Category: The Shaker

By Claire DeMarco

“Oklahoma” takes place in the early 1900’s before Oklahoma became a state.

Curly (Brian Ferris) is a happy guy, optimistic and obviously in love with Laurey (Anna Chensny).  He’s at the top of his game, joyful in just being alive.  Laurey, also taken with Curly is less outward about her infatuation.  It’s obvious, though, that she loves Curly.

But someone else also loves Laurey but unlike Curly with his upbeat personality, Jud Fry (Brad Smoak) is a dark, mean, sullen and generally unlikeable character.  Laurey does not like Jud at all.  He frightens her.

Aunt Eller (Rachel Fox) is Laurey’s aunt and caretaker.  She’s always looking out for Laurey.

While Curly, Laurey and Jud’s situation is more dramatic and serious, Ado Annie (Paulina Neuschwander) and her love interests offer an infusion of comedy.  Ado loves Will Parker (Ian C. Olson) who in turn adores her.  She also loves Ali Hakim (Connor Brady), a sleazy salesman.

Well let’s just say that she loves the guy that she’s with at the time, whether that’s Will or Ali.  She can’t say no!

Tension between Curly and Jud over Laurey and Laurey’s fear of Jud reaches a climax.

How does Jud ultimately fit into the picture or does he?  And does Ado finally decide which of her two suitors she loves?

“Oklahoma” was the first musical written by the team of Rodgers and Hammerstein.  It debuted in 1943, some 80 years ago.  It had an enormous influence on musical theater since the songs and dance (their meaning and movement) became an integral part of the story line.

Ferris strikes the right chord with both his singing and acting.  He’s a congenial guy full of life and optimism but so believable as he faces off and shows his angry side when confronting a rival.  Great vocals by Ferris on “Oh, What a Beautiful Mornin.'”

Chensny plays the lovely ingenue in love with Curly.  She is innocent but also has a mind of her own.  She and Ferris’s rendition of “People Will Say We’re in Love” is magical.

As the over exuberant Ada Annie, Neuschwander is delightful as the somewhat scatterbrain woman who can’t decide who she loves.  Her wonderful rendition of “I Can’t Say No” says it all.  Along with Olson, she supplies most of the comedic side of the production.

Olson epitomizes the exuberant, heel-kicking, lovable hayseed.  His eyes glaze over as he sometimes is unsure of what’s going on but his love for Ado never wavers. He and Neuschwander make a perfect pair.

Smoak is a tortured soul whose piercing eyes reflect his anger, yet they soften when he is thinking of the woman he loves.  “Lonely Room” highlights his rich, deep voice. He is exceptional as the “bad guy.”

Fox is the consummate organizer, supporter, cohesive overseer of her family and friends, stern and/or compassionate as needed.

Brady is convincing as the wily salesman who doesn’t appear as enamored with Ado as she is with him.

Without speaking a word, Hannah Taylor’s ballet as Dance Laurey is brilliant.

Note:  I struck up a conversation with Roseann Rosnick who was sitting in front of me at the theater.  She is a big fan of “Oklahoma” and actually portrayed Aunt Eller several years ago in another Pittsburgh production.

After the show I asked her what she thought of the production.  Roseann responded: “The entire production was wonderful.  Excellent choreography [Choreographer Hannah Feldhues] and the actors fit the characters.”

I couldn’t agree more, and I’ll add a special hoorah to the entire cast of talented singers and dancers.

This is an exceptional production of a Broadway classic!

Music for “Oklahoma” by Richard Rodgers with Book and Lyrics by Oscar Hammerstein II. Shout out to Music Director Cynthia Dougherty and Orchestra Conductor Chad Dougherty.

Excellent Direction by Rob James.

-CED“

Oklahoma” runs from November 6 to November 16^th at the Andrew Carnegie Free Library and Music Hall in Carnegie, PA.  Production by Stage 62. For tickets and additional information, click here. 

 

By Michael Buzzelli

“Civilization is just a thin veneer. Scratch it, and you’ll find the animals underneath.” 

– Yasmina Reza (Translated by Christopher Hampton)

When a violent incident occurs in a schoolyard, the parent’s step in to mitigate the issue with shocking and hilarious results in Yasmina Reza’s pitch-black comedy, “God of Carnage.”

Veronica (Daina Michelle Griffith) and her husband Michael (Patrick Jordan) have invited the Raliegh’s, Alan (David Whalen) and Annette (Gayle Pazerski),  AKA Woof Woof, over to settle the dispute between their boys. They have differences of opinion on what went down in that schoolyard.

To say “an argument breaks out, and things escalate quickly” would be the world’s biggest understatement.

The play satirizes modern civility, our attachment to our cell phones, and our attachment to all of our material objects. Actually, no subject is off limits in “God of Carnage.” There is a commentary on art, culture, food, alcohol, slavery and, even, oddly enough, genocide in Darfur.

The Novak’s aren’t always a united front against the Raleigh’s. The parents often change allegiances with one another, a twisting Rubik’s Cube of alliances form; Husband against wife. Women against men. Men against each other. Every possible iteration.

Their worst night of their lives is possibly the audience’s best.

This play only works when all four actors are able to commit to the material and deliver superb performances, and this cast nails every single line and gesture.

Griffith is at her finest here. She doesn’t just commit to the bit; she attacks the material with gusto and ferocity. She is marvelous playing the complexities of Veronica Novak.

Jordan exudes charisma as a complicated husband, torn between machismo and the model of the modern man. When Michael tries to deescalate the situation, he infuriates Veronica.  He is emasculated in one moment and empowered in the next, but Jordan pulls it off effortlessly, realistically.

Whalen plays a savage in a suit, a shark of a Big Pharma lawyer swimming toward his next victim. This shark is also broken, especially when he loses his most powerful tool, his precious cell phone. Suddenly, he’s Thor without his hammer, turning into the lame Dr. Donald Blake (the deep cut comic nerd reference won’t be for everyone, but Spider-Man is name-checked in this play).

Pazerski gives a masterful performance as well. Her character, Annette, seems like the meekest member of the querulous quartet, but gains more and more strength as the play moves forward.

The “retired” Tony Ferrieri (no one works as hard as this retiree) creates a sumptuous urban set, a stark monochromatic and stylish set, beautifully enhanced by Andrew David Ostrowski’s lighting design.

Side note: This reviewer has often commented he would like to live inside a Tony Ferrieri set, particularly this production’s set and/or City Theatre’s production of Molly Smith Meltzer’s “Elemeno Pea.”

No spoilers for those who have never seen the show but are some crafty special effects by Tolin FX.

Director Melissa Martin takes the comedy and dials it up to eleven. The tone, nearly impossible to grasp as it goes from biting wit to pratfall, would be challenging for any director, but not Martin. This reviewer has seen other productions of this show, but none have been as laugh-out-loud funny as this fantastic foursome in the Bingo O’Malley Theater.

The show runs a brisk 75 minutes with no intermission, and, frankly, you will either be glued to your seat or rolling in the aisles.

This barebones show is sure to sell out quickly. Pray for seats, your god awaits.

-MB

“God of Carnage” runs until November 23 at the Bingo O’Malley Theater at barebones theater black box theater, 1211 Braddock Avenue, Braddock, PA 15104. For tickets and additional information, click here.

By Michael Buzzelli

Ali (Maya Drake in her professional stage debut) navigates the mean streets of Manhattan while sparring with her mother, Jersey (Kennedy Caughell), and chasing after bucket-drumming street performer, Knuck (Jonavery Worrell), in Alicia Keys’ musical, “Hell’s Kitchen.”

Ali is a latchkey kid in a New York City high-rise. Her mother wants to keep her off the streets, but, of course, that’s where Ali wants to be. Her attraction to Knuck will not be denied; she follows him to work, and they share a kiss in Gramercy Park, thus beginning her “Teenage Love Affair.”

When things go wrong, she seeks refuge in the Ellington Room, where she meets the imperious Miss Liza Jane (Roz White), who teaches her piano lessons. The piano is where Ali discovers her true self.

Jersey, at her wits’ end, calls on Ali’s deadbeat dad, Davis (Desmond Sean Ellington), to help with their child. Unfortunately, Davis complicates matters even more. He trying to be  a good father, but his musical career comes first.

‘Hell’s Kitchen’ is a jukebox musical with a hip-hop vibe. It’s a showcase of phenomenal talent. While there is an incredible display of skills, there isn’t much of a story there. Like all jukebox musicals, the story is hung around the songs, instead of the other way around. It’s a series of life lessons and anecdotes from a fictionalized biographical version of Alicia Keys’ life.

The aforementioned songs, however, such as “Girl on Fire,” “Fallin’,” and “Empire State of Mind,” are all excellent.

Drake is amazing in the lead.  The girl is literally on fire.  She has the charm and charisma of a Broadway star. Even when she’s bowing her head in shame, and she’s just a pile of rumpled clothes and hair, it’s hard to take your eyes off of her.

Caughell is an outstanding performer. Her character’s pain of motherhood feels lived-in, honest, and raw. The woman can belt! She crushes every musical number, especially “Pawn It All.”

Ellington’s Davis is another incredible singer. Davis’s attempt to woo back Jersey is a sexy will-they/won’t they tango in “Fallin’.” The scene oozes with seduction.

White is magnificent as the regal queen of the Ellington Room. She is Ali’s Gandalf, Merlin, and Dumbledore rolled into one—the voice of wisdom in the young girl’s life.

While the sets are simple —a kitchen table, a sofa, and some scaffolding —the visual projection by Peter Nigrini elevates everything, giving the show a sleek, New York vibe.

Camille A. Brown’s choreography is off the chain. The movements are sharp and crisp, jagged poses and jutting arms, thrusting hips. The ensemble dancers, especially Christopher Miller, Mae-Lynn Flores, and Ethan Zundell, contort in magical ways.

Michael Grief’s direction is kinetic. While it takes “Hell’s Kitchen” a minute to get moving, he brings it all together with panache. While Kristoffer Diaz’s book has some notable flaws (including its length), the production was beyond amazing.

The show closes with “Empire State of Mind,” a love letter to New York City in pop perfection. Bolstered by Mayor-Elect Mamdani’s recent win, it was easy to be in a New York state of mind.

While you may only learn a little about Alicia Keys here, you will grow your appreciation of her songwriting expertise, and, if you’re already a fan, “Hell’s Kitchen” is a must-see event.

-MB

“Hell’s Kitchen” plays until November 9 at the Benedum Center, 237 Seventh Street, Pittsburgh, PA 15222. For tickets and additional information, click here.

by Lonnie the Theater Lady

“The Last Five Years”, Jason Robert Brown’s Drama Desk winner, was inspired by Brown’s failed marriage to Theresa O’Neil. She was so disturbed by the content of the show that she sued Brown on the grounds that it violated a non-disclosure agreement within their divorce settlement.

The relationship and marriage of Cathy (Madison Eveland) an aspiring actress, and Jamie (Evan Krug) an emerging novelist, are the basis for “The Last Five Years.”

The timeline of their story is uniquely told— backwards from Cathy’s viewpoint. She starts the show at the end of their relationship. Conversely, Jamie’s story is told from the beginning to the end.

The aspiring novelist, Jamie, is a frustrated Jewish man who is unimpressed with the single women he’s been meeting, until he meets Cathy. He’s enchanted with her because she is so very different from other women he has met.  He sweetly sings, “Shiksa Goddess” with surprise and wonder.

As Jamie’s career explodes, Cathy struggles with hers. This fuels the rift that distances them from each other.

The show has minimal dialogue and depends on the clever, poignant, sometimes comical, lyrics to advance the story. It is far from a conventional musical. It feels like a hybrid of a musical combined with an operetta.

It requires two gifted musical theater performers to make this unusual show work. Eveland and Krug have oodles of both vocal and acting talent. Their strong chemistry and commanding stage presences are compelling. They click– it works.

Eveland’s mercurial vocals range from sweet and demure to powerful and heart-wrenching. The pain and frailty in her voice as she sings “Still Hurting” is excruciating. Her natural, nuanced performance endears her to the audience.

Krug highlights his comedic abilities in “The Schmuel Song.” He seamlessly switches back and forth from Jamie to an old Jewish man, Schmuel. He strikes the right formula of funny, sweet and romantic. His portrayal of Jamie’s transformation from tender, besotted lover to wildly ambitious writer is convincingly well done.

Pianist and music director Justin Feild masterfully tickles the keyboard to accompany the vocals. A few times the piano overplays the dialogue and vocals but mostly the accompaniment delivers a welcome, mood enhancing complement to the show.

Director, Jeff Johnston, deserves congratulations on this first full length show produced by Steel City Cabaret. He guides a crowd pleasing show to a large, sold out enthusiastic audience.

Here’s hoping this enjoyable, well performed show is produced again sometime in the not too distant future. It deserves to be appreciated by more than just one audience.

LtTL

Performed one time (November 3) by Steel City Cabaret in The Cellar at The Original Pittsburgh Winery.

 

by Claire DeMarco

Knobby (Art Terry) waits (somewhat patiently) in his Chicago dance studio in the 1990’s.  He’s expecting a group of singers that he hasn’t seen for some time.  Known as a Doo-Wop group called the Doves in the 1950’s, this former African American group has been enticed to come together again and perform in a comeback tour.  Knobby was the original choreographer/manager for the group and will perform that function again.

Note:  Doo-Wop is a genre of music that originated in African American communities in the late 1940’s.  It became popular in the 1950’s.

The back-up singers from the Doves arrive:  Frankie (Emir Hardy), Vern (Leslie Howard), Harvey (Sam Lothard) and Johnson (Charles Timbers).  Conversation is non-stop as the group catches up with one another about what they’ve been up to currently.  They then reminisce about the past, and their time (both pro and con) on the road. Each man has their own particular memories.

Knobby gets them into a semblance of order, maneuvering them into the familiar steps they performed years ago.  After a few missteps they’re back in the swing again.

Lead singer Roscoe (Kevin Brown) arrives late (to no one’s surprise).  He’s always been a source of contention to the other guys but now his decision about the group could affect their comeback.

Roscoe’s plan is to branch out on his own without the other Doves.  He’s still looking for fame as a standalone singer.  His contract with Eva Dee (Angelique A. Strothers), Roscoe’s wife, holds the key to the Doves’ future as well as the comeback tour itself.

Strothers is a standout. Her acting as the mercurial Eva Dee covers a range of emotions from sassy to vulnerable to dominating. Her singing and vocal range is outstanding.  Excellent rendition of “Is There a Heaven for Folks with the Blues.”

Terry has many functions in his role as choreographer, and he plays them all exceptionally well.  He is a mediator, a mentor, a voice of reason when things go awry.

Still trying to reach the top as a solo singer Brown’s performance covers a wide range of emotions.  He is both cocky and vulnerable.

Timbers’ facial expressions are spot on.  His emotions, whether happy, sad or indifferent are seen through that lens.

Howard portrays Vern as the wise and practical member of the group.  He reminds them of tough times in the South when they were touring.

Lothard’s character loves to eat and his comedy often centers around his need for food even when the conversation is essential for the Doves’ future.

Between the many dance moves and songs Hardy’s eye patch becomes a matter of concern to the guys.  The concern turns into comic interchanges as he confesses that his woman has his artificial eye and is holding it captive.

Manny Walker as J.R., does a great job as Knobby’s young assistant, showing off his youthful moves at the same time enjoying the Doves’ gymnastics as well.

All of the actors are exceptional entertainers.  As a group they are well-balanced and their performances complement one another.

Get ready for an evening with super dancing, singing, splashes of drama and a dash of comedy.

“Get Ready” was written by Jaye T. Stewart and Joe Plummer with music composed by Joe Plummer and lyrics by Joe Plummer, Jaye and Debi Stewart.

Excellent Direction and Choreography by Joe Plummer.

-CED

“Get Ready” runs from October 30^th to November 9^th at the Pittsburgh Public Theater’s Helen Wayne Rauh Rehearsal Hall, 3^rd Floor, 621 Penn Avenue, Pittsburgh PA 15222.   “Get Ready” is a production of New Horizon Theater, Inc. For tickets and additional information, click here. 

 

by Michael Buzzelli

Chairman and CEO Ken Lay (Ken Bolden) is torn when choosing his successor. Everyone thinks he will choose Claudia Roe (Christina Weber), but he pivots and picks Jeffrey Skilling (Joseph McGranaghan) instead, setting up one of the largest corporate scandals in American history in Lucy Prebble’s whip-smart play, “Enron.”

When Andy Fastow (John Michnya) figures out how to hide Enron’s debt in a series of Matryoshka doll corporations, playing the shell game with the books, the new leader doesn’t fire him; he promotes him to CFO. Skilling, an atheist working for the religious (the Republican kind of religious) Lay, has turned greed into his god, displacing Gordon Gekko as Greed’s greatest spokesmodel.

If “Enron” was “King Lear,” Claudia was the Cordelia. While far from innocent, Prebble posits that she would have been a more intelligent choice to lead the doomed company.

Prebble isn’t interested in telling a straight docudrama about the history of corporate malfeasance; she populates the story with myth and metaphor. The Board of Directors is depicted as Three Blind Mice, Fastow’s accounting folders, affectionately dubbed the raptors after the insidious creatures from Jurassic Park, writhe about in the accounting office (though the dinosaurs look more like Sleestaks from Sid & Marty Krofft’s “Land of the Lost),  the Lehman Brothers (Jax RF McAtee and Joes Perez IV) are portrayed as Tweedledee and Tweedledum, the lawyers are gussied up like icons of Justice, and the accounting firm of Arthur Andersen (Jamie Agnello) is a ventriloquist’s dummy.

The cast is huge (bigger than “The Cherry Orchard’), but they are equally talented.

McGranaghan is excellent as the ruthless leader with two Achilles’ heels: his initial affair with Roe and his daughter (Zelda Ungerman, in an on-screen-only appearance).

It’s a star turn for Michnya, a mild-mannered nerd among tech bros who becomes the biggest, meanest bully, still struggling with his inner and outer demons (see: Dancing Sleestak).

Weber plays the tough-as-nails Roe with ingenuity and some integrity (it’s a fraction, but its a slightly higher ground than the other snakes in the pit). The actor gives a strong performance.

Bolden’s Lay is delightful. He plays him as befuddled and bewildered by the stronger personalities in Skilling and Roe.

There are some standouts in some smaller roles; particularly Amy Landis as a no-nonsense lawyer and later as a Southern-fried Congresswoman, Perez in a variety of roles, Tru Verret-Fleming as a lawyer, and Jamie Agnello as the aforementioned ventriloquist at Arthur Andersen.

Co-choreographers Peter Kope and Michele de la Reza are gloriously responsible for the writhing raptors and stock traders wheeling furniture around in a Office Depot ballet.

Director Kyle Haden has an eye for the absurd, but keeps tight reins on the zaniness in favor of the emotional weight of the story, especially at the end when Landis and Parag S. Gohel portray victims of the corporation’s collapse.

The projection design is clever. Kolton Cotton’s stock tickertape is akin to Landru (the imperious god of Beta III in Star Trek’s “Return of the Archons”).

The scenic design by Sasha Jin Schwartz is divine, especially when exiting the show.  There is a reveal (no spoilers) that is stunning and comical as you leave the show.

If you’re looking for an Oliver Stone/Jordan Belfort sort of ” The Wolves of Louisiana Street, Houston, TX” historical drama, you won’t find it here. Instead, you will find a clever, intelligent longform poetic masterpiece on America and how it has failed its people in favor of the almighty dollar.

The show is brilliant, but be prepared to shed a tear for your country, because the Enron corporate greed machine was kindergarten for the slimiest of slimeballs who are now running the U.S.A.

-MB

“Enron” runs from October 30 to November 23 at One Oxford Centre, 301 Grant Street, Pittsburgh, PA 15219. For tickets and additional information, click here. 

 

 

By: Joseph Szalinski

Long before Lil’ Wayne wheezed his way into the hearts of many millennials, Americans were enamored with another poet who scribbled beloved verse, beefed with his contemporaries, and guzzled opiate-based syrups: David Allan Coe. I mean, Edgar Allan Poe. Unfortunately, unlike the rapper, the latter did not see much money during his lifetime, young or old. It’s in these dire financial straits that the audience finds Poe, drinking and gambling with a fussy fan, in Hobnob Theatre Company’s latest production, Edgar Allan Poe—Tales of the Grotesque, directed by Justin Anderson, now running at Hobnob Studio Theatre in Butler, PA.

Named in reference to a short story collection published in 1840, Tales of the Grotesque and Arabesque, Erick W. Cook’s script weaves together a tense narrative, three short stories (The Masque of the Red Death, The Fall of the House of Usher, and The Tell-Tale Heart), and “The Raven.” Performed initially 11 years ago, Hobnob once again helms this tribute to the misfortunate master of the macabre. This time around, Justin Anderson forgoes the titular role in favor of directing the show. He does a marvelous job infusing every decision with purpose, making every scene visually striking, like an oval portrait.

An army of amazing actors assists Anderson in his endeavor. Kevin Vespaziani mystifies as Edgar Allan Poe, the “Angel of the Odd,” aka “The OG Superspreader.” Despite having liquor in his blood, Poe is dispirited, namely over his prospects as a writer. He’s struggling to make ends meet from his stories, poems, or criticism. Wait. People get paid for this?! Vespaziani beautifully embodies the distraught genius of Edgar Allan Poe, most stunningly with his recitation of “The Raven.” Not the screenplay for the John Cusack movie, but the poem. Everything —from his striking resemblance to his accent to his hypnotic hand gestures —demonstrates his prowess. Even when relaying his philosophy of composition between each story, he makes Poe engrossing. Vespaziani must be an orangutan with how he kills his role.

Mr. Toller, the Mark David Chapman of this story, is masterfully brought to life by Daniel Williams. Crossing Poe’s path like a proverbial black cat, he assumes his position as a sinister sherpa into this descent into the maelstrom, accompanying the woeful writer until Poe has his eureka moment. Through imposing physicality and terrifying laughter, Williams dissolves into his role.

Sam Thinnes delivers a trio of chilling performances as The Masque of the Red Death, Roderick Usher, and the Young Man, respectively. First, he channels his inner Lon Chaney as he wordlessly haunts the stage. In his second appearance, he plays the world’s weirdest slumber party host with a fading charm that’s equally disturbing as it is delightful. But it’s as the Young Man in The Tell-Tale Heart that he really shines. One can’t look away from his descent into madness, which culminates in an incredibly physical display.

Molly Miller is great as Alabama, errr, Viriginia Clemm Poe, Edgar’s much younger cousin-bride. Fated to succumb to consumption like all of Poe’s loved ones, Miller’s heart-wrenching portrayal cuts like a pendulum in an inquisitor’s dungeon. Complementing her is Elizabeth Smith as Mrs. Clemm, Edgar’s aunt. With dialogue informed by actual correspondence between the family members, Smith’s performance is exceptionally vulnerable.

Cory J. Pfahl juggles his four roles with elegant ease. While his turn as Ralph only gives a glimpse of his potential, his other characters allow him to show off his skills, especially Ainsworth, Roderick Usher’s college buddy. Likewise, Logan S. Andres has her standout role in the same story as Madeline Usher, as does John Henry Steelman as the Doctor. Jeff Myers and Gail Suhr expertly round out the cast, playing a handful of parts between themselves.

Technical elements elevate this production into the realm of cinema. Sets are minimal yet effective, even if they don’t abide by Poe’s “Philosophy of Furniture,” JD Vance’s favorite erotic essay. Aside from a table and a few seats that are recycled throughout the tales, the stage is left open to allow the performers more space to dazzle the audience. Anthony Closkey holds down the fort as a stagehand, effortlessly enabling the show to move at its engaging pace. Sound design, by producer Ken Smith, adds terrifying texture to an already rich world. Elizabeth Smith, who performs double-duty as the production’s costumer, provides her castmates with stunning wardrobes. These outfits even rival the threads sported by the fuzzy background extras with fuzzier faces in The Pale Blue Eye. Let me tell you, being forced to have mutton chops for months is a lot scarier than anything Poe could conceive.

Hobnob Studio Theatre is a wonderfully intimate space. While everything they produce is fantastic, this show really makes use of the “immersive proximity” of the stage and seats, plunging audiences into Poe’s distorted reality. To further complement the atmosphere, Tannin and Tonic, a bar a few doors down, has beverages in the lobby. Their Amontillado wine is to die for!

Hobnob Theatre Company has graced the theatre scene in Butler for over a decade. In that time, they’ve staged plenty of tremendous productions, cultivated quite a following, and, as of 2024, have their own space to realize their artistic ambitions. Whether they’re indulging in more traditional theatre or unorthodox events like children’s programming or improv comedy nights, they’re bound to have something for everyone. Interested in fostering an appreciation and passion for the performing arts, Hobnob is an asset to Butler, as well as an indispensable addition to the theatre scene in the Greater Pittsburgh Area.

-JS

Edgar Allan Poe—Tales of the Grotesque continues its sold-out run October 30^th, November 1st, and November 2^nd at 7:30 PM at Hobnob Studio Theatre in Butler, PA. For more information on shows at the Hobnob space, click here. 

By Michael Buzzelli

When wimpy Seymour Krelbourne (Chad Elder), a clerk at Mr. Mushnik’s Flower Store in the middle of downtrodden Skid Row, finds a mysterious plant, his life takes a strange new turn. Suddenly, Seymour becomes popular, and the flower store booms.  His boss, Mr. Mushnik (Sean Michael Barrett), takes a liking to him. The girl he admires, Audrey (Chelsea Davis), might even like him back. If only he could get rid of her pesky boyfriend, Orin Scrivello, D.D.S. (Travis Myers-Arrigioni)

Audrey II (voiced by Franklin Mosley, and played by a group of puppeteers) has it all figured out. All of Seymour’s problems can be solved at “Suppertime!” Because when this plant gets hungry, it wants people food. No, scratch that…he wants people to be his food!

The plant Audrey II is a man-eating monster from another planet, but that, such as it is, is life on Skid Row. Just ask Crystal (Tiara Emery), Ronette (Jalise Gary), and Chiffon (Sean Hale), the singing Greek chorus in “Little Shop of Horrors.”

“Little Shop of Horrors” is another fine addition to Pittsburgh’s spooky season of shows, alongside “The Rocky Horror Show” at the Greer Cabaret and “Night of the Moth Man” at Arcade Comedy Theater.

Elder is terrific as the geeky, schleppy Seymour. He is a community theater treasure with star potential (he already has a fan base, several audience members were there just for him). He has a great singing voice, which you can hear when he sings (more on that later).

Davis is a belter of the highest caliber. She nails the high notes in “Somewhere That’s Green” and “Suddenly Seymour.”  Her characterization of Audrey stands among the best.

Myers-Arrigioni is a dastardly dentist. He sparkles whenever he’s on stage. He probably has a great singing voice as well (We’re almost there).

Mosley gave a fun spin to Audrey II, the evil plant attempting to take over the world, one victim at a time.

The set is marvelous, including the aforementioned malevolent killer Venus Fly Trap controlled by Lyle Hieronymous, Katie Kerr, Amber Mount, and Johanna Philips.

Ian Scully-Szejko’s projections turn the entire auditorium into a circa-1950s Los Angeles Skid Row. Its a wonder to behold.

“Little Shop of Horrors” has amazing music by the talented team of Howard Ashman and Alan Menken. It’s incredibly campy fun!

The show had one big flaw (here it is). The orchestra, led by Travis Rigby, overpowered the vocals. You could only hear the singing when the cast hit the highest notes, or when the song had a preamble leading into the music.  It was a fantastic band, but it was hard to hear anything else.

P.S. The cast had microphones,  yet it was tough to hear them, especially on the far right side of the theater where this reviewer sat.

Word on the street is that the director, Nik Nemec (on his way to becoming one of Pittsburgh’s finest musical theater directors) and the fine folks at Heritage Players are looking into solving the issue.

If someone could tamp down the orchestra one or two notches, or hide them behind the stage, the Heritage Players would have a hit on their hands!

-MB

“Little Shop of Horrors” runs until November 2 at the Seton Center, 1900 Pioneer Avenue, Pittsburgh, PA 15226. If you would like more information, please click here. 

By Michael Buzzelli

As the Narrator (Dixie Surewood) would be sure to tell you: You’ll find happy hearts and smiling faces in Denton, the small town where Brad Majors (Spencer Millay) proposes to Janet Weiss (Kat Harkins). Still, on the outskirts of this sleepy hamlet,  you will find the lustful, wanton ways of Dr. Frank N. Furter (Alexander E. Podolinski, last seen as Modred in CLO’s “Camelot”) in “The Rocky Horror Show.”

When Brad and Janet are stuck with a flat tire in the middle of a downpour, they find Frank’s castle (because every little American town has a castle), and through the velvet darkness, they find a light over at the Frankenstein place.

Side note: “The Rocky Horror Show” skewers every ’50s Sci-Fi movie it can, but cranks up the horniness on the sonic oscillator all the way up.

Brad and Janet meet Riff Raff (Connor McCanlus, recently Malvolio in the Public’s “Twelfth Night”), Magenta (Laura Frye), and Columbia (Sam Carter) when they enter the castle. Then, they are introduced to Dr. Frank N. Furter and his creation, Rocky (Michael Greer, pulling double duty as the dance captain).

Things get weird and sexy…until Dr. Scott (Matthew Hydzik) shows up looking for his nephew, Eddie (Hydzik again, in a dual role).

The camp classic time warps to the Greer Cabaret Theater with the proper pomp and circumstance it deserves. The cast is an energetic bunch, dancing, cavorting, canoodling, and running rampant through the Greer.

Warning: Do not bring rice, toast, water guns, newspaper, etc. It’s a staged performance, not the film version.

If you’re a fan of the movie, “The Rocky Horror Picture Show,” you will note some minor changes to the plot and dialogue, but all the characterizations stay close to Richard O’Brien’s masterful creatures of the night. For instance, like the original London production, Brad gets a ballad (“Once and a While” was cut from the movie).

Podolinski is doing a spot-on Frank N. Furter, adding a few nuances of his own.  He’s a joy to watch in the role. Somehow, the actor even makes drinking a bottle of Pepsi look sexy.

Harkins is a fun doe-eyed Janet with vocal chops, making “Touch-a, Touch-a, Touch Me” a fun romp of a ditty.

Millay’s Brad is giving Seymour from “Little Shop of Horrors” vibes (that’s a compliment). Think Rick Moranis,  but with an excellent singing voice.

Greer is no newcomer to the Greer (when do you get to write that line?). He has been in multiple shows in the venue, but he really stands out here. Maybe because he’s prancing around in golden underwear.

Frye is sexy, sultry and magnificent as Magenta. The moment she opens the show with the number “Science Fiction Double Feature,” the audience immediately knew they were in the right hands.

McCanlus rocks as Riff-Raff. He and Frye have some great chemistry, and elbow sex (you had to be there).

Carter makes her debut on the Cabaret stage, and does it with all the enthusiasm Columbia can muster. She is a fine addition the Pittsburgh theatrical community.

Surewood’s Narrator/Criminologist is pure perfection. She chews up the elaborate scenery and makes the Narrator role her own. It’s a fresh and funny take on the character, and very little in common with Charles Gray (from the film), outside of their personal lives.

Side note: The show is unapologetically queer, but there is something for everyone here (except small children).

Natalie Rose Mabry’s projection design coupled with Noah Glaister’s sets and Katherine Mikula-Wineman’s props bring Rocky and the show to life.

Director Mark Fleischer does a marvelous job of aligning the film and stage production, giving it a few little surprises.

It’s a spooky, spectacular show, a Halloween must-see event.

-MB

“The Rocky Horror Show” runs until November 8th at the Greer Cabaret Theater, 655 Penn Avenue, Pittsburgh, PA 15222.  For more information, click here.

by Joseph Szalinski

Back in my day, if we didn’t want to read a book for school, we’d rely on Cliffnotes or Sparknotes. Sure, we wouldn’t really get smarter, but we wouldn’t get any dumber. Nowadays, kids are too dependent on ChatGPT. Not only do they get all of their information this way, but they shrink their hippocampi in the process. Thankfully, there’s a more entertaining, and intellectually stimulating, alternative for folks who haven’t gotten around to dusting off their copies of Pride and Prejudice or Emma—Community Theatre Player’s latest production, Instant Austen: Jane Austen at Warp Speed, directed by Mace Porac and produced by Hannah Dearborn, now running at Community Presbyterian Church in Ben Avon, PA.

Written by multimodal scribe, Treanor Baring, Instant Austen cobbles together six of Jane’s novels: Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey, and Persuasion. Envisioned initially for middle and high school classrooms, this show proves it has something for everyone, whether that be a clever reference, cheeky commentary, or just general silliness. While most of the novels are presented as tiny scenes akin to short plays or skits with overlapping jokes, the last two go for something really unique that’s sure to delight even the most ardent curmudgeon. Engaging and riddled with humor that lands nicely with audiences, this production is a perfect way to celebrate Austen’s 250^th birthday. She doesn’t look a day over forty-one.

The cast does a splendid job despite the dizzying feat of changing characters as constantly as they do. To make things even more confusing, a few cast members trade roles on certain nights, which makes what they do even more incredible. Their commitment to the accents, slightly varying them with each successive role; their good chemistry in group scenes, as well as everyone excelling in their moments to shine; the ample opportunity for playful physicality, which serves as a testament to the energetic and fun edge this ensemble brings to the stage; the performers really put their hard work on display. Not to mention, the fact that they don’t spend too much time getting ready during blackouts between scenes also speaks to their adeptness. Great job to Alexa Burak, Samantha Carpin, Frederick Coleman, Mary-Cait Cox, Ashley Dugan, Chris Duvall, Phil Hayes, Mace Porac, Heather Johnson Smith, and Mary Witul.

Less dependent on technical elements than other productions, this show uses them sparingly and to significant effect. Costumes stand out the most, as they not only help set the time periods and make the world(s) more immersive, but they are also helpful for establishing and distinguishing characters. Sound effects and lighting, by Jeff Cieslak and Patrick Trimble, are another ingenious technical element, typically used when someone needs to ride a horse or ride in a barouche. Ewww. As far as props go, they are seldom used, generally reserved for a goofy character or to stand in for a character altogether, whether it’s dolls or even a chair. Aside from a couch and a seat for The Narrator, the “character” is one of the few pieces of furniture on this simple set designed by director Mace Porac and actor Mary Witul, the same duo responsible for the program.

The Community Presbyterian Church of Ben Avon is a marvelous venue for theatre. Located on Church Avenue (what a coincidence) in the sleepy neighborhood of Ben Avon, this building has housed some tremendous talent. Even those who believe in the separation of “Church and Stage” must recognize how cool it is for art and live performances to have another home in the North Boros. The site of dozens of fantastic productions, the church is a cultural hub that hopefully lasts well into the future, and that’s not just because the parking is decent.

Community Theatre Players is a wonderful organization that has been putting on incredible shows for over 35 years. Whether they’re taking a risk on something new and different or putting a signature spin on a classic, they’re guaranteed to wow audiences with every performance. From the close involvement of the board, to the capable casts and crews that make theatrical magic, to the belief that the local sponsors have in them, it goes to show how special art is to our various communities in and around this wonderful city.

-JS

“Instant Austen: Jane Austen” at Warp Speed continues its run on Oct 24^th and Oct 25^th  at Community Presbyterian Church in Ben Avon, PA.