Tag: Theatre

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

Midnight Radio returns for its eighth season with “Night of the Living Dead N’at,” a very Pittsburgh take on a very Pittsburgh movie. Like all Midnight Radio shows, the performers are actors and Foley artists, each playing several different characters and making sound effects.

Each Midnight Radio show tells a familiar story with a twist. “Night of the Living Dead N’at” is a spooky, yet humorous take on the nearly fifty-year old film, “Night of the Living Dead,” with scenes from the movie played on a big screen behind the actors. Take “Mystery Science Theater 3000” and “The Rocky Horror Picture Show” and blend vigorously.  The show is peppers in some quintessential Midnight Radio bits, including parody commercials, Mad Libs and some audience participation.  There is even a musical guest. On opening night, Cello Fury, comprised of Simon Cummings, Ben Munoz and Nicole Myers, performed.

Actors (or, if you prefer, vocal artists) Jason McCune, Sheila McKenna, Wali Jamal, Sean Sears play a variety of characters. Barbara (McKenna) and Jonathan (Sears) are visiting their father’s grave when they are mysteriously attacked by an old dude shuffling around in his Sunday best. Barbara escapes and holes up in an allegedly abandoned home. She meets Ben (Jamal) who begins boarding up the house. Soon, they discover that there are survivors hiding in the basement.  Barbara never recovers from losing her brother to the horde or monsters.

As the living dead descend on the farmhouse, tensions rise inside. Harry (McCune), one of the basement dwellers, is so paralyzed with fear he becomes disruptive, combative and almost gets the whole gang killed.  In the film, Harry has a particularly long and dragged out death scene, where he is supposed to fall down the stairs, but he stumbles carefully to the bottom after being shot. McCune milks the scene for extra laughs. It’s hilarious to watch it play out on screen and listen to McCune fill in the details.

The whole cast is “spook-tacular.”  McCune, McKenna, Jamal and Sears are all vocal acrobats. McKenna does a fabulous Yinzer accent.  At one point, Sears plays a deputy sheriff who sounds exactly like Norville “Shaggy” Rogers from Scooby-Doo.  Zoinks!

Tami Dixon, who adapted and directed “Night of the Living Dead N’at,” excels at mining the original film for laughs. She pokes fun at all the holes in the plot and paves over a bunch with additional jokes. It’s not just a silly farce. Dixon’s wit is sly and her tongue is firmly planted in her cheek, but “Night” has brains (you may groan here).

The show is well-paced with an interactive intermission, where two members of the audience play a Halloween themed version of “Family Feud.”

Music Director Deana Muro and Stage Manager Wendy Vandergrift keep things moving.

It shouldn’t be a spoiler, but if you haven’t seen the iconic Pittsburgh film, skip this paragraph:

The movie ends on a particularly sour note.  It’s fine for the film, but doesn’t work well for this version of the radio play. After an evening of side-splitting humor, Ben’s death is a bummer of an ending.  There’s even a moment to make a bold, political statement. Nearly fifty years ago, this movie ends with a black man getting shot by the police. It seems just as socially relevant today. The final moment seems wasted in some way. Maybe it was intentional. After laughing about death and destruction, a moment of reflection might be required.

Spoiler free version resumes here:

This show is highly recommended, especially for your friendly neighborhood horror fanatics. It’s the perfect show for the season. Yin’zer in for a rill treat.

– MB

“Night of the Living Dead N’at” runs from October 27 till November 12 at the Bricolage, 937 Liberty Avenue, Pittsburgh, PA 15222. For more information, click here.

by Michael “Buzz” Buzzelli, ‘Burgh Vivant

Two one-man-shows join together in one bizarre night. “Diary of a Madman” and “Poe’s Last Night” are two separate plays are about each man descending into madness.

Part I:

David Crawford portrays Edgar Allan Poe in “Poe’s Last Night.”  The action takes place on an evening in 1849, days before his death.  Poe is dazed and wandering around the streets of Baltimore. He believes he is being pursued by mysterious assailants. His mind wanders. While Poe tries to ascertain the identities of his alleged attackers, he reminisces about his work, reciting “The Cask of Amontillado,” and “The Raven.”

Poe also recounts important details about his life, and we gain insight into the mind of the American author.

The play is at its best when Crawford recites Poe’s work. The biographical parts drag a bit, but Crawford keeps things moving with the perceived threat of the attackers possibly returning to finish Poe off.

Crawford has been performing, “Poe’s Last Night” for some time. He has received countless accolades for his rendition of the horror writer.  He delivers another stellar performance here. The actor also wrote “Poe’s Last Night.”

The show is done with minimal props, a bench, a walking stick and a dark, barren stage. It didn’t need anything else.

To watch ‘Burgh Vivant’s interview with David Crawford, click here.

Part II

After a brief intermission, the stage is set for the second one man show; Russian author Nikolai Gogol’s “Diary of a Madman” performed by Jon Hayden. The show is about Poprishchin, a clerk who is in love with the Director’s daughter, a woman far above his station.  It’s told in the style of a Diary, each entry starts with a date…um…sort of.  At first, those dates fall into chronological order and then things get wacky.

At one point, he believes the young woman’s dog is conspiring against him. Oddly, it gets even stranger from there. He starts to fancy himself as the King of Spain for no real reason, other than it’s a symptom of what would be called a nervous breakdown in today’s vernacular.

It has a compelling beginning, but, like the character himself, it descends quickly into madness. It’s also about twenty minutes too long.

The show is not easy to watch. It’s a lot like watching a homeless man on the corner rant and rave, luckily there’s no smell of body odor and urine. That said; Hayden attacks the character with verve. He’s all in.  It’s a fantastic performance.

The set was also beautifully decorated with items that look like they were plucked from 1825.

“Diary of a Mad Man” wasn’t my cup of tea, but it’s strong and bold like a good mugful should be. It dares to be different, and might just tickle your fancy. Besides, you get two shows for the price of one.

– MB

“Poe’s Last Night” and “Diary of a Madman” runs till October 16th at the New Hazlett, 6 Allegheny Square East, Pittsburgh, PA 15212. For tickets, click here.

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

A fly fisherman (Andrew William Smith) invites his girlfriend (Daina Michelle Griffith) to his cabin for a getaway, but memories of his previous relationship with another woman (Siovhan Christensen) colors the romantic weekend in Jez Butterworth’s “The River.”

The play cuts back in forth through time between two memorable weekends; one weekend with Christensen’s character, and another one with Griffith’s character. None of the characters are named.  It’s even hard to tell if Christensen plays a metaphysical ghost or just a metaphorical one. It’s also only assumed that Christensen’s character dated the fisherman before Griffith’s character, but there’s no clear timeline. Only a red dress marks the events, but even its chronological origin is thrown into question.

“The River” is a treatise on fly fishing.

Side note: When Roman Claudius Aelianus saw Macedonian anglers on the Astraeus River he described the practice poetically, writing, “They have planned a snare for the fish, and get the better of them by their fisherman’s craft. . . . They fasten red wool. . . round a hook, and fit on to the wool two feathers which grow under a cock’s wattles, and which in color are like wax. Their rod is six feet long, and their line is the same length. Then they throw their snare, and the fish, attracted and maddened by the color, comes straight at it, thinking from the pretty sight to gain a dainty mouthful; when, however, it opens its jaws, it is caught by the hook, and enjoys a bitter repast, a captive.”

“The River” is also a Rubik’s Cube of relationships, with lots of great character moments.

At the center of the story is a prize, a memento from the fisherman’s boyhood, a stone shaped heart. The symbolic meaning is a bit on-the-nose.

More than anything,”The River” is superbly written and expertly cast.

Smith makes his Pittsburgh debut in the play. He enters the local scene on a gloriously high note, playing opposite two of our town’s best female actors, Christensen and Griffith.

Christensen’s character starts out as whimsical and light, but moves to darker places effortlessly. Griffith’s character is a bit more neurotic. She is worried about upsetting our stalwart fisherman. The man’s relationship with each woman is vastly different, yet similarities pop up in surprising areas. They are both amazing.

Everyone is emotionally eviscerated. One poor trout is physically eviscerated. It’s not a scene for the squeamish.

Director Adil Mansoor moves things along and a brisk pace. Not one minute of the 75 minute show is wasted. He manages to get some honest character moments out of his actors.

As with any Quantum Theatre production, the location is a character onto itself. The show is performed in Aspinwall Park, adjacent to the Allegheny River. Britton Mauk’s set marvelously makes use of the indoor location. It’s a rustic cabin, separated into two large puzzle pieces with a gully of water running through it.

Butterworth’s language is lyrical, and it’s woven with poetry. Like all great art, it is open to interpretation. It’s a beautiful jigsaw, one that is never fully assembled. But it’s so enjoyable to watch some big pieces fall into place. “The River” is a wonderful night out on the water.

– MB
“The River” runs to October 30 at the Aspinwall Riverfront Park, 285 River Avenue, Aspinwall, PA 15215. For more information, click here. 

by Michael Buzzelli, ‘Burgh Vivant

The Narrator (Josh Powell) introduces to a Boy (Jamen Nanthakumar) and a Girl (Mary Elizabeth Drake) and presents us with their unusual path to love in Off-Broadway’s longest running musical, “The Fantasticks.”

The plot of the first act is fairly simple. It’s sort of “Shakespeare for Dummies.” The Boy’s Father (Gavan Pamer) and the Girl’s Father (Daniel Krell) devise a plan to marry off their progeny by adapting the plot of “Romeo and Juliet” and pretend that they’re feuding. The kids, like Pyramus and Thisbe, are separated by a Wall (capital W).

Side note: Just like the Mechanicals from “Midsummer Night’s Dream,” the Wall is played by a person, a Mute (Jason Shavers) who not only stands in for the pile of stone, but also moves the play along with panache. He maintains the props, provides shelter from storms and even distributes snow, rain and confetti when needed.

When the fathers decide it’s time to get their kids together, they have to come up with a ruse to bring about a contrived reconciliation. Enter El Gallo, our fearless Narrator (Powell). He is hired to kidnap the girl and fail; thus uniting the fathers and cementing the lover’s faith in one another. He employs two actors, the Old Actor (Noble Shropshire) and the Man Who Dies (Tony Bingham), an actor known for his death scenes.

It goes all too well. Everything goes exactly as planned. Luckily, the second act adds conflict and desire. It’s a much needed booster shot. It’s much more interesting when things go awry after intermission.“The Fantasticks” is like lemon meringue pie. The first act is fluffy and light like the meringue, but the second act is tart and sticky sweet.

“The Fantasticks” has a long history, it’s based on Edmond Rostand’s “Les Romanesques.” It was the “Gunsmoke” of Off-Broadway; it ran for two decades. The show features music by Harvey Schmidt and book and lyrics by Tom Jones (no, not that Tom Jones). The most famous song from the show is “Try to Remember,” a romantic lullaby. The other songs are pithy and fun, but not nearly as hummable.

Director Ted Pappas saves this old chestnut with a stellar cast. Shropshire and Bingham are a comedic tour-de-force. The story zings whenever they are on stage. Do they overact? Yes, but it’s kind of the point. They’re playing over-the-top actors by acting over the top. It works superbly here.

Powell is charismatic and charming and gets the best songs in the show, including the show-stopping “Try to Remember.” He has a mellifluous voice.

Shavers does a terrific job, considering he does it without dialogue. His facial expressions are delightful.

Musical director Douglas Levine kept the orchestra small but mighty. Ted Pappas directed with a flourish. He took the number “Round and Round” from a dark fantasy to high camp. Try not to laugh. You won’t be able to get through it. I double dog dare you.

Once again, James Noone scenic design is magical. It’s a perfect setting for this romantic comedy.

The fantastic cast makes “The Fantasticks” a fun evening out.

– MB

“The Fantasticks” runs from September 29 till October 30 at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. 

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

A crazed orange creature with wispy, fly-away hair verbally assaults and wounds everyone in his path. No, we’re not referring to a current presidential contender, but an ornery puppet named Tyrone in Robert Askins’ “Hand to God.”  The perfidious possibly-possessed puppet can be found at the end of arm of Jason (Nick LaMedica), an assuming young lad going through an awkward stage. A very awkward stage!  Jason is using his puppet as a security blanket. He doesn’t even like removing the puppet from his hand.  Together, though, they’re a formidable team. Jason plays straight man to Tyrone’s more boisterous personality.  The timid teen is the Abbott to Tyrone’s Costello in the hilariously famous “Who’s on First” sketch.  Unfortunately, Tyron is the Hyde to Jason’s Jekyll when the puppet goes rogue!

Tyrone is technically a Muppet because his arms are articulated by drawstrings. But is he evil? Ay, there’s the rub.

It all begins, innocently enough, inside a church basement at Puppet Club.  A hapless widow, Margery (Lisa Velten Smith), wrestles with her teen students, Timothy (Michael Greer), Jessica (Maggie Carr) and her son Jason.  Margery’s having a tough time since her husband’s death.  It doesn’t help that her students don’t seem to respect and like each other. She can’t seem to exert any sort of control over them.  She’s starting to become aware of her son’s increasing involvement with the plush character on the boy’s arm. She’s also realizing it’s not a problem she can solve with FroYo.

But Margery is caught up in her own drama. Her most troubled student, Timothy, professes his love for her, and Pastor Greg (Tim McGeever) also wants to fill the space on her dance card.  She claims she’s not ready for a relationship, but when an opportunity arises for a meaningless fling, she goes for it in a big, inappropriate way. In the church basement!

Meanwhile, Tyrone is making the Bad Idea Bears from “Avenue Q” look like innocent, little scamps.

“Hand to God” is laugh-out -loud funny.  The action is played as deadly serious. The characters in the show believe in the dire consequences of their actions, which heightens the humor. Brava to director Tracy Brigden to play the comedy for the drama and not just for the laughs. The emotions in the show are honestly felt (pun always intended).  She’s also cast some brilliant actors.

LaMedica is marvelous as he alternates back and forth from mild and meek Jason to the bold and brash Tyrone. He is reminiscent of Jay Johnson’s Chuck and Bob from the television show “Soap,” if Bob was evil instead of just mischievous.

Margery is a ball of confusion; a pile of emotional wreckage on two, long legs. She is masterfully played by Smith.  Holy schadenfreude! It’s a joy to watch Margery suffer, mostly because Smith wrings out every morsel of pain and anger from the character with big, dramatic flair and turns it into comedic gold. Her interactions with Greer and McGeever are outstanding. It helps that she has strong actors to play with.

Each character gets a moment to shine, and the cast is up for the challenge.  LaMedica and Carr have an amazing scene together where the audience flat-out loses it.  I assumed some of them were going to need medical attention.  Oxygen to aisle FF. Stat!

The action plays out on another one of Tony Ferrieri’s brilliantly designed sets. This one is like a Rubik’s Cube, with interlocking pieces such as a church basement, a playground, and a pastor’s office.

It’s always a little difficult to notice the costume designer’s work in a contemporary setting where everyone is wearing jeans and t shirts, but Tracy Christensen does some outstanding work here.  She gives Greer a 90s grunge look that makes him completely different from his off-stage persona.  Also, it appears that Christensen dressed Carr in Margot Robbie’s hand-me-downs, leftover from her summer blockbuster “Suicide Squad.” Carr is rocking the whole Harley Quinn look, down to the bleached hair with blue highlights.

“Hand to God” is a straight-up rollicking evening. Word of warning: don’t take your grandma unless she swears like a longshoreman. The play is hilarious, but it’s not for the easily offended. It’s rife with sacrilegious words and imagery. This puppet show isn’t for kids, but it’s for the adults who love a good time. Let’s give a big hand for “Hand to God.”

– MB

“Hand to God” runs from September 24 to October 16 at the City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. For more information, click here.

By Michael “Buzz” Buzzelli, ‘Burgh Vivant

Kick off your “Kinky Boots” and say, “Heyyy!” to the new drag divas in town. Tarell Alvin McCraney’s “Wig Out!” is an unapologetic and unflinching look at boys who like to dress as girls.

It’s a drag show with theatrical overtones. All of the Shakespearean tropes are there; warring houses, star-crossed lovers, monologues and asides. There is even a Greek chorus comprised of three amazing young women (Krista Antonacci, Arica Jackson and Amber Jones) with angelic voices.

It starts as your typical boy meets boy-dressed-as-a-girl story. Wilson/ Ms. Nina (Justin Lonesome) meets Eric (Jordon Bolden) on a train car in New York City. The Fates Three (the aforementioned Antonacci, Jackson and Jones) narrate their meet-cute.

Eric is the odd man out. He must navigate brand new territory as the masc-for-masc man-boy falls for a butch/femme drag diva.  He plunges in deep, falling hard for the Wilson side, but has difficulty with his/her Ms. Nina side.

Meanwhile, at the House of Light, House Mother Rey-Rey (Jordan Phillips) is invited to the Cinderella Ball being held by their rivals, the House of Diabolique. At the ball, the queens compete in a series of drag Olympics; such house battles among drag queens have been popular in the drag world for decades. Picture “RuPaul’s Drag Race,” kicked up several notches.

There are a couple of subplots. Deity (LaTrea Rembert) is in love with Venus (Freddy Miyares). Venus wants more equanimity in bed, and Deity is unable to flip his position (literally and figuratively!).

There are two distinct villains in “Wig Out,” one from within; Lucian (Jerreme Rodriguez), and one from without; Serena (Connor McCanlus). Lucian is a chaos-wreaking hormone, hitting on anything that breathes, causing strife among nascent lovers. Serena, however, is the big bad. Wario to Rey-Rey’s Mario.

At the top of the second act, Serena riffs with the audience while dressed as a glow-in-the-dark version of Ursula, the sea witch. On preview night, she lambasted a group of young women for returning to their seats a little late. McCanlus was born for this sort of role, using his vast knowledge of drag and his improvisational skills.

The cast is capital ‘F’ Fabulous.  Bolden’s Eric is charismatic lead and Lonesome if terrific.  The aforementioned Fates Three are a joy to watch.  Miyares and Rembert have some great moments together.

There is a fierce hip-hop dance battle between Venus, dressed as a boy, and Loki (Jared Smith). There is dancing, singing at a lot of fun going on. “Wig Out” doesn’t meander. Tome Cousin’s kinetic, frenetic directing keeps everything moving at a rapid pace, but the show is light on plot and heavy on extravaganza.

Costume Designer Robert C. T. Steele is a true star of “Wig Out” creating beautiful drag ensembles. Shout out to Andrew Ostrowski’s lighting and Britton Mauk’s set.

Note that “Wig Out” has strong sexual situations and may not be suitable for younger viewers. However, Pittsburgh needs a show like “Wig Out.” In a very white theater scene, it’s refreshing to have a fully diverse cast where the African Americans and the LGBTQ community outnumber the heterosexual white males. If you’re looking for something different, “Wig Out” is the show for you.

(“Wig Out” runs from September 9 to September 25 at The Rep Professional Theatre Company at the Pittsburgh Playhouse, 222 Craft Avenue, Pittsburgh, PA 15213. For more information, click here.)

– MB