Category: The Shaker

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

A fly fisherman (Andrew William Smith) invites his girlfriend (Daina Michelle Griffith) to his cabin for a getaway, but memories of his previous relationship with another woman (Siovhan Christensen) colors the romantic weekend in Jez Butterworth’s “The River.”

The play cuts back in forth through time between two memorable weekends; one weekend with Christensen’s character, and another one with Griffith’s character. None of the characters are named.  It’s even hard to tell if Christensen plays a metaphysical ghost or just a metaphorical one. It’s also only assumed that Christensen’s character dated the fisherman before Griffith’s character, but there’s no clear timeline. Only a red dress marks the events, but even its chronological origin is thrown into question.

“The River” is a treatise on fly fishing.

Side note: When Roman Claudius Aelianus saw Macedonian anglers on the Astraeus River he described the practice poetically, writing, “They have planned a snare for the fish, and get the better of them by their fisherman’s craft. . . . They fasten red wool. . . round a hook, and fit on to the wool two feathers which grow under a cock’s wattles, and which in color are like wax. Their rod is six feet long, and their line is the same length. Then they throw their snare, and the fish, attracted and maddened by the color, comes straight at it, thinking from the pretty sight to gain a dainty mouthful; when, however, it opens its jaws, it is caught by the hook, and enjoys a bitter repast, a captive.”

“The River” is also a Rubik’s Cube of relationships, with lots of great character moments.

At the center of the story is a prize, a memento from the fisherman’s boyhood, a stone shaped heart. The symbolic meaning is a bit on-the-nose.

More than anything,”The River” is superbly written and expertly cast.

Smith makes his Pittsburgh debut in the play. He enters the local scene on a gloriously high note, playing opposite two of our town’s best female actors, Christensen and Griffith.

Christensen’s character starts out as whimsical and light, but moves to darker places effortlessly. Griffith’s character is a bit more neurotic. She is worried about upsetting our stalwart fisherman. The man’s relationship with each woman is vastly different, yet similarities pop up in surprising areas. They are both amazing.

Everyone is emotionally eviscerated. One poor trout is physically eviscerated. It’s not a scene for the squeamish.

Director Adil Mansoor moves things along and a brisk pace. Not one minute of the 75 minute show is wasted. He manages to get some honest character moments out of his actors.

As with any Quantum Theatre production, the location is a character onto itself. The show is performed in Aspinwall Park, adjacent to the Allegheny River. Britton Mauk’s set marvelously makes use of the indoor location. It’s a rustic cabin, separated into two large puzzle pieces with a gully of water running through it.

Butterworth’s language is lyrical, and it’s woven with poetry. Like all great art, it is open to interpretation. It’s a beautiful jigsaw, one that is never fully assembled. But it’s so enjoyable to watch some big pieces fall into place. “The River” is a wonderful night out on the water.

– MB
“The River” runs to October 30 at the Aspinwall Riverfront Park, 285 River Avenue, Aspinwall, PA 15215. For more information, click here. 

 

by Michael Buzzelli, ‘Burgh Vivant

The Narrator (Josh Powell) introduces to a Boy (Jamen Nanthakumar) and a Girl (Mary Elizabeth Drake) and presents us with their unusual path to love in Off-Broadway’s longest running musical, “The Fantasticks.”

The plot of the first act is fairly simple. It’s sort of “Shakespeare for Dummies.” The Boy’s Father (Gavan Pamer) and the Girl’s Father (Daniel Krell) devise a plan to marry off their progeny by adapting the plot of “Romeo and Juliet” and pretend that they’re feuding. The kids, like Pyramus and Thisbe, are separated by a Wall (capital W).

Side note: Just like the Mechanicals from “Midsummer Night’s Dream,” the Wall is played by a person, a Mute (Jason Shavers) who not only stands in for the pile of stone, but also moves the play along with panache. He maintains the props, provides shelter from storms and even distributes snow, rain and confetti when needed.

When the fathers decide it’s time to get their kids together, they have to come up with a ruse to bring about a contrived reconciliation. Enter El Gallo, our fearless Narrator (Powell). He is hired to kidnap the girl and fail; thus uniting the fathers and cementing the lover’s faith in one another. He employs two actors, the Old Actor (Noble Shropshire) and the Man Who Dies (Tony Bingham), an actor known for his death scenes.

It goes all too well. Everything goes exactly as planned. Luckily, the second act adds conflict and desire. It’s a much needed booster shot. It’s much more interesting when things go awry after intermission.“The Fantasticks” is like lemon meringue pie. The first act is fluffy and light like the meringue, but the second act is tart and sticky sweet.

“The Fantasticks” has a long history, it’s based on Edmond Rostand’s “Les Romanesques.” It was the “Gunsmoke” of Off-Broadway; it ran for two decades. The show features music by Harvey Schmidt and book and lyrics by Tom Jones (no, not that Tom Jones). The most famous song from the show is “Try to Remember,” a romantic lullaby. The other songs are pithy and fun, but not nearly as hummable.

Director Ted Pappas saves this old chestnut with a stellar cast. Shropshire and Bingham are a comedic tour-de-force. The story zings whenever they are on stage. Do they overact? Yes, but it’s kind of the point. They’re playing over-the-top actors by acting over the top. It works superbly here.

Powell is charismatic and charming and gets the best songs in the show, including the show-stopping “Try to Remember.” He has a mellifluous voice.

Shavers does a terrific job, considering he does it without dialogue. His facial expressions are delightful.

Musical director Douglas Levine kept the orchestra small but mighty. Ted Pappas directed with a flourish. He took the number “Round and Round” from a dark fantasy to high camp. Try not to laugh. You won’t be able to get through it. I double dog dare you.

Once again, James Noone scenic design is magical. It’s a perfect setting for this romantic comedy.

The fantastic cast makes “The Fantasticks” a fun evening out.

– MB

“The Fantasticks” runs from September 29 till October 30 at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

A crazed orange creature with wispy, fly-away hair verbally assaults and wounds everyone in his path. No, we’re not referring to a current presidential contender, but an ornery puppet named Tyrone in Robert Askins’ “Hand to God.”  The perfidious possibly-possessed puppet can be found at the end of arm of Jason (Nick LaMedica), an assuming young lad going through an awkward stage. A very awkward stage!  Jason is using his puppet as a security blanket. He doesn’t even like removing the puppet from his hand.  Together, though, they’re a formidable team. Jason plays straight man to Tyrone’s more boisterous personality.  The timid teen is the Abbott to Tyrone’s Costello in the hilariously famous “Who’s on First” sketch.  Unfortunately, Tyron is the Hyde to Jason’s Jekyll when the puppet goes rogue!

Tyrone is technically a Muppet because his arms are articulated by drawstrings. But is he evil? Ay, there’s the rub.

It all begins, innocently enough, inside a church basement at Puppet Club.  A hapless widow, Margery (Lisa Velten Smith), wrestles with her teen students, Timothy (Michael Greer), Jessica (Maggie Carr) and her son Jason.  Margery’s having a tough time since her husband’s death.  It doesn’t help that her students don’t seem to respect and like each other. She can’t seem to exert any sort of control over them.  She’s starting to become aware of her son’s increasing involvement with the plush character on the boy’s arm. She’s also realizing it’s not a problem she can solve with FroYo.

But Margery is caught up in her own drama. Her most troubled student, Timothy, professes his love for her, and Pastor Greg (Tim McGeever) also wants to fill the space on her dance card.  She claims she’s not ready for a relationship, but when an opportunity arises for a meaningless fling, she goes for it in a big, inappropriate way. In the church basement!

Meanwhile, Tyrone is making the Bad Idea Bears from “Avenue Q” look like innocent, little scamps.

“Hand to God” is laugh-out -loud funny.  The action is played as deadly serious. The characters in the show believe in the dire consequences of their actions, which heightens the humor. Brava to director Tracy Brigden to play the comedy for the drama and not just for the laughs. The emotions in the show are honestly felt (pun always intended).  She’s also cast some brilliant actors.

LaMedica is marvelous as he alternates back and forth from mild and meek Jason to the bold and brash Tyrone. He is reminiscent of Jay Johnson’s Chuck and Bob from the television show “Soap,” if Bob was evil instead of just mischievous.

Margery is a ball of confusion; a pile of emotional wreckage on two, long legs. She is masterfully played by Smith.  Holy schadenfreude! It’s a joy to watch Margery suffer, mostly because Smith wrings out every morsel of pain and anger from the character with big, dramatic flair and turns it into comedic gold. Her interactions with Greer and McGeever are outstanding. It helps that she has strong actors to play with.

Each character gets a moment to shine, and the cast is up for the challenge.  LaMedica and Carr have an amazing scene together where the audience flat-out loses it.  I assumed some of them were going to need medical attention.  Oxygen to aisle FF. Stat!

The action plays out on another one of Tony Ferrieri’s brilliantly designed sets. This one is like a Rubik’s Cube, with interlocking pieces such as a church basement, a playground, and a pastor’s office.

It’s always a little difficult to notice the costume designer’s work in a contemporary setting where everyone is wearing jeans and t shirts, but Tracy Christensen does some outstanding work here.  She gives Greer a 90s grunge look that makes him completely different from his off-stage persona.  Also, it appears that Christensen dressed Carr in Margot Robbie’s hand-me-downs, leftover from her summer blockbuster “Suicide Squad.” Carr is rocking the whole Harley Quinn look, down to the bleached hair with blue highlights.

“Hand to God” is a straight-up rollicking evening. Word of warning: don’t take your grandma unless she swears like a longshoreman. The play is hilarious, but it’s not for the easily offended. It’s rife with sacrilegious words and imagery. This puppet show isn’t for kids, but it’s for the adults who love a good time. Let’s give a big hand for “Hand to God.”

– MB

“Hand to God” runs from September 24 to October 16 at the City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. For more information, click here.

 

 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

Kick off your “Kinky Boots” and say, “Heyyy!” to the new drag divas in town. Tarell Alvin McCraney’s “Wig Out!” is an unapologetic and unflinching look at boys who like to dress as girls.

It’s a drag show with theatrical overtones. All of the Shakespearean tropes are there; warring houses, star-crossed lovers, monologues and asides. There is even a Greek chorus comprised of three amazing young women (Krista Antonacci, Arica Jackson and Amber Jones) with angelic voices.

It starts as your typical boy meets boy-dressed-as-a-girl story. Wilson/ Ms. Nina (Justin Lonesome) meets Eric (Jordon Bolden) on a train car in New York City. The Fates Three (the aforementioned Antonacci, Jackson and Jones) narrate their meet-cute.

Eric is the odd man out. He must navigate brand new territory as the masc-for-masc man-boy falls for a butch/femme drag diva.  He plunges in deep, falling hard for the Wilson side, but has difficulty with his/her Ms. Nina side.

Meanwhile, at the House of Light, House Mother Rey-Rey (Jordan Phillips) is invited to the Cinderella Ball being held by their rivals, the House of Diabolique. At the ball, the queens compete in a series of drag Olympics; such house battles among drag queens have been popular in the drag world for decades. Picture “RuPaul’s Drag Race,” kicked up several notches.

There are a couple of subplots. Deity (LaTrea Rembert) is in love with Venus (Freddy Miyares). Venus wants more equanimity in bed, and Deity is unable to flip his position (literally and figuratively!).

There are two distinct villains in “Wig Out,” one from within; Lucian (Jerreme Rodriguez), and one from without; Serena (Connor McCanlus). Lucian is a chaos-wreaking hormone, hitting on anything that breathes, causing strife among nascent lovers. Serena, however, is the big bad. Wario to Rey-Rey’s Mario.

At the top of the second act, Serena riffs with the audience while dressed as a glow-in-the-dark version of Ursula, the sea witch. On preview night, she lambasted a group of young women for returning to their seats a little late. McCanlus was born for this sort of role, using his vast knowledge of drag and his improvisational skills.

The cast is capital ‘F’ Fabulous.  Bolden’s Eric is charismatic lead and Lonesome if terrific.  The aforementioned Fates Three are a joy to watch.  Miyares and Rembert have some great moments together.

There is a fierce hip-hop dance battle between Venus, dressed as a boy, and Loki (Jared Smith). There is dancing, singing at a lot of fun going on. “Wig Out” doesn’t meander. Tome Cousin’s kinetic, frenetic directing keeps everything moving at a rapid pace, but the show is light on plot and heavy on extravaganza.

Costume Designer Robert C. T. Steele is a true star of “Wig Out” creating beautiful drag ensembles. Shout out to Andrew Ostrowski’s lighting and Britton Mauk’s set.

Note that “Wig Out” has strong sexual situations and may not be suitable for younger viewers. However, Pittsburgh needs a show like “Wig Out.” In a very white theater scene, it’s refreshing to have a fully diverse cast where the African Americans and the LGBTQ community outnumber the heterosexual white males. If you’re looking for something different, “Wig Out” is the show for you.

(“Wig Out” runs from September 9 to September 25 at The Rep Professional Theatre Company at the Pittsburgh Playhouse, 222 Craft Avenue, Pittsburgh, PA 15213. For more information, click here.)

– MB

 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

At the beginning of the 20^th Century, a happy-go-lucky spelunker Floyd Collins (Danny McHugh) is literally and figuratively in over his head when he discovers a giant cave in “Floyd Collins.” While attempting to find a new route to a system of interconnected caves in rural Kentucky, Collins became trapped in a narrow passageway.

Collaborators Tina Landau (book) and Adam Guettel (music and lyrics) take a true story of a Kentucky cave explorer and set it to music. In 1925, the event sparked national attention as America awaited news about Floyd’s rescue.

Just as in real life, the rescue operation is a media circus. Unlike the true events that inspired the story; a chorus of reporters sing and dance about the unfolding tragedy.

It’s an ensemble piece with very distinct, nuanced personalities. Floyd, his brother Homer (Nathan Salstone), his sister Nellie (Lindsay Bayer) and journalist Skeets Miller (Ryan Bergman) each go on their own heroic journey. Lantern-jawed Floyd and his charismatic younger brother stand front and center for most of the play. Meanwhile, Miller, the slim newsman,  goes to the central Kentucky to report the story, and becomes an integral part of the rescue team.  While Nellie is on the periphery of the events, pining away for her trapped sibling.

The Collins’ clan’s god-fearing father Lee (Daniel Krell) and Henry St. George Tucker Carmichael (Jonathan Visser) have antagonistic tendencies, but they are also trying to save the day; though their methods are at odds with the other members of the Collins clan.

“Floyd Collins” is a rare piece of theater. Calling it “a musical about a man trapped in a cave” is a wince-inducing logline, but “Floyd Collins” transcends its elevator pitch. The show works because of its superb cast.

McHugh is charming and affable as the titular, trapped hero. He manages to sing, yodel and dig his way into our hearts. In a powerful moment, McHugh and Salstone reminisce about their childhood, reliving the moments from their boyhood. It’s beautiful and heart-wrenching.

Bergman’s Skeets Miller is our everyman. We see this world through his eyes. He’s an excellent choice for the character.

Krell’s Lee is a broken man marred by his beliefs. Visser is masterful and commanding as Carmichael. Both men are powerful performers.

Much to director Rachel M. Stevens’ credit, there isn’t a bad performance in the show.  Under Stevens’ deft direction, “Floyd Collins” is perfection. There is some exquisite choreography from Alivia Owen (pay close attention to the precise, balletic movements of Mason Lewis).

Doug Levine’s orchestra is magical, but there is some incredible a cappella yodeling in the show. For the record, this reviewer never thought he would ever become a fan of yodeling. Front Porch Theatricals’ production of “Floyd Collins” is flawless and you should go, unless you’re stuck in a hole.

– MB

“Floyd Collins” runs until September 4 at the New Hazlett Theater, 6 Allegheny Square East, Pittsburgh, PA 15212. For more information, click here.