Category: The Shaker

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

When Agnes Evans (Peri Walker) loses her entire family in a tragic car accident, she searches for a familial connection to her little sister Tilly (Ariana Starkman), and uncovers the unknown details of her sister’s interior life in Qui Nguyen’s “She Kills Monsters.”

Agnes finds a well-worn notebook among the last of Tilly’s possessions. She learns that her sis was a local legend in the renowned role-playing game (AKA RPG) “Dungeons and Dragons.”

With the aid of Tilly’s friend Chuck (Dennis Sen), Agnes decides to finish Tilly’s final quest, and rolls the dice.

Soon, Agnes is joined on the battlefield of New Landia with a brave paladin, Tilly, a sexy demon girl, Lilith (Emily Cooper) and an equally sexy elf, Kaliope (Bonnie Klopfer). They are reluctantly aided by the demon, Orcus (Davis Weaver).

The team of adventurers valiantly fight against Orcs, Lizard People and Dragons! Oh my!

Back in Ohio, Miles (Jacob Wiersch), the boyfriend, complains to the best friend, Vera (Alexis Primus) about Agnes. Miles assumes her new hobby is sexual. He isn’t thrilled when Chuck introduces himself as Agnes’s Dungeon Master. What does he think the D’s in D & D stand for?

Meanwhile, Agnes learns her sister’s darkest secrets, and discovers the real world counterparts to Lilith, Kaliope, and Orcus. She even meets two cheerleaders named Tina and Gabbi (Cheyanne Neuenschwander and Nikki Friedberg, respectively), who are evil sexual vampires in New Landia.

“She Kills Monsters” is a giant nerd fest. If you are familiar with D & D, or similar role-playing games, it’ll be right up your Diagon Alley. If you’re not, the language can be difficult. There is some literal and figurative dragon slaying in the show.

There are some nice performances.

Starkman is an adorable Tilly, making her untimely death even more poignant. The kid’s got a lot of spunk.

Weaver is phenomenal as the craven demon boy, Orcus. Take Dr. Zachary Smith from “Lost in Space” and throw him in a blender with Just Jack McFarland (Sean Hayes from “Will & Grace) and Sweet (the singing demon from the Buffy episode “Once More with Feeling), and you have Orcus. P.S. That boy can twerk it!

Neuenschwander and Friedberg are delightful as the demon girls.

Directors Kelly Trumbull and Ricardo Vila-Roger mount an impressive production on a budget. It must be daunting to read a script and find out there’s a five-headed dragon in the finale. Brava and Bravo for rising to the challenge.

The play gets a high score for being LGBTQ friendly, but Nguyen’s script has some really juvenile moments. Damage points!

On opening night, the actors had the unfortunate opportunity to play opposite a barrage of fireworks from Pitt’s Homecoming weekend.

There are also way too many tongue-in-cheek 90s jokes, but it brought on plenty of nostalgia feels for the college crowd. Young adult audience members were highly enthusiastic about the show and leapt to their feet with a standing O.

“She Kills Monsters” has a few bad rolls, but scores high with costumes, make up and set design.

-MB

“She Kills Monsters” is at the Charity Randall Theatre, 4301 Forbes Avenue, Pittsburgh, PA 15213. For more information, click here.

 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

When headstrong Elizabeth “Lizzy” Bennet (Simone Recasner) meets the dashing but prideful Mr. Darcy (Ryan Garbayo), sparks and witty bon mots fly in Kate Hamill’s spirited adaptation of Jane Austen’s “Pride and Prejudice.”

If you haven’t read the book or seen the nine million movie versions, here’s a brief rundown:

Lizzie’s meddling mother, Mrs. Bennet (Elena Alexandratos), is determined to marry off her four daughters; Jane (Ashley Bufkin), the aforementioned Lizzy (Recasner), Mary (Andrew William Smith) and Lydia (Emma Mercier) much to the chagrin of her husband Mr. Bennet (Ashton Heyl).

Side note: Catherine “Kitty” Bennet gets the Zeppo treatment. She has been streamlined out of the play, but, like the extra Marx Brother, you really won’t miss her.

At a ball in Netherfield (that sounds naughty), Jane meets Mr. Bingley (Andrew William Smith in a dual role) and falls head over heels. Meanwhile, Lizzy bumps into Mr. Darcy. It’s the big meet-cute, but Lizzy and Darcy don’t mix well. Their first meeting is kinda like vinegar and baking soda – volcanic.

Meanwhile, Mother Bennet keeps scheming. She has a plan to marry Lizzy off to her cousin the vexatious Mr. Collins (Chris Richards in three dynamically different roles). The insufferable lout is destined to inherit the Bennet property.

Side note: In Victorian England, women were ineligible to hold on to the family home after the father passed – see every episode of “Downton Abbey.”

After Lizzy rejects Mr. Collins, he proposes to her best friend Charlotte (Heyl also in a dual role). Mrs. Bennet has the mother of all hissy fits and practically disowns Lizzy over her disdain of the pending suitors.

Then, the Jane/Bingley romance hits a snag. Lizzy keeps colliding with Darcy. Plotlines tangle up like silly string. As another English author once said, “The course of true love ne’er did run smooth.” But, luckily, it all ends pleasantly.

P.S. Thank Dionysus! There are no zombies in this version.

Hamill climbs up Barlow’s “39 Steps,” taking the adaptation in a fresh, new direction. There are a lot of dual roles, and this “Pride and Prejudice” relies heavier on farce than other iterations of the classic novel. It’s not a full-on parody, but it’s a broader, sillier take on the tale. Purists will cringe, but it’s a very accessible version of the world’s first rom-com.

Recasner has all the requisite charm and spunk of Lizzy Bennet. She is perfectly cast. Lizzy is the sun and everything in the show revolves around her. Luckily, Recasner shines brightly.

Firth fans beware! There’s a new Mr. Darcy in town. Garbayo is a strikingly handsome romantic lead. He’s a third less stuffy than the previous interpretations. To say, “He’s quite good,” would be a high compliment in Mr. Darcy’s parlance.

Bufkin’s Jane is a beauty, worthy of the platitudes heaped upon her. She does fine work as Jane. In a more comedic role, Bufkin hides under a veil and speaks gibberish as Miss Anne De Bourgh.

Smith’s dual roles are both comedic. His Bingley is giant puppy dog of a man, complete with bouncing red ball. Mary’s dialogue is a dour, pendatic yet hilarious when delivered by the tall, masculine man in a nightgown. It’s a departure for the actor, but Smith handles it with aplomb.

Richards buries himself each of his three disparate characters. Study the program carefully – you won’t believe it.

The entire cast bounces around in their various roles. They are all terrific. Some roles are so completely over the top and ridiculous it’s a little grating.  A little more subtley could really make this production astounding.

Desdemona Chiang directs the action at a frenetic pace. It’s fairly manic for an English drawing room romance While it gets preposterous in the first act, the second act is perfect. Chiang tones down the zaniness, but ratchets up the story’s emotional  resonance. Austen’s storylines take a more serious turn.  Cute little Lydia gets the short end of the stick in the novel and in the play.

The actors traipse about on a whimsical set designed by Narelle Sissons. Its a bright, colorful set that uses the O’Reilly in new and exciting ways.

“Pride and Prejudice” is a broad, silly farce, but it still carries  visceral emotional power when Elizabeth Bennet and Fitzwilliam Darcy FINALLY proclaim their love for one another, and that love, friends, is what “Pride and Prejudice” is all about.

– MB

You can catch “Pride and Prejudice” at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information, click here.

 

 

FOR IMMEDIATE RELEASE

Duquesne University Red Masquers Perform The Foreigner, the First Show of the 2018-2019 Season, written by Larry Shue and directed by Jill Jeffrey at the Genesius Theater 

PITTSBURGH, PA September 19,2018 The Foreigner hits the stage at Duquesne University! Ms. Jeffrey, an adjunct theater professor at Duquesne University and Penn State University Greater Allegheny Campus, has previously directed Orphie & the Book of Heroes with The Red Masquers and played Detective in Clue: The Musical with The Summer Company.  She currently serves as the Executive Director at Gemini Children’s Theater.

The Foreigner takes place in a fishing lodge in rural Tilghman County,Georgia where two Englishmen, Froggy and Charlie, arrive as guests. Locals have mixed feelings about “foreigners” from overly-welcoming, to calling on a local “clan” to take care of Charlie. Wrought with hilarity and silliness, this play also explores the reality that, even in today’s world, hate is all around.

The Foreigner runs October 4 through October 14. Thursday through Saturday performances begin at 8 PM, Sunday matinees begin at 2PM. All shows will be performed at the Genesius Theater at Duquesne University, adjacent to the Mary Pappert School of Music. Ticket prices on line are$16.50 for general admission, $11.50 for senior citizens, and$6.50 for students. The production is free for those with a Duquesne ID. Group rates are also available. Tickets can be purchased at the door or online at www.duqredmasquers.com

Press may request tickets by contacting Erin Fulton here.

By Mike “Buzz” Buzzelli, ‘Burgh Vivant

When Charles Wychwood (Tony Bingham), a struggling poet and author, exchanges a pack of old books for a painting in a bizarre, little curio shop, a mystery is afoot in “Chatterton.”

Way back in the late 1700s, the poet Thomas Chatteron published poems under the nom de plume Thomas Rowley at the age of eleven, but committed suicide at a seventeen. Wychwood’s painting depicts a much older Chatterton, leaving Charles and his friend Philip (Martin Giles) to speculate that the poet faked his death and lived on for years afterward, possibly forging the works of William Cowper, William Blake and others.

Just as the mystery deepens, an aging novelist, Harriet Scrope (Helena Ruoti), contacts Wychwood and asks him to help her writer her memoirs. Scrope, however, is drowning in her own guilt for plagiarizing the plots of lesser known authors.

Wychwood meets with Scrope and a variety of oddballs on his path to learning the truth about the painting much to the consternation of his wife, Vivien (Gayle Pazerski) and young son, Edward (Eamonn McElfresh or Charlie Russell, rotating the role), but the specter of Chatterton (Jonathan Visser) looms large.

Meanwhile, in the 19^th Century, the painter Henry Wallis (Martin Giles) asks George Meredith (Tim McGeever) to pose as Chatterton for his painting, “The Death of Chatterton.”

The two disparate timelines connect and converge repeatedly like a DNA double helix.

The play is adapted from Sir Peter Ackroyd’s book, “Chatterton” by artistic director Karla Boos with help from Martin Giles (as a contributor and dramaturg). Boos created and directed the event for Pittsburgh’s International Festival of Firsts, which is featuring 30 international companies and artists from 20 countries, including representation from Pittsburgh’s own arts community with never-before-seen theater, dance, music, visual arts and immersive experiences.

“Chatterton” is one of those aforementioned immersive events. At the beginning of the evening you are handed a small square of paper with a symbol on it, such as a quill, a typewriter or a paintbrush. A guide (Niko Bernstein, Kaitlin Kerr or Zev Woskoff) takes you on a journey throughout the space, sometimes intersecting with the other groups. Apparently, there is a third track that takes place in the 18^th Century that intertwines into the story (from double helix to friendship bracelet), but different audience members get different experiences.

Quantum Theatre’s tagline “Theater that moves you” has never been truer as you sprint through the halls of the Trinity Cathedral trying to catch up with the action. If you get stuck behind slow moving patrons, you will miss some of the dialogue (Arrgh! Sloths!).

At intermission, a meal is served (each week a different chef from a local restaurant or caterer).

“Chatterton” has some fantastic characters played by fantastic actors, particularly Tammy Tsai’s looney Mrs. Leno (with mannequin parts to substitute for an arm and a leg); Ken Bolden’s bitchy British queen, Pat; Alan Stanford’s greedy gallery owner, Cumberland; and McGeever’s cuckolded Meredith (shining equally well as flirty painter Stewart Merk).

Bingham does a great job as the obsessed author, Wychwood, especially in a churchyard scene with Bolden that could have been too comic and over the top, a few wry looks were enough to get the audience tittering.

Ruoti is a force to be reckoned with. She chews up even the most opulent scenery. She has a rant on death and taxidermy that is hilarious (performed with a stuffed kitty).

“Chatterton” has skillful technicians applying creative solutions with light, sound and videography.

The costumes are brilliant. Kudos to Colleen Crivello and Marlene Speranza.

The only problem with “Chatterton” is that it isn’t “Tamara.” It doesn’t have that same energy and verve. The plotlines don’t coalesce as easily.

It’s also not “Dodo” which was a magical, transformative piece of theater. It’s hard not to compare it to the treasured past productions of immersive theater.

It is, however, a fine work by talented actors, expertly utilizing the charms of the cathedral, including its minuscule but venerable cemetery.

– MB

“Chatterton” runs from September 14 to October 28 at the Trinity Cathedral, 328 Sixth Avenue, Pittsburgh, PA 15222. For more information, click here.

 

 

Beginning September 1st, 2018, Pittsburgh Shakespeare in the Parks will present Shakespeare’s comedy The Two Gentlemen of Verona for the very first time in its 14-season history. Longtime PSIP supporter and artist Charles Beikert will direct the production during the first four weekends of the month. 

The play will perform from September 1 through 23 on Saturdays and Sundays at 2 pm, moving each weekend through Frick, Highland, and Arsenal Parks.

The Two Gentlemen of Verona is believed to be Shakespeare’s first comedy and introduces the theme of heroines pretending to be men, and the foolishness of love, loyalty, and infidelity. 

“There’ll be music…and a dog in the show. I can’t think of a better way for our enthusiastic audience members and PSIP fans to spend an afternoon with us in the parks!” says Artistic Director Jennifer Tober.

Director Charles Beikert previously directed The Comedy of Errors for PSIP, and appeared in the company’s productions of Romeo and Juliet and As You Like It.  He has also appeared on stage with several theatre companies in Pittsburgh including City Theatre and UnSeam’d Shakespeare Co.  Beikert’s approach to the staging of Two Gentlemen will focus on the slapstick and physical humor within the play, drawing upon such inspirational comedic styles of Lucille Ball, the Marx Brothers, Buster Keaton, and Bill Irwin. 

“We’re going to get silly, people! We and the audience are going to put aside the daily grind and the concerns of the contemporary world and rock out to some classic comedy,” says Beikert. “Pittsburgh loves Shakespeare and we’re delighted to bring our hilarious performances into our gorgeous city parks.”

The cast includes Charles David “Stoney” Richards (Antonio, Outlaw et al), a radio personality at CBS (WDSY-FM and KDKA) and an actor who has appeared in many films and tv shows, as well as in theatre Off-Broadway, in L.A., and locally in Pittsburgh, and PSIP Artistic director Jennifer Tober as the comedic servant Launce. 

PSIP favorites Nick Benninger as the protagonist Proteus and Bob Colbert as the hyperactive servant Speed will also entertain, with Liz Farina, Sadie Crow, Christine McGrath, Jahir Christian, and Brett Sullivan Santry, rounding out the cast. 

Longtime PSIP collaborator Lisa Leibering serves as Production and Costume designer (Comedy of Errors, Supernatural Shakespeare, King Lear, As You Like It, Romeo & Juliet). 

PSIP will celebrate the run of The Two Gentlemen of Verona during closing week with a Bantaam Night at Wigle Whiskey’s Barrel House, Wednesday, September 19, from 6 pm to 9 pm. Actors and PSIP team members will cavort and entertain throughout the evening. A portion of proceeds from the evening’s food and beverage purchases will support PSIP’s offering of free Shakespeare performances for all.

PSIP’S TWO GENTLEMEN OF VERONA PERFORMANCE SCHEDULE:

The first four Saturdays and Sundays though September – all shows at 2 pm, running approximately 90 minutes with no intermission.

Sept. 1-2  – Frick Park, Blue Slide playground, Beechwood Blvd. and Nicholson St, Squirrel Hill. Enter from 2500 block of Beechwood at Nicholson.

Sept. 8-9 – Highland Park, across from the Super Playground, Reservoir Drive.

Sept. 15-16 – Arsenal Park in Lawrenceville, 40th St. between Penn Ave. and Butler St. Enter from Penn or 40th.

Sept. 22-23 – Frick Park, Blue Slide playground, Beechwood Blvd. and Nicholson St., Squirrel Hill

Audience members are encouraged to bring folding chairs or blankets and a picnic. All shows are family-friendly and admission is FREE.  Donations are encouraged to support free Shakespeare in Pittsburgh city parks. Friendly dogs are also welcome.  Productions are “rain or shine” expect in the event of dangerous storm conditions.

Pittsburgh Shakespeare in the Parks was founded in 2005 by Artistic Director Jennifer Tober and has offered FREE Shakespeare productions to thousands of Pittsburghers since its inception.

For more information, visit www.pittsburghshakespeare.org

 

 

 

 

 

 

 

 

by Michael Buzzelli, ‘Burgh Vivant

On Sunday, August 19, the City of Pittsburgh declared Bingo O’Malley Day in a special proclamation issued by Mayor Bill Peduto. Via video, the mayor called the iconic actor, “A true son of Pittsburgh” at a special reception held at barebones productions black box theater in Braddock.

Bingo O’Malley has appeared in film, television and theater. He’s known best for his performances in “Out of the Furnace,” “Love and Other Drugs” and “My Bloody Valentine.” He has a lengthy IMDb page, listing a multitude of credits.

O’Malley’s long and varied career started with very humble beginnings. He was once a parish priest at Our Lady of Fatima in Hopewell in the late 60s, and spent thirty years as a juvenile probation officer and school social-worker. He honed his craft working in theater in his spare time.

In 2004, Andrew Paul, now the artistic director of Kinetic Theatre, drove a van around Ireland (both North and South) with O’Malley with a production of “The Faith Healer.” Paul said, “It was the single most transformative and life-affirming experience I ever had in theatre. Life imitating art – imitating life. Bingo brought something authentic to the play – a genuine spirituality. We would sit in pubs after performances for hours discussing the play and his performance in it with the audience members.” Paul added, “He had a cousin in every town – all of his Irish relatives came out to see us.”

Rich Keitel, a local director/actor/Point Park Professor, said, “Someone once asked the great Director Elia Kazan what was the most important thing about directing. What is the first thing that you should do? He replied ‘Get Marlon Brando.’ Well, I’ve been acting and directing in Pittsburgh for the past 35 years and when anybody asks me the first thing a director should do, I reply ‘Get Bingo O’ Malley.’ I had the privilege of directing Bingo in City Theatre’s ‘American Buffalo’ in 1989. Bingo was brilliant as always. What makes Bingo such a great actor is there is no bullshit in his performances. You can not catch him acting when he acts. He acts with lightning bolts of honesty and truth.”

In 2006, O’Malley worked with Founder and Artistic Director of barebones productions, Patrick Jordan, in “The Grey Zone,” a drama is set in a Nazi concentration camp among the Sonderkommando  – Jews who staffed the crematorium in exchange for better treatment and a few extra months of life. O’Malley played Miklos Nyiszli, a Hungarian Jewish doctor who experiments on children to save his own wife and daughter.

Jordan recalls the first time he met O’Malley. “It was in the lobby of the city theater in probably 1999 or 2000. We hit it off right away, bonding over Pittsburgh, plays, playwrights and movies.”
He said, “Although we hit a speed bump when I told him I thought ‘Road House’ was an American classic, and that Sylvester Stallone was a genius. But we got past that thankfully. ” Jordan added,
“I still believe those things.”

He said, “I was lucky enough to work with Bingo several times. The first time I worked with him was on Arthur Miller’s ‘All My Sons [for Starlight productions].’ I had a small part, but I would come into rehearsal just to watch Bingo work – even when I wasn’t on call. I admired they way he dealt with director and the other actors, and how he treated everyone else on the crew. It was amazing. I learned a lot!”

Jordan celebrated Bingo O’Malley Day with a gathering of family and friends that included live music and testimonials by fellow actors and directors. Near the end of the evening, Jordan presented the actor with a portrait, created by director and teacher Melissa Martin. Then, he dedicated his stage to O’Malley.

Keitel said, “Patrick Jordan put together a beautiful tribute to Bingo. It was a magical evening culminating with Patrick renaming the barebones black box Theatre to the Bingo O’Malley Stage.”

Jordan founded barebones productions was founded in 2003 to facilitate the growth of local theater artists through the production of challenging, entertaining and thought-provoking plays. The company has garnered a reputation for producing high-quality, risk taking plays such as “Motherfucker with the Hat,” “Small Engine Repair,” and “Hir.”

Paul said, “Bingo is a special human being. I have never known or worked with anyone so kind, patient, wise and passionate about art and justice. I’m so pleased that Patrick is naming his new space in Braddock for this wonderful man!”

The barebones productions’ Bingo O’Malley Stage shares its space with Kevin Sousa’s restaurant Superior Motors on the spot of a former Chevy dealership in Braddock.

-MB

You can attend a performance in the newly christened Bingo O’Malley Stage at Kenneth Lonergan’s “Lobby Hero” which runs from September 28 to October 20 at barebones productions, 1211 Braddock Avenue, Braddock, PA 15104.  For more information, click here.

 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

In an episode of “Seinfeld,” George Costanza sighed and said, “Ah. What’s the point? When I like them, they don’t like me. When they like me – I don’t like them.” That comedic cry for help summarizes nine-tenths of the plot to Aaron Posner’s “Stupid F*****g Bird.”

Conrad (Chris Cattell) loves Nina (Sarah Chelli), but Nina loves Trigorin (Stefan Lingenfelter) who is dating Conrad’s mom, Emma Arakdina (Maura Underwood). While Conrad’s platonic pal Mash (Sara Ashley Fisher) pines for him, Dev (Matt Henderson) swoons for Mash. Love triangles interconnect and smash into other love triangles creating complex geometric shapes. It’s a love heptagon!

The lovers and friends all wrestle for attention on the estate of Dr. Eugene Sorn (David Maslow), who is the only character without a love interest.

When the characters are not busy wooing the wrong potential partners, they spend a great deal of time talking about art. They would probably make some salient points, if they weren’t so busy wrapped up in their own hearts and heads.

There are, however, some great points made about art, love family and failure, and a surprisingly skewered look at Shakespeare’s most quoted soliloquy that’s worth the price of admission.

Posner took Anton Chekhov’s “The Seagull” and mixed in some fourth wall breaking “Deadpool” to create “Stupid F*****g Bird.” The play is metatextual, intertextual and chock full of subtext. Let’s face it, there’s a lot of text! It’s also a bit logorrheic (as it goes on a bit longer than it should).

Chekhov’s characters fail a lot. It makes them both funny and tragic. Conrad is flailing about as he’s failing. He’s a gigantic screw up and – worst of all – he knows it. Cattell, however, does a marvelous job as the downtrodden playwright. His asides to the audience are rage filled rants. They are poignant, eloquent and humorous all at the same time. When he rants, “You’ll all be back on your cell phones checking messages before you get out of the aisle of the theater,” he’s practically prescient.

Fisher’s Mash is more Wednesday Addams than the daughter of a Russian retired lieutenant, Ilya Afanasyevich (her father is written out of this version). Fisher gets some of the best lines in the play and she knows how to use them. She’s a delight.

Henderson’s sad sack Dev is so fun to watch. Henderson manages to eke out laughs from nearly every line, action or – in some cases – inaction. He’s goofy and charming at the same time. It’s as if he was born to play the role.

Underwood is flawless as the stone cold momma. Her Emma is a great actor who – ironically – can’t connect. Somehow Underwood garners a great deal of sympathy for the harsh creature she portrays.

Director Vince Ventura does a fantastic job with this top notch cast. He seems to understand this play instinctively and intellectually.

Scenic designer Hank Bullington makes art on a budget. The compartmentalized kitchen in the second act is beautifully rendered.

Since it wasn’t a faithful adaptation of “The Seagull,” it’s curious that Posner chose to write such a long comedy. Admittedly, “The Seagull” runs far longer at two hours and thirty minutes, but “Stupid F*****g Bird” is lengthy for a contemporary and satirical spin on the classic.

A few key notes about the title: “Stupid” is very smart. “F*****g” is in the title so don’t bring the kids (or grandma). The metaphor about the “Bird” is so sad and weird in all the best ways.

-MB

“Stupid F*****g Bird” runs until August 12 at the Richard E. Rauh Studio Theatre in the subbasement of the Cathedral of Learning, 4200 Fifth Avenue, Pittsburgh, PA 15260. For more information, click here.

 

”

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

When Lawrence Jameson (Matthew J. Rush), a charming bon vivant (oh heyyyy!) and dirty rotten scoundrel, meets Freddy Benson (Damon Spencer), an uncouth con artist, on a train bound for the French Rivera, he quickly realizes that Beaumont sur Mer isn’t big enough for the both of them in “Dirty Rotten Scoundrels – The Musical.”

Jameson has been scamming rich widows out of their money for years, but he doesn’t want to contend the young buck who breezes into town. Jameson convinces Benson to peddle his petty cons elsewhere. Benson is just about head for Spain, but a chance encounter with Muriel Eubanks (Cynthia Dougherty) convinces him there’s more to Jameson than meets the eye. A lot more.

Benson barges into Jameson’s villa. He is immediately overwhelmed by the beauty and opulence of his surroundings. The young grifter wants to learn at the feet of the master. Despite the warnings by his right-hand man, Inspector Andre Thibault (Leon S. Zionts), Jameson decides tutor him the artistry of the con.

Benson learns the nuances of scamming wealthy debutantes and widows, but grows bored quickly. Then, Christine Colgate (Stephanie Ottey) checks into the hotel at Beaumont sur Mer. The dastardly duo decide to compete for the young woman’s affections and $50,000 of her money. The game is afoot!

Jeffrey Lane and David Yazbek’s musical is based on the 1988 movie with Michael Caine and Steve Martin. They have revised and reshaped the story only slightly to fit the format. However, if you know the movie, you will see the big twist coming from miles away. Knowing the ending doesn’t spoil it. It’s all about the journey not the destination, and there are plenty of laughs on the way.

Rush rules the roost. He is perfect as the king of the con. He’s so debonair and suave while singing and dancing throughout the show. It was a great role for Rush.

From the moment Spencer sidles up to a mark, the show kicks into overdrive. His energy and enthusiasm lifts the show higher. He shines in this role.

Ottey’s Colgate is so delightful. She’s charismatic and charming on stage.

Zionts is smarmy but charming as the French inspector. As far a crooked police inspectors go, he’s right up there with Casablanca’s Captain Renault (Claude Rains). His wry smile made a few jokes work that could have easily conked out in the hands of lesser actors.

Dougherty does an amazing job as well. She was the ideal choice for the role of Muriel Eubanks, oozing with sophistication but with a soupcon of naiveté.

Once again, Candice Fisher knocks it out of the park. Fisher was the highlight at the last Stage 62 show, and she brings all her sass back for this production.

There were some minor quibbles: The ensemble could have used a little more work perfecting their dance moves. There may have been too many of them for the size of the stage. At the Music Hall in Carnegie, the band always overwhelms, even though the actors had microphones. However, it was such a fun show it’s hard to complain – even though it’s my specialty!

It appears (from his brief bio) that it was TJ Pieffer’s directorial debut at Stage 62. It’s an admirable job for a new director. Let’s raise a glass to him! May he have a long and varied career directing around Pittsburgh (and beyond).

-MB

“Dirty Rotten Scoundrels – The Musical” runs through July 29 at the Andrew Carnegie Free Library and Music Hall, 300 Beechwood Avenue, Carnegie, PA 15106. For more information, click here.