'Burgh Vivant

A. Nonny Moss

When Amir (Ramzi Khalaf) is frozen with cowardice at an inopportune time, he plummets down a shame spiral causing repercussions that follow him from Afghanistan, America and back again in “The Kite Runner.”

Amir recounts his childhood growing up in Kabul in the 70s. He spends his days on his family estate with Hassan (Shahzeb Zahid Hussain) playing, reading and flying kites.

In a conceit of the show, Amir relives these moments. The actor inserts his adult self into his childhood. Yes, Khalaf acts like a child in some of the scenes, but his work is so extraordinary that he’s able to really sell it.

Our protagonist explains his rocky relationship with his father or baba, who is simply called Baba (Haythem Noor).  Amir wants to be a writer, and Baba doesn’t think highly of the profession.

Later in the story, we meet Amir’s wife, Soraya (Awesta Zarif) and his father-in-law, General Taheri (James Rana).  The general doesn’t think fondly of writers, either.

“The Kite Runner” does have a kite contest at the center of the play, but its not really about kites. If you think you’re getting a light-hearted story about kites, i.e. Charlie Brown fighting with a neighborhood tree, you will be in for a rough time.

When Hassan chases the kite once its free of its string, he runs into Assef (played on opening night by Kevin Stevens). Amir follows, but hides in the shadows when he spots Assef and his fellow bullies. The moment changes Amir and Hassan’s friendship forever more.  His cowardice on that fateful day becomes the crux of the story.

In 2003, Khaled Hosseini’s book “The Kite Runner” was on the New York Times Bestseller’s list. The book became a movie in 2008. In 2009, Matthew Spangler wrote an adaptation for the theater.

If you’re wondering, “Is it still relevant today?” The answer is a resounding yes!

The entire cast is terrific.

Khalaf is marvelous as Amir.  He’s able to swiftly move from adult to child throughout the show.

Hussain’s Hassan is glorious. He is charismatic and charming. The actor shows up as another character, too, but we are steering clear of spoilers here.

Noor is imposing, threatening, but in the final act, he softens. It may seem like Baba is a stereotype, until he isn’t.

Rana’s Taheri is equally imposing, but his character is even slower to change than Baba.

Zarif has a few great moments when she reveals Soraya’s own secret shame, but both Rana and Zarif come into the story in the second act. They make great use of their limited stage time.

Stevens’ Assef is menacing. He shows up in a handful of scenes, but he terrorizes Amir in almost every moment. His character is a racist bully that uses his political beliefs to forward his own dark agenda.

From the moment the Tabla Artist (Salar Nader) comes out and sits down,  the audience is drawn in. The play clocks in roughly around two hours and thirty minutes, but you won’t feel it. It is moving, engaging, and emotional.  Spangler’s adaptation flows nicely, speeding forward with direction by Giles Croft.

While “The Kite Runner” can be bleak, it’s filled with small joyful moments. The show reminds us that even in the darkest corners there is light. A small smile can be the beginning of more smiles to come.

“The Kite Runner” is a powerful story that will bring laughter and tears, especially tears, but it ends on a cathartic line about those hints of smiles to come: “When the spring comes, it melts the snow one flake at a time.”

– A.N. M.

“The Kite Runner” runs from May 7 to May 12 at the Benedum Center, 237 Seventh Street, Pittsburgh, PA 15222.  For more information, click here. 

by Lonnie the Theater Lady

John Smith (Justin Mohr) is a taxi driver in London in the 1980’s. He keeps a very rigid schedule, meticulously documented in a pocket notebook. That is the only way he can keep track of when he needs to be with each of his two unsuspecting wives, Mary and Barbara. He’s able to keep up with his deception until he suffers an unfortunate head injury, while trying to rescue a woman being assaulted by two thugs. That injury sends him to the hospital and forces him to get off schedule and miss being with his wives at the promised times. He becomes somewhat of a public hero due to his intervention on behalf of the woman in distress. His picture ends up being on the front page of the newspaper and he’s in danger of being exposed as the bigamist that he is. That’s when the mayhem/hilarity begins.

The opening scene takes place on the cleverly designed set of John’s, side by side marital apartments, which allows simultaneous events to be viewed (Set designer, Robert Hockenberry). Both Mary (Kauleen Cloutier) and Barbara (Misty Challingsworth) are on the telephone calling their local police departments, out of concern that their (mutual) husband, John, hasn’t come home at his expected time. The police get involved and that’s when this British farce (Playwright Ray Cooney) proves itself to be top notch. It has it all, and then some–slamming doors, multiple puns and most notably an absurd plot that becomes increasingly more preposterous. Mistaken identities are a must in any good farce—-these include a nun, drag queen, farmer, and daily maid, among others. John is desperate to keep his wives from learning about each other. His unwitting friend Stanley (Noah Kendall) gets roped into helping John conceal his secret, through a series of ludicrous fabrications and ridiculous lies.

It’s difficult to “steal the show” when all of the actors (without exception) are delivering hysterically funny lines with spot on timing. However, the interaction between the co-conspirators Justin Mohr and Noah Kendall is comedy gold. As Mohr becomes increasingly more desperate to avoid detection, Kendall needs to come up with more and more lies to protect his friend. Together they are absolutely hilarious. Their facial expressions and emotional responses to each other become increasingly funny. Both are great physical comedians and they get to use their physicality to its full advantage.

Kauleen Cloutier, Mary, is in the midst of a near mental breakdown trying to deal with the wacky gas lighting she’s being exposed to. Her total lack of abandon in playing her role is beyond comical. Brilliant.

Misty Challingsworth equally confused by the events unfolding, is sympathetic (and very funny) in her confusion.

Bobby Franklin (Josh Berkey) provides comic relief (although none is needed in this madcap romp) He’s Barbara’s flaming, yet adorable upstairs neighbor. His gestures and flouncing add to the zany bedlam.

Jeff Johnston (Troughton) and Bob Rack (Porterhouse) are police officers with two very different personalities. Rak is wonderful as the empathetic, kind, open minded officer, who reveals an unlikely secret of his own. Johnston plays his more pragmatic role with a somewhat hard-nosed charm, despite the extremely confusing circumstances. He takes full advantage of the comedic writing in the delivery of his lines.

Gavin Calgero directs this hilarious “tour de farce” with great attention to the importance of timing. It’s fast paced and filled with well delivered laugh lines.

This uproarious basket of raucous pandemonium is guaranteed to leave everyone laughing. I can’t remember the last time I laughed this hard and this long! I hope you have the opportunity to enjoy some belly laughs with this talented group of hysterically funny actors!

Runs at South Park Theatre through May 18.

 

 

 

 

by Claire DeMarco

Leonard Vole (Christian Benton) is on trial for the murder of Emily French, an older woman who was infatuated with Vole. French had no children. When Vole, a natural charmer was named beneficiary in her will, the circumstantial evidence pointed to Vole as the perpetrator.

Spoiler Warning:

Vole’s wife Romaine (Jenny Malarkey) agrees to testify but surprisingly not in his defense but as a witness for the prosecution. A strange turn of events! Her reasoning is to provide damning evidence against her husband that the illustrious barrister, Sir Wilfrid Robarts (Stefan Lingenfelter) can easily refute. In her mind discrediting her testimony helps Vole.

Janet Mackenzie (Erica Fox Zabusky) is the late Emily French’s companion. Her testimony points the finger at Vole.

Recently found inflammatory letters about Romaine’s background provided by an unnamed cockney woman twist the case yet again.

Does Romaine’s testimony help or hurt Vole? Is Vole innocent or guilty?

Note: If you are familiar with Agatha Christie and her work, you can always count on a twist ending. In this case there are several.

Benton captured the essence of a shallow, seemingly silly individual one would find hard to conceive as a deadly killer. His laid-back approach (even as he chews on food as the barristers question him), reinforces his naïve persona. Benton’s innocent posture changes as the mask comes off and his true nature is exposed.

Malarkey changes Romaine like a chameleon, adapting her stiff carriage and haughty conversation (with German accent) as the supportive wife to the meek spouse not so sure of her husband’s innocence.

Lingenfelter is marvelous as the barrister defending Vole. His physical movements, facial expressions and double takes are spot on. He is more relaxed than his compatriots (no tie, collar half turned up) as he prances about the stage, thinking, conjecturing about the case.

David Nackman portrays Mr. Myers as a no-nonsense prosecutor fully determined that Vole is guilty. He is shrew and focused.

Johnny Terreri as Mr. Mayhew is serious and officious as the note-taking solicitor. He is the willing sounding board to the more emotional Robarts. He is steady and thrives in the background.

Fox Zabusky as Mackenzie inserts herself into every conversation during the trial. She won’t be denied telling her side of the story (with asides). There is a modicum of humor in her delivery even when her words are directed at Vole.

Carina Iannarelli is flighty but endearing as the barristers’ secretary (with a great East End accent).

A star for all of the cast members. Prime Stage deserves an A+ for this Agatha Christie psychological mystery thriller!

Wonderful set design by Johnmichael Bohach.

Shout out to Dialect Coach Lisa Bansavage for coaching a group of American actors to successfully capture and maintain accents ranging from German to various British dialects throughout the performance.

Great direction by Ponny Conomos Jahn.

“Witness for the Prosecution” was written by Agatha Christie.

-CED

“Witness for the Prosecution” is a production of Prime Stage Theatre. Performances run from May 3 – 12 at the New Hazlett Center for Performing Arts.

 

 

by Joseph Szalinski

Conflict is an essential element of life. As much as we try to avoid it, it attracts us. When it’s in inadequate abundance in our own lives, or we must escape our own misfortune through someone else’s, we seek it in story. Especially ones performed onstage. No show better satirizes conflict than “God of Carnage”, the Tony-Award winning play written by Yasmina Reza, translated by Christopher Hampton, and helmed this time around by Brandon Farneth, who is directing it for The Theatre Factory at the Trafford Performing Arts Center in Trafford, PA.

Translated from French in 2008 and put on Broadway the following year, this acclaimed black comedy was later adapted into a 2011 film by the infamous Roman Polanski. A humorous meditation on bark being worse than bite—well, Henry’s bite after Benjamin whacks him in the face with a stick and knocks out two teeth. At least Henry knows what to ask for, for Christmas. This show examines a host of heavy themes in a very playfully deranged way. As someone who’s worked in various levels of education, I can honestly say that parents can often get more carried away than their own children.

Mike Byrne wonderfully embodies Alan Raleigh, a lawyer and the father of the assailant, Benjamin. While he initially comes across as someone who seems to absolutely subscribe to justice and order, later, he’s casually resigned to the fact that Benjamin’s savage ways cannot be curbed. He makes amusing work of his revolving allegiance, mostly siding with his wife, Annette (Rebekah Hukill), but siding with Michael (Jim Froehlich) when issues of manhood arise.

Veronica Novak comes to life thanks to Jennifer Fitzgerald. Her effortless switch from congenial host to vicious defender of Henry is awesome. Steadfast in her position, the passion in her championing civility is absolutely palpable.

Jim Froehlich delivers an amazing performance as the endearingly pathetic Michael Novak. Presented as a civil gentleman, softened by marriage and fatherhood, he secretly harbors an inner “neanderthal” that is gradually revealed throughout the discussion. His desperate attempts to seem macho by smoking cigars and drinking liquor are just as funny as his mounting outrage toward his ill mother and her constant phone calls.

Rebekah Hukill does a marvelous job as Annette Raleigh, Benjamin’s mother and the second surprisingly bleak adult in that family. She’s phenomenally loyal when it’s parents vs. parents, but the moment men and women are pitted against each other or Alan just keeps getting calls, all bets are off. She starts to make one wonder who Benjamin really takes after. Rebekah operates with great comedic ease both verbally and physically.

It’s not just the performances that dazzle, this show excels technically as well. The outfits provided by the cast perfectly suit the characters and flesh out their personalities. Set, masterminded by Frankie Shoup, is a thoughtfully designed living area that deals with spatial limitations in a way that made the available space seem boundless. The lighting (Bill Jacka) and sound (Matt Mlynarski) are executed perfectly, the latter especially with the various phone calls. There’s a rather gross technical achievement a little way into the show that’s disgustingly well done. Prop-wise, everything is realistic and purposeful. Nothing seems unnecessary or out of place. Like the outfits, props help the characters take shape more, even subtly, or, at the very least, provide some entertainment.

Shows like “God of Carnage” are good not just for the artform, but also for the many theatres/companies that put them on. Here is a very unique show but one that is also very relatable. Including productions like this shake up the monotony that can be community theatre. Audiences who aren’t typically exposed to certain things can then begin to discover the power of drama. It also gives performers and crew members opportunities to show off their talents in unusual ways. And there is a great deal of talent from The Theatre Factory at the Trafford Performing Arts Center.

 “God of Carnage” continues its run May 2^nd-4^th at the Trafford Performing Arts Center in Trafford, PA

by Joseph Szalinski

Wouldn’t it be nice if everyone could just get along for the holidays? If harmony could be sustained regardless of circumstance or the like? While that’s desirable in the real world, it’s thankfully the opposite of what we get in Jon Robin Baitz’s Pulitzer-Prize winning drama, “Other Desert Cities”, which is being performed at Butler Little Theatre by director Katie Moore.

Originally titled “Love & Mercy”, like the Brian Wilson song of the same name, “Other Desert Cities” follows the Wyeth family, a gaggle of veritable heroes and villains. In addition to Lyman (Tom Smithyman) who used to be an actor, Trip (Sam Thinnes) is a television producer, Brooke is an author, and Polly and Silda wrote movies together. The oldest child Henry, a militant Beach Boys fan beset by mental illness, becomes complicit in the shady dealings of a cult, and eventually meets a watery end, much like Dennis Wilson, the drummer of the aforementioned pop-surf band.

Laura Crago brings a bruised brilliance to the role of Brooke Wyeth. A former California girl who relocated to the east coast to become a writer, Brooke returns home to sort some things out before her second book hits the shelves. Unfortunately, her memoir is poised to disrupt the good vibrations in the house, so she must figure out the best way to keep the peace while still ensuring she gets to speak her truth. Navigating such emotional turbulent material allows Crago to demonstrate the range of her abilities.

Tom Smithyman commands the stage as Lyman Wyeth, an actor-turned-politician who loves hosting family during the holidays. Not only a powerful physical presence, his voice booms in his respective scenes, carrying the crux of the character in its decibels. Although a bit more reserved than the other characters, Lyman still does get to indulge in dynamic moments, and Smithyman does a phenomenal job at honoring said indulgences, as well as metering his emotions otherwise.

Silda, Polly’s sister, is delightfully brought to life by Alison Carey. From her uproarious introduction to her more sentimental moments throughout the rest of the story, Carey’s performance establishes the nuance of a character that many others wouldn’t be able to realize. Her twisted humor helps make the arguing more palatable. Carey’s ability to balance being a casualty of the 60’s, to trusted authority figure, is a testament to her strengths as a performer.

Sam Thinnes is terrific as Trip, the youngest in the trio of siblings. Thinnes musters a mounting frustration that occasionally explodes in fits of vulgar profundity and threats to make an escape to the tropics. He charms when he’s being diplomatic and amuses when his aims are a little more self-centered.

Rounding out the cast is Terri Schultz as Polly Wyeth, the reformed matriarch. Once a rebellious screenwriter who embraced the counterculture, she ended up doing a 180 and becoming someone she used to stand against. Schultz is able to expertly convey the desperation Polly is plagued by to maintain a life of sense and order.

In addition to a talented cast, this production boasts a really gorgeous set. A culmination of effort from Duane Peters, Glen Bittner, Dennis Casey, Danyle Verzinskie, and Steve Kalina, the cozy desert dwelling functions as both location and character, as it transforms the stage. Extended “blackouts” are no issue at all, as sunlight is simulated creeping through the living room windows, creating a mesmerizing sight. Honestly, one should show up early just to sit in the seats and stare at the set. Forget intermission, surrender to Stendhal Syndrome!

Beyond the set, this production has plenty of opportunity to showcase a good deal of technical prowess. Another notable facet of this show is some of the props, particularly some “party favors” later on in the story. The music is also really enjoyable. Being set in 2002, the show features beloved throwbacks for those born in the 90’s or just a little earlier.

BLT has curated quite an unusual season so far and this show is no exception. For being a smaller theatre in a relatively smaller city/town, the decision to stage such a powerful show is a very admirable move. Theatre is meant to inspire and provoke, at least partly. It’s an indispensable medium/tool for figuring out the human experience and that can’t be done without producing shows that may make people uncomfortable here and there. Butler is slowly becoming recognized for being a hub for culture and artistry, and BLT is doing its part like it has been for so many years.

“Other Desert Cities” continues its run April 30^th-May 4^th at Butler Little Theatre in Butler, PA.

By Claire DeMarco

It was groundbreaking news when Marie Curie and her husband Pierre discovered radium in 1898.  Considered a cure-all for a plethora of conditions, it was enthusiastically used to treat every kind of conceivable illness or ailment. That passion carried over into its inclusion as an enhancement into many common every day manufactured products (like toothpaste).

It’s the 1920’s and Grace Fryer (Elena Falgione), Kathryn Schaub (Emily Loecken) and Irene Rudolph (Carly Chotiner) work for the United States Radium Corporation.  They are young and full of life.  Fryer talks of her upcoming marriage and future with Tom Kreider (Benjamin Green).

The radium craze carried over into the manufacture of watches.  By mixing radium in with the paint applied to the dials of a watch, the timepiece glows in the dark.  Instructed to provide a tighter, stronger paint application on the dials, the girls wet the tip of the brushes in between their lips.

The girls begin to develop ailments that cause teeth and bone decay.  Never finding any solution to these ailments, they elevate their concerns to their employer, Arthur Roeder (Frederick Coleman).  He and other members of the board of United States Radium Corporation disavow any connection between the girls’ illnesses and radium, even though they know it’s true.  Their greed and reputation get in the way of any humanity or concern for their workers.

As more of the girls develop debilitating illnesses and/or die, their story draws attention from reporters Sob Sister (Megan May) and Reporter (Matt Solter).

It is Fryer and the other victims who ultimately stand up to United States Radium Corporation, forcing a law suit against their employer.  Through their courage, Labor Laws are created to protect individual workers, including the Occupational Safety and Health Administration (OSHA).

Falgione is superb as Grace Fryer.  She successfully transitions from the youthful factory worker full of life for the future into a serious grown up faced with physical problems.  Carrying the New Jersey accent, Falgione expresses much of her feelings through clever and subtle facial expressions. Her emotional range is stellar.

As the arrogant and greed pushing boss of United States Radium, Coleman’s defiant support of radium painting changes from refusal to accept its dire consequences.  Coleman successfully transitions to the next stages – anger at the consequences of his negligence to a final remorseful acceptance of the truth.

Schaub’s youthfulness and dreams evaporate as she succumbs slowly to the radiation poisoning.  Her emotional appeal to Fryer that their situation is serious is intense.

May is delightful as the exuberant reporter.  She exudes immense pleasure in her job and constantly writes notes with a pencil that moves at lightning speed.  As the radium story finds more and more news coverage, May’s insertion into the coverage (with a never-ending smile) becomes more aggressive as she attempts to sensationalize the afflicted girls’ conditions.

Solter as Reporter often provides news coverage in competition with May and their rivalry as the radium news and the affected girls become more prominent, so does their physical aggressiveness towards one another. Their encounters provide some needed respite from the sadness around them.

This is an excellent production of a serious play sprinkled with a few drops of comic relief.

“The Radium Girls” is based on a true story.

The set is dominated by a large clock (stage right).  It is an important component of the production as it chimes when time passes. There is a higher platform on the stage where most of the bosses, the board and the court scenes occur.  Stage level scenes are dominated by the girls – their work and home environments.  It’s an unspoken visual that suggests a hierarchy between two different worlds.

Great job by Hair and Make-Up Designer Jessica Scanga.  The make-up as the girls’ symptoms began to appear were subtle but effective (no lipstick, paler face make-up).

Kudos to Director Nicole Zalak.

“The Radium Girls” was written by D. W. Gregory.

-CED

“The Radium Girls” is a production of The Heritage Players. Performances run from April 26 – 28 and May 3 – 5 at Seton Center, 1900 Pioneer Avenue, Brookline 15226.

by A. Nonny Moss

In Brent Askari’s new play, “Andy Warhol in Iran,” Andy Warhol (Jeffrey Emerson) strolls out onto the stage and chats with the audience. It starts with the truth.

Fact: In 1976, Andy Warhol went to Iran to photograph the Shah’s wife,  Farah Pahlavi. Shortly after his visit, the Iranians rose up, rebelled and removed the Shah from power.

Fiction: In his hotel room, Warhol is confronted with Farhad (Arian Rad),  who is somewhere on a sliding scale from freedom fighter to terrorist, depending on your point of view.  He and his cohorts decide to kidnap the artist to shine a light on the Shah’s tyranny.

Warhol  is the perfect representation of America. Not only is he an artist, but he is a self-made man known for his extreme heights of decadence. A cultural elite who is the epitome of crass commercialism, a prized capitalist pig.

Warhol admits to be in Iran only for the bacon (cash, moolah, scratch, etc.), which is probably a particularly poor choice of words in a Muslim country.  He wishes to stay apolitical, but Farhad makes the case that human suffering is beyond politics.

The two don’t mix together very well. Like oil and water-based paints.

The play is a philosophic debate between an idealist and an idea man, and the literal and figurative gulf between them (a Persian Gulf).

Andy Warhol (Jeffrey Emerson) gives us the lowdown before entering the story. Photo credit: Kristi Jan Hoover

Emerson plays Warhol with a vapid charm.  Even when Andy is at his most annoying, cloying and simpering, Emerson gives his sympathy, a likability that you won’t find in any actual footage of the artist (see Andy Warhol’s 1985 appearance on “The Love Boat” as a reference).

Side note: This version of the artist is more complex than the Andy Warhol in “Pop,” portrayed by Anthony Rapp in City Theatre’s production back in 2012.  Emerson is hilarious.

While the show is about tyranny, torture and terrorism, it’s filled with light funny moments.

Rad is powerful as Farhad. He is charismatic and charming, and, at times, frightening. Farhad is a freedom fighter in over his head. A compassionate poet who is destroyed by his country’s cruel government.

Marc Masterson, who is retiring as Co-Artistic Director,  cultivates the humor in Askari’s excellent script.

The end – no spoilers here – packs a powerful punch about how men  – and some women (like Imelda Marcos who is also mentioned in this play)  – can’t help themselves in their rise to power.  Evil corrupts. Absolute evil corrupts absolutely.

In his poem, “On Freedom,” Kahlil Gibran wrote, “And if it is the despot you would dethrone, see first that his throne erected within you is destroyed.” In other words, don’t overthrow an oppressor to become an oppressor.

Ayatollah Ruhollah Musavi Khomeini, I’m looking at you.

Askari reminds us – at an important time – you can’t glide through life without paying attention to politics – you have to stand up and fight for freedom every inch of the way.

-A.N. M.

“Andy Warhol in Iran” runs from April 20 to May 12 at the City Theatre, 1300 Bingham Street in the Southside. For more information, click here.

 

By Dr. Tiffany Raymond, PhD and Theron Raymond (5^th grader) 

Stage 62 continues its 62^nd season with kid-friendly musicals based on comics as they “cat-apult” from Garfield to Snoopy with “You’re a Good Man Charlie Brown”. The musical is based on Charles Schultz’s “Peanuts” comic strip with book, music and lyrics by Clark Gesner.

As aptly stated by my 5^th grade co-reviewer, this play is “like branches of the same size on a tree.” The play is more a series of interconnected vignettes than a cohesive narrative. Stage 62 keeps it lively, but because of the play’s episodic nature and lack of plot, it does feel long at two hours.

The 16 songs provide the connective thread. Musicals typically have the book written by one person and music and lyrics by another. Gesner is credited with all three roles in the creation of Charlie Brown, and music and lyrics were clearly his strength.

The music is captivating thanks to a live 5-piece band. Brandon Marzke channels Beethoven-loving piano virtuoso Schroeder. Marzke’s “playing” is perfectly timed with live accompaniment from pianist Matt Brown. Quinn Patrick Shannon elegantly balances the roles of director and choreographer. Schroeder champions the creation of a Beethoven Day in a song of the same name, which culminates with him getting on top of the piano to sing with his friends gathered round him. Lighting designer Garth Schafer thoughtfully dims the lights to intensify the mood. Shannon captures the palpable reality of music as a unifying force for community, and Marzke makes it feel sacred.

Chris Martin’s giant props of huge yellow pencils and oversized baseball mitts are ingenious. These visual anchors drive empathy by reminding us kids are consistently navigating a world made for grown-ups. Charlie Brown (Joe Kosha) is forced to go on tiptoe to peek into a giant mailbox, heightening the tension of whether he’ll be rewarded in finding a valentine.

Andrew Mours steals the show as the indomitable beagle Snoopy. He doesn’t speak when humans are present, but his nonverbals sing. When Lucy (Julia Kreutzer) demands that Charlie Brown answer a survey about her, Snoopy reflects what Charlie Brown is tentative to say for fear of retribution. Lucy asks if her personality is A.) forceful B.) pleasing or C.) objectionable. Shannon has Mours fiercely exaggerate his affirmative nodding for both A.) and C). In this way, Snoopy can boldly say what others fear and reflects the common human sentiment as under duress, Charlie Brown cautiously responds with A.) and another human chooses C.

Chris Russell is vibrant and energetic in the role of Linus with his exuberant thumb-sucking and omnipresent blanket, which gets its own song. As a sibling, he’s honest with his tempestuous sister, Lucy. He immediately answers 95 when she inquires about her crabbiness on a scale of 1-100. She immediately smacks him, affirming Charlie Brown was right to be cautious in his reply.

Mackenzie Heidenreich captures the spirited Sally. She particularly shines as she sings “My New Philosophy.” Sally roundrobins through different philosophies to find one that fits her, reminding us of the way kids cycle through fads and philosophies as they figure out who they are.

Charlie Brown is more boy than man, and while he is good, his goodness often seems unreciprocated. His loneliness and depression are touchstones. The play starts with an airing of the grievances. Each of the four kids talk about Charlie Brown’s faults with Lucy reminding us Charlie has “failure face.” The content feels like a campaign for mental health awareness and intervention. Kosha tries to make himself small during the school lunch period. Charlie Brown hunches alone over his brownbag lunch and sighs that he only has “2,863 more lunches to go.” His isolation is a daily event for him (and so many others). These little heart-wrenching moments remind us we all have the opportunity to look around, identify those who are struggling, and help them feel a little less alone and more included. We can all be better people.

Stage 62’s production of “You’re a Good Man Charlie Brown” runs through April 28, 2024 at the Andrew Carnegie Free Library & Music Hall in Carnegie, PA.

by Lonnie the Theater Lady

Stage Warp Productions, partnering with the ACLU made the courageous decision to produce the Ian Wooldridge adaption of The George Orwell 1944 classic novel, “Animal Farm”. This allegory rich play highlights the dangers of communism, revolution, class divide, lust for power, propaganda and the use of religion to pacify the masses.  All are chillingly close parallels to today’s political climate in the U.S.

Opening the play, Major (Andrew Nesky) gives a heartfelt, idealistic, dying speech in which he convinces the animals on Manor Farm that their lives would be so much better if they were to stage a revolution and overthrow the farm’s owner. Nesky delivers his speech so convincingly that I was ready to join the revolution along with the animals! They form their own governing body where “All animals are equal”. (Unfortunately, after the successful revolution, it is learned that, “All animals are equal, but some animals are more equal.”) The more unequal the animals become, the more the ruling pigs rewrite their story.

We don’t have to look outside the U.S. to see how politicians manipulate and rewrite the narrative. At the end of the play, Nesky as Mr. Pilkington, uses his character’s smarmy charm to hoodwink the pigs in power, to do his bidding. His smooth delivery of the character Pilkington could melt butter.

This frightening, topical, relevant political (not so funny) satire, leaves one with an unsettled feeling. It reminds us that those who control the narrative are the winners. Thus, it promotes dialogue, social discourse and potential change. And, after all, isn’t that the true measure of success in live theater?

Napoleon (Sam Lander), the new bovine leader of the animals transforms from a somewhat timid pig to a despot who lets others carry out the dirty work that he takes credit for. Landers clearly transforms in front of our eyes.

Squealer (Jess Uhler) relishes her role as the liaison between Napoleon and the other animals. She is convincing as she soothes, cajoles, manipulates and spreads propaganda to the other animals. Her performance is nuanced, effective and charismatic.

Moses/Minimus (Jason Burke) gives impressive performances in both of his small roles. His quiet vulnerability and sincerity are a pleasing foil to the boisterous hysterics of some of the other characters. He delivers with a calm dignity.

Overall, the large cast does a good job of appearing animal like. This is accomplished through the use of subtle costume features; wearing animal ears, pig snouts, etc. Their animal sounds and body movements were smooth enough so as to not distract and blatant enough to be convincing.

Kudos to co-directors Stephanie Swift and Caroline Lapinski.

“Animal Farm” runs through April 27, Stage Warp Productions, at Carnegie Stage.

 

 

by Claire DeMarco

Sam Phillips (Tommy McDowell), head of Sun Records in Memphis, Tennessee narrates the origin of the famous jam session that became known as the Million Dollar Quartet.  Incorporated into this musical event is the history of each of the four artists, their relationship to Phillips and Sun Records.

Carl Perkins (Jon Rohlf) schedules a recording session.  Phillips invites relative newcomer, Jerry Lee Lewis (Taylor Isaac Gray) to add some piano magic to the recording.  Lewis is a relative unknown nationally at this time.

Elvis Presley (Collin Yates), formerly with Sun Records and now with RCA arrives with his girlfriend, Dyanne (Rachel Rosenbush).  His visit is strictly social.

Johnny Cash’s (Allen Law) visit to Sun Records actually has to do with contractual issues.

An informal spontaneous jam session begins with a blend of different musical types!  From rock n’ roll to country to gospel, they sing them all, each artist contributing their style to the mix!

This is a wonderful production of the 2010 Tony-nominated musical based on an impromptu jam session later known as the Million Dollar Quartet.  It’s energetic, fun and nostalgic.

Note:  This informal jam session occurred on December 4, 1956 at Sun Records in Memphis, Tennessee when Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash all happened to be at the record company at the same time.

Note:  Unplanned, spontaneous events often prove to be the most remembered.  A special thanks goes to the late Jack Clement, the recording engineer on duty that day.  Clement remembers thinking “I think I’d be remiss not to record this”.   Thankfully he did!

Gray’s performance is phenomenal.  His comedic timing and physical movements as the oddball country boy Lewis are spot on.  His piano playing is superb and he is able to tickle those keys sitting down, standing up and/or backwards.  He even hit some chords with his butt, but only occasionally.  Gray captivated the audience with his rendition of “Great Balls of Fire”.

Gyrating across the stage, Yates captures the essence of Presley in his movements (even to standing on his toes) while singing “Long Tall Sally” and “Hound Dog”.  His realistic impersonation of Elvis is not overdone.

Rohlf as Perkins is serious as he is at the studio to record and is not enthusiastic on being forced to use newcomer Lewis as part of the recording.   As the jam begins, he softens and becomes an integral part of the quartet.

Law’s characterization of Cash is serious.  One can see the turmoil in his face as he dreads telling Phillips that he’s leaving Sun Records.  His songs like “Folsom Prison Blues” and “Sixteen Tons” highlight his troublesome past.

In addition to great singing voices, Rohlf, Law, Gray and Yates are also expert musicians.

As the boss at Sun Records, McDowell is convincing as the man in charge, looking for new talent, retaining current talent while at the same time relating to his artists on a personal level.

Rosenbush delivers great renditions of “Fever” and “I Hear You Knockin’”.

Kudos to Justin Bendel as Brother Jay and Mike Lucchetti as Fluke for their superb musicianship.

Scenic Designer Tucker Topel created a realistic set that reflects a studio in the 1950’s.

Shout out to Director Tim Seib.

Excellent Musical Direction by Dr. Francesca Tortorello, D.M.A.

Book by Colin Escott and Floyd Mutrux.

Original concept and direction by Floyd Mutrux.

-CED

 “Million Dollar Quartet” is a production of Pittsburgh Musical Theater.  Performances run from April 18 through May 12 at the Gargaro Theater, 327 South Main Street in Pittsburgh’s West End.