'Burgh Vivant

By Michael “Buzz” Buzzelli

Alan Stanford celebrates PICT Classic Theatre’s new season by staging his own death (every night the rest of the week and in a Sunday matinee) in a loosely structured murder mystery, “Murder at the Craft House: Who Killed Alan Stanford?”

When PICT Classic Theatre’s Artistic and Executive Director swigs a potent glass of Jamison (is there any other kind?), he discovers, far too late, that the Irish whiskey has been poisoned. He has been murdered! But now the game is afoot!

Is it Aloysius (James FitzGerald), the arrogant butler? Fergus (Martin Giles), the cantankerous caretaker? Or is it squeaky Cecile (Paige Borak), the house maid? Can it be the host and mistress of the house, Christina Craft (Sarah Wojdylak), or her twisted sister, Imogen (Ashley McKinney)? Even Detective McBurney (Michael McBurney) is a suspect in the crime he’s attempting to solve.

Guests traipse about the grand home seeking clues and munching on some tasty nibbles (the cupcakes outnumbered the clues by ten to one). Ironically, you could nosh on salmon while trying to decipher a red herring.

At one point it was difficult to ascertain the guests from the actors as some slightly eccentric characters were really just PICT supporters.

But the actors are delightful, improvising their alibis. Gee! It was fun watching McBurney and Giles verbally spar with gusto (and alliteration).

McKinney is absolutely looney as the unhinged Imogen. Imogen carries a doll also named Imogen, who she treats as real. The doll can’t seem to keep her underpants up. While the flesh and blood Imogen can’t seem to keep up hers around the distinguished yet difficult butler, Aloysius. Is it a clue? It doesn’t really matter. It’s silly and hilarious.

Each actor remained in character throughout the performance. During the big reveal Giles started to crack, but it was reminiscent of “The Carol Burnett Show,” where Harvey Korman couldn’t keep it in, while Tim Conway rambled.

The actors relied on detailed histories created for them by Gayle Pazerski. Each character had an elaborate tale to weave.

Are there enough clues laid out for you to solve “Murder at the Craft House: Who Killed Alan Stanford?” Probably not. You couldn’t swing a dead cat without hitting a red herring (an intentional obfuscation). While Alan’s murder is eventually solved, the mystery of the poisoned pussy remained (someone offed a fictitious cat).

The true star of the evening was the illustrious setting. The Charles Craft House was built in 1900. The town of Crafton was named after the Charles Craft, son of the frontier attorney, James S. Craft. The junior Craft was the first burgess of the town that bears his family name. The stately home is elegantly appointed by the real hostess of the evening, Eileen Clancy.

“Murder at the Craft House: Who Killed Alan Stanford” is a delightful way for PICT Classic Theatre to introduce their new season.

“Murder at the Craft House: Who Killed Alan Stanford” runs all weekend at the Craft House, 8 Alice Street, Crafton, PA 15205. For more information, click here.

By Mike “Buzz” Buzzelli, ‘Burgh Vivant

High in the Mirama Hills between Uganda and Rwanda, a young American, David (Scott Parkinson) encounters God’s Blessing (Patrick J. Ssenjovu) and their lives are forever changed in play “Red Hills” by Sean Christopher Lewis.

Years pass, but neither David nor God’s Blessing can put the life-altering events of their chance meeting behind them. David writes a book about his experiences, a tumultuous meeting with the Rwandan boy during the genocide of his people in 1994.

When God’s Blessing wanders into a bookstore, he discovers he is featured in the aforementioned book. He does not agree with the author’s depiction of the dark events and asks David to come to Rwanda to get the bigger picture.

David navigates his way to the African nation, and greets God’s Blessing with luggage in hand. The two men set off on a spiritual journey to discover the other’s perspective.

David recalls his earlier African visit. In 1994, he was a young man who stumbled into missionary work because of a pious and beautiful young woman named Mary (Ava Kepple). On the riverbanks, while washing the collective clothes of the other young missionaries, David and Mary meet God’s Blessing.

The young Rwandan hopped on a bike and hightailed it out of his country in the wake of the genocide. He begs Mary and David to help him find his parents. While David is reluctant, Mary charges into action. The three set out to reunite God’s Blessing with his family.

In the present, David and God’s Blessing reveal tragic secrets to one another. Each suffering in their own ways.

The story toggles between their diametrically opposed points of view.

A few audience members are singled out and fill in as extras (on opening night, Bruce Crocker filled in as a cab driver, and Ed Scheid played a Hutu, both in silent roles). The entire audience participated in several call-and-response moments.

The play hinges on the talents of its two main characters. Ssenjovu is charismatic and charming as the Rwandan. God’s Blessing is a happy-go-lucky tour guide on the surface, but a cauldron of boiling rage underneath. He’s ready to bubble over on David for his misrepresentation of the facts. He is more than a victim of the Tutsi massacre. His  performance is visceral, enchanting.

Parkinson does a fine job as well. He vacillates between the two versions of the character; the frightened young missionary and the angry professor who studies, of all things, forgiveness. The final scene is heart-wrenching. It’s another skillful performance.

Kepple’s ephemeral Mary is dichotomous. She is sweet and brash. She is equal parts devout Christian and blossoming young woman. Her appearance in the play is handled in a unique way. It’s safe to say her performance throughout the run will be unwavering. No spoilers, sweetie.

Lewis has written a powerful work on love, hate and forgiveness, deftly directed by Katie Pearl.

As in all Quantum Theatre shows (in collaboration with En Garde Arts, New York), it’s an immersive theatrical experience in an unusual space. “Red Hills” is performed in a scrapyard, the Recycling Building in the Strip, red clay and rusted vehicles define the space. High marks for Deb O who handled scenic and costume design on the production.

Todd Brown’s lighting design and Steve Shapiro’s sound design add depth and resonance to the performances. Additional material is supplied by  Joe Seamans and his media design which excellently creates character, mood and environment.

American author and humorist Mark Twain (Samuel Clemmons) once said, “Forgiveness is the fragrance that the violet sheds on the heel that has crushed it.” The beautiful scent of “Red Hills” rises up from two shattered souls. While we revel in the exquisite aroma, we never forget where it comes from.

“Red Hills” reveals deep truths about love, hate and forgiveness. It’s also a glorious work of art.

You can see “Red Hills” on the corner of 32^nd Street and Smallman in Pittsburgh, PA. For more information, click here.

The Silver Theater Project is proud to announce their first in a monthly series of Salon Style play readings by local performers, 40 and over, of plays written by local playwrights, 40 and over.

This event launches the brainchild of Michael McGovern, who felt that there is a need in Pittsburgh to create opportunities for older writers and performers to have their voices heard, both literally, and by the pen (or in this age, the computer word processing program). There is a lack of material that engages the older generations, as well as a lack of opportunities for the mature performer to show that they still have the chops, and The Silver Theater Project’s aim is to fill that void.

The plan for the company is to stage a series of monthly Salon Style readings to raise awareness of the group, to begin to build a base audience, and to begin the fundraising process. Readings will be held in September, October and November, taking December off for the holidays, leading to a fundraising event in February, followed by an ‘Ageless’ Cabaret, and leading ultimately to a full staged production in the fall.

The first two plays on their roster will be ‘Coffee and Kisses’ by Michael McGovern, and ‘Retrospect’ by Kim El.

‘Coffee and Kisses’ Is a short play in four scenes. Are coffee shops the new singles bars? And is love still magical? Find out the answers in this delightful comedy of manners. If you like old Cary Grant/Katherine Hepburn movies you’re going to love the romantic antics of these crisscrossed lovers!

‘Retrospect’ is a short play that centers around a family of three African-American women, the matriarch Aunt, and two nieces, one hard hitting career gal, and one devoted mom, as they gather for a special Mother’s Day brunch.

Michael McGovern received his BFA in Theatre from Point Park College and his MFA in Playwriting from Carnegie-Mellon University. While at Carnegie-Mellon his play Ireland’s Shakespeare won the Bud Yorkin Award.

His work has been performed at such diverse theaters as the 13th Street Theatre and The Nat Horne Theatre in New York, the Pittsburgh Playhouse Jr., Bricolage, Prime Stage, and Rage of the Stage in Pittsburgh. His short play PREPARING BANQUO was a favorite in his Beat Cabaret series.

Kim El is a Pittsburgh-born poet, playwright, actor and director with extensive stage and technical experience in various venues including theater, educational facilities and social organizations. She uses words and movement to stimulate human consciousness. Her theatrical experience has been developed from various venues in the city, including New Horizon Theater, Pittsburgh Playwrights Theater Company, Kuntu Repertory Theatre, Bricolage Production Company, No Name Theatre, The Shadow Lounge and Quiet Storm Coffee House. Included in her repertoire are two full length plays, Turnabout and The Poet’s Corner (co-written with playwright, KL) and nine one-acts, You Must Be Outta Your Mind, No Kiddin, Speakeasy, Just Fishin, The Sunday God Gave Me, Detention Wish, Habari Gani! Children Celebrating Kwanzaa, When Souls Whisper, and this evening’s piece, Retrospect.

The reading will be held at The Glitter Box Theater located at 460 Melwood Avenue, in Oakland. Doors will open at 7 pm, and the readings will begin at 7:30. As admission, the Salon readings have a suggested donation of $10.

For more information, connect with The Silver Theater Project here.

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

Since her ascension to the throne in 1952, Queen Elizabeth, II (Allison Cahill) has held weekly meetings with Great Britain’s Prime Ministers from Sir Winston Churchill (Eric Mathews) to Gordon Brown (David Hoffman). Those appointments are depicted in Peter Morgan’s play, “The Audience.”

Think of them as the queen’s dirty dozen. Some of them are dirtier than others.

Historical side note: Theresa May doesn’t make the cut because the play premiered in 2013 at the Gielgud Theatre in London’s West End, before her tumultuous takeover after Brexit.

There’s not much to say about the story of “The Audience.” There really is no plot, just a series of historical sketches; dramatic encounters between the queen and country. Sometimes the queen reminisces about her earlier life and has conversations with her younger self (an absolutely adorable Madeline Dalesio).

Imagine being a time-traveler dropping out of the time-stream at various points in history and listening in on these important social gatherings without a calendar. One minute you’re eavesdropping on Elizabeth’s cordial visit with Harold Wilson (Joe Eberle) and the next you’re at a pivotal meeting with Anthony Eden (Bracken Burns), who’s Machiavellian back-dealings lead Great Britain into the Suez Canal Crisis.  Watching the play is a little jarring. You are bounced around like Dr. Sam Beckett without Al and Ziggy to tell him where – more importantly – when he is. Another notable time-traveling doctor would diagnose it as “It’s wibbly-wobbly timey-wimey stuff.”

Some sections of the play drag on, such as the aforementioned fiasco with Eden and the Suez Canal. Other scenes are on fire, particularly the volatile encounter between Queen Elizabeth and Margaret Thatcher (Patricia Cena Fuchel). Some scenes are also purely delightful such as the queen’s dealings with Labour Party PM James Harold Wilson – the man of the people.

The scenes with Young Elizabeth give interesting insight into the girl who would be queen. Young Elizabeth is more playful than petulant. She is willfully hoping to avoid wearing the crown, frustrated by her tightly scheduled life, like Princess Ann (Audrey Hepburn) in “Roman Holiday.” Elizabeth grows up quickly, however, when  the fourteen-year-old princess delivers her speech to the children of the Commonwealth in 1940.

Act I closes on a the Coronation of Queen Elizabeth, II in 1953, a solemn and stately affair. Kudos to director Ponny Conomos Jahn, costume designer (and queen) Cahill, technical director Jared Pfennigwerth  and the rest of the production team for infusing the scene the right amount of pomp and circumstance.

The weight of the play falls on the shoulders of the queen. William Shakespeare would remind us that “Uneasy lies the head that wears a crown,” Cahill carries it with aplomb.  She does a terrific job.

Side note: It’s a glowing account of the queen’s life. While the playwright tries to capture Queen Elizabeth’s complexities, she is portrayed as charming and likable with a hint of mischief. It’s an uneven account of the woman’s life. It mostly sidesteps her bitter rivalry with Diana and never mentions Camilla Parker Bowles by name.

Thatcher, of course, comes off like a badass. She is marvelously rendered by Cena Fuchel in her brief moments on stage. The two women wrestle for power in an energetic and vibrant scene. Thatcher is blustering and bullying as Elizabeth deftly deflects with wit and grace.

Personal aside: Growing up and hanging out with punks in the mid-to-late 80s, it seems completely incongruous to make the demand, “More Margaret Thatcher, please,” but the play really could another heaping helping of the Iron Lady. Cahill and Cena Fuchel are a dynamic duo.

While there is a string of male Prime Ministers that walk in and out of Elizabeth’s long life, there are two more notable performances, Mathews’ Winston Churchill and Eberle’s Harold Wilson. Her relationship with Churchill is contentious, and the tension is palpable.

The scenes with Wilson are thoroughly enjoyable.  The queen seems keen on the intelligent, affable Wilson, deftly played by Eberle.

Queen Elizabeth, II once said, “Good memories are our second chance at happiness.” “The Audience,” while not a cohesive whole, should produce some very good memories.

“The Audience” runs through August 26 at the Little Lake Theater, 500 Lakeside Drive, Canonsburg, PA 15317. For additional information, please click here.

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

When Roxie Hart (Lexie Rohlf) shoots her lover Fred Casely (Dylan Berkshire) and begs her husband, Amos (Tyler Handford), to take the blame, it’s only a matter of time before the sultry sex kitten gets locked up in the big house in Broadway’s iconic musical, “Chicago.”

In the slammer, Hart encounters vixen Velma Kelly (Rebecca Kaufman Taylor) and a classic rivalry begins. Both femme fatales are pleading for the same lawyer, Billy Flynn (Jeremy Kuharcik) to take their respective cases. For the right price, Flynn will defend them, but he is only interested in the publicity and cold cash.

The villainous duo compete for everything. They both try to sidle up to Big Mama Morton (Kellie Wilson), and pander to star reporter Mary Sunshine (Matt Fawcett). They are both filled with lust for fame and fortune. Neither of them, however, know the difference between fame and infamy. But Hart and Kelly live by Oscar Wilde’s famous aphorism; “There is only one thing in life worse than being talked about, and that is not being talked about.”

The duo are quickly upstaged by Go-to-Hell Kitty (Melissa Murtha), a villainess even more ruthless than both of them combined. Then, Roxy comes up with a devious plan.

Side note: The musical has been around since 1975, but there will be no spoilers here.

Check out a sneak peek of “All that Jazz” here.

t’s an exceptional production mostly due to its leads, Rohlf’s Roxie and Taylor’s Velma.

Rohlf’s Roxie is engaging, literally charming the pants off of her string of paramours. She is fearless, fierce. This Roxie has moxie. Rohlf pulls it off effortlessly.

Not to be upstaged, but Taylor’s Velma is outstanding. She hits every note with style and panache. She is very charismatic. Her dance moves are sharp and precise. It’s a flawless performance.

Director John F. Wagner, III cast well. His choices for Flynn (Kuharcik), Mama (Wilson) and Mary Sunshine (Fawcett) are pitch perfect.

Kuharcik exudes charm as the smarmy lawyer. Dazzling the audience with the greatest of ease as any great Billy Flynn can. He plays the beguiling Film-Flam man with aplomb.

Wilson’s Mama has the smoky, husky qualities to her voice that make her a spot-on pick.

Fawcett is operatic as Mary Sunshine. To say more would spoil some of the surprise.

This production’s rendition of “Cell Block Tango” is masterful. The number is early in the show and easily convinces the audience they are in for a helluva good time.

The show is not without flaws. It is overstuffed with extras. That said, Brennen Malia pushed his way out of the background with some very fluid and precise dance moves. He was an extra who stood out from the others. He also has some cute comic bits as “The Jury.”

There is one GLARING problem with this production. There’s a little too much razzle dazzle from lighting designers Jeremy Rolla of Vincent Lighting. Several times during the show, the audience is assaulted by lights so bright, you’d think you were having a Close Encounter of the Third Kind. If you’re going, shield your eyes during at top of the show and the beginning of act two. A blinding red light will melt your eye sockets.

However, with the delivery of the snappy dialogue, the crisp movement of the choreography and star turns for Taylor Rohlf and Kuharcik make this “Chicago” a winner. It’s a bit far from Pittsburgh, but the theater is grand, elegant and worth the trip.

“Chicago” runs July 29 and 30 at the State Theatre Center for the Arts, 37 East Main Street, Uniontown, PA 15401. For additional information, click here.

– MB

By Michael “Buzz” Buzzelli, Burgh Vivant

Moriah Ella Mason gives us the dirty details of working as a stripper in her one-woman show “Sex Werque.”  The show may be dirty with a capital D, but it’s a dark and surprisingly humorous journey into the seedy underbelly of this special brand of American entertainment.

Mason, who wrote, choreographed and performed the show, tries to answer the question, “Why do women take their clothes off for money?” Her answer is complicated, misleading, and an almost unending series of lies.  The real answer is; “Because they can.”

While strippers exist in some realm of fantasy, Mason shows us how real she really is. She will be the first to tell you that she is tall, gangly and small-breasted. When she dances, she is divine, beautiful; a writhing work of art.

When Mason is on the pole, she defies gravity in a way that would make Elphaba green(er) with envy. She contorts while moving upward and downward on the steel post, pushing and pulling her body effortlessly.

There are some extremely light moments, unexpected bursts of sharp wit and some general silliness. You will learn your stripper name, and share it with other audience members.

Side note: Mason uses the most trusted formula of your-first-pet plus the-street-where-you-grew-up equals your stripper name. Since I was Turtle Saranac, who I assume is a WASP from Long Island, I decided to go with my favorite flavor of ice cream, Cherry Vanilla.

Video artist Liz Barentine provides interstitial material of strippers discussing the ups and downs of life on the stripper pole. The women are shot from the neck down, and while you will see an occasional bare breast or naked buttock, you never see their faces.

J.F. Winkles and Eric Weidenhof perform music to her movements (and make a brief appearance on center stage).  The musicians gel together quite well. Winkles’ provides some additional recorded music – let’s call it ‘recorded sounds’ since it’s a bit grating to the ear; industrial noises that sound like a passel of pigs partying in their pen.

Mason’s perspectives may not be new (everything you imagine happens in a strip club does really happen), but it’s candid, raw and sometimes unsettling. The show isn’t just tits and ass, but it’s a unique look into a private world.

“Sex Werque” runs this weekend (July 27, 28, 29 and 30) at the Carnegie Stage, 25 W. Main Street, Carnegie, PA 15106. For additional information, show times and tickets, click here.