Category: The Shaker

By Michael Buzzelli, ‘Burgh Vivant

When the Blake family gathers for the Thanksgiving holiday in Stephen Karam’s comedy/drama “The Humans,” hearts and peppermint pigs will break.

Parents Erik (J. Tucker Smith) and Deidre (Charlotte Booker) visit their daughter Brigid (Valeri Mudek) and her live-in boyfriend Richard (Arash Mokhtar) in their new apartment in New York City’s Chinatown. They bring their other daughter Aimee (Courtney Balan), Erik’s wheelchair-bound mother, Momo (Cecelia Riddett), cleaning supplies, care packages and plenty of family drama.

Everyone is working through their own problems. Aimee has just broken up with her longtime lover, and contemplating a life-changing surgical procedure on her colon. Brigid receives a misdirected email that rattles her, making her question her career choices. Deidre is losing a battle of the bulge, even though she’s allied with long-time fat-fighters, Weight Watchers. Momo is in the final stages of dementia. But it is the family patriarch, Erik, who is struggling with darkest of secrets.

Richard tries to keep things convivial, desperately clinging to his duties as host, and trying to make a good impression on his girlfriend’s family. It’s an impossible task.

The Blake’s have a rich set of family traditions, including Irish music and the aforementioned peppermint pig ritual, where they go around the room expressing gratitude. Afterward, they smash the candy and eat the pieces.

The play does not follow the usual rules. It’s as if the audience is peeping in on maladjusted family; peering through a window observing them. There is no main character in “The Humans.” It’s an ensemble cast, with each member getting the spotlight, like a feast of side-dishes.

It strays rather far from Norman Rockwell’s Saturday Evening Post version of the holiday with bright plastic bowls, paper plates and copious amounts of wine.

Tempers will flare. Brigid and her mom have it out. As mother and daughter fights go – this squabble falls somewhere between the Violet/Barbara Weston blow-out in “August Osage County” and a much funnier skirmish between Eunice Higgins and Thelma Harper from “The Carol Burnett Show.”

A stellar cast makes “The Humans” shine.

Balan and Mudek have the sibling chemistry down. The duo is able to mine the humor from the text without making it sound too hokey or jokey.

Mokhtar ekes out a strong performance from an underwritten character. He gives Richard a nice depth.

Riddett’s performance as Momo is haunting. The character is a constant reminder of death and loss.

Booker is the main reason to see the show.  Deidre is a helicopter mom who strafes the charges she was meant to protect. Karam loaded the character up with the best lines.

Director Pam Berlin keeps it moving along deftly, excavating depth from the flimsiest of characters.

Michael Schweikardt’s set is a work of art. It’s a cutaway of the duplex. It’s a giant doll house. Picture Barbie’s Malibu Dream Home with much less pink. He’s backed up by terrific lighting and sound, John Lasiter and Zach More, respectively.

“The Humans” is laugh out loud funny, with poignant glimpses into some deep, dark crevices. It will never be a holiday classic, but it is a welcome change from the traditional holiday fare.

– MB

“The Humans” runs until December 10 at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information, click here.

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

When heroines from classic literature rise up, and shed their romantic shackles, it’s a battle for the Brontë’s in Jacklyn Backhaus’ irreverent play, “You on the Moors Now.”

Louisa May Alcott’s Jo March (Shannon Donovan) from “Little Women,” Jane Austen’s Elizabeth Bennett (Julia Small) from “Pride & Prejudice,” Emily Brontë’s Catherine “Cathy” Earnshaw (Madeline Watkins) from “Wuthering Heights” and the titular Jane (Aenya Ulke)  from Charlotte Brontë’s “Jane Eyre” flee their romantic interests in search of new lives. The heroines push through brambles of heather and meet on the moors.

They are being pursued by their respective beaus, Laurie (Austin Trynosky), Mr. Darcy (Bryan Gannon), Heathcliff (Micah Stanek) and Mr. Rochester (Evan Wormald).

In the moors, the blanket bog becomes a battlefield of broken hearts. Laurie is crushed by the highly-spirited Jo. Elizabeth really starts to see Darcy’s pride (and prejudice) as his marriage proposal is rife with backhanded compliments. Poor Cathy is a victim of a misunderstanding and her Heathcliff is too bullheaded to see the truth. Jane gives up everything, including her name, to run free.

Proto feminism blooms into full blown feminism when these women finally, inelegantly take their destiny into their own hands. Not everything goes as planned. Soon, our distaff troupe of merry singletons are living on ‘smores in the moors. Where they found the Hershey bars is anyone’s guess. The play takes place in a nonlinear limbo where all things are possible, including Jane Eyre beating astronomical odds (literally and figuratively).

Characters from the aforementioned books show up, including Mr. Bingley (Wesley Ehle), his sister, Caroline (Jenna Lucht), St. John Rivers (Daniel Murphy), his sister (Ashley Williams) and quite a few additional surprises.

The final conflict of the play rushes to a conclusion (earlier than expected), and it’s a dizzying battle that is also like a dance. It’s also like Teenage Mutant Ninja Turtles. It’s also like Star Wars. It’s also like a whole host of iconic pop culture similes.

Unfortunately, in love and war there are winners and losers. The comedic play turns deadly serious when a beloved heroine becomes the first casualty of the divisive war between the sexes.

“On the Moors Now” is a lyrical story about women’s roles in society. It’s a treatise on equality. It has some laugh out loud moments and a painful sucker punch at the end of the second act. The third act, is a dreamy fairytale ending, with far too much exposition – like Where-Are-They-Now closing credits to “Animal House.”

Director Sheila McKenna does and inspired job of casting these characters. The cast is superb. Donovan’s Jo March and Watkins’ Cathy look as if they stepped out of the beloved books.

Watins is luminescent as Cathy. It’s a beautiful, poignant performance.

Stanek’s Heathcliff is another standout. He is brooding, boisterous and bold.

Ulke’s Jane was particularly feisty. She had excellent comic timing.

The stage is dark. The walls are lined with persimmon-colored parchment with burnt and blackened edges. It’s as if a love letter was hastily thrown on a campfire, salvaged at the last possible instant and tacked to the wall. Kudos to scenic designer Tucker Topel.

The gothic romantics were lavishly adorned by Terra Marie Skirtich. The costumes were ethereal and timeless, much like the play itself. It looked as if the characters stepped out of a Dr. Who episode, each player wearing clothes that were mixed and matched from various eras throughout history.

Note: A comprehensive knowledge of the female authors of the 19^th century is desired but not required.

“You on the Moors Now” is a funny yet poignant story of female empowerment. It’s for anyone who has ever wished to rush into the vault and stay Romeo’s hand when he attempts to kill himself before Juliet wakes. Or better yet, waiting for Juliet to rise and say, “He’s not worth dying over.”

– MB

“You on the Moors Now” is at the Studio Theater in the Pittsburgh Playhouse, 222 Craft Avenue, Pittsburgh, PA 15213. For more information, click here.

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

Marplot (Tim Colbert) constantly confounds his friends with his interference into their affairs in Susanna Centlivre’s eighteenth century comedy, “The Busy Body.”

Sir George Airy (Nathaniel Yost) is in love with Miranda (Amy Dick). His friend, Charles (Evan W. Saunders) is in love with Isabinda (Sadie Crow). A couple of obstacles stand in their way. Miranda’s guardian Sir Francis Gripe (Jay Keenan) is in love with his ward and won’t give her up without a fight. Isabinda’s father, Sir Jealous Traffick (Nathan Freshwater), has promised his daughter’s hand to another.

George and Charlies plot against Gripe and Traffick to win the hands of their fair maidens, but a well-meaning buttinsky, Marplot, gums up the works. He inadvertently foils his friends whilst trying to learn their secrets, causing chaos in his wake.

George and Charles are aided by Isabinda’s right-hand-woman, Patch (Nancy Bach Love) and Charles’ servant, Whisper (Tyler Jennings).

Side note: The names are a bit on the nose. Traffick wants to give his daughter to a Spaniard – he’s literally trafficking her overseas. When Whisper speaks – he is all but inaudible. Marplot – by definition – is a meddler.

Greek philosopher Theophrastus once said, “In the proffered services of the busybody there is much of the affectation of kind-heartedness, and little efficient aid.”

Take the Theophrastus quote, crank it up to maximum volume and you have “The Busy Body.”

Marplot blunders into more mischief than Lucy Ricardo, Jack Tripper and Willy Gilligan combined.

The show was produced in 1709, long before the invention of the sitcom. The show, however, is very much a situational comedy (except “The Busy Body” has better costumes).

The characters are gloriously adorned by Kim Brown at Spotlight Costumes. The rich pageantry of the clothing really elevated the play, making it something special.

Director John E. Lane, Jr. is also credited as set designer. His set is elegantly appointed with sparse, but perfectly appropriate scenery. Note: too much scenery can be overbearing. Not enough can make actors look lost on stage. This fell into the Goldilocks zone.

The show is very tongue-in-cheek. It’s silly bit of cotton candy, a fluffy ball of nothing. There are also a lot of characters running around. It’s easy to get lost if you’re not familiar with the work.

There are a few funny moments. The inaudible buzzing of Whisper and the reactions from the other characters who were out of earshot were laugh out loud funny.

While the show is named for Marplot, he isn’t really the central character and there was no strong point of view.

The show did use an ancient theatrical contrivance: characters had asides, wherein the characters spoke directly to the audience about their plight. However, the frequent asides by various characters placed the protagonists farther back into the shadows.

“The Busy Body” did have some very fine performances from the distaff members of the team. Dick shines as Miranda. There’s a familial chemistry between Isabinda (Crow) and her servant (Bach Love). The actors display a moving mother/daughter relationship between the characters.

Kudos for the Red Masquers and John E. Lane, Jr. for bringing this eighteenth century playwright into the spotlight (into Spotlight’s sumptuous costumes).

Sophisticated palates may want to stray away from this production. If, however, you’re in the mood for a silly romp, go get busy with “The Busy Body.”

– MB

“The Busy Body” runs till November 12 at the Genesius Theatre, on the Duquesne University campus, 600 Forbes Avenue, Pittsburgh, PA. For more information, click here.

“Feelings: A Magical Time Traveling Love Story” premieres on December 1, 2017 at the Hamburg Studio at City Theater. “Feelings” is a comedy with heart that examines how love and identity are shaped over time. Written and performed by real-life couple Brian Gray and Nicole Havranek, Feelings tells the story of their pasts, presents and futures with sketch, improv, audience games and emotions. Featuring pieces by local bearded drag performer Qarma Kazee and directed by Point Park alum Renee Rabenold.

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

In Tom Stoppard’s cerebral play, “The Hard Problem” the playwright explores René Descartes famous philosophical proposition, “Cogito ergo sum,” or, more roughly translated, “I think therefore I am.”

A young attractive researcher, Hilary (Alex Spieth), tackles a conundrum that has faced many scientists as she attempts to reconcile science with her faith. Her tutor-cum-paramour, Spike (Andrew William Smith), is an atheistic pragmatist, whereas Hilary clings to her religion. Their viewpoints are on opposite ends of the spectrum, and their post-coital conversation covers altruism, Darwinian evolution, probability, divine creation and, most importantly, altruism vs. egoism. Who doesn’t want to chat about non-overlapping magisteria after sex? The couple quarrels about art vs. science in their underwear, and it becomes a STEAMy affair.

Meanwhile, the researcher is up for a prestigious job at the Krohl Institute. Hilary undergoes a bizarre interview with Leo (Ken Bolden) where she has to compete for the gig against a mathematician, Amal (Vinny Anand). Because Leo is running late, the rivals coincidentally encounter Jerry (Randy Kovitz), the institute’s billionaire backer.

Time passes and Hilary is situated at her job. She has good friends at the institute; Julia (Fredi Bernstein), a Pilates instructor, and her lover, Ursula (Daine Michelle Griffith). She even gains an assistant, Bo (Claire Hsu).

When Cathy (Grace Vensel), the billionaire’s daughter, wanders into Hilary’s lab one day, a long-buried secret bubbles to the surface, and an unplanned rendezvous with Spike in Venice begins a new series of difficulties in her life. Hilary’s problems begin to pile up like a Fibonacci sequence, each mistake adding to the last, doubling in intensity.

In fiction, coincidences always mount up, sometimes straining the willing suspension of disbelief. Stoppard roasts the old chestnut by steeping the play in a deep conversation about probabilities. He cleverly weaves an argument about random chance into the fabric of the tale. Is there a benevolent force drawing people to certain events, or is it all just a series of random accidents?

Spieth’s Hilary is dazzling. She has a charismatic stage presence. It’s easy to see why so many characters in the play find her utterly irresistible.

Accolades must be given to Quantum mainstays such as Griffith, Bolden and Kovitz. Bernstein, a newcomer to the Quantum stage, is a delight, as is the youngest member of the cast, Vensel.

Bo is a multifaceted creation and Hsu performs it with aplomb but, because there are a lot of characters, Bo gets short shrift. Stoppard could have spent a little more time delving into the complexities of her personality.

Director Rachel M. Stevens keeps the actors in a tight, Spartan square. When the actors are not on stage, they look upon the action with a dispassionate gaze. It creates an eerie effect.

Scenic designer Stephanie Mayer-Staley’s set is saturated in a ghostly white, like a Clean Room – with props. Projection designer, Joe Spinogatti creates elaborate illusions that add an intricate layer to the production.

Warning: If you’re looking for an evening of light entertainment, seek your pleasures elsewhere. Some theater-goers may find “The Hard Problem” pretentious and languid.

There is an odd juxtaposition to “The Hard Problem.” While it revels in its intellectual gyrations, the adoption storyline is exaggeratedly simplistic – like a Scooby Doo mystery, there’s only one suspect.

“The Hard Problem” is, literally and figuratively, a consciousness-raising endeavor.

– MB

“The Hard Problem” runs through November 19 at the Energy Innovation Center, 1435 Bedford Avenue, Pittsburgh, PA 15222. For more information, click her

CANONSBURG, PA – Little Lake Theatre Company announces The Crucible, a play by Arthur Miller.  Salem, Massachusetts is ablaze with accusations of witchcraft after a group of young girls are found dancing in the woods. The line between reality and fable blurs as long-held grudges and humiliating secrets are put on trial in order to root out the evil plaguing the town. Revenge replaces reason and soon no one is safe. Still astoundingly relevant today, The Crucible is both a gripping historical play and a timely parable of our contemporary society. 

The Crucible runs from November 2-4, 9-11 & 16-18 at 8 pm. $18 – $20, $12 for children. For tickets and information: www.littlelake.org or (724)745-6300.

The Crucible is directed by Jena Oberg, with choreography by Melissa Tyler.

Cast
(in alphabetical order)

Reverend John Hale………. Josh Antoon
Giles Corey……………………. Warren Ashburn
Abigail Williams……….……. Elizabeth Bennett
Rebecca Nurse………….……. Ina Block
Hopkins……………………..…. Dylan Blussick
Judge Hathorne………….…. Bracken Burns
Mercy Lewis……………….…. Amanda DeConciliis- Weber
Ruth………………………….…. Heather Dressel
Alice……………………….……. Isabella Englesberg
Susanna Walcott………..…. Sophia Englesberg
Margaret…………………….… Moriah Hathaway
Francis Nurse………….……. Jeff Johnson
John Proctor……………..…. Eric Leslie
Thomas Putnam………..…. Joe Macerelli
Martha……………………..…. Martha McElligott
Sarah Good……………….…. Pam Pasternak
Mary Warren…………….…. Kayleigh Peternel
John Willard……………..…. Jared Pfennigwerth
Mrs. Ann Putnam…….…… Kathleen Regan
Deputy-Governor Danforth………. John Reilly
Tituba…………………………. Fatu Sheriff
Elizabeth Proctor…………. Jennifer Sinatra
Betty Parris…………………. Lindy Spear
Ezekiel Cheever……………. Stephen Toth
Reverend Samuel Parris……… Terry Westwood

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

When two young lovers defy their warring households, both alike in dignity, they set out on a perilous journey that can only lead toward their inevitable, undeniable deaths in William Shakespeare’s iconic masterpiece, “Romeo & Juliet.”

We lay our scene in the Neapolitan village of Little Italy, subbing for fair Verona (and briefly, Mantua). The time is 1930, on a moon-drenched Mulberry Street. The gangs of New York, in this case, are the Montague’s and the Capulet’s. The longstanding blood feud between the two families has made civil hands unclean.

When Romeo Montague (Dylan Marquis Meyers) crashes a masquerade ball at the Capulet manse, he has a faithful encounter with Juliet (Adrianne Knapp). After clever word play on the maiden’s balcony, they kiss, and, from that moment on, parting becomes sweet sorrow.

The two are secretly wed by Friar Lawrence (James FitzGerald), and things get chaotic quickly. Juliet’s parents, Lord (Martin Giles) and Lady (Shammen McCune) Capulet have promised their daughter to Paris (Jonathan Visser). Meanwhile, Romeo is embroiled in a battle between the families. When a knife fight escalates, Romeo’s friend, Mercutio (Alec Silverblatt), is slain. In retaliation, Romeo kills Juliet’s cousin Tybalt (Daniel Pivovar).

The situation is dire and Romeo is banished from his home town, just as Juliet is set to wed Paris. Friar Lawrence cooks up a cockamamie plan involving a potion that simulates death. His plans gang agley, as the best laid plans often do.

The story is a sad but familiar one.

Side note: Since the play’s first folio was published in 1623 (and performed nearly a century before that), the spoiler shields are not engaged. Matter of fact, the first stanza, gleefully orated by the director, Alan Stanford, states, matter-of-factly, “A pair of star-cross’d lovers take their life.” It’s not about the destination. It’s about the journey.

The play is perfectly executed, performed by some of the city’s most notable actors, alphabetically from Cheston to Visser.

Meyers is a quixotic Romeo, filled with flights of fancy. He brought a lighthearted mirth to the tragic teen. He is buoyant, ebullient and effervescent.

Knapp is a luminescent as Romeo’s brief bride. She is, indeed, a bright angel.

Lamar K. Cheston’s Benvolio is excellently cast. He is the lone voice of reason on the Montague side. Cheston has a commanding stage presence.

Silberblatt is a mercurial Mercutio, strutting about the stage with loutish swagger, chewing the sparse scenery, preening with puerile bawdiness, relishing his part (literally and figuratively) with gusto. It is performed for the groundlings as originally intended by the author – in other words, it’s a bit PG 13 (and might not sit well with the Sunday matinee crowd).

McCune’s performance as Lady Capulet is compelling. She owns the stage every time she appears. She is perfectly matched with Giles as her husband (another impressive performer).

Special mentions to smaller roles: PICT favorites, FitzGerald and Karen Baum are brilliant as the friar and the nurse. It’s hard to come up with new compliments for these old favorites.

Johnmichael Bohach’s set is stunning, bedazzled by the backdrop of twinkling lights on sheer black curtains in the Fred Rogers Studio. The lighting by Keith Truax sets the mood; deep indigo hues are illuminated by an almost ever-present moon.

There might never have been a story of more woe; than this of Juliet and her Romeo, but it’s a damn good time and you should go.

“Romeo and Juliet” runs until November 4 at the Fred Rogers Studio, WQED, 4802 Fifth Avenue, Pittsburgh, PA 15213. For more information, click here.