'Burgh Vivant

 

 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant.  

When an iPhone captures Omari (Carter Redwood) lashing out against a teacher at his private school, his mother, Nya (Nambi E. Klley), must figure out how to save him from being expelled in Dominique Morisseau’s “Pipeline.”

Nya teaches in a troubled public school, but has sent her son off to a more reputable school, but now the incident weighs heavily on her. She tries very hard not to discuss it with her colleague Laurie (Sheila McKenna), a fellow teacher who is returning to work after a student slashed her face, and Dun (Gabriel Lawrence), a school security guard, who has a sordid history with Nya, but they learn of her son’s misfortune.

Meanwhile, Omari confides in his girlfriend, Jasmine (Krystal Rivera) about running away. Of course, Jasmine doesn’t want him to leave, but Omari feels like his options are limited.

William Woodsworth lamented against the Industrial Revolution way back in his 1802 poem “The World Is Too Much With Us.” Nowadays, the cell phone sees all. This tiny video recording device has become judge, jury and executioner. The world is, indeed, too much with us.

While shoving a teacher is a violent act, there are extenuating circumstances. Omari is a bright, talented boy with some anger issues, which seem to stem from his parent’s divorce. He is also facing a mountain of racism from his teachers and classmates at his mostly white private school.

His father, Xavier (Khalil Kain), wants to throw money at the problem; unaware that the issue could be solved with love and tenderness and not cold, hard cash.

Nya is emotionally crippled from trying to fix her son’s problem. She keeps coming back to

Gwendolyn Brook’s poem, “The Pool Players – Seven at the Golden Shovel.”

The words of the poem flash around her (thanks to Adam J. Thompson’s video design), “We real cool. We left school. We lurk late. We strike straight. We sing sin. We thin gin. We jazz June. We die soon.”

She fears her son is lost in the system. She can’t help but believe he’s headed to a disastrous outcome, like the seven pool players at the Golden Shovel.

With police shootings and rampant racism on the news every single day, it’s hard not to sympathize with Nya’s plight.

The world is too much with us.

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

Dr. Victor Frankenstein (Brett Goodnack) makes a grand, scientific achievement that forever haunts him in Midnight Radio’s “Frankenstein.” Mary Shelley’s classic novel comes alive in an adaptation by Bricolage co-founder, Tami Dixon – complete with a Midnight Radio twist.

Doo Doo Doo Doo Doo Doo Doo.

Caveat: Midnight Radio is not on the radio, nor does it take place at midnight. It’s a hip, little moniker for a staged reading with actors providing quirky sound effects, like crinkling bubble wrap to simulate a roaring fire. Think of it as a modern version of those old-timey radio plays. They’re usually irreverent and hilarious. “Frankenstein” is a much more faithful adaptation, and not jam-packed with the typical humor associated in the Midnight Radio series. It is, however, dark, moody and haunting with a few laughs – mostly at the front of the show.

Dixon dumps all the familiar trappings from Peggy Webling’s stage version, which later became the James Whale film, “Frankenstein.” The show opens with the cast mocking the film’s most iconic moment  – when Dr. Frankenstein glorious proclaims, “It’s alive!”

The story circles back to the novel, “Frankenstein or Modern Prometheus.” Victor is quietly creating new life sans Igor (or Fritz as he was known in Whale’s movie). He is disgusted by his creature (Cotter Smith) and abandons him/it.

The creature learns how to read and write by watching an old blind man (Parag S. Gohel) and his children (Maura Underwood and Goodnack). Hoping to befriend them, the creature moves in on the family. The blind man accepts him, because he’s unable to see the creature’s hideous appearance. When the kids come home, all hell breaks loose. The creature grapples with them, and, out of spite, burns down their cottage.

Then, the monster meets young William (Goodnack, again), and strangles him when he learns his surname is also Frankenstein (William was Vic’s youngest brother).

Meanwhile, Victor wrestles with his conscience – who happens to sound a lot like Mary Shelley (Jamie Agnello).

When Victor learns of William’s death, he travels back to Geneva to be with his family and fiancé, Elizabeth Lavenza (Underwood). But danger lurks. Victor’s creation is stalking him.

Bodies begin to pile up, and Victor goes mad from the mounting pressure. It’s a psychological thriller with ghoulish details.

We also get a treatise on the life of Mary Shelley. Hint: it’s not much happier than that of her protagonist. The credit originally went to her husband, but she fought to get her name on the book. It is a seminal work in horror. It’s also one of the first science fiction stories since the creature is brought to life by Galvanism, Luigi Galvani’s method of sparking dissected frog legs with electricity to get them to kick.

Director (and the other Bricolage co-founder) brought some remarkable actors back to the Midnight Radio stage.

Goodnack, who normally gets broad laughs in many comedic roles, is deadly serious as Dr. Frankenstein. He is a talented and very versatile actor.

Smith looks affable and neighborly, but close your eyes and you will be terrified of his rendition of Frankenstein’s creature. Truer to Shelley’s words, the monster is intelligent, lonely and homicidally cruel, referring murder as mischief as if it were a parlor game.

Underwood is assigned several female roles, including Justine, who is wrongly accused of William’s murder, and Elizabeth, Victor’s love interest. She excels in every role. Underwood gives each character a distinct personality and voice, even when it’s a townsperson with one line.

Gohel provides most of the humor. Though it’s in small supply, there are a few really good laughs.

Agnello gets a solid moment toward the end to really shine and she does with aplomb.

The sound was a combination of haunting sound effects by Brendan Kepple and the cast acting as Foley artists. Cello Fury, a cello band that plays progressive rock, comprised of David Throckmorton, Nicole Myers, Simon Cummings and Ben Munoz, provided additional music. The band also performs a brief interlude between the two acts.

Midnight Radio has a sleek new look, thanks to set designer Hank Bullington.

Note: If you are expecting a light, pithy play to cheer you up from all real horrors of the world around you – this is not the show for you. It is downright macabre.

Spoiler: The Grim Reaper gets the Frankenstein family on a frequent flyer plan.

Midnight Radio’s “Frankenstein” is a flawless. For those of you who love horror, it will bring joy to your dark, little hearts.

• MB

Bricolage, 937 Liberty Avenue, Pittsburgh, PA 15222. For more information, click here.

 

 

 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

Point Park Conservatory Theatre Company debuts one of its brand new black box theater spaces, the Rauh Theatre, by opening its season with Kander and Ebb’s iconic “Cabaret.”

Based on Christopher Isherwood’s “I am a Camera,” “Cabaret” is a snapshot of Germany, right before the impending chaos of World War II. Decadence abounds, especially in the eponymous cabaret.

Seeking inspiration for his writer’s block, American author Cliff Bradshaw (Evan Ellicott Wormald) heads to Berlin, and becomes enamored and entrenched in the lives of the performers at the Kit Kat Club.

The cabaret is a low and lascivious joint filled with scantily-clad young women and dashing but equally provocatively-dressed young men. The entertainment is conducted by the Emcee (Will Burke) who slinks around the club with a gargantuan grin – looking a lot like Brain Bolland’s artistic representation of Batman’s nemesis, the Joker (Google it).

Cliff enters the club and runs into a flaming old flame, Bobby (Michael Morley), one of the dashing young performers. Then, he meets the headliner, Sally Bowles (Alexis Rae Smith). A detour to the wrong dressing room creates an interesting situation. Plot twist!

Soon, Cliff and Sally are cohabitating in a building run by Fraulein Schneider (Lielle Kaidar). The POSSLQs befriend their new neighbors. There’s the kind and patient Jewish fruit vendor, Herr Schultz (Matt Fawcett) and a hooker with a heart of Nazi gold, Fraulein Kost (Allison Beauregard). Cliff supplements his income teaching English to Ernst Ludwig (Gill Vaughn-Spencer) and his friends.

When money is tight, Cliff takes a job from Ernst as a messenger moving between Germany and France. Unbeknownst to our hero, the briefcase he transports is filled with some sort of Nationalist treasure (Nationalist as in Nationalsozialistische Deutsche Arbeiterpartei AKA the Nazi party).

While fear, hatred and divisive politics (ominously current again)  infiltrate Berlin, the show must go on, and it’s all fun and games at the Kit Kat Club until someone gets hurt.

P.S. It’s Cliff. Cliff gets beat up by Brown Shirts.

There’s a lot more to “Cabaret.” The show has some really fun musical numbers like “Don’t Tell Mama,” “Two Ladies” and “Maybe This Time,” perennial favorites at every piano bar in Provincetown.

Each song – every note – performed by an astounding young cast.

Burke is incredible as the Emcee. He struts and saunters around the stage as if he owns it. He is charismatic, charming and joyfully malevolent.

Smith’s Bowles was also impressive. She was poised and yet vulnerable. It was a nuanced performance. Sally Bowles hides a deep complexity behind a mask of frivolity and Smith captured the layers perfectly.

The doomed romance between Fraulein Schneider and Herr Schultz was poignantly performed by Kaidar and Fawcett. It’s a sad and touching moment.

For the leading man, Cliff isn’t given a lot to do. The character spends most of his time basking in Sally’s bright glow. He doesn’t seem to have any emotions beside shame, until the second act. When he does finally gets a chance to shine, Wormald does so brilliantly.

Thanks to the masterful direction of Zeva Barzell, the chorus of young men and women each get a wonderful little moment. Barzell’s squeezes every erg of vitality out of the young, enthusiastic cast.

The Kit Kat band played in perfect pitch. They were even dressed for the occasion. In many shows, the band either overpowers the singers or the microphones overpowers the band. The music for “Cabaret” was in the Goldilocks zone. It was just right.

Costume Designer Cathleen Crocker-Perry brings her A-game. The costumes are imaginative, inventive, wild and wonderful. Burke’s Emcee is given so many clever costumes, and he wears them with panache. In a drag outfit at the beginning of the second act, the Emcee looks like a cross between “Hot in Cleveland” star Wendie Malick, and femme fatale Natasha from “Rocky and Bullwinkle.”

Johnmichael Bohach transforms a dark, little black box into a sumptuous feast for the eyes. Deep, rich crimson drapes hang between pillars of brick, partially obscuring a dark chestnut fleur de lis print wallpaper. The drapes are bits of fabric from the curtains of the old playhouse theater. It’s a reverential callback to the first show in a brand new venue. It’s also an ingenious sleight-of-hand trick by Bohach.

The play happily trundles along until the Nazi’s rise to power and everything gets exceedingly worse. The finale is staggering, heart-wrenching and feels hauntingly familiar (see recent newspaper headlines).

Because so many German citizens just let the wave of fear and hatred take them downstream, “Cabaret” becomes oddly empowering.  You leave wanting to do something.

Lift a glass to the beginning of remarkable new season with the perfectly marvelous “Cabaret.”

The bar has been set very high for Point Park’s newest venue. Long live the Pittsburgh Playhouse.

-MB

Unfortunately, “Cabaret” is sold out for the remainder of its run at the Pittsburgh Playhouse, 350 Forbes Avenue, Pittsburgh, PA 15222. However, you can find additional details about the show and the theater here.

 

by Brian Edward, ‘Burgh Vivant.

When Stephen Sondheim’s Sweeney Todd debuted on Broadway in 1979, it was considered groundbreaking for its technical effects and dark themes, bordering the genre of horror; a far –  and perhaps blood-curdling – cry from the likes of Hello, Dolly!  On nearly all fronts, Lincoln Park Performing Arts Center admirably manages the massive undertaking.

And that’s exactly how director Justin Fortunato stages the opening moments: with an undertaking.  The corpse of the titular character is unceremoniously dumped into a grave by two undertakers, who, along with the ensemble, invite the observer to “attend the tale” of the deceased.  Rising from the earth to the tune of Sondheim, appears Sweeney Todd (Noah Pleunik), returned to London after a long incarceration, seeking vengeance on the diabolical Judge Turpin (Jeffrey Howell) and Beadle Bamford (Joe York).  After crossing paths with Anthony Hope (Matthew Fedorek), a young sailor enamored with the Judge’s ward Johanna (McKenna Howell), Todd sets up shop as a barber above the pie shop of the widowed Mrs. Lovett (Lucia Williams).  Throughout the two acts, Sweeney Todd plots and enacts his revenge, through missed connections, murder, and more than a few droplets of blood, all with the help of his enamored conspirator, Lovett.

Noah Pleunik’s Sweeney Todd is an enigma, portrayed with a sinister – and at times tender – stoicism.  His choices keep you on edge.  Even if you’ve seen the production before, you’re still not quite sure what this Sweeney’s going to do next.  Both he and Lucia Williams display their best onstage chemistry in the enjoyable Act I finale “A Little Priest.”

Williams’ cloyingly sweet Mrs. Lovett more closely resembles a Shirley Temple characterization than “the devil’s wife,” as she is later described, and although one may not entirely buy the concept that this woman is warped enough to carry out a plan to murder local citizens and bake them into pies, Williams provides us with more than enough evidence of her strength as a performer in the musical numbers.  Act II’s Mrs. Lovett solo “By the Sea” is often a forgettable bit of light, comedic fluff in a dark and cold second act.  However here, Ms. Williams sells it like a pro – entirely comfortable and delightfully in command, making it one of the more memorable numbers of the production.

Also notable are Joe York’s Beadle Bamford and Connor Bahr’s Signor Pirelli.  Both actors present strong vocals and a comedic mastery that elevate the production to a superior standard.  It’s not at all unthinkable that either would be completely capable delivering their roles to a Broadway audience.  York and Bahr are very well cast here, and leave you wishing that Sondheim had given them more to do.

In a show that can very easily devolve into “a play about blood spray,” the special effects by Tolin FX are entirely appropriate and thoroughly satisfying.  Also effective is Tony Ferrieri’s massive and flawlessly functioning set, showcasing the different locations of the Lovett home and pie shop, and tackling the difficult dynamics of disposing of corpses from a second-floor barber chair.

Though very impressive in its technical achievement and stand-out performances, the production overall lacks a bit of polish, primarily in the absence of the vocal dexterity necessary to conquer what is arguably one of Sondheim’s most complex orchestrations.  The swallowed notes and flubbed rhythms do stand out, perhaps because so many other elements of the piece are spot-on.  It’s for those elements that Lincoln Park’s Sweeney Todd is worth a look.  Theatre-goers that have never seen the show will enjoy the story – which does come across compellingly due to the talents of all involved, from designers, to crew, to ensemble.   Those that have enjoyed Sweeney previously will especially appreciate the handful of clever directorial choices by director Fortunato, and a different approach, devoid of imitation, to some of Sondheim’s most classic and complex characters.

Sweeney Todd: The Demon Barber of Fleet Street continues at Lincoln Park Performing Arts Center in Midland, PA through October 21st, 2018.  For tickets and more information, visit www.lincolnparkarts.org.

 

– BE

 

 

 

 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

When Agnes Evans (Peri Walker) loses her entire family in a tragic car accident, she searches for a familial connection to her little sister Tilly (Ariana Starkman), and uncovers the unknown details of her sister’s interior life in Qui Nguyen’s “She Kills Monsters.”

Agnes finds a well-worn notebook among the last of Tilly’s possessions. She learns that her sis was a local legend in the renowned role-playing game (AKA RPG) “Dungeons and Dragons.”

With the aid of Tilly’s friend Chuck (Dennis Sen), Agnes decides to finish Tilly’s final quest, and rolls the dice.

Soon, Agnes is joined on the battlefield of New Landia with a brave paladin, Tilly, a sexy demon girl, Lilith (Emily Cooper) and an equally sexy elf, Kaliope (Bonnie Klopfer). They are reluctantly aided by the demon, Orcus (Davis Weaver).

The team of adventurers valiantly fight against Orcs, Lizard People and Dragons! Oh my!

Back in Ohio, Miles (Jacob Wiersch), the boyfriend, complains to the best friend, Vera (Alexis Primus) about Agnes. Miles assumes her new hobby is sexual. He isn’t thrilled when Chuck introduces himself as Agnes’s Dungeon Master. What does he think the D’s in D & D stand for?

Meanwhile, Agnes learns her sister’s darkest secrets, and discovers the real world counterparts to Lilith, Kaliope, and Orcus. She even meets two cheerleaders named Tina and Gabbi (Cheyanne Neuenschwander and Nikki Friedberg, respectively), who are evil sexual vampires in New Landia.

“She Kills Monsters” is a giant nerd fest. If you are familiar with D & D, or similar role-playing games, it’ll be right up your Diagon Alley. If you’re not, the language can be difficult. There is some literal and figurative dragon slaying in the show.

There are some nice performances.

Starkman is an adorable Tilly, making her untimely death even more poignant. The kid’s got a lot of spunk.

Weaver is phenomenal as the craven demon boy, Orcus. Take Dr. Zachary Smith from “Lost in Space” and throw him in a blender with Just Jack McFarland (Sean Hayes from “Will & Grace) and Sweet (the singing demon from the Buffy episode “Once More with Feeling), and you have Orcus. P.S. That boy can twerk it!

Neuenschwander and Friedberg are delightful as the demon girls.

Directors Kelly Trumbull and Ricardo Vila-Roger mount an impressive production on a budget. It must be daunting to read a script and find out there’s a five-headed dragon in the finale. Brava and Bravo for rising to the challenge.

The play gets a high score for being LGBTQ friendly, but Nguyen’s script has some really juvenile moments. Damage points!

On opening night, the actors had the unfortunate opportunity to play opposite a barrage of fireworks from Pitt’s Homecoming weekend.

There are also way too many tongue-in-cheek 90s jokes, but it brought on plenty of nostalgia feels for the college crowd. Young adult audience members were highly enthusiastic about the show and leapt to their feet with a standing O.

“She Kills Monsters” has a few bad rolls, but scores high with costumes, make up and set design.

-MB

“She Kills Monsters” is at the Charity Randall Theatre, 4301 Forbes Avenue, Pittsburgh, PA 15213. For more information, click here.

 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

When headstrong Elizabeth “Lizzy” Bennet (Simone Recasner) meets the dashing but prideful Mr. Darcy (Ryan Garbayo), sparks and witty bon mots fly in Kate Hamill’s spirited adaptation of Jane Austen’s “Pride and Prejudice.”

If you haven’t read the book or seen the nine million movie versions, here’s a brief rundown:

Lizzie’s meddling mother, Mrs. Bennet (Elena Alexandratos), is determined to marry off her four daughters; Jane (Ashley Bufkin), the aforementioned Lizzy (Recasner), Mary (Andrew William Smith) and Lydia (Emma Mercier) much to the chagrin of her husband Mr. Bennet (Ashton Heyl).

Side note: Catherine “Kitty” Bennet gets the Zeppo treatment. She has been streamlined out of the play, but, like the extra Marx Brother, you really won’t miss her.

At a ball in Netherfield (that sounds naughty), Jane meets Mr. Bingley (Andrew William Smith in a dual role) and falls head over heels. Meanwhile, Lizzy bumps into Mr. Darcy. It’s the big meet-cute, but Lizzy and Darcy don’t mix well. Their first meeting is kinda like vinegar and baking soda – volcanic.

Meanwhile, Mother Bennet keeps scheming. She has a plan to marry Lizzy off to her cousin the vexatious Mr. Collins (Chris Richards in three dynamically different roles). The insufferable lout is destined to inherit the Bennet property.

Side note: In Victorian England, women were ineligible to hold on to the family home after the father passed – see every episode of “Downton Abbey.”

After Lizzy rejects Mr. Collins, he proposes to her best friend Charlotte (Heyl also in a dual role). Mrs. Bennet has the mother of all hissy fits and practically disowns Lizzy over her disdain of the pending suitors.

Then, the Jane/Bingley romance hits a snag. Lizzy keeps colliding with Darcy. Plotlines tangle up like silly string. As another English author once said, “The course of true love ne’er did run smooth.” But, luckily, it all ends pleasantly.

P.S. Thank Dionysus! There are no zombies in this version.

Hamill climbs up Barlow’s “39 Steps,” taking the adaptation in a fresh, new direction. There are a lot of dual roles, and this “Pride and Prejudice” relies heavier on farce than other iterations of the classic novel. It’s not a full-on parody, but it’s a broader, sillier take on the tale. Purists will cringe, but it’s a very accessible version of the world’s first rom-com.

Recasner has all the requisite charm and spunk of Lizzy Bennet. She is perfectly cast. Lizzy is the sun and everything in the show revolves around her. Luckily, Recasner shines brightly.

Firth fans beware! There’s a new Mr. Darcy in town. Garbayo is a strikingly handsome romantic lead. He’s a third less stuffy than the previous interpretations. To say, “He’s quite good,” would be a high compliment in Mr. Darcy’s parlance.

Bufkin’s Jane is a beauty, worthy of the platitudes heaped upon her. She does fine work as Jane. In a more comedic role, Bufkin hides under a veil and speaks gibberish as Miss Anne De Bourgh.

Smith’s dual roles are both comedic. His Bingley is giant puppy dog of a man, complete with bouncing red ball. Mary’s dialogue is a dour, pendatic yet hilarious when delivered by the tall, masculine man in a nightgown. It’s a departure for the actor, but Smith handles it with aplomb.

Richards buries himself each of his three disparate characters. Study the program carefully – you won’t believe it.

The entire cast bounces around in their various roles. They are all terrific. Some roles are so completely over the top and ridiculous it’s a little grating.  A little more subtley could really make this production astounding.

Desdemona Chiang directs the action at a frenetic pace. It’s fairly manic for an English drawing room romance While it gets preposterous in the first act, the second act is perfect. Chiang tones down the zaniness, but ratchets up the story’s emotional  resonance. Austen’s storylines take a more serious turn.  Cute little Lydia gets the short end of the stick in the novel and in the play.

The actors traipse about on a whimsical set designed by Narelle Sissons. Its a bright, colorful set that uses the O’Reilly in new and exciting ways.

“Pride and Prejudice” is a broad, silly farce, but it still carries  visceral emotional power when Elizabeth Bennet and Fitzwilliam Darcy FINALLY proclaim their love for one another, and that love, friends, is what “Pride and Prejudice” is all about.

– MB

You can catch “Pride and Prejudice” at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information, click here.

 

 

FOR IMMEDIATE RELEASE

Duquesne University Red Masquers Perform The Foreigner, the First Show of the 2018-2019 Season, written by Larry Shue and directed by Jill Jeffrey at the Genesius Theater 

PITTSBURGH, PA September 19,2018 The Foreigner hits the stage at Duquesne University! Ms. Jeffrey, an adjunct theater professor at Duquesne University and Penn State University Greater Allegheny Campus, has previously directed Orphie & the Book of Heroes with The Red Masquers and played Detective in Clue: The Musical with The Summer Company.  She currently serves as the Executive Director at Gemini Children’s Theater.

The Foreigner takes place in a fishing lodge in rural Tilghman County,Georgia where two Englishmen, Froggy and Charlie, arrive as guests. Locals have mixed feelings about “foreigners” from overly-welcoming, to calling on a local “clan” to take care of Charlie. Wrought with hilarity and silliness, this play also explores the reality that, even in today’s world, hate is all around.

The Foreigner runs October 4 through October 14. Thursday through Saturday performances begin at 8 PM, Sunday matinees begin at 2PM. All shows will be performed at the Genesius Theater at Duquesne University, adjacent to the Mary Pappert School of Music. Ticket prices on line are$16.50 for general admission, $11.50 for senior citizens, and$6.50 for students. The production is free for those with a Duquesne ID. Group rates are also available. Tickets can be purchased at the door or online at www.duqredmasquers.com

Press may request tickets by contacting Erin Fulton here.

By Mike “Buzz” Buzzelli, ‘Burgh Vivant

When Charles Wychwood (Tony Bingham), a struggling poet and author, exchanges a pack of old books for a painting in a bizarre, little curio shop, a mystery is afoot in “Chatterton.”

Way back in the late 1700s, the poet Thomas Chatteron published poems under the nom de plume Thomas Rowley at the age of eleven, but committed suicide at a seventeen. Wychwood’s painting depicts a much older Chatterton, leaving Charles and his friend Philip (Martin Giles) to speculate that the poet faked his death and lived on for years afterward, possibly forging the works of William Cowper, William Blake and others.

Just as the mystery deepens, an aging novelist, Harriet Scrope (Helena Ruoti), contacts Wychwood and asks him to help her writer her memoirs. Scrope, however, is drowning in her own guilt for plagiarizing the plots of lesser known authors.

Wychwood meets with Scrope and a variety of oddballs on his path to learning the truth about the painting much to the consternation of his wife, Vivien (Gayle Pazerski) and young son, Edward (Eamonn McElfresh or Charlie Russell, rotating the role), but the specter of Chatterton (Jonathan Visser) looms large.

Meanwhile, in the 19^th Century, the painter Henry Wallis (Martin Giles) asks George Meredith (Tim McGeever) to pose as Chatterton for his painting, “The Death of Chatterton.”

The two disparate timelines connect and converge repeatedly like a DNA double helix.

The play is adapted from Sir Peter Ackroyd’s book, “Chatterton” by artistic director Karla Boos with help from Martin Giles (as a contributor and dramaturg). Boos created and directed the event for Pittsburgh’s International Festival of Firsts, which is featuring 30 international companies and artists from 20 countries, including representation from Pittsburgh’s own arts community with never-before-seen theater, dance, music, visual arts and immersive experiences.

“Chatterton” is one of those aforementioned immersive events. At the beginning of the evening you are handed a small square of paper with a symbol on it, such as a quill, a typewriter or a paintbrush. A guide (Niko Bernstein, Kaitlin Kerr or Zev Woskoff) takes you on a journey throughout the space, sometimes intersecting with the other groups. Apparently, there is a third track that takes place in the 18^th Century that intertwines into the story (from double helix to friendship bracelet), but different audience members get different experiences.

Quantum Theatre’s tagline “Theater that moves you” has never been truer as you sprint through the halls of the Trinity Cathedral trying to catch up with the action. If you get stuck behind slow moving patrons, you will miss some of the dialogue (Arrgh! Sloths!).

At intermission, a meal is served (each week a different chef from a local restaurant or caterer).

“Chatterton” has some fantastic characters played by fantastic actors, particularly Tammy Tsai’s looney Mrs. Leno (with mannequin parts to substitute for an arm and a leg); Ken Bolden’s bitchy British queen, Pat; Alan Stanford’s greedy gallery owner, Cumberland; and McGeever’s cuckolded Meredith (shining equally well as flirty painter Stewart Merk).

Bingham does a great job as the obsessed author, Wychwood, especially in a churchyard scene with Bolden that could have been too comic and over the top, a few wry looks were enough to get the audience tittering.

Ruoti is a force to be reckoned with. She chews up even the most opulent scenery. She has a rant on death and taxidermy that is hilarious (performed with a stuffed kitty).

“Chatterton” has skillful technicians applying creative solutions with light, sound and videography.

The costumes are brilliant. Kudos to Colleen Crivello and Marlene Speranza.

The only problem with “Chatterton” is that it isn’t “Tamara.” It doesn’t have that same energy and verve. The plotlines don’t coalesce as easily.

It’s also not “Dodo” which was a magical, transformative piece of theater. It’s hard not to compare it to the treasured past productions of immersive theater.

It is, however, a fine work by talented actors, expertly utilizing the charms of the cathedral, including its minuscule but venerable cemetery.

– MB

“Chatterton” runs from September 14 to October 28 at the Trinity Cathedral, 328 Sixth Avenue, Pittsburgh, PA 15222. For more information, click here.

 

 

Beginning September 1st, 2018, Pittsburgh Shakespeare in the Parks will present Shakespeare’s comedy The Two Gentlemen of Verona for the very first time in its 14-season history. Longtime PSIP supporter and artist Charles Beikert will direct the production during the first four weekends of the month. 

The play will perform from September 1 through 23 on Saturdays and Sundays at 2 pm, moving each weekend through Frick, Highland, and Arsenal Parks.

The Two Gentlemen of Verona is believed to be Shakespeare’s first comedy and introduces the theme of heroines pretending to be men, and the foolishness of love, loyalty, and infidelity. 

“There’ll be music…and a dog in the show. I can’t think of a better way for our enthusiastic audience members and PSIP fans to spend an afternoon with us in the parks!” says Artistic Director Jennifer Tober.

Director Charles Beikert previously directed The Comedy of Errors for PSIP, and appeared in the company’s productions of Romeo and Juliet and As You Like It.  He has also appeared on stage with several theatre companies in Pittsburgh including City Theatre and UnSeam’d Shakespeare Co.  Beikert’s approach to the staging of Two Gentlemen will focus on the slapstick and physical humor within the play, drawing upon such inspirational comedic styles of Lucille Ball, the Marx Brothers, Buster Keaton, and Bill Irwin. 

“We’re going to get silly, people! We and the audience are going to put aside the daily grind and the concerns of the contemporary world and rock out to some classic comedy,” says Beikert. “Pittsburgh loves Shakespeare and we’re delighted to bring our hilarious performances into our gorgeous city parks.”

The cast includes Charles David “Stoney” Richards (Antonio, Outlaw et al), a radio personality at CBS (WDSY-FM and KDKA) and an actor who has appeared in many films and tv shows, as well as in theatre Off-Broadway, in L.A., and locally in Pittsburgh, and PSIP Artistic director Jennifer Tober as the comedic servant Launce. 

PSIP favorites Nick Benninger as the protagonist Proteus and Bob Colbert as the hyperactive servant Speed will also entertain, with Liz Farina, Sadie Crow, Christine McGrath, Jahir Christian, and Brett Sullivan Santry, rounding out the cast. 

Longtime PSIP collaborator Lisa Leibering serves as Production and Costume designer (Comedy of Errors, Supernatural Shakespeare, King Lear, As You Like It, Romeo & Juliet). 

PSIP will celebrate the run of The Two Gentlemen of Verona during closing week with a Bantaam Night at Wigle Whiskey’s Barrel House, Wednesday, September 19, from 6 pm to 9 pm. Actors and PSIP team members will cavort and entertain throughout the evening. A portion of proceeds from the evening’s food and beverage purchases will support PSIP’s offering of free Shakespeare performances for all.

PSIP’S TWO GENTLEMEN OF VERONA PERFORMANCE SCHEDULE:

The first four Saturdays and Sundays though September – all shows at 2 pm, running approximately 90 minutes with no intermission.

Sept. 1-2  – Frick Park, Blue Slide playground, Beechwood Blvd. and Nicholson St, Squirrel Hill. Enter from 2500 block of Beechwood at Nicholson.

Sept. 8-9 – Highland Park, across from the Super Playground, Reservoir Drive.

Sept. 15-16 – Arsenal Park in Lawrenceville, 40th St. between Penn Ave. and Butler St. Enter from Penn or 40th.

Sept. 22-23 – Frick Park, Blue Slide playground, Beechwood Blvd. and Nicholson St., Squirrel Hill

Audience members are encouraged to bring folding chairs or blankets and a picnic. All shows are family-friendly and admission is FREE.  Donations are encouraged to support free Shakespeare in Pittsburgh city parks. Friendly dogs are also welcome.  Productions are “rain or shine” expect in the event of dangerous storm conditions.

Pittsburgh Shakespeare in the Parks was founded in 2005 by Artistic Director Jennifer Tober and has offered FREE Shakespeare productions to thousands of Pittsburghers since its inception.

For more information, visit www.pittsburghshakespeare.org