'Burgh Vivant

 

“Urinetown” runs down at the Andrew Carnegie Free Library and Music Hall, 300 Beechwood Avenue, Carnegie, PA 15106 through November 20. For more information, click here. 

by Michael Buzzelli

Chris Bean/ Inspector Carter welcomes us to the Cornley Drama Society’s production of “Murder at Haversham Manor,” but not really. It’s Colin Burns up there on stage acting the part of Chris Bean acting the part of Inspector Carter in “The Play That Goes Wrong.”

The plot is simple. Thomas Haversham (Fred Coleman) is murdered. Haversham’s brother, Cecil (John Feightner), his best friend, Thomas (Stephen Toth), fiancé Florence (Erika Krenn), and the Haversham maid, Perkins (Liz Schaming) are among Inspector Carter’s top suspects.

The ‘actors’ are struggling up there as set pieces fall apart, lines of dialogue are delivered out of order (or in some cases repetitive loops) and props aren’t where they’re supposed to be.

At one point, a miscued entrance smacks Sandra the-actor-playing-Florence (Krenn) so hard she’s knocked unconscious and replaced by Annie (Chelsea Conway), who dons the red dress, a copy of the script and jumps on stage.

Playwrights Henry Lewis, Jonathan Sayer, and Henry Shields cook up every possible mishap that could ever possibly go wrong in a show.

Steven Gallagher choreographs the cast with precision of a German clockmaker. Every movement is a perfect ballet of mishaps, choreographed klutziness.

The show is expertly cast, and there were strong performances from every member, including “the crew,” Katheryn Hess, Randi Ippolito, Emma Paulini and David Lu!!

Krenn is a charismatic Sandra/Florence. She has perfect comic timing and the best British accent of the bunch.

When Sandra (Krenn) goes down, knocked out by the swinging door, Toth’s face freezes in mid-gasp. It is one of the most hilarious moments in a show filled with hilarious moments.

It is no secret to the Pittsburgh comedy scene that Feightner is a comedic genius.  Every herky-jerky movement, every facial expression is pure, undiluted hilarity.  He does it in such a natural way that its masterful (even the dedication he wrote in the program was funny).

Jim Froehlich is delightful as Trevor, the Conley Drama Society’s put-upon lighting and sound operator who must jump in as Florence Haversham when both Sandra and Annie are out of commission.

There were some issues with the venue.

Over the years, the production company has gone through numerous names and various venues. The Allegheny RiverTrail Park is not an ideal space. It’s cramped and this show is never going to get the size audience it deserves. The seats were crammed together.

The front row was inches from the stage. The first row should have been declared a splash zone. I was spat upon twice. I always assumed “spitting distance” was a colorful aphorism.

Even though I was in front of the show, I had some difficulty hearing because I was seated next to a family of wild hyenas who laughed so boisterously and loudly that I couldn’t hear the plot. At one point the boy fell on the floor and rolled around. I also thought ROTFOL was also just an expression.

Then, I realized, the plot was secondary. The audience’s enjoyment should be the most important thing. In that case, everything about “The Play That Goes Wrong” was right.

-MB

“The Play that Goes Wrong” runs through November 19 at the Riverfront Theatre Company, Allegheny RiverTrail Park, 285 River Avenue, Aspinwall, PA 15215. For more information, click here. 

by Michael Buzzelli

Elvis has left the building, but that doesn’t stop two devoted fans, Rootie (Kodie Warnell) and Bev (Jennifer Phipps Kopach), as they guard the gates of Graceland, hoping to be the first to enter the estate as it opens its doors to the public in Ellen Byron’s “Graceland.”

One night in June 1982, these two fools rush in, hoping to be the first into Graceland. They fight for the top spot. Bev is a hard-headed woman and Rootie is all shook up over the events of her past. At first, neither trusts the other. They both have suspicious minds. We learn that Rootie is a little sister in mourning, but both have a burning love for the guitar man. They fight, because it’s now or never! Only one person can be the first walk through the doors. As they fight, you’ll want to shout, “Don’t be cruel!”  When Rootie shares her memories, the two make up, dance to a medley of Elvis songs and go their separate ways.

In “Asleep in the Wind,” we flashback ten years earlier, Rootie (now played by Lola Arfield) spends a special afternoon with her big brother Beau (Noah Welter) before he goes off to war.

The show could be billed as “Graceland” and “Asleep in the Wind,” instead of “Graceland and Asleep in the Wind.” It’s a subtle, but important, distinction. The shows even have separate directors, Joe Eberle for the former, Mary Meyer for the latter.

Eberle directs “Graceland” with verve.  It’s an energetic show. Carly Sims-Linkish’s set is sparse, but the actors don’t need a lot to create their world.

Kopach does a great job as the big-wigged Bev. She is over-the-top when she has to be and much more low-key during the softer moments. Bev goes from cliche to a fresh, fuller character.

Warnell is delightful as Rootie. She immerses herself in the role.

Meyer’s “Asleep in the Wind” is the same but different, as expertly directed as Eberle’s “Graceland.”

Armfield doesn’t imitate Warnell but delivers a similar-yet-different version of Rootie. She is equally terrific.

Welter is charismatic, wide-eyed and innocent (P.S. he would have been perfect for Pippin if he was around earlier in Little Lake’s season).  The bond between the two ‘siblings’ feels real.

Separately these plays are cute, but together they form something much more meaningful, much more poignant, two big pieces of a puzzle, two pieces of Rootie’s heart.  The two fractions coalesce into something beautiful because of the strength of the actors’ performances.

They are two little gems (diamonds falling from the sky).

It’s literally one for the money, and two for the show. Now, get ready, now, go, cat, go.

-MB

“Graceland and Asleep on the Wind” runs until November 20 at Little Lake Theatre, 500 Lakeside Drive South, Canonsburg, PA 15317.  For more information, click here. 

Reviewed by Dr. Tiffany Raymond, PhD

Duquesne University’s Red Masquers bring SpongeBob Squarepants the Musical to the stage.

I recruited the nearest kid, my 10-year-old son, to attend SpongeBob as my +1 to capture the target audience point of view. While he’s never been a huge SpongeBob fan, that high-pitched SpongeBob voice is also not wholly unfamiliar in our household.

Theron proved the only kid there for a packed opening night, but it wasn’t too shocking. While SpongeBob is still produced and televised today, the first episode aired in 1999. That makes SpongeBob and his best friend, Patrick Star, the childhood companions of today’s college students. The show is a nostalgic throwback for the collegiate crowd.

In ensemble scenes, the large cast spills over the perimeter of the Genesius Theater’s stage. Given the stage is at floor level and seats rise up on three sides, it makes for an intimate production. The energy levels radiating from the cast are palpable. Like a strong ocean current, the audience can’t help but be swept along the Bikini Bottom sea.

Leading the charge is the ever-optimistic SpongeBob (Ellie Troiani). The petite Troiani is a foil to the towering Patrick Star (Logan Raymond). They visually emulate their cartoon counterparts. Troiani is well-cast as her singing voice is the best and strongest in the house. Her bubbly energy bursts forth from her yellow short-sleeved button-down shirt and rolled up plaid trousers.

Raymond perfectly captures the hapless Patrick. When Troiani and Raymond sing “BFF,” Patrick is initially confused by “bff?” as he tries to make it into a word, not realizing it’s an acronym. Director John E. Lane Jr. makes the confusion believable. When SpongeBob and Patrick spell out BFF in the air as they sing, Lane has Raymond spell it slowly and cautiously the first time, visually out of step with the fast-paced Plain White Ts tune. By the final verse, Patrick swipes his finger through the air confidently, spelling out the three letters effortlessly as he has grasped the magnitude of friendship.

Ryan Graves portrays the temperamental Squidward Tentacles. Kim Brown’s costuming genius has the cephalopod in conjoined turquoise pants. A second pair of pants come off the back and bending legs terminate in a pair of white patent leather shoes that are stitched to Graves’ own at the rear heel seam. It’s completely mesmerizing. Graves moves fluidly and doesn’t let the costume overshadow his performance, particularly as he performs “I’m Not a Loser” by They Might Be Giants.

Unlike most musicals, this one features songs by an array of artists from The Flaming Lips to Panic! At the Disco. They all meld on the undersea floor, making the musical less one note.

Matt Dudley’s Sheldon Plankton, proprietor of The Chum Bucket (the Krusty Krab’s rival restaurant), is masterfully evil. Veined face make-up tracing his already prominent cheekbones amplify his menace. Kim Brown costumes him in a striking kelly green suit with a ribbed fuchsia mock turtleneck that is revealed to be sleeveless when Dudley rips off his blazer in perfect synchrony as he sings about not having arms.

John E. Lane Jr. triumphs as both director and set designer. The set design is enchantingly fun. Simple items like rainbow slinkies and pool noodles strung together like giant macaroni necklaces hang from the ceiling across the theatre. They create an undersea environment inclusive of both actors and audience. Boxes with oodles of pool noodles spilling out of them create stove-pipe sponges that frame the stage and playfully reinforce the sponge theme.

These pops of color are enhanced by Rick Frendt’s laudable projection design. Frendt channels another famous animated underseas world. Rays of light projecting down through the water at the start of the show are reminiscent of the opening scenes of Finding Nemo.

The 2017 musical written by Kyle Jarrow echoes differently in a post-pandemic world. As fear and uncertainty grip the town due to the threat of an impending volcanic eruption, opinions diverge and chaos unfolds.

The town’s Mayor (Emma Moore) channels the quintessential bureaucrat removed from reality. She pontificates with meaningless, process-oriented talk about searching for committee members, initiating a strategy, formulating a plan…all while the 48-hour countdown clock is ticking. Patrick represents the short-horizoned everyman who laments “the stores are all closed and I’m out of snacks.”

When smarty squirrel Sandy Cheeks (Susie Betten) recommends “science y’all – that’s the answer,” she faces an angry mob. As a proverbial fish out of water (or squirrel in water in her case), Sheldon riles the townspeople into believing she must have ulterior motives as an outsider. In fact, Sheldon’s finger pointing ploy is simply to distract from his own evil schemes.

-TKR

Will science win? Head over to the Red Masquers’ performance of SpongeBob Squarepants the Musical through November 19^th to find out. Purchase tickets at here.

By Claire DeMarco

Trapped during a storm, Mary Shelley (Stacia Paglieri playing multiple roles), her husband and friends take refuge in a Swiss mansion. Perhaps due to boredom or the raging storm outside, those inhabitants think it would be fun to each write a “scary” story.  Mary’s imagination triggers during that fateful night, she conceives the idea of one human creating life (not in the traditional way).

Writing a story so creative with such an unusual theme in the early 19^th century is not novel.  But considering the time frame, it is unusual and rather refreshing that this piece of science fiction was written by a woman.

Note:  Mary, Mary.  Quite contrary!

The theme of Frankenstein has gone through many variations, from a serious, frightening movie with a monster stitched, sewn together and bolted in some places to a dark comedy interpretation.

Lawrence C. Connolly’s adaptation takes the original basis of the book and incorporates the author, Mary Shelley and her cohorts into the play, interspersing Mary’s comments to her sister, Claire Claremont (Maddie Kocur playing multiple roles) as the play progresses.   At different stages of the production, Mary and Claire engage in conversation on how Mary’s story develops from conception to play solution.

The parallel story line of “Frankenstein” involves following Victor Frankenstein (Isaac Miller playing multiple roles) as he creates the creature (Everett Lowe) with the sole purpose of constructing another life that defies death.  Once created, Victor doesn’t know what to do with what he has created.

Fleeing from Victor the creature resides with Monsieur Delacey (David Nackman playing multiple roles) and learns to read and write.  His obvious intelligence makes him more of a threat.

The creature has a mind of his own, acts irrationally, commits crimes for no apparent reason.  He is smart enough that he allows others to take the blame for those crimes.

Realizing what he has created, Victor’s main purpose is to stop the creature. Obsessed with finding him, he trails him across the country and beyond.

As pursuit continues, one questions whether it’s Victor or the creature that is the actual villain?

Lowe is outstanding as the creature. He is not one-dimensional but clever, cunning, cruel and confused.

Miller as Victor displays a range of emotions from a stable, normal human wanting to create a perfect human to an almost crazed individual as he pursues the creature.

Kocur as Justine Moritz is effective as the pitiful woman convicted of a crime she didn’t commit.

Paglieri as Mary is confident and exciting as she continues to develop the play.  She easily conveys Mary’s independent nature.

Nackman does a wonderful job as the only person who provides the balance and support that the creature needs.

Excellent lighting by Lighting Designer Hope Debellius with effective sound by Sound Designer Mark Whitehead.

“Frankenstein” was adapted by Lawrence C. Connolly and is based on the novel by Mary Shelley.

-CED

 “Frankenstein” is a production of Prime Stage Theatre Co, performed at the New Hazlett.  It runs from November 4 – November 13. For more information, click here.

Reviewed by Dr. Tiffany Raymond, PhD

Little Lake Theatre continues its 74^th season with Kate Forgette’s 2008 play, Sherlock Holmes and the Case of the Jersey Lily. Forgette’s rollicking return to the Victorian era of 1894 imaginatively unites fictional and real characters. The former with Sherlock Holmes (Arjun Kumar) and Dr. Watson (Ernesto Sanchez), the latter with flamboyant playwright Oscar Wilde (Ryan Frank) and famed stage actress Lillie Langtry, aka the Jersey Lily (Danette Levers).

Director Gretchen A. Van Hoorelbeke harmonizes all of these larger-than-life personalities, allowing each to shine without letting them overpower each other. Forgette’s dramatic collision of fictional and historic figures makes for fun imagining. For instance, we learn Holmes helps Wilde title his works. Wilde’s current play in progress, The Importance of Being Forthright, is of course what we know as The Importance of Being Earnest thanks to Holmes’ retitling. Hoorelbeke shepherds the play’s rather madcap plot without letting the snappy dialogue run ahead of the action.

Langtry was legendary for her beauty and string of lovers. Watson is immediately smitten by her, and Hoorelbeke has Sanchez emphasize the impact by staring beseechingly at the door long after she departs Holmes’ residence. Langtry’s love life is at the heart of the play. She’s being blackmailed for her salacious correspondence with the Prince of Wales, and Holmes is tapped to uncover the blackmailer. Kumar captures the intensity of Holmes’ active mind with continual pacing and movement.

If anyone does steal the show, it’s Frank with his jaunty portrayal of the flamboyant Oscar Wilde. Frank’s just above the shoulders haircut lends itself to dramatic hair tosses that heighten the playwright’s magnetic personality and wit that Frank makes manifest. Costume designer Barbara Burgess-Lefebvre’s choice of a drab olive green suit for Wilde misses the mark as it fails to amplify Wilde as a cultural icon of the time who was well-known for his ostentatious dress. Her red and gold costuming for the stunning Langtry is reminiscent of holiday wrapping paper. However, neither Levers nor Frank are hampered by the muted costume choices.

As a woman of the stage playing a woman of the stage, Levers commands the helm as Langtry. She is fully aware of her command over men and repeatedly dials it to her advantage while playing the innocent. She leads with her chest out, literally leaning in to Watson’s flirtations in the hopes he will persuade Holmes to take the case. Later, she demurely tells a captor about her working-class upbringing to gain his sympathy so he sees her as socially aligned, not socialite.

The play is a layering of stories and deceptions, and ultimately, Holmes is just as real as Wilde. Forgette blurs the lines and reminds us we are all performers while letting us ride along in her literary time machine.

– TKR

Sherlock Holmes and the Case of the Jersey Lily runs through October 30th at Little Lake Theatre. For more information and to purchase tickets to the show, please visit https://www.littlelake.org/sherlocklily

By Claire DeMarco

Richard Hannay (Hayden Bobbyn) brings Annabella Schmidt (Shea Sweeney) home after meeting her at a Mr. Memory presentation.  She warns Richard about the 39 steps.  She never explains what the 39 steps represent, but as a spy she knows she is in danger.  Annabella encourages Richard to travel to Scotland to pursue the leader of this spy ring.  She is convinced that someone will harm her.  She is correct.  She is murdered.

Probably not the climax Richard was anticipating.

Richard is the primary suspect in the murder, and he begins a wild escape from London to Scotland to find this mysterious spy. As he journeys to Scotland, he encounters wild circumstances and weird people along the way.   All this while the police are in hot pursuit.

He meets Pamela (Shea Sweeney) who plays an important part in his adventures.  She will be part of the solution when the enigmatic spy and murderer is identified.

Mr. Memory reenters the picture and also helps to solve the case.

Bobbyn is effective as he grows from a rather boring fellow who is agitated as he attempts to find the murderer and clear himself to a man who thoughtfully and deliberately contributes to the crime’s resolution. All of this done in almost constant gymnastic movements.

As Pamela, Sweeney develops from a prim and proper lady who softens as the play progresses.  She is particularly funny in the scene where she and Bobbyn are cuff linked and in a compromising position.

Clown 1 (Austin James), Clown 2 (El Giaudrone), Clown 3 (Cadence Reid), Clown 4 (Joshua Reed), Clown Swing (Daria Lapidus) and Clown Swing (Rachel Pronesti) carry out multiple roles with various accents and props while maintaining critical timing.

Reid is effective as chameleon-like Professor Jordan, changing from smooth talker to aggressive attacker, sometimes with a German accent.

Reed’s comedy is highlighted in his portrayal of Professor Jordan’s wife and as the fumbling, near comatose presenter at a Scottish event.

Murder is not something to laugh about!  But this is one exception in an extremely hilarious, ridiculously funny play.

A farce involves taking a serious situation and exaggerating it to the extreme.  “The 39 Steps” overachieves with an emphasis on physical movement and contortions, miscues, mistaken identities and extreme facial expressions.

The set is simple with all of the props stacked neatly at the back of the stage.  They are retrieved by the cast and crew as needed without any pretense of hiding that function from the audience.

Note:  The actors are very fluid, rapidly speaking and moving from all parts of the stage. There are times when facing the back of the stage that their dialogue is sometimes muffled.

Directed by Mikki Monfalcone.

“The 39 Steps” was adapted by Patrick Barlow from the novel by John Buchan.

-CED

 “The 39 Steps” is a production of Pitt Stages Productions – University of Pittsburgh, Henry Heymann Theatre.  It runs from October 21 through October 30. For more information, click here.

 

 

by Claire DeMarco

Listening to the works of Stephen Sondheim, whether it’s lyrics he wrote in collaboration with other composers or those works where he did double duty, writing both lyrics and music, is a joy.

Sondheim’s lyrics stretch beyond the norm of prior lyricists, suggesting themes and ideas not often expressed in previous musicals.

A new world of musicals emerged when he combined lyrics with his original musical compositions. The words and music were just as equally important, one complementing the other.

When you have a revue of many of his works within a limited time frame, it’s almost like eating an entire box of candy at one sitting instead of just one piece.   What a sugar high!

Interspersed among the musicals are video clips of Sondheim in his own words that span his career. They provide a personal and professional look at the man whose music and lyrics continue to be in the public eye.

A profile of the prolific songwriter, Stephen Sondheim. “Sondheim on Sondheim” does not include all of his works but rather a selection. This snapshot includes his first composition titled “I’ll Meet You at the Donut” written while he was a high school student to universally known musicals like Company and A Little Night Music.

Alexandra Kinsley wows with “Take Me to the World” from Evening Primrose.  Evening Primrose was an episode from a TV series titled ABC Stage 67.

Sara Reynolds highlights her beautiful voice and comedic talents in “Now You Know” from Merrily We Roll Along.

Brandon C. Andrew delivers with “Good Thing Going” from Merrily We Roll Along.

Jordan Threatt lets loose with a powerful performance of “Epiphany” from Sweeny Todd: The Demon Barber of Fleet Street. 

Will Cobb is passionate as he sings “Is This What You Call Love”, a powerful song from Passion.

Austin Taylor Dunn delivers a clear solo in “Multitudes of Amys,” a Sondheim song that was originally selected for Company but ultimately rejected.

Alondra Trinidad-Colon struts her stuff with “Ah, But Underneath” from Follies.

Gabriela Garza sings a lovely rendition of “In Buddy’s Eyes” from Follies.

“The Gun Song” from Assassins is beautifully performed by Hunter Trstensky, Elijah Corbin, Leo Bochicchio, Claire Ferguson, Kaley Bender, Riley Nevin, Jenna Clover and Cammi Caldwell.

Jordan Threatt, Will Cobb, Braden Andrew, Austin Dunn, Gabriela Garza, Alondra Trinidat-Colon, Sara Reynolds and Alexandra Kinsley show a different side to “Happiness” from Passion.  Comedy at its best!

The entire ensemble is well-balanced with all around talent in song, dance and comedy.  They reinforce one another.

The backdrop is elegant with nuances in color and subtle, visual effects.

Music Direction by James Cunningham. Direction and Choreography by Zeva Barzell. “Sondheim and Sondheim” conceived by James Lapine.

-CED

“Sondheim on Sondheim” is a production of Point Park University’s Conservatory Theatre Company.  It runs from October 19 through October 23. For more information, click here.

 

By Claire DeMarco

Most people have dreams.  Dreams of career success, a lasting relationship, a long life with good health.  There are many more possibilities, some more grandiose like fame and fortune, others less so.

In 1950s Chicago Lena Younger (E. Faye Butler) has a dream.   She wants to own a home.   Currently her nuclear family consisting of her son Walter Lee (Rico Parker), his wife Ruth (Dedra D. Woods), their son Travis (Ty Gilliam) and Lena’s daughter Beneatha (Hope M. Anthony) live in a tiny apartment that has one bathroom and not much privacy for all those residents.

When an important family member dies. Their insurance money enters the equation,  and members of the family have very different ideas on how to spend it.  They all are expecting an insurance check that could satisfy those dreams.  Some wait patiently. Walter is more intent on getting the money quickly and is often asking if the mail came, did the check arrive?

Mama always dreamed of having her own home and one that has a large backyard so she can have a garden.  Walter Lee wants the money to invest in a small business.  Beneatha knows that part of that money will contribute to her education to pursue a medical degree.

Beneatha’s energy right now is not on the anticipated check. She is befuddled between two suitors who couldn’t be more diametrically opposed.  Brenden Peifer (George Murchinson), a college student is intent on a business career and achieving the American dream.  Kevis Hillocks (Joseph Asagai), a student from Nigeria is intent on educating Beneatha on her African heritage, an essential part of her persona.

When the check finally arrives a series of events quickly accelerate.

Mama announces that she bought a house in the Clybourne neighborhood, a predominately white area of the city.

Thinking some of the money is out of reach, Walter is distraught but Mama comes through and gives him a small portion of the proceeds with the recommendation that he open his own checking account and deposit money specifically and separately for Beneatha’s tuition.

Ken Bolden (Karl Lindner), a white “welcoming” member from the Clybourne neighborhood association visits the family.   Condescendingly he suggests in a sugary voice that perhaps it would be best if the organization buy them out.  He thinks it would be best for them.  He is asked to leave.

How is the money finally spent and what does Walter do with his share?

Does the family move to Clybourne or back off and stay in their small apartment?

Is the potted plant still in the apartment’s window sill or is it ready to be moved along with the furniture to a new home?

Butler’s performance is brilliant.  She captures the essence of a loving, yet stern (when needed) mother.  Add in a dash of comedy and common sense that is sometimes overshadowed by despair, she helps guide the family to its final decision.

Parker transitions from a man feeling insecure, mostly impatient and angry with his circumstances to a more rational, emotionally sensible person.

Anthony shines as the younger sibling still child-like at times but whose womanhood and African ancestry evolve and grow.

Hillocks’ passion for Nigeria and his enthusiasm for his future there is captivating.

Woods grows her character from the serious hard-working wife into a hopeful, more joyful and independent person.

Peifer plays the know-it-all college student perfectly.

Bolden portrays the character that one loves to hate and he succeeds.

A beautiful production with a superb cast!

Lonnie the Theater Lady said, “It was an exquisite production. Just beautiful!”

Hats off to Jennifer J. Zeyl for an intricate setting in the Younger apartment and kudos to Director Timothy McCuen Piggee.

-CED

“A Raisin in the Sun” is a production of Pittsburgh Public Theater.  It runs from October 12 through October 30. For more information, click here.