Catherine meets some funny, idiosyncratic women with whom she develops a close friendship. Charlotte Purcell (Danette Pemberton), is a tough talking, no nonsense person. Although she’s hard and rough, she nuances her character with such humanity that the audience has no choice—they have to like her.

Pearl Payne (Kodie Warnell) is the joker of the group. She tells real groaners with such over the top enthusiasm that it’s impossible not to laugh. (And, yes, sometimes groan,) I enjoyed watching her hamming it up. She deserves a Hamcademy Award! So entertaining.

Shout out to the costume designer, Annabel Lorence for the period costumes that pay attention to the little details–shoes, hairstyles, hem length on dresses, and such.

Hope Debelius’s lighting design is eerily effective–especially in the sobering last scene.

This story is not a fairy tale. It doesn’t have a happy ending. On a positive note, OSHA was formed as a result of the court case that Catherine Donahue filed, and won, after seven appeals. This is an impactful, poignant, well acted, riveting production that tells a compelling story of a century old event.  I’m so glad that I saw it.

“These Shining Lives” runs through August 12 at South Park Theatre. For more information and tickets, click here. 

By: Joseph Szalinski

After being usurped by his brother Antonio, Prospero, former Duke of Milan, sailed away with his daughter, Miranda, and wound up at Preston Park in Butler, PA, in Hobnob Theatre Company’s Production of William Shakespeare’s Gilligan’s Island, err…I mean, The Tempest, directed by Ken Smith. This is Hobnob’s second time staging the blustery comedy, having done a production of it a decade ago in 2013. 

The show opens with a rousing musical number featuring the entire cast, backed by the wonderful group of musicians who provide brilliant accompaniment throughout the play. A frightful shipwreck follows before Prospero (Stefan L.) gets the audience up to speed with some mesmerizing exposition, eventually setting the stage for the bulk of the story. 

Boasting a fantastic cast where many of the actors play multiple roles, this show is rife with incredible performances. The biggest takeaway is how comfortable everyone is with the dialogue. Not only are they not intimidated by any of it, but they imbue it with verve and personality. While some may consider comedies to be lesser than more dramatic works, they are more challenging in that not only does a play have to be expertly realized, but the comedy and humor as well. This cast effortlessly helps show how truly funny this show is. 

Stefan L.’s portrayal of Prospero is captivating from his first appearance until the end of the show. Although he carries a big stick, he does not speak softly. Stefan projects well, and his powerful voice is tinged with gentleness and understanding that allows him to truly embody the wizened trickster.

Deanna Sparrow gives a spirited performance as Ariel. Her body language and movement help make her portrayal stand out. She is so light and carefree; it wouldn’t be surprising if she somehow took flight in real life.  

Miranda (Jackie Mishol) is phenomenal in her own right and also in her relation to others, whether that be to her father, Prospero, or to her love interest, Ferdinand (Justin Macurdy). The latter’s chemistry is sweet and fun and really encapsulates the essence of the play. 

Casey Bowser and Justin Anderson are a great duo as Stephano and Trinculo, respectively. Every scene they pop up in is an absolute delight. The moment when Stephano runs into Caliban (Alison Carey) and Trinculo when he mistakes them for some foul, four-legged beast is the funniest moment of the play, and some of the funniest stuff I’ve seen staged.

Countering the comedic and mostly harmless pair, are their conniving shipmates Antonio (Steve Kalina) and Sebastienne (Elizabeth Smith). Their villainy spices up the plot and illustrates the evil even those closest to us are capable of. 

As mentioned above, the musicians (Shaun Donovan, Liz Flanders, Alison Carey, and Holly Furman) do a terrific job of scoring the scenes and a handful of songs. They even add soundscapes and sound effects that elevate the show’s moods and humor.

For being outside, where there are unpredictable variables, this production still manages to pull off some technical wizardry. The greatest example of this is when Alonso and company encounter Ariel in the form of a Harpy. Her performance is complemented by a cloud of billowing smoke, making her guise all the more menacing. 

What this show perfectly demonstrates is the power of live entertainment and art. There are only a handful of set pieces and props, costuming is fairly static for most characters, and the only lighting comes from the sun if it doesn’t get covered by clouds, yet this talented cast and crew is able to conjure a production so enthralling that one will swear what they do is magic. It’s no question that they are all united by their love for theatre, particularly their love of The Bard.

JS

The Tempest continues its run July 30th at Preston Park at 6:30 PM and August 4-6 at 6:30 PM, with a change in location to the James A. Ayers Sr. Amphitheater in Zelienople. For more information, click here. 

Reviewed by Dr. Tiffany Raymond, PhD

Carnegie-based theater company Stage 62 favors musicals and continues the theme with their latest production: Something Rotten!

While first produced in 2015, Something Rotten! takes place in 1595. The musical traces brothers and aspiring playwrights, Nick and Nigel Bottom. The pair is on a quest to pen a play that supersedes – or at least rivals – the meteoric success of the era’s leading playwright, William Shakespeare.

The play is geological strata of meta. There’s a play within a play layered with references from the Elizabethan to modern musicals like Hair and Cats. In addition, the brotherly playwright duo of Nick and Nigel mirror the musical’s own origin story. Two brothers, Karey and Wayne Kirkpatrick, conceived of the story and wrote the music and lyrics.

Shakespeare wasn’t just a contemporary literary foe for the fictional Bottom brothers. He is still widely considered the best writer in the English language, yet details about his life are scant.

Here Shakespeare is fully self-aware of his rockstar status. From the moment he swaggers on stage, B.A. Goodnack is unwaveringly commanding as Shakespeare. Goodnack’s towering height reinforces his golden boy status. He physically rises above the starry-eyed ensemble who all scramble to don sunglasses when he first enters. The gesture is both mimicry as Goodnack is wearing shades as well as symbolic of his luminosity.

Costume designer Michelle Nowakowski imbues Shakespeare with a dripping bad boy attitude. Goodnack asserts his presence in skintight black leather pants and black leather boots with a fitted black leather vest over a white peasant shirt. He’s Harry Styles meets Mick Jagger.

When Goodnack belts out “Will Power” in Act 1, he performs from a riser with coordinated back-up dancers. The scene radiates boyband vibes. The ensemble gathered in front of the stage upon a stage have their backs to the actual audience. They gyrate and faint as Shakespeare performs and elicits call and response. Director Rob James has Goodnack effortlessly trust fall off of the mini-stage. He’s confident he’ll be caught by the adoring masses, crowdsurfing, the audience eager to absorb his “Will Power” and the halo of his fame. You can almost hear the “when I touched Shakespeare” afterparty chatter.

The Bottom brothers provide a stark contrast to Shakespeare. Their name denotes their career cap. Symbolically, Nick Bottom’s (Brian Ferris) first song is “God, I Hate Shakespeare.” Vocal director Becki Toth has Ferris almost spit out the title as he sings it.

Nick’s lingering emphasis on “God” foreshadows the on-stage arrival of the Puritans who protest the theaters as dens of iniquity. It’s the Renaissance equivalent of protesting woke books and reminds us of the era-spanning omnipresence of those who want to ban varying forms of entertainment on self-defined moral grounds. Nick’s hatred is only thinly veiled jealousy. His disdain extends to anything that makes him feel lesser, and as an aspiring playwright, Shakespeare tops that list.

Anna Gergerich is brilliantly cast as Nick’s wife, Bea. She’s loving and supportive but also realistic and grounded. She solicits Nick’s support to let her get a job to overset their financial struggles, reminding him “this is the 90’s.” Her indignance pairs with the audience’s reference point of the 90’s as 1990’s, which elicits laughter. Rob James directs her to a perfect beat before punctuating her assertion with “By 1600, women will be equal to men.”

The play continually bridges old and new, reminding us that while we like to think things have changed, they have changed more by shades of grey than orders of magnitude. Fast-forwarding, gender equality is still elusive, but the century-crossing optimism for the near-term immediacy of that reality is cheering.

Bea’s song imploring her husband to let her be his “right hand man” proves prophetic. Cross-dressing is the only way she can get hired. Her unabashed enthusiasm at income-earning, even when she’s hired as “bear shit boy” (“…I have a job title!!”), points to the limited circumference of Elizabethan women.

Younger brother Nigel (Sean Whitney) is the actual writer of the duo. Whitney manifests Nigel’s lack of self-confidence with a permanent slouch, and he’s prone to panic attacks. However, he’s more emotionally nuanced than his older brother, perhaps because he is the more capable writer. Nigel can admire Shakespeare without hating him.

Driven to desperation with impending deadlines, Nick consults a soothsayer. Nostradamus (Dixie Surewood) steals the show in garnering laughs. His fortunetelling connects back to the broader themes of covering the ages. His prophecies mix the Elizabethan with the modern; Nostradamus spins a few centuries forward when he identifies “musicals,” which he proceeds to explain in song, as the next big theatrical trend. Costume designer Michelle Nowakowski appropriately positions Surewood as visionary mad scientist with wild white hair. His look and character blend Doc Brown from Back to the Future with Beetlejuice. Hilarity ensues as Nick attempts verbatim translations of Nostradamus’ visions to the stage.

Something Rotten! is clever to the core, rhyming pewter and Tudor in the opening number “Welcome to the Renaissance,” which is bookended by “Welcome to America” in which “nothing rhymes with America but who cares.” The show vibrates with self-referential fun across the ages and for all ages. Stage 62 provides a wicked good time.

-TKR

Something Rotten! runs through July 30, 2023 in Carnegie, PA at Carlynton Junior-Senior High School. Learn more and purchase tickets online at https://www.stage62.org/something-rotten.html.

by Claire DeMarco

College professor and playwright Sidney Bruhl (Eric Leslie) reaches a creative slowdown as his most recent play submissions have bombed.

Fortuitously Clifford (Arjun Kumar) sends him his unpublished play titled “Deathtrap” and asks his former professor to look it over, provide him with comments and suggestions.  After Sidney reads the script, he is overwhelmed.  The play is brilliant.  It’s perfect.  He wishes it was his play.  Sidney’s wife Myra (Joyce Miller) encourages him to do something with this aspiring playwright – support him, produce the play or perhaps collaborate with this young playwright.

Collaboration is the key word and Sidney invites Clifford to work together on Clifford’s script. Since Clifford now lives with Sidney and Myra, work continues uninterrupted for some time.

Occasionally Helga (Helga Terre), the next-door neighbor visits.  She touts her extra sensory perception skills and proclaims that she feels death in the house. After spouting these pronouncements several times, she leaves.

Time passes and sometime later family attorney Porter (Andy Cornelius) arrives at the home with a finalized will.

Helga was correct.  A death did occur.  But whose?

Leslie controls the stage.  He is witty, sarcastic, self-absorbed, a wicked con man. He is able to switch between these various aspects of his character’s personality seamlessly.  Leslie is both funny with nicely timed retorts or dead serious when required.  His collaboration appears to be one-sided as Leslie slouches at the desk or at times hits the typewriter keys once or twice with indifference.

It is so easy to love Miller as the somewhat naive and supporting wife.  Her eyes and facial expressions, along with her constantly closed hands effectively portray a wife who loves her husband but is really somewhat suspicious of her husband’s chatter about killing someone.

Kumar is excellent in completely becoming two distinct personalities.  Convincing as the shy playwright anxious for approval, he becomes part of a con that transforms him into a worldly, self-confident manipulator.  His movements change, his speech is more pronounced and in command compared to his slightly awkward persona as the backward playwright.

Terre is hilarious as the next-door neighbor.   With arms outstretched and eyes bulging each time she enters her neighbors’ home, she canvases the living room and as often as she can proclaims in broken English that “She is psychic”!  She has great comedic timing.

Cornelius has a smaller part and appears near the end of the play as the friendly, sympathetic attorney.  He is extremely convincing as his character changes from that docile lawyer to an angry, foul-mouthed mortal caught up in a collaboration of his own.

What a well-balanced cast!

Scenic designer Aria Dietrich’s set is minimal but effective with a desk the prominent set prop center stage.

-CED

“Deathtrap” is a production of Little Lake Theatre Company, 500 Lakeside Drive, Canonsburg, PA.  It runs from July 20th through August 6th. For more information, click here.

By Claire DeMarco

It’s 1890 in Venice, Italy. Beatrice Rasponi (Wendy Parkulo), disguised as her deceased brother travels to Venice to confront Pantalone Dei Bisognosi (Johnny Patalano).  Pantalone is the father of her brother’s intended bride, Clarice (Kat Bowman).

What’s the point of Beatrice’s subterfuge?  Beatrice wants the dowry her late brother gave to Pantalone in order to live happily ever after with her love, Florindo Aretusi (Matt Henderson).

Clarice thinking that her betrothed is dead has fallen in love with Silvio (Cody Ickes), son of Dr. Lombardi (John Dolphin) who enthusiastically encourages this merger.

Truffaldino Battochio (Todd Foose) offers his services as a servant to two masters – Beatrice and Florindo as a means to collect twice the pay.  Neither master knows about Truffaldino’s duplicity.  Problems compound as both masters require him to coordinate separate feasts (at the same time) from the only innkeeper, Brighella (Deborah Geary). He is deliriously happy at thoughts of making double the money plus selecting and tasting the food (he loves to eat).

Note:  Double dipping at its finest!

So many loose ends to sew up!  Will Beatrice’s identify be revealed?  Will Beatrice and Florindo find one another?  How about Clarice and Silvio?  Who is Smeraldina (Kelsey Rhea)?  Does Truffaldino succeed in serving two masters?

Spolier Alert!  I think we all know how this play ends.   After all it is a comedy!  But it’s hilarious to watch the machinations as they unfold.

Foose is superb as Truffaldino.  He is funny, conniving and gymnastic as the always hungry, always looking for money servant.  Much of his humor is reflected in his facial expressions. His asides and comments to the audience are delightful.   All of his moves are further enhanced with excellent timing and execution.

Henderson portrays his character as a controlled, “better than thou” gentleman.   His facial expressions and movements are spot on.  He easily transitions from this characterization to an emotional man out of control in a funny scene when he discovers Beatrice’s whereabouts.

Parkulo portrays her deceased brother in an intelligent way, not overly masculine.  She does not pretend to lower her voice or walk in a more manly way which would divert our attention from her portrayal.

Dolphin’s pompous Dr. Lombardi is reinforced as he occasionally decides to throw out phrases in Latin to highlight his intelligence.  He shows Dr. Lombardi’s gentler, kinder side when his son is in distress and needs support.

The actors are great as is the production but it would have been even better served if the stage was larger and more conducive to the story.

Note:  The original play by Carlo Goldoni was written in 1746.  It is an example of an early form of professional theater called Commedia dell’arte that emphasizes the actors’ intentional insertion of their own dialogue instead of that written in the script.

-CED

“Servant of Two Masters” runs from July 14 to July 29 at the The Margaret Partee Performing Arts Center, 523 Lincoln Avenue, Bellevue, PA 15202. For tickets or additional information, click here.

By: Joseph Szalinski

King Arthur (Michael L. Marra) is combing Zelien…err…England in search of knights for his round table in everyone’s favorite medieval musical, Spamalot, the brainchild of Eric Idle and John Du Prez. Much like Twinkies, this show has been brought back by popular demand, returning to The Strand Theatre, with this particular production being directed by Nick Navari.

Audiences are treated to a wonderful iteration of the Broadway hit thanks to a fantastic cast and crew. Most of the enormous cast effortlessly pulls double or triple duty with the variety of characters they portray, delivering incredible performances in both their more significant appearances and their briefer ones. The Laker Girls and the members of the ensemble offer great assistance in fleshing out songs and scenes, helping the imagined world seem as big as it needs to regardless of the physical limitations of the space.

Michael L. Marra and Anna Stewart, who play King Arthur and Lady of the Lake, respectively, are phenomenal in their singular roles as the leads, despite the latter’s lamentation that she is ignored by a portion of the play’s story, resulting in a hilarious number, “Whatever Happened to My Part?”

As far as musical numbers go, all are really well done, and they are expertly overseen by music director, Amy Kapp, brilliantly choreographed by Victoria Strnisa, and wonderfully scored by The Strand Theatre Ensemble. Act 2 contains the bulk of the standouts, with “You Won’t Succeed on Broadway” and “His Name is Lancelot” being some of the most memorable moments of the show overall.

The only performance-related qualms I had were very minimal and were easily ignored; a handful of wavered accents and a few instances where someone’s projection was a bit subdued by reliance on a mic that didn’t always capture everything super clearly. Otherwise, everyone did an impressive job, and it’s easy to see how they all are already so accomplished and will continue to grow in that regard.

Set design, lighting, costuming, and all other technical elements are tremendous as well, especially the projections that help transport the action to a very expensive forest. There is a lot to do with the static castle set, whether that be the various entrances and exits that pepper the ground level, climbing the stairs, or relegating it to the background while a scene unfolds upstage. The utilization of the second level of the theatre is also well thought out.

Costuming really elevates this show. Not only does it help the performers fully realize their characters, but it is also done in such a way that the transitioning between them can be accomplished with ease. Where the costuming really stands out, though, is with the effects. The short legs of a taunting guard, the beheading by a hungry bunny, and the knight’s flesh wounds are marvelously orchestrated.

While I was familiar with Monty Python’s work prior to seeing this phenomenal production, I was a stranger to Spamalot itself. I’m thrilled that this was my introduction to it. Fingers crossed that there is yet another revival in a few months so I can see this again!

-JS

Spamalot will continue its run June 29th & 30^th and July 1^st & 2^nd at The Strand Theater in Zelienople, PA. For more information and tickets, click here.