Bullet Points  – a review of “The Gun Show (Can we talk about this?)

Mike Buzzelli

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

An actor (Andrew William Smith) speaks for a playwright (E. M. Lewis) and her relationship with guns, both positively and negatively, in E. M. Lewis’ “The Gun Show (Can we talk about this?).”

The actor shines a flashlight on the playwright sitting in the audience, claiming he is speaking her words. From that moment on, her multi-layered relationship with firearms unfurls in five personal stories throughout the course of the evening.

The actor shares her story, recounting it as if it is her own. It is a tale told with humor and honesty.

Lewis tries to move past the pundits on the issues, claiming that the talking heads on CNN and Fox can only shout at one another from their extremely distant corners. She lambasts the ultra-conservative gun owners on the right and the granola-crunching hippies on the left. She tears into the problem discussing the very real division between liberals and conservatives on the issue.

She ponders, through the actor’s voice, “What about the rest of us? What about the people in the middle?”

Growing up in rural Oregon, she makes a clear case for the need to own a gun. While, on the other hand, she tells a deeply moving story about how a gun changed her life forever.

After the performance, there is a talk back session wherein the audience can engage in the conversation.

Andrew William Smith shows off the script in “The Gun Show.”

Some of Lewis’s stories connect to the larger whole – some feel like tangents, but it is a bold and thoughtful 60 minutes on stage. The show is designed to provoke.

There is an unusual dynamic between the actor and the writer. There’s an homage to Nassim Soleimanpour’s “White Rabbit Red Rabbit” where the actor seems to be reading instructions for the first time, making the show feel very “in the moment.” Here, however, it’s a scripted trick, but it feels authentic. It works because Smith does a magnificent job pulling it off.

There is an awkwardness as the very male Smith expresses Lewis’ romantic feelings for her husband. It is a moment that is meant to convey unease, It is a separate conversation we need to have about masculinity and femininity.

Sequel?

Sheila McKenna keeps the story moving – literally and figuratively. The director allows Smith full use of the theater (stage and auditorium), instead of planting him behind a desk or on a chair the whole time.

There are a few props from Tucker Topel and the playwright. Lewis shares photos and other memorabilia for her life.

Another author named Lewis – C.S. Lewis – once said, “I seemed to hear God saying, ‘Put down your gun and we’ll talk.’”

It’s time to talk.

-MB

“The Gun Show (Can we talk about this?) runs through March 3 at various locations. For more information, click here.

 

Review: OLD MAN AND THE SEA, The Rep, Pittsburgh Playhouse

Lonnie the Theatre Lady gives her take on THE OLD MAN AND THE SEA, produced by The REP at The Pittsburgh Playhouse, adapted by A.E. Hotchner and Tim Hotchner, based on the novel by Ernest Hemingway, and directed by Ronald Allan-Lindblom. See it at The Pittsburgh Playhouse through February 17, 2019. For tickets and more information, visit www.pittsburghplayhouse.com.  Photos by John Altdorfer.

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An Interrupted Life – a review of Etty

Mike Buzzelli

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

During the Nazi occupation of Holland, Esther “Etty” Hillesum (Susan Stein) is encouraged by her unconventional therapist, Julius Spier to keep a diary of her innermost thoughts in Susan Stein’s “Etty.”

Etty spills her life out in her journal. She is very forthright in describing her passions on the page. She writes about her lover Han and her affair with the very therapist that recommended that she write the diary in the first place; the brilliant and eccentric Julius Spier.

Her life takes an unfortunate turn when she is shipped off to Westerbork, a transit camp where Jews were interned before being deported to concentration and extermination camps in Eastern Europe.

As her rights are slowly stripped away, Etty finds her strength and power through her writing. It’s a powerful piece of the Holocaust literature.

Esther “Etty” Hillesum looking off wistfully, surrounded by her beloved books.
Etty (Susan Stein) writes in her diary.

Stein is the actor and playwright in “Etty.” She has been working with the diaries for years and is deeply invested in Etty’s story. She immerses herself in the part.

She embodies the writer. It’s a moving portrayal of the interrupted life of Etty Hillesum.

There is practically no scenery. It’s Stein on a stage with a suitcase (she sometimes uses as a chair). She doesn’t need anything else. She paints a very vivid picture of Etty’s life without props or scenery.

It’s a very educational piece of theater.

Austin Pendleton directed the sparse one-woman show.

Side note: There is a milder, PG-rated version that Stein performs for middle-school and high school kids. Like “The Diary of Anne Frank,” the play seems like a perfect educational tool to engage children in learning about the horrors of the Holocaust.

The play is a brisk 52 minutes with a talk back at the end of each performance. In the talk back, Stein becomes herself again, freely chatting about all the things she wanted to tell us about Etty, but didn’t get into the actual play.

She lights up discussing the woman and her art. Stein speaks of her meeting with Hertha, Julius Spier’s finance. Though the elderly woman is in the throes of dementia, she vividly recalls her encounters with Spier and Hillesum. It was fascinating to hear about Stein’s moments with the survivors of that horrible time in our history.

Stein’s conversation with the audience was even more brilliant and exciting than the show itself. She shines when casually chatting about the woman and her work. It’s rare for any reviewer to claim that they loved the talk back even more than the show, but here we are.

The Holocaust is a shameful period of human history, but as philosopher George Santayana said, “Those who do not learn history are doomed to repeat it.” Sadly, it seems as relevant and important as ever.

“Etty” runs through Sunday, February 10 at the Carnegie Stage, 25 West Main Street, Carnegie, PA 15106. For more information, click here.

 

 

Warren Peace – a review of “Run the Rabbit Path”

Mike Buzzelli

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

A father wants his adult children to become their best selves before moving away from them forever in Ray Werner’s world premiere play, “Run the Rabbit Path.”

Pop (James FitzGerald) sits in the kitchen as noodles dry on the table before him. His daughter, Patty (Karen Baum), stirs a vat of chicken noodle soup.

She’s not really ignoring him, because he’s not really there. Pop died the day before, a few feet away from where he sits in the kitchen, waiting.

As her father’s caretaker, the last few months of Patty’s life have been a blessing and a burden. She plans the funeral as her family rolls in.

Patty’s brothers Charlie (Reed Allen Worth) and Tommy (Tony Bingham) make their way home.

They bring little physical luggage (Charlie carries his guitar, and Tommy comes only with his cell phone in hand), but they bring heaping piles of emotional baggage. Charlie is sort of adrift, and Tommy is harboring a dark secret.

None of them can see or hear Pop. Sometimes the ghost makes suggestions that nudges them along in the right direction. They don’t see him or hear him, but they do feel his presence.

As in all stories, a secret will out. This particular skeleton in the cupboard has the potential to irrevocably change the lives of all the siblings forever.

Hint: The secret involves the hill behind their home where Pop and Tommy once hunted rabbits with their faithful hunting dog along the rabbit path.

Alan Stanford gathered four exceptional actors for the play, and each one of them elevates the work.

Baum is magnificent as the tough but tired older sister. She has a daunting task in this production. She has to be stubborn but sweet, cranky but conciliatory, frazzled but firm. It’s a high wire act, and she’s a flying Wallenda.

Bingham’s character Tommy has a lot of work to do. Tommy isn’t very likable. On paper, he comes off as smarmy business dude, but Bingham imbues him with a certain charm.

Worth is newer to the PICT stage. He performs perfectly alongside some of Pittsburgh’s best actors.

FitzGerald’s character is unheard and unseen. It’s a tough spot. It’s as if two shows are happening simultaneously. A family drama with a one man show hanging out on the same stage. FitzGerald pulls it off with aplomb.

“Run the Rabbit Path” is a world premiere and Werner has some kinks to work out if he plans on taking the show elsewhere. Even at 90 minutes, it feels a little long. There is no central hero or central villain, just four people coping with life and death. It’s a familiar subject and will touch each person differently. It’s especially moving if you’ve ever lost a parent.

It’s “This is Us” meets “Topper” with a little “Law & Order: Special Victims Unit” thrown in. It’s a serious drama and has very few laughs. There is, however, some lovely poetry woven in.

“Run the Rabbit Path” has a sweet, poignant ending, but it takes a little too long to get there.

-MB

PICT Classic Theatre’s “Run the Rabbit Path” runs through February 16th at WQED’s Fred Rogers Studio, 4802 Fifth Avenue, Pittsburgh, PA. For more information, click here.

Brave new world – a review of “The Tempest”

Mike Buzzelli

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

A woman, in a hospital bed in Pittsburgh, is dying from late-stage breast cancer. She dreams of a magical island where she can exact revenge on her enemies and protect her daughter from the outside world. Nearing the end of her life, the audience is whisked away to the stormy isle inside her cavernous imagination in a beautiful retelling of William Shakespeare’s “The Tempest.”

Is the story just a dream?

To quote legendary comic book writer, Alan Moore, “This story is imaginary…aren’t they all?”

All stories are as real as we want them to be. And Shakespeare’s tale is simultaneously very real and very fantastical.

Prospero (Tamara Tunie) wields powerful magicks to protect Miranda (Kerry Warren). When she spots a boat carrying her sibling and rival, Tonio (Rami Margron), she summons a storm to sink the ship. Lightning flashes! Thunder strikes! The ship wrecks! The crew is scattered about the isle, marooned, grieving for their compatriots, unaware that many of them still live!

Pospero has two magical creatures in his service, a nymph, Ariel (Janelle Velasquez) and an unexplainable humanoid creature, Caliban (Shammen McCune).

On the isle, one cluster from the shipwreck includes the queen, Alonso (Deena Aziz), her advisor, Gonzalo (Laurie Klatscher), Sebastian (Aryana Sedarati) and the aforementioned Tonio. The shipmaster, Trinculo (Jamie Agnello), and the boatswain, Stephano (Bethany Cuputo), are marooned elsewhere on the island. The queen’s contingent is menaced by Ariel. While the shipmates Trinculo and Stephano encounter the woeful Caliban.

Meanwhile, the queen’s child, Ferdinand (Rad Pereira) is similarly marooned, but Ferdy isn’t tortured by sprites or dealing with monsters. Instead, the queen’s first born happens upon Miranda and a romance blossoms.

The situation gets desperate for all of the castaways until Prospero has a change of heart and vows to no longer use magic, even though the magic is keeping Prospero alive.

Tamara Tunie as Prospero Photo credit: Michael Henninger
Shammen McCune as Caliban Photo credit: Michael Henninger
Janelle Velasquez as Ariel. Photo credit: Michael Henninger

Marya Sea Kaminski directs the thrilling adaptation, casting women in all the roles. Correction: Casting amazing performers for each and every role. Every. Role.

The stage crackles with energy and vitality throughout the entire show.

For hundreds of years, from the ancient Greeks through Shakespearean times and beyond, actors were male. Holy Peg Hewes! This production is long overdue.

We might not ever need men on stage again. It is, indeed, a brave new world!

Tunie is dynamic. She plays Prospero not as a wizened wizard but a powerful conjurer, more Storm of the X-Men than Gandalf of Middle-Earth.

Kaminski abbreviated several scenes, especially the ones with the Trinculo and Stephano, but a truncated Trinculo and a shortened Stephano served the show well. The clowns were never funnier. Caputo and Agnello kept the audience in riotous fits of laughter nearly every moment they were on stage.

Pereira and Warren were a sweet pairing, reminding us that it doesn’t matter if it’s a man and woman…love is love.

Klatscher and Aziz have a different kind of chemistry. You can feel the affection from the back row. It’s Philia instead of Eros, but it was just as palpable.

McCune is remarkable. Caliban is a creature whose soul is crushed by years of servitude, desperately yearning for freedom. Her anguish is visceral.

There were other incredible elements that made “The Tempest” magnificent.

The O’Reilly is magically transformed by L.B. Morse’s scenic and multimedia design. Craggy gray rocks jut skyward with Prospero’s parapet (say that five times fast) peeking out on top. At the very beginning of the play, a Fast-Mo Pittsburgh cityscape is gloriously projected onto the slate backdrop. It is breathtaking.

Morse was aided by Nicole Pearce’s lighting design and sound design by Andre Pluess and stunning costumes by Nephelie Andonyadis.

There were some mind-boggling visuals in the show, including a fierce harpy that issued out a dire warning, with flaming red eyes and billowy wings. It was Julie Taymor-esque (that’s a thing now).

“The Tempest” is not one of Shakespeare’s finest plays (come at me). “Hamlet,” “MacBeth,” “Romeo and Juliet” and “Midsummer Night’s Dream” get the top honors. “The Tempest” has several flaws. Prospero has a sudden change of heart that comes out of nowhere. There’s a lot of extraneous plotlines that seemingly go nowhere. And blah, blah, blah.

That said, it’s a spectacular production. Kaminski frames the story in a unique way enhancing the pathos.

“The Tempest” was the stuff that dreams are made on.

-MB

“The Tempest” runs through February 24 at the O’Reilly Theater, 622 Penn Avenue, Pittsburgh, PA 15222. For more information, click here.

 

American Dreamer – a review of “Where Did We Sit on the Bus?”

Mike Buzzelli

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

Brian Quijada (pronounced Key-Hada) describes his search for his own identity growing up as the son of two illegal Salvadoran immigrants in suburban Illinois in his multimedia solo show, “Where Did We Sit on the Bus?”

The show is all Quijada. The set is a plain white square stage adorned with a table and chair. The table, however, has laptop, microphone, Loop Station (more on that later) and a child-sized guitar not much bigger than a Barbie doll.

Quijada shares his life on stage. He starts with the time he proposed to his Austrian Swiss girlfriend and works backward. He goes…all the way back! He reenacts the minutiae of his birth, literally and figuratively. Spermatozoa meets egg. Boom. Heartbeat. Birth.

A birth described in dramatic, gory and hilarious detail.

Quijada beat-boxes through his tale, with an assist from the aforementioned Loop Station, which reproduces and repeats the sounds he makes with his voice, giving his dramatic life story a hip hop flare. He expresses significant moments in his life with rhythms, raps, songs, poems, spoken-word pieces and dance. The dude can move.

The title comes from a third grade classroom lecture on Rosa Parks during Black History Month. Quijada ponders, “If the blacks had to sit in the back of the bus, and the whites got to sit in the front of the bus…where did we (Latinx) sit on the bus?”

The author-performer recalls his teacher saying, “Latinos weren’t around then.” The answer flipped him out, leading him to erroneously believe Latinos did not have a part to play in any aspect of American History.

Side note: In Pittsburgh, we are, at least, taught about one Hispanic hero: Roberto Clemente, a Puerto Rican baseball player who died in a plane crash on his way to help earthquake victims in Nicaragua. Arriba! Arriba!

Brian Quijada plays his mini guitar, singing about his love of theater.

Quijada is a tour-de-force. He is energetic, buoyant and charismatic. He moves around the stage with aplomb and grace. It is a riveting performance.

“Where Did We Sit on the Bus?” is a tight 80 minutes with no intermission, expertly directed by Chay Yew.

There’s some excellent lighting and projection design by Diane D. Fairchild and Liviu Pasare. Quijada who wrote and starred in the show also did the sound design.

All art is political and Quijada is a Dreamer, born to illegal Salvadoran immigrants. He does discuss the hateful rhetoric around “the Wall.” It is a powerful and poignant moment, and it touched my Liberal Bleeding Heart.

If you own a MAGA hat, you might want to check it at the door. This show may not be for you.

It is, however, for everyone who has ever believed the American Dream is for anyone and everyone who pursues it.

– MB

“Where Did We Sit on the Bus?” plays until February 24 at the City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. For more information, click here.

THE LEGEND OF GEORGIA MCBRIDE opens barebones productions’ 2019 season

barebones productions will open its 2019 Season with The Legend of Georgia McBride. Written by Matthew Lopez and directed by Patrick Jordan, The Legend of Georgia McBride runs from February 14, 2019- March 9, 2010 in the Barebones Black Box in Braddock.  The Opening Night performance is Valentine’s Day, Thursday February 14m 2019.

Georgia McBride focuses on Casey, an Elvis impersonator who loses his job and adapts to drag performance in order to pay the rent and support a baby on the way.  He transforms from “The King” into a queen with the help of some new friends who become the second family he never saw coming.

“This is a bit of a departure for us” says Patrick Jordan, barebones Artistic Director. “While still exploring socially relevant and of-the-moment themes, we wanted to bring a message of self-love into the forefront to open this Season. We’ve all been so beat-up lately with the barrage of negativity and conflict- we found the perfect piece that brings themes of acceptance and transformation. We’re at an important time in history right now where we are rewriting what it means to be yourself.” Jordan continues “In addition it’s a chance to really let our hair down here – it’s going to be fun.”

The cast features Andrew Swackhamer (Casey), Shua Potter (Ms. Tracy Mills), Justin Lonesome (Rexy), and Sara Williams (Jo).

The creative team includes Andrew David Ostrowski (Lighting), veteran costumer, Ange Vesco, LaTrea D. (Choreography), and Brittany Spinelli (Stage Manager). Georgia McBride is directed and produced by barebones’ Artistic Director Patrick Jordan.

The opening night performance of The Legend of Georgia McBride will be Thursday, February 14, 2019 at 8pm.  Regular run performances will be Thursdays, Fridays, Saturdays at 8pm and Sundays at 3pm through March 9 at Barebones Black Box, 1211 Braddock Avenue, Braddock, PA 15104.  Tickets are $35 advance; $40 at the door, and are on sale now at barebonesproductions.com or 1-888-71TICKET.  Discounts available for students and artists at the door when available.  Discounts available for groups of 10+ by emailing info@barebonesproductions.com.

barebones productions is a Pittsburgh theater company whose mission is to facilitate the growth of local theater artists through the production of challenging, entertaining, thought-provoking plays and to attract new, young audiences by employing minimal production elements for maximum impact. Founded in 2003 by theater artist Patrick Jordan, barebones has garnered a reputation for producing high-quality, risk-taking plays.  More information can be found at barebonesproductions.com

 

 

Berlin Stories – a review of Hershey Felder as Irving Berlin

Mike Buzzelli

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

A boy from Belarus grows up and becomes one of America’s most iconic and prolific songwriters. The show has no title, it’s simply called, “Hershey Felder as Irving Berlin.”  Presumably, because the title “White Christmas” was taken.

The show encompasses the whole of Berlin’s life and body of work from his boyhood back in Imperial Russia, to Tin Pan Alley, all the way to his deathbed at age 101.

It’s a lovingly-rendered history lesson with music.

Felder plays a few snippets of the songs from Berlin’s songbook from his first hit, “Alexander’s Rag Time Band,” to his final flop “Miss Liberty” with hundreds of songs in between. He wisely lingers over some of the more popular tunes, but there are a few clunkers in the mix. Felder knows it and winks and nods when he hits the keys.

Note: Felder plays the music in chronological order, some of the best songs such as “Happy Holidays” and “White Christmas” come near the end of the show.

The famous composer had an amazing life and career, and it’s a fascinating journey. He weaves some delightful tales of the famous composer. Felder as Berlin drops some famous names… Kate Smith, Fred Astaire, and…wait for it…Elvis Presley. Apparently, Berlin hated Presley’s version of “White Christmas.”

Aside from a swipe at Elvis (a National treasure), the show is very patriotic, because Berlin was very patriotic. After all, Berlin wrote “God Bless America.”  Even though he was religiously agnostic, he deeply believed in America. After all, he went from bowery boy to legendary composer. His music has attracted worldwide attention and artists continue to record it.

Hershey Felder as Irving Berlin in “Hershey Felder as Irving Berlin” Photo courtesy of the Pittsburgh Public Theater

Felder is a talented musician; his fingers fly over the black keys of the piano (Berlin composed most of his music in F sharp).

He deflty switches voices seemlessly from one character to another. Felder does, however, employ many of the one-man-show tropes. I will give him this, it’s much more interesting to watch Felder talk to an empty chair than it was to watch Clint Eastwood do it.

There’s an incredible amount of information about the composer swimming around in Felder’s head. The show was meticulously researched by Meghan Maiya, M. A. Berlin’s story is sweet, funny and sometimes tragic with plenty of great music.

Many people want to sing along to the classic songs, and it’s encouraged.

Personal Pet Peeve: I don’t want to sound like a Christmas Curmudgeon, but I hate it when I go see a show and the performer stops singing and asks the audience to finish it up. Gladys over there is sitting next to me singing off-key and I’m supposed applaud. At one point, Felder asks the audience to croon along to “Puttin’ on the Ritz.” It took every ounce of energy in my body to NOT emulate Peter Boyle in “Young Frankenstein.” POOOOODINNNN ON THE REEEEEEEETTZ.

Felder is multi-talented. Not only does he tell some delightful tales about the iconic Berlin, he designed the set, and it’s a beauty! The posh living room set is decorated for the holidays with a piano, Christmas tree and snow softly falling outside the “window.” It looks like a holiday issue of Better Homes and Gardens, and its reminscent of those old-timey Christmas specials with Bing Crosby and Dean Martin. The set is enhanced with some amazing projection design by Christopher Ash and Lawrence Siefert.

If you want to know more about one of America’s greatest composers, you need to put on your top hat, brush off your tails and head down to the Pittsburgh Public Theater.

The show runs until December 30 at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information, click here.

https://ppt.org/

Review: A CHRISTMAS CAROL, Off The Wall Productions

“A great treat for the holiday season” – Tonight, ‘Burgh Vivants Lonnie the Theatre Lady and Brian Edward discuss the Dickens classic, A CHRISTMAS CAROL, performed by Mark Coffin, produced by Off The Wall Productions, at Carnegie Stage through December 15th, 2018. For tickets and more information, visit www.insideoffthewall.com   Continue reading “Review: A CHRISTMAS CAROL, Off The Wall Productions”

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JACOB EPSTEIN & CAROLINE LUCAS – PICT Classic Theatre

TONIGHT: perspectives from two young actors at the beginning of their careers – Jacob Epstein and Caroline Lucas performing in PICT Classic Theatre’s production of THE OLD CURIOSITY SHOP, directed and adapted for the stage from the writings of Charles Dickens by Alan Stanford, performing at WQED’s Fred Rogers Studio through December 15th, 2018.  For tickets and more information, visit www.picttheatre.org.   Continue reading “JACOB EPSTEIN & CAROLINE LUCAS – PICT Classic Theatre”

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