Category: The Shaker

by Claire DeMarco

The story line in this production of “Uncle Vanya” is the same as are the characters and location in Russia of Anton Chekhov’s play.  Annie Baker’s adaptation of Chekhov’s classic now occurs in the present with the characters and surroundings in American-like rural attire and staging.

Vanya (Mike McBurney) lives in the country with his niece, Sonya (Marisa Postava).  They both take care of the rural property.  Although she technically owns the property through her deceased mother, her father Serebreykov (Rick Dutrow) controls it.  Serebreykov lives in the city with his second and much younger wife, Yelena (Zoe Abuyuan).

Astrov (Maher Hoque), neighbor and friend of Vanya’s is educated, overworked and obsessed with forestry and the environment.  He’s determined that he will never love anyone but he’s concerned that he will not be remembered after he’s gone.

Vanya complains and reflects constantly about his life – he’s wasted it, he’s lonely, he’s stuck in the country.

Sonya’s not happy either but she is resigned to her fortunes, believing the only relief from her misery is death.

Tensions are compounded when Serebreykov and Yelena make their infrequent visit to the country.  Their presence seems to heighten the resentment Vanya has for the life they are living and the life that he isn’t.

No one appears entirely happy but everyone is in love.  Unfortunately, everyone is in love with someone who doesn’t love them.

Note:  There are some occasions due to the staging when the actors’ backs are to the audience and dialogue is not always clear.

McBurney is so believable as Vanya that even though he whines a great deal about his failures and life in general, he is likeable.  He’s able to pull off some sarcastic remarks that are funny even though the play is often considered tragic.  He uses great facial expressions to emphasize his emotional state.

Dutrow takes us through the many phases of Serebreykov, from moaning about his failing health to his angry outbursts. In between these extreme bursts of emotion, Dutrow’s character is calm, in charge and authoritative.

Hoque is effective as the always depressed Astrov whose main interest and pursuit beyond doctoring and drinking is his concern with the climate and general environment.   Hoque’s performance is consistent and strong.

Postava is convincing as a gentle, quiet soul who when pushed speaks out. She is effective in standing up to Vanya when he insists that he alone handles all the workload.

Dressed to impress, Abuyuan stands out as the selfish, younger second wife.  She shows her gentle side as the confidante trying to help Sonya pursue her love interest.

The set has a Western theme with a barn-like backdrop and a country-style table and bench, wagon wheel leaning in the corner of the stage, a cowboy hat plopped on a coat rack and other fixtures that reinforce the American-like western look.  Costumes reflect the surroundings with many of the characters wearing cowboy boots and ranch style garments.  Visitors from the city wear classic attire.

Most people consider Chekhov plays as tragic and there is a large portion of tragedy in them.  But scattered throughout is a dash of comedy, highlighted perhaps in this production by the time and American-like rural environment in which it is presented.

Check out this adaptation of “Uncle Vanya.”

-CED

“Uncle Vanya” runs from June 19 – July 1 and is presented by Throughline Theatre Company at Carnegie Stage, 25 W. Main Street, Carnegie, PA 15106. For more information, click here.

By Joseph Szalinski

Like many thrifty Yinzers I know, I can’t pass up a good deal. Especially one that’s out of this world. And that’s exactly what The Jesters’ Guild is offering at Duquesne University’s Genesius Theater with their latest production, The Space Program, which is comprised of two shorter plays that both deal with the cosmos in some capacity.

The first of the two shows, “We Never Went to the Moon,” is a farcical look at legendary director Stanley Kubrick’s (Brandon Donaldson) rumored involvement in staging the 1969 moon landing. He’s joined onstage by a self-obsessed Neil Armstrong (Elijah Corbin), a conflicted Buzz Aldrin (Todd Foose), an eager stagehand (Jeff Britt), and a controlling studio executive (Sydney Turnwald). Playwright/director, Derek Lynch, crafts an engaging piece of theatre that provokes laughter and thought throughout its runtime.

“We’ve Always Been on Earth,” playwright/director Jeremiah Ion’s amusing take on the UFO crash in Roswell, New Mexico in 1947, pits Pip (Corbin), Zoldak (Turnwald), and Captain Bildar (Foose) against a curious Mac Brazel (Britt) and suspicious Jesse Marcel (Donaldson). Replete with hijinks, references, and the like, this story brings the necessary energy and wit to the production for it to finish playing out as strongly as it does.

Brandon Donaldson is terrific in his dual roles. While Jesse Marcel isn’t as prominent as the other characters in Act 2, he does add to the dynamic wonderfully. It’s Donaldson’s Kubrick, though, that really shines. Or in this case, reflects. His performance explores Kubrick’s fallibilities, invented or otherwise, helping to show a man more concerned with making a good movie versus filming scientifically accurate footage that could dupe the public.

Elijah Corbin is hilarious as Neil Armstrong and Pip. He possesses a zany zeal that helps his characters be as endearing as they are ridiculous. Of the two, it’s Corbin’s iteration of the famous astronaut that showcases his strengths. He masterfully lampoons Neil’s pioneering image and legacy, demonstrating an egotistical space cadet who hasn’t had the benefit of being heroized by history.

Todd Foose brilliantly juggles the requirements of his two characters, Buzz Aldrin, and Captain Bildar. Although both are comfortable in their respective knowledge and experience, Aldrin’s conscience makes him somewhat of a comedic foil, whereas Captain Bildar more easily succumbs to the wackiness that he and his crew are embroiled in.

Sydney Turnwald is marvelous in her two portrayals. As the studio executive, she’s a little more reserved and calculated, interjecting with a great line at the right time. However, it’s her turn as Zoldak that really demonstrates her abilities. Not only does she have more stage time, but she also has a little more to work with as a character—allowing her to plumb the depths of her dimensionality, effortlessly bouncing between being a level-headed crew member and the uncertainty that comes with being stranded on an alien world.

Jeff Britt steals the show as both the stagehand and Mac Brazel. His animated goofiness allows him to simultaneously stand out but still complement the ongoing scene and his scene partners. His introductions induce chuckles, and every subsequent appearance builds upon it, assisting the audience in getting carried away with the delightful absurdity of it all.

Set design was minimal yet effective. Act 1’s moon lander and act 2’s crash site help establish their respective scenes but leave enough room for the performances to retain the focus. The costumes were marvelously inventive; the standout pieces were the silver painted 2-liters as oxygen tanks and the backwards baseball cap adorned with springy antennae. In combination with the lighting and sound, the costumes and props and other stage paraphernalia do a great job of transporting the audience into their worlds, with any modicum of hokeyness adding to the overall charm and appeal. Even the program is as fun as it is exhaustive.

One of my favorite things about this production is its cohesiveness. Being written, produced, directed, and overseen by the Jesters, with additional technical assistance, enables the production to seem like a unified piece of art in a way that a lot of plays can’t. Every element of this production perfectly showcases the joy of putting on a show for people and being able to realize an artistic vision. Granted, it is really well done, but most importantly, you can tell that everyone involved has an absolute blast bringing it all to life.

-JS

The Space Program continues its run June 23^rd-25^th at Duquesne University’s Genesius Theater. For more information, click here. 

By Michael Buzzelli

As her father (Patrick Conner) lay dying, Ann (Clare Fraley) reflects on her life in Sarah Ruhl’s “For Peter Pan on her 70th Birthday.”

Ann muses over a crossword puzzle in her father’s hospital room. She is joined by her sister, Wendy (Renee Kern) and her brothers, Jim (Art DeConciliis), John (Andy Cornelius) and Michael (Rick Bryant) as they prepare for their father’s final moments.

She fondly recalls her time on the stage, playing Peter Pan in a local production of the show and remembering her father’s visit to the stage after the show. It’s a precious childhood memory embedded in her mind that – suddenly – bubbles to the surface as she stands over his deathbed.

When Father dies, things get weird – in the best possible way.

Petty arguments about politics arise around the table as the family mourns the loss of their patriarch. While Father is physically gone, his presence on his adult children is strong. Maybe even overwhelming.

Director Helga Terre pulls great performances out of all of the actors.

Fraley delivers a deliciously neurotic character with many flaws, bringing Ann to life as she learns to accept death. Her portrayal is both hilarious and heartbreaking.

DeConciliis does a magnificent job. While Jim is stuck in a holding pattern of bald, boring doctor with a hard on for Reaganomics, James, however, is preening, vainglorious villain with a curly black mane. The juxtaposition of two wildly different characters is deftly handled by DeConciliis.

Conner is a true joy here. He has very few lines but silently chews the sparse scenery.  While Father is a figurative puppeteer of family events, Conner is a literal one when he brings out the family dog.

You have to see it to believe it.

Mild spoiler alert: Father dies in the first act, but Conner gets to keep playing the character as the show goes on.

“For Peter Pan on her 70th Birthday” starts strong, has a saggy middle but finishes in a wildly inventive way. The middle section is bogged down with politics and religion. In this case the subject is dull rather than taboo. It would have been more preferable to learn more about the brothers and sisters and their unique idiosyncrasies than to discuss politics from the mid-90s.

In the second act, however, the play explodes in a surreal Geritol-infused dream sequence.

Things gets meta.

Metamucil.

Ann becomes Peter Pan (complex and all), her sister Wendy becomes Wendy, brothers John and Michael play John and Michael, but her brother Jim is cast as Captain James Hook.  Yes, their names are “too on the nose, ” but we can let Ruhl off the hook.

Hook.

Speaking of Hook, Barbara Burgess-Lefebrve’s costumes are wonderful, especially the ones in the second act.

Center stage is mostly bare, but the Darling bedroom resides in the corner of the theater. Tucker Topel’s scenic design work on the bedroom is a classic. It’s somehow reminiscent of every version of the bedroom seen in film, TV and stage.

Peter Pan, both then and now, is about not wanting to face adult responsibilities. Ruhl has a clever spin on a classic, despite the saggy middle.  If the conversation about the father bores, watch the character playing Father. It’s marvelously entertaining.

Contemplating our inevitable trip to the grave is a scary subject, but “For Peter Pan on Her 70th Birthday” makes the journey palatable.

-MB

“For Peter Pan on her 70th Birthday” runs from June 15 to June 25 at Little Lake Theatre, 500 Lakeside Drive, Canonsburg, PA 15317. For more information, please click here.

by Claire DeMarco

If you Google the phrase anything goes, the definition presented is: anything is acceptable; there are no rules for behavior, dress, etc.  That meaning fits the group of characters who find themselves on a ship headed to London.

Passengers aboard the S.S. American include stowaway Billy Crocker (A. J. Shively) who’s looking for his love, Hope Harcourt (Liz Leclerc).  Hope is engaged to Lord Evelyn Oakleigh (Geoff Packard) and they are traveling to London to be married.  Hope’s mother, Evangeline Harcourt (Theo Allyn), anxious for the union, hovers close by.  Billy Crocker’s longtime friend Reno Sweeney (Rashidra Scott) is also along for the ride, as is his boss, Elisha Whitney (Allan Snyder).

Mobster Moonface Martin (Jeffrey Howell) and his girlfriend, Erma (Andrea Weinzierl) have their own questionable activities planned during the voyage.

“Anything Goes” is a delightful musical comedy full of slapstick, innuendoes, silly antics, mistaken identities, misunderstandings and general confusion.

Of course, it’s unbelievable, but it’s “De-Lovely” and “Easy to Love!”

Scott is brilliant as Reno.  She has wonderful stage presence, great dancing skills, and a beautiful singing voice, especially her rendition of “I Get a Kick Out of You.” Throw in comedy and what a well-rounded talent.

Shively shines as the persistent romantic.  His dancing and gymnastic moves are as smooth as is his singing.  Equally effective are his comedic skills.

Packard is very convincing as the Englishman who’s obsessed with American slang and sayings but misuses them constantly much to the delight of the audience.  His timing is impeccable.

Howell and Weinzierl’s individual performances are exceptional.  They are especially funny when they interact with one another – he as the mobster/minister and she as the naughty mobster’s girl/religious convert.

Leclerc’s “Goodbye, Little Dream, Goodbye” is lovely as is her “It’s De-Lovely” song and dance with Crocker.

The entire cast and company are excellent.  What a well-balanced group of professionals.  Their tap dancing to “Anything Goes” is phenomenal.

We can’t leave Cole Porter out of the mix for praise.  His music is magical and is essential to the success of “Anything Goes.”  Incorporating his music with a storyline that is often laced with unrealistic plots and situations actually works.

Leave your worries at home and come see “Anything Goes.”

– CDM

Anything Goes runs from Jun 13, 2023 – Jun 18, at the Benedum Center, 237 Seventh Street, Pittsburgh, PA 15222. For more information, click here. 

By Michael Buzzelli

It’s not the opponents on the football field that take down  “Iron Mike” Webster (Ernesto Mario Sánchez), but the undiagnosed Chronic Traumatic Encephalopathy (CTE), a degenerative disorder linked to repeated head impacts, that brings down the Hall of Famer in “12:52: The Mike Webster Story.”

When Webster retreats to Wisconsin after formally announcing his retirement in Kansas City, he can’t quite adjust to domestic life with his wife, Pam (Kauleen Cloutier). He has hare-brained get-rich-quick schemes and wild theories about the Kennedy Assassination. To top it off, he’s having deranged visions of his former teammate Terry Bradshaw (Paul Guggenheimer).

Sonny Jani (Arjun Kumar) finds the Steelers player sleeping on a bench at the train station. Jani realizes that Mike Webster’s autograph is worth a fortune to collectors and brings the Steel Curtain Center to his sports and memorabilia shop in McKees Rocks, but the head trauma is causing friction between Webby and Jani.

While not a spoiler, per se, as it is practically public knowledge to Steeler fans, the undiagnosed disease ultimately it takes his life.

After Dr. Bennet Omalu (Wali Jamal), a forensic neuropathologist, examined Iron Mike’s brain tissue during the autopsy, Webster became the first former NFL player diagnosed with CTE.

Sanchez is engaging as the famous footballer. He plays Webster as amiable charming, thick-headed and proud. It’s a sympathetic portrayal.

Another duo to watch is Sanchez and Kumar. They are electric in their scenes together. The grit in Webster and Jani’s friendship is sand in the oyster for the two actors, creating pearls in their scenes.

Charles David “Stoney” Richards shows up as Steelers owner Dan Rooney.  It’s a grounded performance. Richards plays the part with equal parts of stoicism and sympathy. His sonorous voice gives gravitas to the part.

Jamal does a fine performance spouting off a myriad of medical terminology as Dr. Omalu, and, in a complete 180, the actor provides the voice of Myron Cope. Yoi and Double Yoi! It’s a nostalgic and hilarious.

Director Marcus Muzopappa gets at the humor in the “12:52 – The Mike Webster Story,” but, more importantly, he gets at the heart of it.

Dr. Randall Benson and Ross Howard’s tale about the former footballer is a sad one, but it is intriguing. It’s just a little longer than it needs to be (by twenty minutes or so). Their need for accuracy causes a few repetitive moments in the show that could easily be excised in future productions. Ultimately, “12:52 – The Mike Webster Story” is a story worth telling.

Lower your Terrible Towel at half-mast, and raise a Iron City for Iron Mike.

-MB

“The Mike Webster Story” runs from June 16th – 25th at the Madison Arts Center, 3401 Milwaukee Street, Pittsburgh, PA 15219. For more information, click here.

by Claire DeMarco

Frida Kahlo was an artist, an icon, a feminist, lover, a political activist. She was traditional in native Mexican dress and values yet radical politically, creatively active but physically handicapped.

In “Frida…A Self Portrait,” Vanessa Severo, the actor and playwright, takes us on a journey of Frida’s life from young child to mature adult.

Frida had several tragedies in her life that affected her. When she was six, she contracted polio.  At eighteen she was involved in a bus accident that she miraculously survived. As a result, she was in constant pain for the rest of her life. She also noted that another tragedy in her life was her turbulent marriage to husband Diego Rivera.

Although physically limited, painting became her therapeutic with over 100 of her paintings self-portraits (all smile-less).  She used her painting as a way to say to the world, I’m still here, I’m strong and I survived.

Note:  More people are aware of Frida Kahlo and her work today than they were when she was alive.  It’s a shame she didn’t live to see her work fully recognized.

Several times during the production Severo confides to the audience in her natural American accent why she has a kinship with an artist who died years before she was even born.  Her interaction with the audience is charming and enlightening.

Severo’s performance as Frida is stunning.  She brings out the complexity of Frida’s character.  She is energetic, funny, sad, engaging, angry.  She does it all (including dancing)!  Transitioning easily when she is Diego Rivera, her voice lowers.  As her father she again assumes a masculine voice with the necessary accent that voice requires.

The set is simplistic but imaginative.  The stage is a huge bed frame that represents the many years Frida was bedridden.  Costumes and scenery blend together as the costume-laden clotheslines become an integral part of the story. Excellent Scenic Design by Jacqueline Penrod and Costume Design by Katherine Davis.

Kudos to Director Joanie Schultz.

Don’t miss “Frida…A Self Portrait”

-CED

“Frida…A Self Portrait” runs from June 7 – June 25 at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA. For more information, click here.

By Joseph Szalinski

Life is full of many terrifying things: unrealized potential, death, illness, and most terribly, group projects. A last-minute poster board about Leaves of Grass by everyone’s favorite Transcendentalist they pretend to have read, Walt Whitman, pits Caroline (Maya Anabella) and Anthony (Jake Moon) in an awkwardly frenzied study session that brilliantly meters out their introductions to one another, and ultimately, themselves. Tom Mirth and Catherine Hayashi (who also provides a brief voice over) masterfully helm this production of I & You, playwright Lauren Gunderson’s take on the literary one-hit wonder, the debut of Iron Horse Theatre’s 2023 season, produced by London Cain.

Maya Anabella delivers a stirring performance as Caroline, the chronically ill student and budding photographer who takes some really sick pictures. She wonderfully captures the candor of a house-ridden teen with wanderlust and a desire to just experience a life she’s had to fight for from the start. Her verve serves her rendition suitably, occasionally claiming bits of dialogue here and there in the wake of her excitement, but she also possesses the ability to dial it back to display a tenderness that hasn’t been calcified by extended isolation or rumination on an unfair fate.

Jake Moon is immediately engaging as Anthony, the only other high school basketball player to like poetry as much as Jim Carroll, sans depravity. As much as Anthony seems like a construction of fiction—a jock who studies Latin, quotes free verse during free throws, and likes Coltrane, Jake ushers him into existence with a skillful portrayal that makes it seem like he’s a classmate we’ve all had and wanted to befriend. Even the handful of his reactions that were slightly exaggerated were still incredibly endearing, helping to illustrate the sincerely goofy dude at the heart of “the perfect son,” humanizing him further.

Their chemistry, paralleled by their unrelenting energy, naturally evolves over the 90-minute runtime, with nothing being forced. Even when they are in opposition, their rapport produces beautiful moments. Being the only two performers in a show is demanding. There are no breaks or changes in dynamic afforded by a third actor, which makes what the two of them do even more impressive.

Choosing to include an intermission in a shorter show was my only hangup, initially. Usually, it’s best to not interrupt the flow of things, but the break’s placement was wisely selected, as it resumes with a callback to an earlier joke, and then deftly finishes off with the half hour or so left. Plus, the brief pause allowed for continued exploration of the grounds and more refreshments in the outdoor portion of the property, where the audience was abuzz with discussion of what we had all just seen up until that point.

Acting aside, this show features simple, yet powerful, technical elements, orchestrated by an equally small production staff. The one room in which the events unfold is visually mesmerizing; the tapestry on the wall above Caroline’s bed doesn’t draw too much attention as it is countered by an eclectic collage of photos on the wall by the door. There’s enough going on to defy the confines of the allotted space, but it also allows the performers to receive full attention from the audience. Music plays a big role in the play. Though sparse, the inclusion of it helps flesh out the characters and reinforces the themes, particularly the jazz. Alan Hayashi is able to do so much with so little, expertly tackling lighting and sound at crucial moments in the story.

Iron Horse Theatre, with its gorgeous space and terrific curation of productions and talent, is sure to continue to establish itself as a spot to see all kinds of awesome performances.

-JS

“I and You” runs until June 17th at the Iron Horse Theater, 348 Maplewood Avenue, Ambridge, PA 15003. For more information, click here. 

By Joseph Szalinski

Nothing’s more powerful than friendship — well, maybe good liquor. Or so would argue Leona, one of the characters in The Red Barn Players’ production of Exit Laughing at The Red Barn Theatre in Fombell, PA. Directed by the talented Shelly Cary, from a script by Paul Elliott, this zany and heartwarming production boasts perhaps the bawdiest bridge club to ever play the game.

The show begins with Connie Harland (Susan L. Brown) being subjected to her daughter Rachel’s (Julianna Mistovich) rant about her date who stood her up. Enter the aforementioned Leona (Susan Allardice) stopping by to drink Connie’s house dry while lamenting the recent loss of their friend, Mary. Things get hilariously bizarre when another friend, Millie (Sue Ann Aiken), shows up with a stolen urn full of their recently deceased companion. A surprise visit from “the police” ends the first act. From there, the story finds its footing as it segues into its stronger second half where characters are fleshed out and everything is brought to a very fitting resolution.

Strong performances from the entire cast, especially the trio of friends, were the highlight of this show. Susan L. Brown delights as Connie, the host of this chaotic comedy. She brings a tempered attitude to her role that anchors everything, demonstrating the free spirit pacified by responsibility and mistreated by circumstance.

Likewise, Susan Allardice plays a phenomenally sardonic former dancer and current booze enthusiast whose penchant for the latter lends itself to her soured attitude. Instead of being limited by the source material, she elevates the character with a dogged persistence despite any damage she may have done to herself. She reveals a secret sadness that less capable performers wouldn’t notice.

Completing the “Three Mouseketeers” is Sue Ann Aiken as Millie, the absent-minded comic relief who ends up masterminding most of the unorthodox shenanigans in the show. She has an infectious energy that really propels the narrative and encourages her castmates to succumb to the fun of acting in such a wacky production. Even the few stalled lines she soldiered through came off as quirks of a character she embodies so well.

Julianna Mistovich makes even the grumpiest character a joy to see on stage. Her portrayal allows Rachel’s arc in act 2 to seem genuine, adding dimension to someone the writer slightly underdeveloped.

Eli Peel dazzles as Bobby, the aspiring psychologist who likes to stand up dates and get down on the dance floor. His ability to balance Bobby’s humor and sensitivity helped him stand out as much as his raucous routine when he’s first introduced.

My only real note was on the technical front. In act one, there’s a moment where a phone continually rings. It’s one of those gags that could’ve shaved off a couple seconds and still managed to be just as funny. Otherwise, the technical aspects were great! The set, Connie and Rachel’s living room, had a personality like the characters who hung out in it; it seemed lived in. The lighting and sound, while not incredibly dynamic, was steady and consistent, which helped establish things more thoroughly. There was even an amusing implementation of the TV screen near the end of the play.

A really reactive audience greatly complemented this well show, as did the unorthodox venue. Physical space has an unrecognized influence over such things, and the folks from The Red Barn Players know how to play to its strengths and remind the Greater Pittsburgh area that fantastic theatre is nestled in the picturesque hills of Fombell.

– JS

Exit Laughing continues its run June 8-10 & 15-17 at The Red Barn Theatre, 1279 Rte. 288 Fombell, PA, 16123. For more information, click here. 

By Lonnie the Theater Lady

Greg (Michael Shahen) hates his job and is experiencing a midlife crisis. Sylvia (Rebekah Hukill), a stray dog, charms Greg when they meet in the neighborhood park.  Greg brings Sylvia home—much to the dismay of his wife, Kate (Diana Ifft). She reasonably points out that a dog would be an inconvenience and would interfere with their active social life. Besides, a small New York City apartment is far from the ideal place for a dog to live. However, Greg feels differently and Sylvia stays, at Greg’s insistence. That’s where the marital tug of war starts because of Mark’s over the top affection for the anthropomorphic Sylvia.

By Michael Buzzelli

Before “Every Brilliant Thing” begins, Director Andrew Paul is handing out Oreo cookies and Mint Milano’s to the audience, while actor Marcus Weiss is handing out yellow Post-it notes with random numbers and words on them.

Number One: Ice Cream.

Number Four: The color Yellow.

Number One Thousand and Nine: Dancing in Public, Fearlessly.

“Every Brilliant Thing” is a one-man-show. It’s a biography, a TED Talk and so much more. It’s easy to forget that Weiss is playing a character, one created by Playwright Duncan McMillan.

Actor Jonny Donahue first played the role and gave it his own Zazz! Enough so, that he gets credit for his involvement.

This comedic show is about a mental illness. Weiss’s character is coping with a parent who is battling with suicidal thoughts. The character creates a list of all of the best things in life, calling it the list of “Every Brilliant Thing.? In reality, it is a simplistic coping mechanism from his childhood. The show is about how the list exits and enters his life.

Warning: There is some audience participation. Mostly, a patron will be called on to read their particular Post-It out loud. Sometimes, a theater-goer is coaxed into doing a little bit more.

Weiss – and I mean this in the best possible way – is a maniac. He’s carrying Robin Williams energy, bouncing around the stage infused with boyish charm. The quips are rapid-fire. But this show is mostly about heart.

The actor puts his audience at ease. It’s easy to feel like you’re listening to a very good friend describe his childhood.

It is such a natural performance. It’s easy to forget Weiss is playing a character. Hence the reason for the near-constant reiteration of this factoid.

Paul lets Weiss loose. He gives him a nearly bare canvas to slather layers of emotion like paint on Van Gogh’s “Self-Portrait.”

Note: Van Gogh’s “Self-Portrait, 1889” is inches thick with oil paint, the blues and the yellows are vibrant. He also struggled with suicidal thoughts his whole life.

While it’s gauche to criticize the audience, let’s say some people are more attuned to participation more than others.

Note: If the interactivity scares you, mention it to someone before the show, but don’t let it put you off from seeing it.

Johnmichael Bohach’s set is a Romy and Michele inspired nightmare (second reference to a Prom for no good reason). Bleachers on all sides surround a simple yellow square, but the walls are adorned with Post-It notes.

Weiss describes a moment when a needle plunks down on vinyl, finds the groove and the music begins. The moment was perfectly timed and captured by Sound Designer Mark Whitehead.

Number One Million, Four Hundred and Thirty-seven: Being inspired by great works of art.

– MB

“Every Brilliant Thing” runs until June 11 at the Richard E. Rauh Studio Theatre
in the basement of the Cathedral of Learning on the campus of the University of Pittsburgh in Oakland. For more information, click here.

If you are in crisis or you think you may have an emergency, call your doctor or 911 immediately. If you’re having suicidal thoughts, call 1-800-273-TALK (8255) to talk to a skilled, trained counselor at a crisis center in your area at any time (National Suicide Prevention Lifeline). If you are located outside the United States, call your local emergency line immediately.