Victorian writer Oscar Wilde was best known as a playwright, so it’s no surprise his only novel, The Picture of Dorian Gray, has been adapted into theater (this one by Robert Kauzlaric).
Artist Basil Halward (Dason Strawder) becomes consumed with painting a perfect portrait of the handsome Dorian Gray (George Ramey). Basil’s preoccupation becomes Gray’s obsession as Dorian realizes “the painting will keep what I lose.” Dorian’s wish to never age is granted, although his portrait counterpart does.
Dorian’s 19th century fears translate well to today. Any of us who have ever looked wistfully at pictures of our younger selves relate to Dorian’s desire to stave off aging. Dorian’s crisis anticipates the unhealthy comparisons and youth-obsessed tinderbox of social media, filters, and facial fillers.
Director Brooke Echnat has the baby-faced George Ramey preen through his performance and tilt his head back, literalizing his looking down on others. Ramey captures a man committed to the idolatry of youth who chronically upstages his aging contemporaries by virtue of his agelessness. He is arrogant and indifferent, blatantly disregarding Basil’s instructions during portraiture. Dorian indiscriminately justifies his demeaning treatment of actress Sibyl Vane (Kat Bowman) after she disappoints him with a lackluster performance. Bowman captures the hopeful naivete of Vane, the stereotype of an actress looking to ascend, regardless of the cost.
The intimacy of the Carnegie Stage space allows Stage Warp Productions to put the actual portrait at the center of the play. In the opening scene, Basil faux paints into a blank frame, letting us imagine the end product. Strawder captures Basil’s tensions. While painting is his profession, he is also clearly attracted to Dorian. Basil endlessly refines the painting to delay its completion as that will signal the end of the artist/subject relationship.
Basil also wants to keep Dorian for himself. That plan goes awry when Basil’s friend Lord Henry Wotton (Justin Macurdy) decides he wants to see the good-looking Dorian. Lord Wotton proudly proclaims his goal is the “new hedonism,” and he makes a quick convert of Dorian, leaving the placid Basil without either man. Macurdy and Gray are both peacock-like, using their wealth and youth as levers for indiscriminately indulging hedonistic impulses.
A canvas portrait does emerge thanks to the work of portrait artist Erin Zeddies. Zeddies’ eye-catching portrait comes to occupy center stage both literally and metaphorically. The painting is styled much like a page-a-day calendar. Portrait pages are removed to show the passage of time on Dorian’s painted face. A large ensemble cast represent old and young versions of the primary characters. However, Dorian’s older version is just the painting of him, sharply manifesting the two-dimensional quality of a life lived only in pursuit of pleasure.
Oscar Wilde was jailed for homosexual acts, and imprisonment cut his life short. As a painter, Basil’s profession provides a “safe” way to explore his male gaze. With the rights of women and queer identities under threat today, Wilde’s own life reminds us that no one thrives under oppression.
Wilde’s novel is considered Gothic fiction, a genre hallmarked by the dark and supernatural, making this the perfect play to wind down spooky season – or perhaps carry it forward.
-TKR
Stage Warp Production’s presentation of The Picture of Dorian Gray runs through November 2, 2024 at Carnegie Stage (25 W. Main Street, Carnegie, PA). Purchase tickets online at www.stagewarp.org.
Time. Space. Reality. It’s more than a linear path. It’s a prism of endless possibility. Where a single choice can branch out into infinite realities, creating alternate worlds from the ones you know. Imagine if you will, a world where Anne Hathaway (Teal Wicks) – Mrs. Shakespeare, not the put-upon assistant in “The Devil Wears Prada” – grabs her husband’s pen and rewrites the tragic ending to “Romeo and Juliet.” The product is”& Juliet,” a poppy jukebox musical bouncing with sheer joy.
The plot – and there’s a lot of it for a bubbly romcom – centers around Juliet Capulet-Montague (Rachel Simone Webb) waking up in the mausoleum and finding her betrothed dead, but – and here’s the big but – she doesn’t plunge the dagger into her chest. She chooses life. Instead of being the victim of a tragic romance, she’s the survivor looking for her own agency.
She decides to run away from Verona and enlists her gender-fluid bestie May (Nick Drake), April (Anne writing herself into the story) and her nurse, Angelique (Kathryn Allison) to come with. They escape to Paris where there is a gender-bent love triangle, a pair of reunited lovers, and turbulence in Anne’s own marriage to Will (Corey Mach). There’s even a surprise guest star, a certain Gentleman of Verona who chases Juliet to Paris.
The gay best friend trope from a zillion romcoms is subverted here as a May finds François (Mateus Leite Cardoso) and they get their own love story.
Things get complicated over some of the greatest commercial hits of all time. Don’t worry. All’s Well That Ends Well.
“& Juliet” is a high-octane candy-coated jukebox musical filled with bubblegum pop. It’s exuberant. Joyous. The cast puts the spectacular in the spectacle.
Webb is glorious as Juliet. She is a belter of the highest pedigree. She is a charismatic lead and a joy to watch.
Mach is a fun Shakespeare. His character is not quite as egocentric as the Shakespeare-cum-Elvis from “Something Rotten!” Mach instills a sweet charm into the immortal playwright, even when he’s behaving badly. He’s rocking some Skylar Astin energy.
Anne gets the best lines, and Wicks delivers them flawlessly. Her banter with the Bard is electric. She trades barbs with him effortlessly, often – but not always – gaining the upper hand.
Note: On November 1, Shelby Griswold takes over the role of Anne until the end of the Pittsburgh run).
Drake is terrific as May. They are sensational in the role.
Paul-Jordan Jansen gets some great moments as Lance, a hard-ass military father who finally learns about love – in all of its splendor.
Michael Canu is a delightful Mr. Montague (in case you were wondering where for art thou Romeo? He’s right here).
Allison’s Angelique is effervescent, especially in her scenes with Jansen’s Lance.
Naima Alakham (Lady Capulet) is an imperious mom.
Andre Cerullo leads a magnificent band, playing more hits than Casey Kasem’s American Top 40. The songs are all hits from producer Max Martin, including “Baby One More Time,” “I Kissed a Girl,” and “Oops…I did it again.”
David West Read has wedged a few clunky lines in this story, but mostly sparkles with wit and wisdom. May’s name is a set up to the most painful pun.
Soutra Gilmour scenic design matched with Andrezej Goulding’s video and projection design is a kaleidoscopic feast for the eyes.
The bright rainbow of costumes, by Paloma Young, are inspired.
“& Juliet” is the perfect cotton candy confection of a big budget musical. It’s a spectacle, an extravaganza! Look closely, there are a couple of pointed messages under the layers of sugary goodness, like an engagement ring hiding in a parfait.
It’s also the play we need right now. Young, fun and full of contemporary wisdom.
-MB
“& Juliet” runs until November 3, 2024 at the Benedum Center, Seventh & Penn Avenue, Pittsburgh, PA 15222. For more information, click here.
Everyone, get your tickets for the most “hoppening” event to hit the North Boroughs since their Easter festivities a few months back. The wonderful folks over at Community Theatre Players have a fantastic production from directors Katie Abramowich-Good and Libby Larsen about a misunderstood man and his hallucinatory hare companion. And no, it’s not a stage adaptation of Donnie Darko. It’s the celebrated classic, Harvey, now running at Community Presbyterian Church in Ben Avon.
Often overshadowed by its cinematic counterpart, due in large part to the man behind the voice that haunts the streets of Indiana, PA, Mary Chase’s Pulitzer Prize-winning drama is both hilarious and heartfelt; a poignant play about an unorthodox way mental illness can manifest in a person and a family.
Cast members do a terrific job of embodying their characters, particularly through humor. Christopher Franz dives headfirst into his role as Mr. Wilson by embracing comedic physicality. The other hospital personnel, Lyman Sanderson, M.D. (Alex Bowman); William R. Chumley, M.D. (Mark Spondike); and Ruth Kelly, R.N. (Kassaundra Rodriguez) have a funny and fantastic chemistry amongst themselves and with the other characters as well. Similarly, Judge Omar Gaffney (John Hayes), Myrtle Mae Simmons (Emma Kendrew), and Veta Louise Simmons (Ellen Kalik) are another group who bring plenty of laughs to the stage.
The cast of “Harvey.”
Matt Hartman delights as Elwood P. Dowd, the Benjamin Bunny to Harvey’s Peter Rabbit, but human. He’s a charming eccentric who isn’t afraid to attempt to show off his best friend, much to the chagrin of his relatives. Hartman is not only able to showcase his skill solo or alongside his castmates, but also “with Harvey,” an effortless and established connection that demonstrates his strengths as a performer. Keep a large ear or two perked up for when he imitates Harvey’s voice…
Technical elements are another highlight of this show. Jeff Cieslak masterfully handles lights and sound while an army of dedicated folks handle set construction and decoration. Speaking of sets, this one is relatively simple yet effective, and its interchanging pieces are brilliantly swapped out during scene changes to transport audiences to either the library or Chumley’s Rest. But perhaps the best display of technical prowess comes in the form of Harvey’s presence. Manipulating furniture, curtains, and the like is a phenomenal way of bringing the invisible animal to life.
The Community Presbyterian Church of Ben Avon is a marvelous venue. Not only is the theatre nice and cozy, but it’s just one room in a big, beautiful building. Nestled on the sleepy streets of Ben Avon, this is a quaint space to catch a performance.
Now in their 35th year/season as a company, Community Theatre Players continues to deliver quality productions to the Greater Pittsburgh Area, particularly the North Boroughs. Putting on larger shows in the fall, and producing smaller events in the months between them, CTP actively enriches the scene with dazzling dramas and captivating comedies. Unlike the titular lagomorph of their current show, they can be seen entertaining audiences throughout the year, and hopefully for many more to come.
-JS
“Harvey” continues its run Nov 1st & 2nd at Community Presbyterian Church of Ben Avon. For more information, click here.
Bilbo Baggins (Russell Saylor) is a Hobbit living a pleasant, comfortable life when he is plucked from the Shire and offered a chance to go on a mythic quest by the great wizard Gandalf (Shammen McCune).
Bilbo is the archetypical reluctant hero straight out of the pages of Joseph Campbell’s “The Hero’s Journey.” He hems and haws until he is introduced to a troupe of dwarves led by their cranky leader, Thorin (Ryan Patrick Kearney).
Thorin and the Bilbo clash immediately. The good-natured Hobbit and the gruff dwarf king are polar opposites, but over the course of quest they begin to trust one another.
The questers, which include Balin (Jamie Agnello), Fili (Britt Dorazio), Kili (Maya B. Fullard) and Bombur (José Pérez IV) are beset on by trolls, giant spiders, and all sorts of fantastical creatures on their way to face the Big Bad, Smaug, an imperious dragon. The dragon is hoarding all of the treasure. She’s such a hoarder that Suzanne Chabaud and Cory Chalmers would be incapable of helping.
After a book, a cartoon adaptation and a full-length feature film, it’s safe to say spoilers do not apply to this stage play, but if you’re living in a cave with a prickly dragon and a hoard of gold and haven’t heard of J. R. R. Tolkien and his epic fantasy, stop reading the review, see the show and meet me back here.
Greg Banks adapted the book for the stage with the intent of bringing new audiences to theater. He has a crafted a work that is perfect for children and the young-at-heart. Banks had a daunting task. He took a 310 page best-selling book and turned it into a play.
The playwright introduces an element that is meant to bring the audience into the story. The actors begin the show around a D & D board and roll multi-sided dice. It’s an unnecessary contrivance and it doesn’t wholly work, but every other element does.
Bilbo Baggins (Russell Saylor) finds the One Ring To Rule Them All.The cast of “The Hobbit.”Matt Acheson and Jamie Agnello’s masterful puppet creations.
The cast is marvelous. Saylor is the right amount of curmudgeon, with a soft sweetness, and childlike wonder.
McCune has the requisite gravitas to play the mighty wizard, Gandalf. Her voice is deep and authoritative, yet she displays a playful, joyous side on the O’Reilly stage. She is a fantastic choice to lead the mythic quest. She is a Pittsburgh treasure worth more than a mountain of gold.
Kearney’s character has the fullest arc in the story. He goes from gruff to grateful to greedy. His death scene is the most poignant moment in the play [You were warned you about spoilers].
Fullard gets some great lines as the resident scaredy-cat dwarf.
While they are mostly dwarves, Fullard, Agnello, Dorazio and Pérez play a variety of roles. They are all exceptional.
Pérez does an Elvin Queen that is hilarious. He also doubles as the fight choreographer and the fight scenes are impressive.
Matt Acheson and Jamie Agnello’s puppet designs were marvelous, creations of pure imagination, whimsical, mysterious and even, at times, frightening.
Smaug is literally and figuratively smoke and lights, but Robert J. Aguilar’s lighting design makes the dragon come to life.
The set, designed by Jennifer Zeyl, is a thing of beauty. It’s a jungle gym disguised as a home suitable for a Hobbit – a hobbitat.
Director Marya Sea Kaminski lovingly created a playful, big and fun adventure for all ages. Fantasy fans will marvel in the beauty of the creation. If your not familiar with any iteration of “The Hobbit,” now isn’t the best time to start. While our hero loves a cup of tea – this one won’t be yours.
“The Hobbit” overcomes the adage that there are limitations to a stage show. You just need a decent script and great actors to create magic.
-MB
“The Hobbit” runs until November 10 at the Pittsburgh Public Theater, inside the O’Reilly Theater, 621 Penn Avenue, Pittsburgh,PA15222. For more information click here.
Bingham (Justin Mohr) director of Quail Valley Country Club, holds great animosity towards Dickie (Dewayne Curry), director of the Crouching Squirrels Country Club whose team consistently wins the annual interclub golf tournament. This year feels differently for Bingham. He has a new team member, an incredible scratch golfer. Confident of victory, Bingham makes a $100,000 wager with Dickie and recklessly throws in the ownership of his wife Muriel’s (Misty Challingsworth) much loved antique shop. Upon learning that his star golfer has defected to join Dickie’s team, Bingham is frantic to find a replacement golfer.
Fortunately, he discovers his new assistant Justin (Cole Vecchio) is an amazing golfer—with one important codicil —–To ensure his expert playing, Justin must be kept calm and be kept away from any potentially stressful situations. The tournament is going very well for Justin, until it isn’t.
Bedlam ensues and the hilarity shifts into high gear. Just when it seems to be clear where the plot is headed, BOOM! Another dizzying plot twist hits.
Dewayne Curry – Dickie (back couple) Misty Challingsworth – Muriel (back couple) Emma Brown Baker -Pamela (front couple) Justin Mohr – Bingham (front couple) Photography: Hawk Photography and Multimedia LLC
The entire cast is to be congratulated on their high energy, physicality and spot on comedic timing.
Vecchio’s Justin is played with an innocence that endears him to the audience. His emotional fragility and vulnerability are sweet,
Mohr plays Bingham with an understandably frenetic desperation considering what is at stake. He’s both likable and sympathetic.
Curry’s Dickie is loud mouthed and obnoxious. His swagger and grating, braying laugh are perfectly annoying. The man you love to hate!
Julia Yeomans is adorable as the love struck, naive, ingenue Louise.
Emma Brown Baker is a personable (at times), sophisticated Pamela who radiates contempt for Dickie, her ex. Perfect demonstration of the adage, “If looks could kill.”
Misty Chillingsworth is Bingham’s wife, Muriel. Before she is onstage, she is depicted as an overbearing battleax. Her humanity becomes clearly evident when she comes onstage. She’s a woman of strength with a soft side.
Fun Fact: Playwright Ken Ludwig was born in York, Pennsylvania!
Director Lisa Ann Goldsmith keeps the cast’s electrifying energy on high voltage. The actors fast paced physicality excites.
This hilarious farce flies from scene to scene and delights with its unexpected turns and surprise revelations. Look no further if you are in the market for a delightful evening out!
-LtTL
“A the Fox on the Fairway” runs until November 10 at the Little Lake Theater, 500 Lakeside Drive, Canonsburg, PA 15317. For more information, click here.
Standing arm in arm outside Maser Galleries along Walnut Street in Shadyside, the Maser women, Brenda and her two daughters, Katie and Kristen, reminisced to a crowd of family, friends, former athletes, community members, city councilpersons, art lovers, and various spectators about what this business has meant to them since it first opened on September 27, 1974—50 years ago to the day.
Katie applauded her parents, noting that “50 years is huge accomplishment for a business, especially an art business.” She called Walnut Street “an extension of home,” and Kristen expressed similar sentiments, stating that her childhood “orbited around this gallery” and referred to it as her “home base.”
Maser Galleries aims to have “something for everyone”, art for every generation to enjoy
As the story goes, Maser Galleries begins with one man—Ronald Maser, affectionately known as “Lefty”—a Pittsburgh-area native, McKeesport High School graduate, former University of Pittsburgh student-athlete, and multi-talented visionary, whose baseball career aspirations with the Los Angeles Dodgers fell short because of an arm injury that led him to answer a newspaper advertisement promising “unlimited opportunity” with Arts International, which was the biggest chain of galleries in the country back then. According to Lefty, during the Arts International interview, he and the interviewer just talked about baseball. By the end of the interview, the guy pitched him the keys and drove back to Chicago, leaving Lefty to learn the art business on the fly.
Years later, Lefty branched out on his own, founding what is known today as Maser Galleries. The gallery started out at Seven Springs Resort in the Laurel Highlands, east of Pittsburgh. There was already a gallery at the ski resort and the space had become available for a new owner/occupant. Originally, Lefty says, he drove up to Seven Springs to express that he wasn’t interested, but whether it was the drive, the connection with ski and sport, or something else, after he got up there, he changed his mind and said yes. Like many things throughout Lefty’s life, he just went with his gut… and it worked.
Brenda, who grew up at Seven Springs and was working there had an art background, minoring in art, practicing in photography, and dabbling in painting, so when Lefty needed someone to work at his new gallery, Brenda became Lefty’s right-hand woman, so-to-speak.
“My part of business has changed over the years,” Brenda recounts. “I helped Lefty. Lefty was in charge. He made all the decisions.”
From left to right, Bobby Franklin, former Point Park University basketball star; Brenda Maser; The Honorable Dwayne Woodruff, former Pittsburgh Steelers cornerback and current Allegheny Court of Common Pleas Judge; Chris Seneca, former Bucknell University basketball star; Clarence Thompson.
But as for Brenda’s part in the business, Kristen surmised, “Mom is the heart. Dad is driving force,” while Brenda refers to herself as “the people person.” She says, “I love people. I love talking about the art, I love being with the art, selling the art. Lefty was the person responsible for the success of that gallery without question. He could sense what people would love, what people would buy. He was not highly trained in art. I mean, he was a math student [at the University of Pittsburgh]. He had a sense of what was beautiful and what people would love to have in their homes.”
She adds, “Buying is the key to any business, and certainly to the art business. He just had a wonderful sense of the best pieces of an artist, he could pick them. I learned from him. I learned everything I know about that from him.”
Brenda’s own art background has, in her words, “worked out beautifully in this gallery.” She remembers, “I had a dark room for a while and did photography and that skill served me very well working in the gallery. There were so many things that needed photographed over the years that it was a really wonderful fit for me.”
Once a former dry cleaner, Lefty transformed the space into Maser Galleries in 1974
Brenda also points out, “Lefty has an art background, too.” While maybe not as well-known as his baseball stats, “When he was a young student, he went to McKeesport High School, which was a huge high school at the time, booming, thriving, and there were only two students picked to take art classes at the Carnegie Museum and he was one of the students who was picked. So, he has some art talent, but he never developed that. But he had art talent, and he always had a love of beauty.”
Even as a baseball player, fans and friends described Lefty as “art in motion.” Brenda says, “When I think of Lefty running [this] business that was art in motion, watching him run [Maser Galleries]. He was in the flow in the same way that he was when he was pitching. He was a natural. The creativity, the ideas just flowed out of him.”
Eventually, once the gallery in Seven Springs was established, Lefty got the idea to move and open another Maser Galleries location in Shadyside. “The first time I came to Shadyside was 1974, right when we opened. It was the arts festival,” Brenda recalls.
The building, where Maser Galleries remains 50 years later, was a former dry cleaner when Lefty first rented it. “Lefty hammered every board on that wall. Those barn wood walls, every nail was hammered in by him… There was nothing he couldn’t do.” But back then people thought Lefty was out of his mind to open another gallery along Walnut Street, which ironically, was right across the street from an Arts International gallery, his former employer. Doubting Lefty’s can-do attitude, naysayers thought Maser Galleries would be out of business within six months, incapable of withstanding the competition of a powerful chain like Arts International. However, not long after Maser Galleries arrived on Walnut Street, it was Arts International that closed its doors, not Lefty.
Brenda Maser embraces her daughters, Kristen and Katie, in front of Maser Galleries on Wood Street
Brenda describes what Maser Galleries was like on Walnut Street in the 1970s, “When we first opened, Walnut Street then was almost all, if not all, independent owners, many different types of shops, and a lot of hippies. We had lots of arts and crafts items, we had shelves and shelves of crafts and little metal sculptures, paintings on marble, paintings on fungi, we just had all different little things. And as the street evolved, we evolved. So as the more upscale shops came in, so did we. Also, the timing was so perfect because the 70s was a time when art was really exploding and graphics were just coming out like Normal Rockwell, Erte, Simbari, LeRoy Neiman. It was just an amazing time when these limited-edition graphics were available for the first time, and we were on the ground floor of that.”
She continues, “Lefty always loved illustrators. We loved Nat Youngblood. He did all the illustrations for the Pittsburgh Press for 30 years. We published a lot of works by him. Lefty published a number of local artists John Shryock and Thomas Mosser, and then he reached out to some nationally known artists, and we had a whole publishing division for many years. We went to the art expo in New York, and we were not only on the end of buying art for the gallery, but on the end of selling artwork to galleries.”
The artworks of many of these mentioned artists are still available at Maser Galleries, along with other Pittsburgh natives who’ve achieved reputable success with their art, like Burton Morris, Fritz Keck, and Linda Barnicott.
Posing with sculptures, Kristen, daughter of Maser Galleries founders, Lefty and Brenda Maser, and co-founder of For Good PGH with Gisele Fetterman (also pictured), quips “these are our siblings”—everyone is treated like family here
In its early days, the Maser Gallery at Seven Springs reflected the clientele there, Brenda recalls, “tons of ski posters, craft items, gift items, and oil paintings.” Nowadays, she says, “We reflect the people of Pittsburgh. We always want to have something for everyone.”
As for the Maser family, Brenda, like her daughters, admits, “Our lives revolve around the gallery.” Despite previously having galleries in Seven Springs, Oxford Center, and even Market Square over the years, Maser Galleries along Walnut Street in Shadyside has stood the test of time. “We were all over at the gallery as much as we were at home,” she says.
Brenda acknowledges, “The greatest honor of my life has been to work there. It’s been such an honor to be surrounded by this beauty and by wonderful people. I always feel that the door is a filter and only special people come through our door. I’m so grateful for having could spend my life here in this place. Everybody who comes in, they have an extra sensitivity and awareness and appreciation for art and for life.”
Stepping through the doors of Maser Galleries is an opportunity to experience art almost like a sports memorabilia collector, stumbling upon a rare, autographed baseball card, except here the signatures are of beloved artists upon artworks, each with a unique style and flare. Unlike an art museum, where the pieces must stay put on their walls, here, visitors are welcome to purchase the pieces that catch their eye and take them home. When it comes to art galleries in Pittsburgh, Maser Galleries is a grand slam.
-GM
To experience Maser Galleries, visit: https://www.masergalleries.com/ or stop in at 5427 Walnut Street, Pittsburgh, PA 15232 and explore their ongoing 50th Anniversary Sale.
“Black Angels Over Tuskegee” is a fictious story about six real life black soldiers and their quest to become aviators during World War II.
Potential recruits Percival (Kenneth Browning), Theodore (Lamar K. Cheston), Elijah (Anthony Goss), Quentin (Layon Gray), Abraham (David Roberts), and Jeremiah (Reginald L. Wilson) meet for the first time in preparation to take the exam that allows them to continue on as potential aviators. Quentin and Abraham are brothers.
Their initial interaction with one another involves backslapping and general information-seeking as they evaluate each other.
Jeremiah is the only recruit who remains aloof. Tired with what he deems as simple banter, he challenges them to think about the upcoming exam. To him it is the essence of success. He does not smile.
Settling down the men begin to prepare for the exam, testing one another in the fine points of airplanes, engines and general flight concepts.
They do get serious about the one thought in all of their minds – how they have to succeed. Success for them is harder to attain, not due to their abilities but because of their race. Between nostalgic conversations about their backgrounds, they talk about the racism they’ve experienced. Jim Crow laws are still in effect at this time.
Layon Gray, Writer, Director, Choreographer.
These six talented black men succeed in their quest to become aviators. They land in Tuskegee, Alabama, become licensed aviators and are sent off to war as part of the famous Tuskegee Airmen. It’s just a shame that they were segregated in war just as they were at home, but what American heroes they were!
This production is well-executed and is well-worth seeing!
Gray is both aggressive as he argues with his brother but is gentle and sympathetic as he talks about his girlfriend and their soon-to-arrive baby.
Anthony Goss (Elijah).
Roberts is bubbly and excitable, prodding and teasing his brother but carefully watches out for him. He is high energy.
Goss attempts and sometimes successfully lessens the tension between the men. He is more temperate than the others.
Cheston is delightful as the music-loving aviator. His comedy skills are apparent in his pantomime to Billie Holiday’s recording of “God Bless the Child”.
As Percival, Browning is both tender and furious as he retells a story about his young daughter’s school experience with racism.
Wilson’s character is intense and unwavering. His performance is exceptionally riveting as we finally discover why he is aloof and unsmiling.
Collectively the six aviators’ roles require intricate choreographed dancing, fighting and simulated flying. They all do this brilliantly.
Narrator Thaddeus Daniels (Man) provides the background for “Black Angels Over Tuskegee,” relaying each stage of the six aviators journey from exam to training class to actual combat. It’s apparent that he has a particular interest in the six aviators and his narration is both humorous and emotional.
In a small role, P. David Miller plays Major Roberts, the commanding white officer in charge.
Diego Villada (Fight Choreographer) does an excellent job coordinating the many fight scenes and the flight simulations.
“Black Angels Over Tuskegee” was written and directed by Layon Gray.
-CED
“Black Angels Over Tuskegee” runs until October 27 at the Pittsburgh Public Theater’s Helen Wayne Rauh Rehearsal Hall, 621 Penn Ave., Pittsburgh, PA 15222. For more information, click here.
On my latest traipse through the tangled timber of Western Pennsylvania, I happened upon three weird sisters who offered prophecy: I will write another review with random references, I will become Pittsburgh’s preeminent theatre critic, and you will see Hobnob Theatre CO.’s production of Macbeth, directed by Ken Smith, now running at Hobnob Theatre Studio in Butler, PA.
Shakespeare’s “Scottish Play” (no, not Braveheart: The Musical) concerns itself with the titular character and his descent into madness. As his sanity slips, he practices some heavy handed acupuncture, bonds with Lady Macbeth, and suffers from hallucinations and paranoia like he’s just patronized a shifty apothecary. All leading up to an ecologically inspired skirmish that seems to have influenced military strategy from American Colonists to the Viet Cong.
Aside from the evergreen themes explored in the story, this classic tragedy is replete with wonderful performances. From the eerie opening to the show’s closing moment, the cast simply mesmerizes. Right away, audiences are unsettled by The Weird Sisters (Kari-Anne Innes, Amy Dittman, Casey Hoolahan) whose creepy choreography makes skin crawl, in tandem with their body movements, line delivery, and makeup (Delaney Gatenby). Similarly, The Murderers (Daniel Williams, Kari-Anne Innes, Craig Adams) evoke a palpable dread that’s often overlooked in other iterations or interpretations.
Contrasting with the play’s horror is a spot of comedy courtesy of The Porter (Jack Senske); his meta-humor offers a brief respite from the chaos and violence. Senske’s scene is a standout with his delightful combo of verbal and physical comedy.
In regard to more psychologically fraught portrayals, there are plenty of phenomenal performances from the principal players. Casey Bowser, in addition to appearing as The Doctor and serving as assistant director, is terrific and terrifying as Banquo, MacBeth’s congenial compatriot-turned-victim. Even in death, Bowser brings the character to life, plaguing his treacherous friend with ceaseless haunting and chilling stares.
Daniel Williams is remarkable as Macduff, the opposing nobleman to Macbeth who eventually does “Mick Dagger” in. He holds nothing back, surrendering to Macduff’s emotional volatility, delivering moving speeches and showcasing his intensity in the scenes in which he appears.
Kevin Vespaziani (Macbeth) and Deanna Sparrow (Lady Macbeth) Photo Credit: Michael Dittman
The Macbeths, one of literature’s favorite toxic couples, are brilliantly depicted by Kevin Vespaziani and Deanna Sparrow as Lord and Lady Macbeth, respectively. Their chemistry is compelling and cringe-inducing, the latter meant as a compliment. This dastardly duo slaughters soliloquies and murders monologues as they masterfully demonstrate their twisted devotion to fate and to one another through powerful dialogue, odd embraces, and conspiracy. Sparrow makes fantastic use of her own physicality to highlight Lady Macbeth’s loss of self and sanity amidst inescapable guilt and suspicion. Vespaziani’s turn as the off KILTer Scotsman is incredible. His spellbinding execution of the manic intricacies of the skittery dictator is on full display as he succumbs to his predestined possession for power by any means necessary.
Sound design by Ken Smith is superbly orchestrated. Not only are the actors’ voices seamlessly amplified, but the voice modulation for certain characters is also a nice touch; it really works well with the Weird Sisters. Costumes by Vikki Safran really fleshed out the world and helped make it more immersive. The props greatly elevated the gravity of the performances, and it was cool that they were primarily supplied by the stage manager/sound console operator, Carrie Allio, as well as the cast themselves.
While nearly every date is slated to run at Hobnob Theatre Studio, opening night was held at Big Rail Brewing in Grove City. Having to produce a show of this magnitude in the middle of the woods would be daunting for most companies, especially with all of the technical dressing that complements the astounding acting, but Hobnob handled it with a seasoned ease, having cut their teeth putting on Shakespeare in the Park shows for as long as they existed. And what an epic opening night they had; optimal weather conditions, a sizeable crowd, cozy beverages, and crackling flames that worked in concert with the lighting by Stephen Fogle. What better way to celebrate theatre than to bring together two things a person probably shouldn’t jokingly mention in one: Macbeth and fire. For those upset about missing a chance to imbibe while being cultured, fret not. Tannin and Tonic by Porchvue Winery have made specialty cocktails that will be sold at their location in addition to the lobby of Hobnob Theatre Studio on show nights—a move that The Bard would certainly approve of.
Whether in their space on Butler’s North Main Street or a stage somewhere else, Hobnob puts on a marvelous production. Oscillating between tried and true theatrical staples and amazing original plays—on top of their other artistic endeavors—makes them an indispensable part of this area’s theatre community. An undeniable passion for creating something special, coupled with a willingness to take risks, continues to prove why anyone who enjoys live performance should check out Hobnob’s shows.
-JS
Macbeth continues its run Oct. 19-20, 25-26 at Hobnob Theatre Studio in Butler, Pennsylvania. For more information, click here.
Laura Benanti, Tony award winning artist opened the first event in the 2024-2025 Trust Cabaret Series on Monday, October 14.
Benanti started off with a recap of “My Fair Lady”, interjecting between vocals her comedic telling of the well-known musical. Her voice is spectacular and powerful as she sang “Wouldn’t It Be Loverly” (with a Cockney accent), “The Rain in Spain” and “I Could Have Danced All Night”.
Her comedy chops were highlighted as she took us on a journey through many aspects of her theatrical career and personal life. Only eighteen years old at the time, she interjected the adventure and mishaps encountered as she played Maria in the “The Sound of Music” as she sang that famous theme song.
Photo caption: Laura Benanti. Courtesy of the artist.
In 2002 Benanti played Cinderella in “Into the Woods” and we segue into her own Cinderella story (she thought) with a fellow actor. It turned out to be not so enlightening but as usual, the way she told it was hilarious.
She fondly remembered and praised the late Chita Rivera who was kind to her, especially when Benanti broke her back. Benanti starred with Chita and Antonio Banderas in “Nine.”
She paid homage to her mom who gave up a promising singing career to rear her and her sister.
Benanti proudly announced that’s she’s been married for twenty years. After a pause she coyly indicated that it wasn’t to the same person. The discussion then continues about those other marriages, again told in a hilarious way.
Her impression (vocal and facial) of a former first lady was spot on.
She had an instant rapport with the audience, often directing her comments with asides and facial expressions especially for their benefit. With excellent timing, a beautiful voice and a touch of self-deprecation, she held court.
During the evening Benanti mentioned that she was a people pleaser, always wanting to please others but now “on a people pleasing recovery journey”. Fortunately, she hasn’t fully recovered because a “pleased” (very pleased) audience enjoyed time with this multi-talented artist.
Excellent piano accompaniment by Todd Almond.
The next show in the Trust Cabaret Series is on Monday, November 18, 2024 featuring Jason Robert Brown.
-CED
Laura Benanti was presented by Pittsburgh Cultural Trust, part of the 2024-2025 Trust Cabaret Series on Monday, October 14, 2024 at 9:30pm in the Greer Cabaret Theater, Theater Square, 655 Penn Avenue, Pittsburgh, PA. For information on upcoming shows, click here.
Siblings Sheila (Mia Hill) and David (Charlie Kennedy) are on their way home, sloppy drunk. Floundering through a park, they appear to fall down into a deep sleep.
Waking up the next morning, standing up ready for the challenges of a new day, they can’t move their feet. They’re grounded! Rooted like trees.
Family, friends and strangers come to commiserate, support or just stare at this phenomenon.
Sheila and David’s grandmother, Baba (Cecilia Staggers) demonstrates her support by pitching a tent near her two grandchildren.
David’s partner, Jared (Sam Gibson) learns of his dilemma through the newspapers. He is appalled at David’s situation and quickly dumps him.
Friend Charlotte (Giovanna Marino) pops in, spending more time bemoaning her mother’s dependency than commiserating with Sheila’s dilemma.
Terry (Audrey Klein), a local vendor occasionally stops by selling snacks.
Saul (Logan Kearney) travels from Cleveland in pursuit of what he believes is a religious happening.
Julian (Camani Campbell) and Tavish (Adrian Escalona) join the group.
Norman (Christopher Rone) literally comes out of the bushes to join the others.
Their experiences as a community are filled with the same angst and tensions that any community or group encounters. It is also a community where everyone is welcome and equal including gays, straight, religious and those of different races.
Protecting and supporting Sheila and David is the group’s main concern.
They are able to thwart the occasional threats from local government concerning their setup in the park.
Photo by John Altdorfer
Jumping ahead seven years the group is still aligned with the “planted” siblings. New members now include 5-year-old Ezra (Jaylan Gardner) and Sheryl (Morgan Zeidman). It is apparent that they have collectively and individually grown.
The groups’ survival and real threat comes into question when a developer is determined to build a mall where the group and the “trees” reside.
Note: This is a great production of a bizarre play. I’ll go out on a limb and suggest that you don’t think about and ponder how David and Sheila handled bodily functions or survived winters in Connecticut. It is not a traditional play with a plot line and conclusion. Let your imagination fill in the missing pieces!
Hill is at first emotionally stymied by the change in her world, worrying about missed flights and pending appointments in her home in Seattle. She comes to terms with her new world and is frankly content.
As David, Kennedy is pragmatic about his new closeness with nature. Kennedy shows much of his character’s emotion through great facial maneuvers and side looks.
Imagine playing a part in an English-speaking play speaking entirely in Polish. That’s what Staggers does brilliantly and effectively as Baba.
Marino delights as Sheila’s self-centered friend popping in and out of Sheila’s life as the mood suits her.
As the flamboyant gay, Jared’s timing is excellent. His movements and facial expressions add to his comedic timing.
Kearney’s earnestness is palpable and is convinced that Sheila and David’s novel situation is truly a religious event.
Klein develops Terry from the pesky small time snack vendor into a formidable entrepreneur.
What a wonderful ensemble of actors.
Lighting Designer Andre Segar provides striking visual movements behind the seven large symbolic trees on stage. These movements display without comment a change in season or the environment in general.
Tremendous job by Language Coach Eva Kamienska-Carter with excellent direction by Adil Mansoor.
“The Trees” was written by Agnes Borinsky.
-CED
“The Trees” runs from October 10 to October 20 at Point Park Playhouse’s Rauh Theater, 350 Forbes Avenue, Pittsburgh, PA 15222. For more information, click here.
