From Pittsburgh to Broadway and back, Billy Hartung is behind the martini glass on ‘Burgh Vivant tonight with heartwarming tales of Point Park in “the good old days,” how he made it into CHICAGO the movie, the graciousness of Liza Minnelli, and the remarkable connection to his role in Front Porch Theatricals upcoming production of BIG FISH. Billy is our solo guest for the entirety of the program this evening and it’s a captivating interview not to be missed! See Front Porch Theatricals’ BIG FISH, directed by Spencer Whale, August 18 through 27, 2017 at The New Hazlett Theater. For tickets and more information, visit www.frontporchpgh.orgContinue reading “BILLY HARTUNG – Actor, Dancer, Vocalist”
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.
The State Theatre Center for the Arts stage is ready for its production of “Chicago.”
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.
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.
Moriah Ella Mason works the pole in “Sex Werque” (photo provided by Heather Mull)
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.
“Snappy dialogue,” and “madcap, over the top comedy” are just a few of the attributes that Lonnie The Theatre Lady discusses in regard to Little Lake Theatre’s WONDER OF THE WORLD, by David Lindsay-Abaire, through August 5th, 2017. For tickets and more information visit www.littlelake.org. Continue reading “Review: WONDER OF THE WORLD, Little Lake Theatre”
What’s the buzz on Stage 62’s SPAMALOT? Mike Buzzelli’s got it here tonight on ‘Burgh Vivant… as well as his own hammy one-liners for your listening enjoyment. See Stage 62’s production of MONTY PYTHON’S SPAMALOT through July 30th 2017. For tickets and more information, visit www.stage62.comContinue reading “Review: MONTY PYTHON’S SPAMALOT, Stage 62”
In the ‘Burgh Vivant studio tonight, its actor Sam Tsoutsouvas discussing his current production of David Ives’ THE LIAR, produced by Kinetic Theatre. Is the theatre itself based in lies or truths? Get Sam’s perspective – AND see THE LIAR through July 30th, 2017. For tickets and more information, visit www.kinetictheatre.org Continue reading “SAM TSOUTSOUVAS – Actor, Kinetic Theatre”
Long ago, Pierre Corneille wrote “Le Menteur,” but here comes “The Liar,” a David Ives’ adaptation. No one knows why Ives’ chose this French farce to remake, but disregard speculation. Ives’ tells the story completely in verse. His dialogue rhymes, but it’s also witty and terse. Timid audience members, you have nothing to fear. It’s much easier to understand than William Shakespeare.
It will take few stanzas to untangle this tale. It’s a simple story, but the rhyme mustn’t fail.
A charmer named Dorante (Ethan Saks) wanders the streets. An out of work Cliton (Patrick Halley) is the first person he meets. Cliton needs work and becomes Dorante’s new hire. Though Cliton learns quickly he now works for a liar.
Our boy Dornate has trouble telling the truth. Clinton can’t lie and it’s much more uncouth. Both men get in deep trouble from their affliction. But they are firm in their position with utmost conviction.
Within a few hours walking ‘round the City of Lights, Dorante’s in love and he’s picked a few fights.
He’s fallen for Clarice (Erika Strasburg) though he doesn’t know her name. Unfortunately for him, there’s a rival who’s put in a claim. Brash Alcippe (Charlie Murphy) desires Clarice’s hand. It’s not a request; it’s more of a demand. When Alcippe believes Dorante has had his way with Clarice, he won’t stop till the boy’s gravestone says “Rest in Peace.”
Meanwhile, Lucrece (Sarah Silk) Clarice’s bestie is single, prickly and little testy. When it comes to beauty, she is just as divine. Don’t worry, my friends, it all works out fine.
There’s more plot to mention, but we can’t go line by line (I can’t transcribe the full folio). Let’s just not leave out Isabelle and Sabine (both played by Julianne Avolio).
There’s also Geronte (Sam Tsoutsouvas) who is not immune to Dorante’s wicked ways. The boy’s a terrible liar, but his father thinks it’s a phase.
Alcippe has a comrade, Philiste (John Michnya). Sabine’s is his mistress, and he is her mister. Isabelle likes Cliton, but he’s unaware she’s a twin sister.
There’s more to the story, it’s quite a bit meaty. But this review must remain spoiler free, sweetie.
Kinetic director hires actors from across America. We’re glad he stayed local when he hired our Erika. Her smile luminescent, her skin alabaster. It’s easy to see why Andrew Paul cast her.
This critic tries hard to stick to the facts, but he sees a bright future for Ethan Saks.
There are few performers of her ilk, high praise must be heaped on Sarah Silk.
Sam Tsoutsouvas has a booming, commanding presence and voice. When casting a show, he’s a superb choice.
You won’t miss a moment when Charlie Murphy charges the stage, his character half testosterone – the other half rage. If you couldn’t quite tell, I think his performance was swell.
Many times I have noted Avolio’s face is elastic, but she’s more than just a funny face, she utterly fantastic. Keep one eye on her while the others are talking. When our Liar is lying, she’ll drop her jaw, roll her eyes, or be otherwise mocking.
Whether you pray to Jesus, Allah or Krishna, let’s hope we see much more of John Michnya.
Halley’s character Cliton is pivotal role. With a lesser talent the show would be droll. His performance is great. See for yourself – get there by eight.
It seems sycophantic to praise each member of the troupe, but this review is up first…so call it a scoop!
Michael Petyak trained the actors to fight with a sword. When combatants meet, you will not be bored.
With a costume designer of quite renown, know that they were designed by our own Kim Brown. The colors bright, the combinations of style myriad, her clothes transcended the play’s French period.
If there’s a gripe it’s with some of Ives’ rhymes. It strains the ear one or two times. The dialogue flows, it’s lyrical and loose, and sometimes it sounds a lot like Doctor Seuss.
This play is joyous, hilarious and fun. Please see it before the end of the run.
“The Liar” is at the Henry Heyman Theatre, 4301 Forbes Avenue, Pittsburgh, PA 15213. For more information, click here.
George Frideric Handel’s opera “Xerxes” defies some of the preconceived notions audiences might have about the great Persian ruler, often billed as the “king of kings.” For one, who would have thought to create a comic opera about so august a historical figure?
Most times, persons of Xerxes rank are given the demigod treatment. Who would dare to tarnish the heroic image of one so high in the Pantheon of human history with such banal and cavalier treatment?
Pittsburgh Festival Opera’s XERXES. Photo by Patti Brahim.
With this in mind, the plot also takes an astonishing, unexpected turn in its unfolding of the multiple romances and complicated intrigues that take place between the king, his brother, two sisters and a foreign princess. One would probably bet on Xerxes, an absolute ruler of the ancient mold, to come out on top in any amorous tug-of-war that pits him against less powerful suitors. Surprise! Such is not the case.
Another iconoclastic moment comes from the casting requirements. You’d probably expect so powerful a king and ruler to be sung by an alpha male voice such as a tenor or baritone. Instead, Handel’s opera calls for not one but two castrati, one of which portrays Xerxes, the other his brother, Arsamene.
In the Pittsburgh Festival Opera production which opens on the evening of July 14th at the Falk Auditorium in Shadyside, the cast is blessed by what director Daniel Rigazzi calls “two world class countertenors” (who sing in the same vocal range as their Baroque predecessors) who also happen to be two of the best regarded in the nation.
Pittsburgh Festival Opera’s XERXES. Photo by Patti Brahim.
“In the day of Baroque opera, countertenors were the pop stars of their era,” Rigazzi said. “There’s a place for this sort of masculinity in our own culture. Just look at the adulation commanded by the lead singers for Journey and Queen. As Baroque opera has come back into popularity, there are a lot more countertenors now – along with a lot more work for their talents.”
Starring in the title role, countertenor Andrey Nemzer has performed in each of the Festival Opera’s six summer seasons. Winner of the 2011 Mildred Miller International Voice Competition, Nemzer performed the role of Handel’s Julius Caesar last year for Pittsburgh Festival Opera and has made appearances at the Metropolitan Opera, Opera San Antonio, the Pittsburgh Symphony and more.
Cast in the role of Arsamene, countertenor Daniel Moody, a graduate of the Peabody Conservatory with a Master’s from the Yale School of Music and Institute of Sacred Music, has sung in several Early Music festivals and with numerous symphonies and music venues across the nation.
Pittsburgh Festival Opera’s XERXES. Photo by Patti Brahim.
Early on in the opera, be sure to listen for one of Xerxes’ aria highlights, “Ombra ma fu,” the only operatic love aria I know that’s sung to a tree. The fact that the tree is sacred only slightly diminishes the foolishness of this bit of regal eccentricity, which also turns out to be one of Handel’s best-known (and beautiful) melodies, often referred to as “Largo”
“Xerxes” is one of Handel’s later operas penned at a time when his career as a composer of opera was on the wane,” Rigazzi said. “At the time, he was experimenting with the aria form and rethinking convention.”
In his composition, Handel incorporated short, one-movement arias into the work in an era when audiences were accustomed to long, three-movement, de capo arias. This innovation plus his mix of comic elements into the work may have contributed to the opera’s early failure with his 18th century audience.
First performed as an oratorio in March 1738, “Xerxes” made the stage of the King’s Theater as an opera seria two weeks later but lasted for only five performances. For nearly 200 years, the work fell into obscurity until it reemerged onto the stage in the mid-1920s, along with a resurgence of interest in Baroque music. Today, it is one of Handel’s most popular operas, second only to “Julius Caesar.”
In preparing to direct to opera, Rigazzi said that a fascinating aspect of 18th century opera is the fact that the singers performed in front of painted roll drops with very little movement on their part, a practice not to the taste of modern audiences.
“Baroque operas are open-ended,” he said. “In more contemporary operas, the stage movements are almost always spelled out. For ‘Xerxes,’ I had to do a lot of research and investigation and study how each character changes through the arias.”
The opera’s libretto, written by Giovanni Bononcini, had been used multiple times before Handel set it to music. Rigazzi said, in the 18th century, librettos were frequently passed around and that composers were free to make any adjustments they deemed necessary.
“Handel had an amazing sense of drama,” Rigazzi said. “He really knew how to pace the story and was a master of theatricality.”
Befitting a Baroque opera, Pittsburgh’s beloved Chatham Baroque ensemble forms the core of a 14 musician ensemble under the baton of Walter Morales. Set in Persia, “Xerxes” treatment by scenic designer, Hank Bullington, has, according to Rigazzi “one foot in that ancient middle eastern country, one foot in the 18th century, but still retains a modern feel.” To add even more visual ambiance, Bullington incorporates a series of vibrant projections onto the set.
“A lot of different elements go into creating a fictitious world, an almost fairy tale world of delight but one that realizes a unified whole,” said Rigazzi, who’s directed theater and opera for 25 years – everything from Shakespeare and Puccini to contemporary plays and musicals. Since 2008, he’s also been on the directing staff at the Metropolitan Opera of New York.
“While I am a Handel enthusiast, I don’t consider myself a Baroque opera specialist,” said Rigazzi, who also directed last summer’s “Julius Caesar,” another Handel opera.
With a period orchestra, Handel’s glorious music and a cast of exceptional singers including two of the nation’s most respected countertenors, Pittsburgh Festival Opera’s “Xerxes” is a not-to-be-missed production.
Handel’s “Xerxes” is at the Falk Auditorium at the Winchester Thurston School, 555 Morewood Avenue in Pittsburgh (Shadyside) at 7:30 p.m. on Friday, July 14 and Saturday, July 22 and at 2 p.m. on Sunday, July 16. Tickets and more information can be found HERE.
TONIGHT: The delightful Anna Singer pays a visit to ‘Burgh Vivant in the middle of her run as Mrs. Lovett in SWEENY TODD with Pittsburgh Festival Opera – a production that ‘Burgh Vivant’s Mike “Buzz” Buzzelli calls “beautiful and macabre.” Three performances of Pittsburgh Festival Opera’s SWEENY TODD: THE DEMON BARBER OF FLEET STREET remain: July 15th, 20th, and 22nd, 2017. For tickets and more information, visit www.pittsburghfestivalopera.orgContinue reading “ANNA SINGER – Vocalist, Pittsburgh Festival Opera”
