'Burgh Vivant

By Michael Buzzelli

Two jockeys, Curtis Henshaw (Kymir Cogdell-Freeman) and ABCD (Malic Maat), whose name is pronounced Ab-see-dee, compete in an important horse race, “The Bluegrass Mile” in a new play written and directed by Pittsburgh Playwright’s founder, Mark Clayton Southers (the latest installment in Southers’ 19th Century Collection).

Most of the play’s action takes place in a boarding house owned and operated by Rosa Lee Drew (Chrystal Bates). Rosa Lee spends most of her day cleaning, cooking, and tending to her guests. The rest of her time is spent squabbling with longtime border, Kermit Thomas (Charles E. Timbers, Jr.).

Henshaw arrives in a mess of trouble from the local sheriff (David Whalen).  Since the young man is carrying a saddle, the sheriff assumes he stole it and possibly a horse to go with it. Rosa Lee eases tensions by offering the sheriff a drink from her bar.  The sheriff wants more. He wants Rosa Lee to sell him the house, but she won’t give up her home or her livelihood.

Meanwhile, sparks are flying between William Pickford (Kevin Brown) and Rosa Lee.

At the fateful Bluegrass Mile race, things go horribly awry. Curtis and ABCD’s lives are in danger from an incident on the track with a horse owned by Henrietta Cogsdale (Kendra McLaughlin), a rich white woman.

Southers’ play is triumphant. It’s got plenty of humor in a taut, suspenseful drama. The second act, like the Bluegrass Mile itself, races to the end. While he drops hints throughout the show, there are still a few twists that hit with audible gasps.

The show exudes a Wilsonian tone. Because it utilizes a lot of similar elements to an August Wilson show, its easy to see the comparisons. Pittsburgh Playwright’s Theater last play, “Joe Turner’s Come and Gone” is also set in a boarding house.

Bates is marvelous as the proprietor of the boarding house. She plays Rosa Lee with motherly reverence. The character has closed herself off after her husband died, but William Pickford’s presence stirs something inside her. Bates reveals secrets with a knowing look or a furtive smile.

Whalen portrays a bully of a sheriff. While he claims to be a lawman who upholds the rights of all of his constituents, he is threatening, menacing, and at times, almost evil. Whalen exhibits a range of strong emotions, mostly anger, hatred, greed, and distrust, but the sheriff shows a softer side.

Maat gets a fair share of funny lines and delivers them expertly. He is an accomplished actor with oodles of charm.

Brown makes the most of a smaller role.

Newcomer Cogdell-Freeman is excellent. The fifteen-year-old CAPA student has a potential to be a star in the Pittsburgh theater firmament.

McLaughlin is seen all too briefly in this play, but does a fantastic job. In the manner of any genteel, Southern lady, her character issues threats with a bright, wide smile. She is dressed in an authentic-looking costume courtesy Kimberly Brown (no relation to Kevin Brown) with hair and makeup from Cheryl El Walker.

The entire plot hinges on a monologue delivered by Timbers and he does it with passion and grace. It’s a very moving moment.

The set is another masterpiece by Tony Ferrieri. The now-retired Ferrieri shows no signs of slowing down in his decades as a scenic designer for every major theatrical production company in Pittsburgh.

Deftly stage managed by Ashley Southers (this one is related, she’s Mark Clayton Southers’ daughter).

“The Bluegrass Mile” has a lot of potential. It would be easy to picture a Broadway production of the show. Kudos to the cast and crew for making a riveting evening of theater on the Hill.

“The Bluegrass Mile” runs from October 7th – 29th at the newly christened Carter Redwood Theater in the Madison Arts Center, 3401 Milwaukee Street, Pittsburgh, PA 15219. For more information, click here. 

By Claire DeMarco

Everyone should have friends like Henry Condell (Marc Duchin) and John Heminges (Art DeConciliis).  William Shakespeare did! After his death actors Condell and Heminges often meet with other actors regaling each other with reciting, acting out and conjecturing about Will’s work and the many roles they played.

Richard Burbage (John Reilly), also one of Shakespeare’s actors and supporters is the most vocal about the bard. He enthusiastically pontificates about Will and the roles (especially Hamlet) that he’s performed.  Burbage has more knowledge about all the plays attributed to Shakespeare.

When Burbage dies Condell and Heminges realize the importance of gathering all Shakespeare’s works.  They start a campaign to identify all his writings, collect and retrieve them, eliminate those pirated by other writers and finally publish all of his works in a First Folio.

Supporting this effort were Heminges’ wife, Rebecca (Meighan Lloyd Harding), their daughter, Alice (Amanda Weber) and Condell’s wife, Elizabeth (Stacey Rosleck).

Note:  The females all appear more than supportive with encouragement and actually are seen reading and reviewing the scripts as they are recovered.  I’m not sure this was the case in the 1600’s or that the women could even read, but I’d like to think it was so.

Shakespeare’s legacy lives on.  Thanks to friends like Henry Condell and John Heminges.

Andy Coleman is outstanding as the flamboyant Jonson.  He is hilarious in his “tipsy” scene with Weber.  Without being obnoxiously drunk his delivery is intelligent, controlled and spot on. He transitions easily into a more thoughtful, caring, though at times, belligerent Shakespeare supporter.

Reilly comes out blazing as his theatrical, exuberant and dramatic presentation of Burbage captures the stage.  He is vocal, loud and proud of his delivery and participation in the Bard’s life.

Duchin’s character develops into one of the original forces behind the search for all of Shakespeare’s works.  His character changes from the friend who is more positive and confident in that search into one full of fear and anxiety as the project hits several road blocks.

DeConciliis’ character is the more hesitant of the two friends as they start their adventure. He agonizes over any obstacle that impedes the project.  He however, is the one who becomes more confident when the partners see a viable end to their venture.  His scene when personal tragedy strikes is touching and powerful.

Patrick Conner delivers as the sly, unethical businessman who has eighteen of Shakespeare’s plays (that he stole) and wants to deal.

As the daughter of the innkeeper, Weber cleverly inserts herself into much of the discussion about finding the scripts.  She is confident participating with the men on this project.

Rosleck plays Elizabeth as her husband’s supporter, prodder and equal partner in their quest for Shakespeare’s lost scripts.  Some of her clever retorts highlight her comedic side.

Lloyd Harding’s character is a strong woman able to keep her husband focused, bolstering his confidence when he falters.  She is positive, yet forceful.

“The Book of Will” is a wonderful production.  Every actor in this show was outstanding!

You’re bound to love it!

The set is minimal with a large table where most of the action occurs.  As the printing process begins, rope lines of Shakespeare’s scripts hang above the table highlighting part of the antiquated printing process.

Costume Designer Barbara Burgess-Lefebrve did a great job designing the period pieces.

Kudos to Director Sunny Disney-Fitchett.

“The Book of Will” was written by Lauren Gunderson and is based on a true story.

-CED

“The Book of Will” runs from October 5 to October 22 at Little Lake Theatre, 500 Lakeside Drive, Canonsburg, PA 15301. For more information, click here.

By Michael Buzzelli

Laura Irene Young (Bubble Boy) recounts an unsuccessful marriage to her ex, who played Jesus in a Christian theme park, in her one-woman show, “When Jesus Divorced Me.”

Young’s show is part standup, and part folk concert.  She describes her unfortunate encounter with a handsome actor she met in Summer Stock in the middle of some nowhere place in Ohio.

Young literally lays out the plot of the show when she divulges a story about her mother, an amateur occultist, reads her future hubby’s palm.  The whole story is, literally and figuratively, drawn out in lines across his hand.

Young isn’t completely blind to the red flags. Much to her chagrin, Stage Manager Erika Cuenca keeps flashing the red flags on the screen behind her, but the performer, however, proceeds without caution into a relationship destined to be doomed.

The husband, like Lord Voldemort, is He-Who-Must-Not-Be-Named, and his name is bleeped out several times with wet fart sounds (thanks to sound designer Shannon Knapp).

To further protect the ex-hubby’s anonymity, several photographs have a goofy, yellow Smiley over his face to protect, in this case, the not-so-innocent.

Laura Irene Young reclaims her power.

Young has created and performed a show in a way no one else could. “When Jesus Divorced Me” is a very personal story and Young manages to tell it in the most, engaging and imaginative way.  She is brimming with personality.  Young is a powerful presence on the stage.

She shares goofy songs with extremely clever rhymes mostly with a ukulele and, sometimes, a keyboard to drive home her points.

There is an excellent use of projection by Natalie Rose Mabry.  The projections actually provide important context.

Lonnie the Theatre Lady, this reviewer’s opening night companion, said, “There are so many magical moments in this show!”

“When Jesus Divorced Me” runs from October 6th-21st at the Carnegie Stage, 25 W. Main Street, Carnegie, PA 15106. For more information, click here. 

By Claire DeMarco

Mexican actor and singer Mauricio Martínez excited Pittsburgh audiences at the Pittsburgh Cultural Trust’s Cabaret Series on Monday, October 2 at the Greer Cabaret Theater.  Well-known in his native Mexico, Martínez has also made inroads in the theater world here in the States.

An Enemy-winning performer, Martínez blended a combination of hit Broadway tunes with a dash of comedy and delightful interaction with the audience.

Martínez’s introduction on stage began with a montage of pre-recorded video clips  from his Sizzle Reel (video clips performers use as an audition tool) that highlighted his humor.

His choice of musical numbers covered many wonderful Broadway shows.   Selections from decades of musicals included “One Night Only” (“Dreamgirls”), “The Impossible Dream” (“Man of La Mancha”), “If Ever I Should Leave You” (“Camelot”), “Another Hundred People” (“Company”),  and “You’ll Be Back” (“Hamilton”).

Martínez dedicated a song to his mom who absolutely adores “The Phantom of the Opera.”   It’s her wish that her son plays that role someday.  The song “The Music of the Night,” a moving song in English is absolutely beautiful sung in Spanish.

Martínez had excellent accompaniment by Pianist and Musical Director, Brian Nash.

It was a wonderful evening with a multi-talented singer and performer.

The next production in the Greer Cabaret Series is “Meow Meow”, Monday, November 6.  For more information, click here. or check out “Tick…Tick…Boom” running in the same space until October 22. For information about that show, click here.

By Michael Buzzelli

Metaphorically, El Salvador is far from Los Angeles as Kansas is from Oz, but Reina (Isabella Campos) is willing to give up everything to find out for sure in Brian Quijada’s “Somewhere Over the Border.”

Take L. Frank Baum’s classic fairy tale, add a harrowing journey across South America hit pulse, whip and puree.  Quijada takes his mother’s true-to-life tale about her sojourn to Tijuana to meet the El Gran Coyote to take her across the border and into the United States, and turns it into his own family fable, zhuzhing it up with the “Wizard of Oz.”

The Narrator (Arusi Santi) will tell you that things are not great in Chanmico, El Salvador in the late 70s, especially for Reina, who, at seventeen, just gave birth.

Naturally, her mother, Julia (Ariana Valdes), does not want Reina to leave the village, but she fears she has no choice if she wants a better life. She abandons her baby and gets on the bus heading to Tijuana to meet the coyote who will safely get her across the border, or so she thinks. Things aren’t as they seem, or, in other words, pay no attention to the man behind the curtain.

On her way, she meets some colorful characters, including Cruz (Jerreme Rodriguez), who wants an American education in Agriculture, Silvano (Bobby Plasencia) who wants to reunite with his family, and Sister Leonia (Gloria Vivica Benavides) who wants to give up the sisterhood and join a rock and roll band.

If you guessed that her fellow travelers are seeking brains, heart and courage you can figure out where it all leads. Their pilgrimage to the U.S., however, is more perilous than Dorothy’s and the threats are far more real.

Brian Quijada (“Where Did We Sit On The Bus?” in 2018) cooks up an intriguing interpretation of his family’s events.  It’s more comedy than tragedy, but there is an underlying current of danger threaded through the story. Mostly, it is a glorious treatise about the American Dream.

Deftly directed by Laura Alcalá Baker with an amazing cast.Santi does a remarkable job. Don’t let the character’s name fool you. He’s more than a simple narrator. He takes on many roles and he does it with flair.

Campos is a excellent choice for the lead. She plays Reina as level-headed, smart, kind and caring, a fully-realized human being.

Valdes gets to belt, hitting some crazy high notes in a powerful ballad. It’s one of the highlights of the show.

Benavides is a break out star of the show, even playing the comic relief. She portrays two characters who are polar opposites from one another, but you’ll want more of both.

The band really makes “Somewhere Over the Border” sparkle. Michael Meketa leads two percussionists, Hugo Cruz and Noel Quintana, and a guitarist, Daniel Santander in an array of South American music.

Scenic designer Chelsea M. Warren brought the quaint village of Chinmico to the stage, with room for the marvelous band and a rotating platform at center so the characters can ease on down the road.  Warren’s set has some pop up components that add to the whimsy of the show.

This premiere production of “Somewhere Over the Border” is a collaborative effort between the City Theatre, Pittsburgh CLO and the People’s Light, an organization out of Malvern, PA.  The collaboration, literally and figuratively, made beautiful music together.

“Somewhere Over the Border” is a great evening of entertainment, but it reminds you that each person who risks their life to come here has something worth risking their lives for. The show may also remind you that the United States, despite all of its faults, is a place people come to realize their dreams.

-MB

“Somewhere Over the Border” runs until October 15 at the City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. For more information, click here. 

by Michael Buzzelli

Christian (Christian Douglas) arrives in Paris and develops a fast friendship with Santiago (Danny Burgos) and the painter Toulouse-Lautrec (Nick Rashad Burroughs). The duo convinces him to write a musical and present it to the Moulin Rouge’s star performer, Satine (Gabrielle McClinton) in “Moulin Rouge! The Musical.”

Meanwhile, the owner of the Moulin Rouge, Harold Zidler (Robert Petkoff) is up to his eyeballs in debt. He promises the Duke of Monroth (Andrew Brewer) a chance to be in Satine’s company (wink, wink, nudge, nudge). Zidler plans to use the duke’s attraction to Satine to stave off his debt collectors.

Christian sneaks off to Satine’s dressing room, but she mistakes him for the duke and the songwriter and the star pitch woo (speaking in lines from pop songs as if they were Shakespearean sonnets).

When Zidler and the duke find Christian in Satine’s dressing room with Santiago and Lautrec, they convince the duke that they were rehearsing a play.  Shenanigans ensue until things turn deadly serious toward the end.

Spoiler alert: When someone coughs in the first act of a play, they are usually dead by the third act. It’s almost a Chekhovian rule.

All the while, everyone is speaking and signing in contemporary love songs as if it was its own language.

The plot, if it sounds familiar, is lifted from “La Boheme,” “Rent,” and the film version of “Moulin Rouge,” all of which were based on Henri’s Murger’s 1851 novel, “Scènes de la vie de bohème.” This version strays the furthest from the other renditions, but the basic plot is unchanged.

P.S. That’s your spoiler warning. Does a work of art based on a novel from 1851 really need a spoiler?!?

“Moulin Rouge! The Musical” is the jukiest of jukebox musicals. Every time the beat drops, another Easter egg is uncovered. The show feels like an iPod set on Shuffle. Like Forest Gump’s box of chocolates, you never know what you’re going to get. That said, some real pop favorites pop up and they are delightfully rendered.

“Moulin Rouge! The Musical” is both spectacular and silly. The show is filled with pomp and circumstance and the opening number elicits pure joy. Unfortunately, the show takes a slight downturn. The humor is set not to stun but to kill. At times, the show is too jokey, especially considering the darker subject matter.  There’s an issue with tone. The big dramatic death near the end of the play doesn’t carry the weight it should and that’s a shame. Satine deserves a tearful goodbye.

But there is a lot of sheer joy here. The cast is amazing.  Before meeting Satine, the duke threatens Zidler saying, “She better live up to your hyperbole.” McClinton does. She’s a lovely lead. But the entire ensemble shines. They are all diamonds.

Brewer’s Christian is, literally and figuratively, born for the role (his first name aptly matching the name of his character).

Petkoff shines as the lascivious bar owner. Most, if not all, of his jokes land strictly because of his deft delivery.

Rashad Burroughs has a great voice. While he doesn’t physically resemble Toulouse-Lautrec in any way, he’s perfect for the role. He portrays an almost exquisite pain on his face when he reveals his unrequited love for Satine. It’s probably the most tragic moment in the story.

Burgos and the ensemble do a rousing edition of Lady Gaga’s “Bad Romance.” It’s another jewel in a gleaming crown of musical numbers.

This show would not have worked without Catherine Zuber’s magnificent costumes. The bright colors and bold patterns are a wonder to behold. Equally matched by Derek McLane’s masterful set design.

P.S. This show must be a bitch to tour with hundreds of set pieces and a plethora of props. The unsung heroes of this production are the many members of the crew who are building up and breaking down those glorious sets.

Update: According to Marcy Metelsky (‘Burgh Vivant Board Member and all around bon vivant); The tour travels in 11 tractor-trailers, with one advance trailer. The set load-in takes 3 days; the breakdown takes 8 hours.

The show closes with a final spectacular number that washes away the tragedy and brings an effervescent elation back to the stage. This audience member danced his way out the door.

-MB

“Moulin Rouge! The Musical” runs through Wednesday, September 27 until Sunday, October 8 at the Benedum Center, 7th Street and Penn Avenue, Pittsburgh PA 15222. For more information, click here. 

By Joseph Szalinski

Desperate to escape the hustle and bustle of daily life? Dying to unwind with some sandwiches and elderberry wine? Well, Butler Little Theatre has you covered with the first production of their 82^nd season, Arsenic and Old Lace, directed by Dennis Casey.

The classic black comedy follows a rather peculiar family and their zany exploits at their Brooklyn homestead. Abby (Nedra B. Casey) and Martha Brewster (Gail E. Suhr) typically use the property to shelter the occasional boarder and serve them some refreshments. Their nephew, Mortimer (Sam Thinnes), a recently engaged drama critic—ewww, who needs them—is made privy to what his aunts really do with their guests, which rattles him before he’s set to review a show.

While he’s away, Mortimer’s oldest brother, Boris Karl…I mean, Jonathan (Steve Kalina), pays a visit with his esteemed colleague, Dr. Einstein (Dennis Casey). The two of them then attempt to stash a stiff in the basement, unaware that Teddy (Thom Hilliard), the third Brewster brother, has been busy with a similar project, operating under the belief that he is Teddy Roosevelt, tasked with digging the Panama Canal and burying the Yellow Fever casualties.

Teddy is one of the most enjoyable parts of this entire play. While he is as deranged, if not more so, as his other family members, he is far more harmless; his instability is still a bit quirky. He is an absolute riot, delighting with grand entrances and exits, and mistaking people for historical figures, like William Howard Taft. Such a silly character is certainly a lot of fun for Hilliard to portray, but his portrayal is also mixed with sincerity; a demonstrable conviction in the truth of Teddy’s delusions, which is equally enjoyable to witness.

Mortimer is another character whose comedic chops endear him to the audience. Thinnes possesses a wonderful mix of charm and ignorance that carries him through the show. Despite me relating to the oddly specific element of Mortimer being a drama critic, I feel that he (and Thinnes’ performance) resonates with a wider audience on account of the fact that everyone feels as if they are part of a weird family. Although Mortimer is a fairly cerebral person whose humor is often showcased by wit and snark, the more physical scenes of his really stand out: like when Mortimer first opens the window seat or struggles to juggle a phone call and answering the door.

Duos are a big part of this production as well, the most notable being Abby and Martha Brewster. Separately, they’re solid characters that drive the narrative. Together, however, they add another dimension to the show, with their warmth and personability; Nedra Casey and Gail Suhr are great in their respective roles. Another notable duo is the menacing Jonathan Brewster and his accomplice, Dr. Einstein. Steve Kalina, scarred with makeup, delivers an intense yet hilarious performance as Mortimer’s other older brother. Dennis Casey, meanwhile, effortlessly balances directorial duties with a gut busting rendition of the constantly drunk “medical professional.”

Aside from incredible performances, the technical aspects of the production are also very well done, set design being the most impressive. The house feels as alive as any of the other characters. It feels lived in, like the fictional history of it is slowly allowing it to seep into reality.

Butler Little Theatre is an underappreciated venue in the Greater Pittsburgh Area. The space itself is cozy, storied, and boasts a decently sized stage and ample seating despite how small BLT appears from the outside. There are also tremendous shows chosen every season, ones that aren’t typically produced by other community theaters. All straight (non-musical) plays to boot, which is an incredible feat considering the theatre’s rich history; a history that it’s thankfully still building upon.

Areas just outside of Pittsburgh’s city limits have a bunch of tremendous art and culture to experience, and BLT is home to so much of it. This show is no exception.

-JS

“Arsenic and Old Lace” runs through September 22 though September 30 at the Butler Little Theater,  One Howard Street, Butler, PA. For more information, click here.

By Michael Buzzelli

​Everyone grieves differently. When actor Katie Mack lost her ex-boyfriend, Eric Anthamatten, she took to the stage and created her immersive, interactive show, “Ugly Cry.” 

“Ugly Cry” is (kinda sorta)  a one-woman show. Mack draws the audience into the theatrical event. There are QR codes, video interactions, and, at one point, a game show with contestants chosen from the audience.

She begins the show from the treadmill where Mack explains the concept, letting the audience wander around the set, scanning QR codes and playing interactive games with their iPhones before sitting down.  Then, when everyone is settled, Mack begins her tragic tale.

Her ex-boyfriend, Eric Galen Anthamatten, 43, was murdered in a dispute on the beach in Pochutla, Oaxaca, Mexico. When she’s unable to heal devastating news, she uses her iPhone to conjure him up, first via a text mail chain, and then through hundreds of photographs, articles and stories about the late Anthamatten.

Mack takes the concept as far as it can go, stretching the boundaries of the internet to keep her memories of this man at the forefront.

One-person shows are difficult. If you don’t like the one person in the one-person show, you’re stuck in a theatre for an eternity. Luckily, Mack exudes charisma and her tale about her ex is intriguing and engaging, and the evening goes by quickly.

The self-proclaimed millennial used a lot of millennial tricks, crafting her iPhone into a third character creating a ‘jeu a trois.’ Some of the gimmicks worked, but, for the Luddites among us, some did not.  

[Personal note: In a Dunning-Kruger Moment, this reviewer believed he was more technically proficient than he was and struggled with turning the flashlight app on his cell phone when asked – the very first assignment Mack gives the audience.]

The show, at times, seems self-indulgent, but, once again, all one-person performances have those moments. It’s the nature of the beast. Mack uses some self-effacing humor to combat those moments and keeps them to a minimum. There is an excellent bit about the DNA of white women.

Co-creator and Technical Director Janus Young does a fantastic job utilizing projections, video clips, and other technical elements gracefully into the show. Oddly, it takes a village to mount a one-woman-show. Mack and Young were aided Natalie Rose Mabry for video and projection design, Shannon Knapp for sound design and Juliette Louste for lighting design.

Director Susanne McDonald keeps the energy level set on high impact. Mack, literally and figuratively, runs through the whole show, but it sets up a unique and poignant idea about setting goals. 

There are a few profound moments in “Ugly Cry.” You will, most likely, leave the theater somewhat different than you came in, grappling with questions about your mortality.

Mack is taking the show to the Chain Theatre at the end of October.  There are a few kinks to work out before “Ugly Cry” gets a New York City debut, but it’s a thoughtful and interesting evening in Carnegie.

-MB

​

Three different monologues.  Three distinct characters.  One funeral home. “Three Viewings” showcases Emil (Elliott O’Brien), Mac (Kauleen Cloutier) and Virginia (Lynne Martin-Huber) separately as they talk about their worlds at the time of some duress.  Never on stage together but casual references during their solos identify participants at the funeral home that weave and thread into the other monologues.

Tell-Tale features Emil, a mortician who has provided his services to the community for some time.  As a shrewd business man, he’s always surveying those people paying their respects, musing about who might be the next person to die.  He’s enamored with a real estate agent who attends all community funerals specifically to garner potential customers.  In the not-too-distant future, Emil will be shocked by the next corpse requiring his services.

In The Thief of Tears Mac is back in town for her grandmother’s funeral.  She makes her living stealing jewelry from corpses and this profession has kept her relatively solvent for some time. She doesn’t like her grandmother and feels no guilt about her plans to remove a ring from her corpse.  She will soon have to face situations in her past that haunt her.

Thirteen Things About Ed Carpolotti showcases Virginia.  Recently widowed, she now has to face challenges and make decisions about her husband’s business.  Since she has never been exposed or involved in that aspect of his life, she must come to terms with some terrifying decisions and confrontations that seem insurmountable.

O’Brien brings out the duality of his character.   As an astute business man, he pragmatically evaluates who might soon need his services.  In his secret obsession with the real estate agent, he becomes a silly, almost teenager-like kid.  He softly and incessantly chants “I love you” at her back.  He wants her to turn around but is fearful that she will.

Cloutier delivers a range of emotions.  Brazen, bold and sometimes belligerent, she evolves from a jewelry thief with no regard for anyone into a frail human who comes face to face with her personal demons.  Her physical movements and facial expressions complement her performance.

Martin-Huber plays Virginia as a delightful ditz and her delivery is wonderful.  Her comedic timing is spot on.  Although she sits through all of her monologue, Martin-Huber is physically active during the performance using her outstretched arms and facial expressions to heighten her responses.  She’s a tease and a deadpan master.

The set is reflective of a typical funeral home with a sofa, a pulpit and the implied suggestion of where a casket would be.  Each monologue shares the same set.  A new basket of flowers placed on a shelf indicates a change in speaker and time.

Excellent direction by Joe Eberle.

Note:  Although Jeffrey Hatcher’s “Three Viewings” concentrates on death and dying, there are many funny lines in this dark comedy.  And it’s okay to laugh when you hear them!

I’m dead serious, this is a great production!

-CED

South Park Theatre, at the intersection of Corrigan Drive & Brownsville Road, South Park, PA 15301. For more information, click here. 

By Michael Buzzelli

When Billy Strayhorn (Darius de Haas), a poor, Black, gay man from Homewood meets his idol Duke Ellington (J.D. Mollison), his life goes from squalid to lush in  “Billy Strayhorn: Something to Live For.”

P.S. All the spoilers for this show can be found on Billy Strayhorn’s Wikipedia page. Enter at your own risk.

Strayhorn’s relationship with Ellington is complicated. He is a father figure easily replacing Strayhorn’s abusive alcoholic bio dad, but Ellington takes the lion’s share of the credit for Strayhorn’s music.  Ellington moves him into his Sugar Hill home with his wife and daughter (unseen) and son Mercer (Richard McBride).

His new life in New York seems far from his Pittsburgh upbringing.  Strayhorn hobnobs with Lena Horne (Arielle Roberts) and Billie Holiday (Arielle Roberts in a dual role), but his life changes even more dramatically when he meets Aaron Bridgers (Charl Brown). Strayhorn and Bridgers become lovers.

In the play, we get flashbacks to his family life in Pittsburgh; his interactions with his mother Lillian (Keziah John-Paul), a brief devasting scene with his father, and a scene with his first crush, Mickey Scrima (Joseph McGranaghan) from his band days with the Mad Hatters.

Bridgers, unable to find a job in America, leaves for Paris and Strayhorn’s live implodes from the heartbreak.

His contentious relationship with Duke Ellington reaches a crescendo and Strayhorn must decide his own path.

Richard McBride and Darius de Haas in “Billy Strayhorn: Something to Live For.” Keziah John-Paul in “Billy Strayhorn: Something to Live For.”

Jukebox musicals have been around a long time, from 1942’s “Yankee Doodle Dandy” where the music of George M. Cohan is shoehorned into his autobiography. This might be the first Big Band musical, utilizing songs from the Strayhorn playlist. It’s a glorious compilation of the songwriter’s career.  de Haas does a marvelous job with “Lush Life,” and Keziah John-Paul’s “Take the A Train” is a wonder, even capturing the personality of Ivie Anderson, winking at the bad and scatting to, literally and figuratively, beat the band.

The whole cast is flawless. The singing, dancing and acting is pure perfection.

de Haas masterfully plays Strayhorn.

Mollison’s Ellington is a charming enough to be dangerous. He’s a likable protagonist and Brown is an affable love interest.

John-Paul is charismatic as Ivie Anderson. She is exuberant, joyous. Every moment she’s on stage is a pleasure.

Interstitial dance breaks preformed by Taylor C. Collier and Tracy Anthony Dunbar act as transitions between the scenes. They are gorgeously choreographed by Dell Howlett.

There is excellent projection work in the show by Shawn Duan.

Warning: There are some trigger words bandied about, racist and homophobic slurs.

Kent Gash and Rob Zellers do an amazing job with brining Billy Strayhorn’s story to life. There is an inherent problem in all biographical stories. All biographers struggle with what to leave in and what to take out.  There seems to be a superfluous scene with Billie Holiday (Arielle Roberts nailing the Holiday’s bluesy vocal style) that doesn’t forward the story as much as it should.

“Billy Strayhorn: Something to Live For” will need some trimming before it goes to Broadway, but it will most assuredly go to Broadway. See it now while it’s here in Strayhorn’s hometown.

-MB

“Billy Strayhorn: Something to Live For” runs until October 11 at the Pittsburgh Public Theater’s O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information, click here.