You’re bound to have a lot of fun at Mel Brooks’ musical version of Young Frankenstein. A classy national traveling company has stopped off here with it for a few days and the show looks and sounds great. You may think that you already know what to expect if you’ve seen the famed 1974 movie on which it’s based. And according to people who know the film so well that they can recite dialogue from it, this stage adaptation is more a replica than a new take. For some audiences that’s swell. If you aren’t one of the already converted, you’ll find howls and delights aplenty. But if, like me, you sort of remember the movie, you’ll discover stuff you don’t remember and get those kicks. Are there new gags? I don’t know. Who cares?
Of course, this isn’t the movie. How could it be? It’s got songs and dances.
Nah, the music won’t bowl you over with originality. Mel Brooks wrote generic melodies, as he did for The Producers on stage. But they serve their cute purpose and create the kind of light entertainment which characterizes a whole bunch of shows of the 1930s. And this is set in that time frame. Plenty of his lyrics sound clever though. Why not? The guy is known for writing funny words. As for the dances, director/choreographer Susan Stroman has come up with plenty of imaginative routines. And, inevitably, made the most of the best song in the whole thing, Irving Berlin’s “Puttin On The Ritz” in a wonderful tap sequence where all of the ensemble is dressed to resemble the Monster, taking his first steps into show biz.
That brings up the subject of costumes. They look great. Remember that many intend to suggest Eastern Europe, somewhere around Transylvania.
Know what else looks great? The sets. The effects.
Particularly get a load of a couple of guys as horses pulling a load of hay. Wonderful style. You want big stuff? OK. There’s a magnificent giant puppet version of the original Monster. Karloff on steroids.
As for the performances, every one has got it together. But especially delight in Roger Bart’s take on young Frederick Frankenstein, the role he originated on Broadway. He’s got charm, he’s got personality, he’s got timing.
Script and text-wise, you might need to know, if you’re considering taking some kids, it’s got bawdy lines and suggestive situations. Uh-oh. And people seem to be smoking. Uh-oh. Lobby warning: strobe lights flash on and off. Uh-oh. And you might need to know that one character is missing an arm and a leg and gets no sympathy. And a person gets hung…uh, hanged.
Ah, yes. Remember the good old days when no such advisories were posted and the actors actually smoked real cigarettes and you could buy Raisinettes in the theater for a nickel and the ushers were younger than you?
Get there quickly while you still have the time.
Young Frankenstein continues through Sunday May 9th at 6:30 at Benedum Center
412- 456-6666 and/or www.pgharts.org
Thursday, May 6, 2010
Sunday, May 2, 2010
Theatre Review: "The Task" Sunday 2 May 2010
You may not have heard before of German playwright Heiner Müller or have seen any of his more than 30 stage works, some of which started causing sensations in the 1970s when he was in his 40s. It is possible that you have heard of director Jed Allen Harris, especially locally, given that he’s been part of Pittsburgh theatre equally far back. But many people tend to overlook the work of directors; it’s harder to tell what they have contributed to their productions. Let me try to jog your memory. At CMU in the last few years Harris was responsible for exceptional conceptions in Red Noses by Peter Barnes, in the wonderfully comic Sly Fox by Larry Gelbart, and for a multi-dimensional, highly experimental take on the three plays of Aeschylus’ Oresteia. And just a couple of months ago you could have witnessed his slapsticky version of Gogol’s The Inspector General at CMU. In short he has remarkable theatrical imagination. And he makes that clear again in The Task by Müller, an extraordinarily fascinating experience
Müller’s work has been often described as controversial and certainly this play and Harris’ production for Quantum Theatre can grab you and provoke you. I find it difficult to describe it concisely; so much happens in so many ways and on so many levels. These things you may need to know: It is staged in a vast, now unused industrial space with audiences led on foot through various parts of the work which are set in various parts of the place. At times audiences sit, but people with problems walking should be aware of the necessary on- foot participation. There’s also unmistakable, thorough female and male nudity, although brief, with the actors right up close. Plus there are depictions of graphic cruelty.
Of course, since this is a Quantum Theatre event, experimentation and unconventionality should be expected. But you may need to know that The Task is described as a collage and follows a meandering path, assaulting you in fragments, jumping over time and place, even as the actors beckon you to follow them into shadowy new corners or up and down levels and platforms and around peeling walls. This somber, ugly setting fits the piece like a well-worn, grimy workman’s glove and director Harris makes the most of every nuance you could infer. The foundation of the script’s structure deals with events during the French Revolution, focusing on three citizens from the center of that violent, constantly shifting political earthquake. They have been sent to one of the colonies of their British enemies, Jamaica, to foment rebellion among black slaves. Müller uses that to comment on slavery in many forms and in many different times, to comment on how ever-changing political power always squashes the goals of liberty, equality and fraternity. That is the essence.
Meanwhile Harris could make you could feel as if you have become part of a Paris mob during the Revolution striding the shifting soil of patriotic fervor. That could turn perilous if you don’t watch your step. Yes, you become part of it. You could likewise feel as if in a museum where your participation consists of moving from display to display, coming up with your own meanings for what you see, and in this case, hear. And, at times, too, you will hear that Müller has written eloquent, trenchant dialogue, or so it seems in Carl Weber’s translations
Everyone in the seven member acting ensemble makes it all compellingly clear and meaningful. But in one scene Larry John Meyers especially stands our in a brilliant, virtuosic interpretation whose heat glows in the darkness.
This production and what director Jed Allen Harris has made of it again substantiates how Quantum Theatre can come up with rare and remarkable experiences to amaze and astonish you.
You don’t have much time left to be part of The Task. It’s at The Gage Building in The Strip District though next Sunday. More information is at www.quantumtheatre.com and 412/394-3353
Müller’s work has been often described as controversial and certainly this play and Harris’ production for Quantum Theatre can grab you and provoke you. I find it difficult to describe it concisely; so much happens in so many ways and on so many levels. These things you may need to know: It is staged in a vast, now unused industrial space with audiences led on foot through various parts of the work which are set in various parts of the place. At times audiences sit, but people with problems walking should be aware of the necessary on- foot participation. There’s also unmistakable, thorough female and male nudity, although brief, with the actors right up close. Plus there are depictions of graphic cruelty.
Of course, since this is a Quantum Theatre event, experimentation and unconventionality should be expected. But you may need to know that The Task is described as a collage and follows a meandering path, assaulting you in fragments, jumping over time and place, even as the actors beckon you to follow them into shadowy new corners or up and down levels and platforms and around peeling walls. This somber, ugly setting fits the piece like a well-worn, grimy workman’s glove and director Harris makes the most of every nuance you could infer. The foundation of the script’s structure deals with events during the French Revolution, focusing on three citizens from the center of that violent, constantly shifting political earthquake. They have been sent to one of the colonies of their British enemies, Jamaica, to foment rebellion among black slaves. Müller uses that to comment on slavery in many forms and in many different times, to comment on how ever-changing political power always squashes the goals of liberty, equality and fraternity. That is the essence.
Meanwhile Harris could make you could feel as if you have become part of a Paris mob during the Revolution striding the shifting soil of patriotic fervor. That could turn perilous if you don’t watch your step. Yes, you become part of it. You could likewise feel as if in a museum where your participation consists of moving from display to display, coming up with your own meanings for what you see, and in this case, hear. And, at times, too, you will hear that Müller has written eloquent, trenchant dialogue, or so it seems in Carl Weber’s translations
Everyone in the seven member acting ensemble makes it all compellingly clear and meaningful. But in one scene Larry John Meyers especially stands our in a brilliant, virtuosic interpretation whose heat glows in the darkness.
This production and what director Jed Allen Harris has made of it again substantiates how Quantum Theatre can come up with rare and remarkable experiences to amaze and astonish you.
You don’t have much time left to be part of The Task. It’s at The Gage Building in The Strip District though next Sunday. More information is at www.quantumtheatre.com and 412/394-3353
Wednesday, April 28, 2010
Theatre Review: "Time of My Life" at Pittsburgh Public Theater-2nd May 2010
Alan Ayckbourn has become quite famous indeed for inventive and imaginative premises in his plays and for exploring the whoopsie-daisies between husbands and wives. He’s also known for writing a considerable amount of scripts, of which the 44th holds forth at Pittsburgh Public Theater. It’s Time of My Life from 1992. And, yes, this revolves around marriages. Starting from the present, one remains there, a second develops in the future and it looks as if past events were leading towards a third. The slightly unusual concept of bouncing time frames and the occasional, moderately amusing dialogue within them come well-served by seven polished actors from out of town, ably directed by a man with extensive Broadway credits.
It all takes place in one restaurant. Consequently much of what’s said is stated sitting down at tables, not the most dynamic choice for staging. But extra color is provided by having several waiters and the restaurant owner walk in and out and around. Plus the same actor serves those roles, a source of further entertainment.
Ayckbourn’s main characters don’t have much depth but they do seem believable and capably articulate. They don’t get involved in intelligent discussion, remaining primarily focused on themselves and their needs.
Laura’s 58th birthday is being celebrated by her husband Gerry and their two sons Glyn and Adam. Present too are Glyn’s wife Stephanie and Adam’s girlfriend Maureen. Soon we see how Glyn and Stephanie will interact at various times after the party. And we get to witness how Adam and Maureen began their relationship.
As Adam and Maureen, the most originally-conceived of the three couples, Jeffrey Withers and Sarah Manton make them distinctively appealing. Moreover Laurie Churba Kohn’s costumes for them look imaginatively clever and right.
The rest of the performers always remain convincing within the limitations of what Ayckbourn gave them. And director John Tillinger keeps it all lively, although, given the physical confines, he could have had them on their feet more often. The experience feels like a step back into time, to a time when Broadway shows didn’t have to be substantial or remarkably original and were, essentially, just good live theater.
Had this been locally cast, it could have offered something extra, a chance to connect to artists we already know and admire, to witness their versatility and watch them keep on developing their craft. I can think of several actors here who could have done as well. Maybe even better.
Time of My Life continues through May 16th at Pittsburgh Public Theater, 621 Penn Avenue, downtown. 412/ 316 1600 www.ppt.org
It all takes place in one restaurant. Consequently much of what’s said is stated sitting down at tables, not the most dynamic choice for staging. But extra color is provided by having several waiters and the restaurant owner walk in and out and around. Plus the same actor serves those roles, a source of further entertainment.
Ayckbourn’s main characters don’t have much depth but they do seem believable and capably articulate. They don’t get involved in intelligent discussion, remaining primarily focused on themselves and their needs.
Laura’s 58th birthday is being celebrated by her husband Gerry and their two sons Glyn and Adam. Present too are Glyn’s wife Stephanie and Adam’s girlfriend Maureen. Soon we see how Glyn and Stephanie will interact at various times after the party. And we get to witness how Adam and Maureen began their relationship.
As Adam and Maureen, the most originally-conceived of the three couples, Jeffrey Withers and Sarah Manton make them distinctively appealing. Moreover Laurie Churba Kohn’s costumes for them look imaginatively clever and right.
The rest of the performers always remain convincing within the limitations of what Ayckbourn gave them. And director John Tillinger keeps it all lively, although, given the physical confines, he could have had them on their feet more often. The experience feels like a step back into time, to a time when Broadway shows didn’t have to be substantial or remarkably original and were, essentially, just good live theater.
Had this been locally cast, it could have offered something extra, a chance to connect to artists we already know and admire, to witness their versatility and watch them keep on developing their craft. I can think of several actors here who could have done as well. Maybe even better.
Time of My Life continues through May 16th at Pittsburgh Public Theater, 621 Penn Avenue, downtown. 412/ 316 1600 www.ppt.org
Sunday, April 25, 2010
Review: "Shooting Star" at City Theatre. 2 May 2010
“Guess it’s too late to say the things to you that you needed to hear me say. Saw a shooting star tonight slip away.” Bob Dylan wrote those words quoted in Steven Dietz’s program notes for a production of his play Shooting Star at City Theatre. And Dietz glowingly pursues such a trajectory about two people who went into different directions after shining years together as lovers. Meanwhile the heavens turn white with snow binding them into a new and ultimately revealing encounter.
With such elements and wonderful writing Dietz has created a marvelously funny, insightful, very human work, expanding on the universal nature of what can happen when such separate orbits coincide. Moreover he inventively incorporates meaningful recurring motives and trenchant symbols. These two people, Reed and Elena, revisit what they did and did not do in the 1970s in their youthful, idealistic, unconventional years, while midway in visits elsewhere, stranded in a corner of a shut-down airport.
Given when Reed and Elena hung together, Dietz finds legitimate humor in evoking the naïveté of the time. You know, man, the recognition bit. And, gradually, subtly, he moves on to getting more serious about these people’s sorrows and joys, their certainties and uncertainties, evoking sincere, touching moments. Yet unpredictable reality lies inside the walls and waits outside that waiting room.
Andrew May superbly gets across Reed’s many emotional shifts, unspoken undercurrents and thoughtful intelligence. And, as Elena, Pittsburgh’s Laurie Klatscher expertly conveys the woman’s still youthful innocence and tender vulnerability. Meanwhile director Tracy Brigden has moved them, stimulated them and prompted them to make this all genuine, even though Dietz breaks the fourth wall, having them talk up close and personally to the audience.
Tony Ferrieri’s convincing, deliberately dreary set excellently reminds us of such transient environments where we hide behind magazines, distract ourselves with electronic diversions and paper bag fast food, sometimes commiserating with people we don’t expect to ever see again. You know those generic places of arrivals and departures which we reluctantly accept, looking forward moving on to where we think things will be better, even when they turn out not to be as marvelous as we had hoped.
Laugh at our foibles and foolishness and attend the truth.
Shooting Star keeps on going through May 16th at City Theatre, 1300 Bingham Street, South Side 412/ 431 CITY (2489). www.citytheatrecompany.org
With such elements and wonderful writing Dietz has created a marvelously funny, insightful, very human work, expanding on the universal nature of what can happen when such separate orbits coincide. Moreover he inventively incorporates meaningful recurring motives and trenchant symbols. These two people, Reed and Elena, revisit what they did and did not do in the 1970s in their youthful, idealistic, unconventional years, while midway in visits elsewhere, stranded in a corner of a shut-down airport.
Given when Reed and Elena hung together, Dietz finds legitimate humor in evoking the naïveté of the time. You know, man, the recognition bit. And, gradually, subtly, he moves on to getting more serious about these people’s sorrows and joys, their certainties and uncertainties, evoking sincere, touching moments. Yet unpredictable reality lies inside the walls and waits outside that waiting room.
Andrew May superbly gets across Reed’s many emotional shifts, unspoken undercurrents and thoughtful intelligence. And, as Elena, Pittsburgh’s Laurie Klatscher expertly conveys the woman’s still youthful innocence and tender vulnerability. Meanwhile director Tracy Brigden has moved them, stimulated them and prompted them to make this all genuine, even though Dietz breaks the fourth wall, having them talk up close and personally to the audience.
Tony Ferrieri’s convincing, deliberately dreary set excellently reminds us of such transient environments where we hide behind magazines, distract ourselves with electronic diversions and paper bag fast food, sometimes commiserating with people we don’t expect to ever see again. You know those generic places of arrivals and departures which we reluctantly accept, looking forward moving on to where we think things will be better, even when they turn out not to be as marvelous as we had hoped.
Laugh at our foibles and foolishness and attend the truth.
Shooting Star keeps on going through May 16th at City Theatre, 1300 Bingham Street, South Side 412/ 431 CITY (2489). www.citytheatrecompany.org
Sunday, April 18, 2010
Review: "Beautiful Dreamers" from PICT & Opera Theater of Pittsburgh-Sunday 18th April 2010
Pittsburgh Irish and Classical Theatre and Opera Theater of Pittsburgh are offering a world-premiering musical with its origins right here in this city. And it looks as if it has the potential to reach out beyond our three rivers and try for national fame and fortune. It’s called Beautiful Dreamers and it features music and words by Pittsburgh native son Stephen Foster with a script by well-known local actor Martin Giles.
Giles’ highly original concept is similar to what these days are called “juke-box musicals” in which a story is woven around very popular songs. In this case, though, he has come up with wonderful revelations by including as many unfamiliar ones as he has those which many of us know and love. Moreover, as a director, he has cast performers, nearly all of them local, with the singing talent which do those songs justice. Their performances come ably aided by music director Douglas Levine who has also provided fine multi-voice arrangements.
But, of course, any musical consists, just as much, of the script. And here Giles has created something full of lively invention and imagination, with solid dialogue and interesting plot developments. Most of it seems intelligently melodramatic, certainly appropriate to Foster’s own time, the mid 19th Century. However, what is said does not become florid or forced, even though much of the second act looks more show business formulaic rather than as fresh as the first act.
The sprawling story of Beautiful Dreamers also feels appropriate to the period, focusing on adventurous Americans discovering their still young country by traveling through it. They are naïve journalist Moses Walker, older widowed Susannah Milsap and one-time black slave Caleb Jefferson. They accidently meet and decide to journey west together. Along the way they encounter a colorful array of people, including Walt Whitman, Emily Dickenson and Samuel Clemens, plus blindly faithful optimistic settlers, a Native American chief, and several dangerous and evil persons. Giles’ dialogue for these characters most often stays unpredictable rather than clichéd. Once in a while too he provides legitimate laughs.
Joel Ripka’s take on Moses remains full of sweet, genuine charm while Stephanie Riso’s version of Susannah comes across with believable simplicity, even if she doesn’t seem as distinctive as he does. As the black man, Caleb Jefferson, Kevin Brown sings with fine sturdy voice, but his acting remains one-dimensional, mostly loud. Four other people are in the cast, taking on multiple roles. They are Michael Fuller, Daniel Krell, Daina Michelle Griffith and Allison Moody. Every one of them consistently makes the most and best of every character. Note especially Krell’s fine subtle acting in serious scenes and Moody’s wonderful singing.
As a director, Martin Giles serves his own script well, keeping the action moving and interesting even though using a non-specific utilitarian set, made dramatically viable by having his stage crew come on and off in period costumes. And he has elicited performances which do justice to the best of what he wrote. Equally laudable he does justice to Stephen Foster, especially when you discover and admire songs you may not have heard before. And, as is usually true with any production by Pittsburgh Irish and Classical Theatre, program notes provide fascinating and informative background. Although parts of this script could stand revision, especially in the second act, it has the potential to improve. And the concept and the production deserve to thrive and prosper.
Beautiful Dreamers produced by PICT and Opera Theater of Pittsburgh continues through May 1st at The Charity Randall Theatre in Oakland. 412/ 394 3353 or www.picttheatre.org or www.opera theaterpittsburgh.org
Giles’ highly original concept is similar to what these days are called “juke-box musicals” in which a story is woven around very popular songs. In this case, though, he has come up with wonderful revelations by including as many unfamiliar ones as he has those which many of us know and love. Moreover, as a director, he has cast performers, nearly all of them local, with the singing talent which do those songs justice. Their performances come ably aided by music director Douglas Levine who has also provided fine multi-voice arrangements.
But, of course, any musical consists, just as much, of the script. And here Giles has created something full of lively invention and imagination, with solid dialogue and interesting plot developments. Most of it seems intelligently melodramatic, certainly appropriate to Foster’s own time, the mid 19th Century. However, what is said does not become florid or forced, even though much of the second act looks more show business formulaic rather than as fresh as the first act.
The sprawling story of Beautiful Dreamers also feels appropriate to the period, focusing on adventurous Americans discovering their still young country by traveling through it. They are naïve journalist Moses Walker, older widowed Susannah Milsap and one-time black slave Caleb Jefferson. They accidently meet and decide to journey west together. Along the way they encounter a colorful array of people, including Walt Whitman, Emily Dickenson and Samuel Clemens, plus blindly faithful optimistic settlers, a Native American chief, and several dangerous and evil persons. Giles’ dialogue for these characters most often stays unpredictable rather than clichéd. Once in a while too he provides legitimate laughs.
Joel Ripka’s take on Moses remains full of sweet, genuine charm while Stephanie Riso’s version of Susannah comes across with believable simplicity, even if she doesn’t seem as distinctive as he does. As the black man, Caleb Jefferson, Kevin Brown sings with fine sturdy voice, but his acting remains one-dimensional, mostly loud. Four other people are in the cast, taking on multiple roles. They are Michael Fuller, Daniel Krell, Daina Michelle Griffith and Allison Moody. Every one of them consistently makes the most and best of every character. Note especially Krell’s fine subtle acting in serious scenes and Moody’s wonderful singing.
As a director, Martin Giles serves his own script well, keeping the action moving and interesting even though using a non-specific utilitarian set, made dramatically viable by having his stage crew come on and off in period costumes. And he has elicited performances which do justice to the best of what he wrote. Equally laudable he does justice to Stephen Foster, especially when you discover and admire songs you may not have heard before. And, as is usually true with any production by Pittsburgh Irish and Classical Theatre, program notes provide fascinating and informative background. Although parts of this script could stand revision, especially in the second act, it has the potential to improve. And the concept and the production deserve to thrive and prosper.
Beautiful Dreamers produced by PICT and Opera Theater of Pittsburgh continues through May 1st at The Charity Randall Theatre in Oakland. 412/ 394 3353 or www.picttheatre.org or www.opera theaterpittsburgh.org
Friday, April 9, 2010
Theatre review: "August: Osage County" in the Broadway series @ Benedum-Sunday 11 May 2010
You don’t have much time remaining to witness a superbly acted and directed traveling version of Tracy Letts’ award- winning play August: Osage County. It won the 2008 Pulitzer Prize for Drama and the Tony Award for Best Play. Some of us feel that such awards don’t automatically mean masterpieces. However, in this case, the awards seem justified including one for director Anna D. Shapiro whose work is evident here.
Given that this is a drama, one with substantial content, it remains remarkable that it had a long run on Broadway, 18 months, at a time when most big hits are musicals. It becomes easy to see why this play attracts audiences. It contains many legitimate laughs but can’t really be called a comedy. At the same time, it deals with family dynamics, something familiar in real life as well as in movies and on TV. Moreover it remains original and unpredictable. You do need to know, just in case, that, like other plays by Tracy Letts, August Osage County is full of expletives. Unlike such plays as Bug or Killer Joe, there is no nudity. Moreover this does not concern equally violent people on the economic fringes of American society. These characters are prosperous and they are intelligent and articulate, even in anger.
In a large Oklahoma country home belonging to Violet Weston and her husband Beverly their extended family gathers in August for a funeral. It focuses on their three grown daughters, Violet’s sister Mattie Fae plus two husbands, one sister’s fiancé, one adult son and one teen daughter plus a Cheyenne native housekeeper. Over several days recriminations and revelations abound while past behaviors point to bleak futures amid such themes as alcoholism, drug abuse, aging, death, infidelity, incest, pedophilia and generational gaps. Among these characters, love, insight and the ability to adapt emerge as well. People, in other words, with depth. Credit Tracy Letts for writing this so well.
In this version of August: Osage County, credit too the actors and director for making it fascinating, colorful, compelling and convincing. And the humor comes from what people inadvertently say, rather than coming up with jokes. Given that there are 13 actors in the cast I’d prefer not to cite individually so may superb performances, especially since the actors are probably not known locally. Moreover this comes across most as an ensemble experience. And, although long-time star Estelle Parsons has a leading role, it never seems a vehicle for her. Like others on stage with her, she impeccably conveys the passions, moods, vulnerabilities and variety common to human beings much like ourselves. Opening night I did feel ,however, that Jon DeVries’ take on Beverly was out of step with the truthfulness of the other important characters, as if trying too hard.
One other thing. This is supposed to be taking place in a very hot time of year for Oklahoma. Such conditions would naturally heat of up tempers and cause other weaknesses to percolate. Yet I got no clear indication of that in the dialogue, the acting and the directing.
As on Broadway, where this light shone clearly amid the glitter of so many musicals, it’s great, in what’s called "The Broadway Series", to have such a drama, alive and well in this impressive production.
The final performance of August: Osage County is at 7 pm Sunday April 11th at Benedum Center. Tickets and info at 412/ 456-6666 or pgharts.org
Given that this is a drama, one with substantial content, it remains remarkable that it had a long run on Broadway, 18 months, at a time when most big hits are musicals. It becomes easy to see why this play attracts audiences. It contains many legitimate laughs but can’t really be called a comedy. At the same time, it deals with family dynamics, something familiar in real life as well as in movies and on TV. Moreover it remains original and unpredictable. You do need to know, just in case, that, like other plays by Tracy Letts, August Osage County is full of expletives. Unlike such plays as Bug or Killer Joe, there is no nudity. Moreover this does not concern equally violent people on the economic fringes of American society. These characters are prosperous and they are intelligent and articulate, even in anger.
In a large Oklahoma country home belonging to Violet Weston and her husband Beverly their extended family gathers in August for a funeral. It focuses on their three grown daughters, Violet’s sister Mattie Fae plus two husbands, one sister’s fiancé, one adult son and one teen daughter plus a Cheyenne native housekeeper. Over several days recriminations and revelations abound while past behaviors point to bleak futures amid such themes as alcoholism, drug abuse, aging, death, infidelity, incest, pedophilia and generational gaps. Among these characters, love, insight and the ability to adapt emerge as well. People, in other words, with depth. Credit Tracy Letts for writing this so well.
In this version of August: Osage County, credit too the actors and director for making it fascinating, colorful, compelling and convincing. And the humor comes from what people inadvertently say, rather than coming up with jokes. Given that there are 13 actors in the cast I’d prefer not to cite individually so may superb performances, especially since the actors are probably not known locally. Moreover this comes across most as an ensemble experience. And, although long-time star Estelle Parsons has a leading role, it never seems a vehicle for her. Like others on stage with her, she impeccably conveys the passions, moods, vulnerabilities and variety common to human beings much like ourselves. Opening night I did feel ,however, that Jon DeVries’ take on Beverly was out of step with the truthfulness of the other important characters, as if trying too hard.
One other thing. This is supposed to be taking place in a very hot time of year for Oklahoma. Such conditions would naturally heat of up tempers and cause other weaknesses to percolate. Yet I got no clear indication of that in the dialogue, the acting and the directing.
As on Broadway, where this light shone clearly amid the glitter of so many musicals, it’s great, in what’s called "The Broadway Series", to have such a drama, alive and well in this impressive production.
The final performance of August: Osage County is at 7 pm Sunday April 11th at Benedum Center. Tickets and info at 412/ 456-6666 or pgharts.org
Thursday, April 1, 2010
Theatre review: "The Wizard of Oz" in the Broadway Across America series-through April 4th
A national touring company has been following the dollar-paved road in what is called the Broadway Across America series. The show is The Wizard of Oz. Note, though, that this stage version of the classic movie has never been on Broadway. It doesn’t look as if it could, especially since the cast has no members of Actors Equity and the pit contains a non-union orchestra. The performing comes across serviceable at best and certainly doesn’t look like what most of us expect to be Broadway quality.
This has been billed as the Royal Shakespeare Company version. That turns out to mean that the script is an adaptation for that company by Englishman John Kane. Not of L. Frank Baum’s book but mainly a transcription of the dialogue from the 1939 film. The plot stays the same, of course, and Harold Arlen and Yip Harburg’s songs get sung with adequate voices. Clearly, the whole thing looks and sounds like a deliberate attempt to replicate the movie, to imitate rather than innovate, albeit with a few routine dance numbers added.
If this is how it was conceived by director Nigel West, who has major credits, then he has done nothing original, clever or creative. And the cast fits right into that predictable mold, not one actor making any role distinctive. The major trick by the man playing the Wizard of Oz’s is to try to fool you into thinking he's channeled Frank Morgan instead of being a real person. The actress in Dorothy’s pigtails remains somewhere under the radar not doing a Judy G impression instead coming across as no one. The Scarecrow and The Tin Man, despite decent costumes and distinctive movements, fall into interchangeable personalities. The guy in the Cowardly Lion costume doesn't display the courage of his convictions when he speaks. And the woman taking on The Witch looks as if she’s flying through on her way to a better role which doesn’t require so much empty cackling. Meanwhile members of the traveling company do tiny voice shtick as Munchkins even though most are taller than the original cast, while local kids, at the right height and who have genuinely miniature voices, get no lines. And cute little Dusty or Loki, whichever wagged Toto on opening night… the program didn’t say…must have it his contract that he gets an off-stage break every five minutes.
As for special effects, indeed you’ll see a few cute ones, including frequent flyers, but Glinda the Good must have lost her ticket and missed getting on board her flat wooden bubble; most of the time she has to walk. This low-budget production equally often relies on film projections rather than actual scenic devices. The sets looks OK, except that Munchkinland resembles a department store’s idea of Santa territory and The Wizard’s allegedly terrifying roaring mask, which never opens its mouth, seems borrowed from a defunct shopping mall Polynesian restaurant.
There’s no place like home. That’s where you should stay and watch the DVD. At least, amid the live comfort of real loved ones, you can sing along and not have to shell out greenbacks for an empty shell.
This production of The Wizard of Oz is at Heinz Hall through 6:30 pm Sunday April 4th.
412-392-4900; online at pgharts.org.
This has been billed as the Royal Shakespeare Company version. That turns out to mean that the script is an adaptation for that company by Englishman John Kane. Not of L. Frank Baum’s book but mainly a transcription of the dialogue from the 1939 film. The plot stays the same, of course, and Harold Arlen and Yip Harburg’s songs get sung with adequate voices. Clearly, the whole thing looks and sounds like a deliberate attempt to replicate the movie, to imitate rather than innovate, albeit with a few routine dance numbers added.
If this is how it was conceived by director Nigel West, who has major credits, then he has done nothing original, clever or creative. And the cast fits right into that predictable mold, not one actor making any role distinctive. The major trick by the man playing the Wizard of Oz’s is to try to fool you into thinking he's channeled Frank Morgan instead of being a real person. The actress in Dorothy’s pigtails remains somewhere under the radar not doing a Judy G impression instead coming across as no one. The Scarecrow and The Tin Man, despite decent costumes and distinctive movements, fall into interchangeable personalities. The guy in the Cowardly Lion costume doesn't display the courage of his convictions when he speaks. And the woman taking on The Witch looks as if she’s flying through on her way to a better role which doesn’t require so much empty cackling. Meanwhile members of the traveling company do tiny voice shtick as Munchkins even though most are taller than the original cast, while local kids, at the right height and who have genuinely miniature voices, get no lines. And cute little Dusty or Loki, whichever wagged Toto on opening night… the program didn’t say…must have it his contract that he gets an off-stage break every five minutes.
As for special effects, indeed you’ll see a few cute ones, including frequent flyers, but Glinda the Good must have lost her ticket and missed getting on board her flat wooden bubble; most of the time she has to walk. This low-budget production equally often relies on film projections rather than actual scenic devices. The sets looks OK, except that Munchkinland resembles a department store’s idea of Santa territory and The Wizard’s allegedly terrifying roaring mask, which never opens its mouth, seems borrowed from a defunct shopping mall Polynesian restaurant.
There’s no place like home. That’s where you should stay and watch the DVD. At least, amid the live comfort of real loved ones, you can sing along and not have to shell out greenbacks for an empty shell.
This production of The Wizard of Oz is at Heinz Hall through 6:30 pm Sunday April 4th.
412-392-4900; online at pgharts.org.
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