I’ve no doubt that you will be stirred by the performances and by the stories of Shaken and Stirred, written by Virginia Wall Gruenert and produced by her own company Washington PA’s Off the Wall Productions.
As the title certainly suggests, this has to do with drinking. Serious drinking. Alcoholism, in fact. That’s hardly a rare subject for drama, being depicted in many famous movies, but less often dealt with on stage. It is a theme clearly running through stage works, such as many Irish plays or the work of Irish-American Eugene O’Neill. O’Neill in particular explored the effect of drunkenness on families. Wall-Gruenert’s play also deals with families but goes in many meaningful, insightful and unpredictable directions, effortlessly blending interconnected themes in ways neither polemic nor melodramatic. The result left a deep, thoughtful, strong impression long after I’d departed the theater, especially since I have just been watching Ken Burns’ TV series about Prohibition.
Likewise leaving a strong impression: the phenomenal acting of Erica Cuenca and Karen Baum. These two have become regulars at Off the Wall and director Robyne Parrish could not have made a better choice than to cast them in the two principal roles. Cuenca’s natural, truthful playing comes suffused with internal beauty which makes her every moment on stage alive with meaning, from portraying a pre-teen to a maturing college girl. Watching her, for example, at one end of a phone conversation would be instructive for any actor. And Baum gives an amazingly disturbing, convincingly sorrowful performance evolving into another kind of sweet beauty.
Shaken and Stirred essentially probes the lives of two young women, Harley played by Baum and Happy, interpreted by Cuenca. Harley, raped in her teens, has become a stumbling, wanton bar girl and unwed mother, yearning as much for the daughter taken away from her as for any kind of bottle with which to nurse her addiction. By contrast, Happy has intelligent, perceptive control of her life, despite a father so perpetually drunk as to be mentally and emotionally absent even while at home.
Wall-Gruenert’s one-act 75 minute play also dwells on a woman named Roz, swiftly but thoroughly drawn, and whose life outside the bottle is as unpredictable and original as other developments in the script. Wall-Gruenert plays that role herself with the same kind of unforced truthfulness that director Parrish has capably evoked from the other women.
Oddly, though, there is one scene which goes into an incongruous non-realistic fantasy, a quiz show called “Name That Belief System,” which sidetracks the otherwise believable essence of the play. Continuing to ponder it, I still don’t get the point. Deleting it certainly would make the play about 10 minutes shorter, but since the rest never drags and always remains engaging, the question of minutes seems irrelevant; you won’t think about how long or how short this is, but rather about how much it says in whatever time it takes.
FYI: speaking of time, you may find, as I did, that driving from Pittsburgh to Washington, PA along Interstate 79 will not move swiftly. Construction projects narrowed a long stretch into one lane for several miles. I found the trip worth it.
Shaken and Stirred continues through October 22nd at Off The Wall Productions 147 N.Main Street, Washington, PA Tickets through www.proartstickets.org at 12/ 394-3353 or at www.insideoffthewall.com; phone: 724/873-3576
Sunday, October 9, 2011
Sunday, October 2, 2011
Theatre review: "Lost Boy in Whole Foods" at Point Park Rep Sunday 2nd October 2011
Pittsburgh’s Tammy Ryan has come up with another highly original, provocative and evocative play and The Rep at Pittsburgh Playhouse makes it vividly alive thanks to director Sheila McKenna and a cast full of talent. The title is Lost Boy Found in Whole Foods which may sound as if suggesting something jocular or whimsical. But actually this is deeply serious and straightforward, far less quirky than A Confluence of Dreaming which The Rep staged in June of last year, that play full of symbolisms but deep with meaning. This 2010 work seems most to be storytelling but, within it, significant themes come forward.
Ryan here says much about a subject most of us have only slight knowledge, Sudan’s second civil war which preceded the genocide in Darfur. But this is not really a history lesson because the widespread brutality, deaths, terror-stricken migrations and escapes to refugee camps have gone on over and over in many parts of Africa and elsewhere in the world. Moreover, although Pittsburgh is the setting for the play, this too could take place elsewhere. Thus, fundamentally, Ryan deals with the vast divide between our own affluent culture and the struggle to survive in far-away third world societies. But Ryan does not lay a guilt trip on us, more into revelations than accusations. Less obvious, beneath the surface, she deals with the communality of family ties and with senses of self. She has created fine, thorough character development along with sincere and natural dialogue which speaks eloquently but directly. The result becomes a remarkable experience, given that she has gone deep into portraying the beliefs and rituals of a culture alien to average Americans.
Well-off single mother Christine encounters a young man named Gabriel working at Whole Foods. He is a refugee from Sudan and has found church and government- sponsored asylum in the U.S. She is drawn to him by his vulnerable charm and seeming joy in life, despite the hardships he has endured. She takes him into her home to share it with her rebellious, spoiled daughter Alexandria. Also in the story is Gabriel’s seemingly menacing older Sudanese tribal companion Panther. Christine wants to do all she can to help and support Gabriel. Eventually, Alexandria does too.
With Lost Boy in Whole Foods you can read internal meanings about the contrasts between Christine’s home life with Alexandria and the home life Gabriel had to flee. But Ryan does not seem to be a polemicist. She also gets engaged in telling us of the intricacies of practical complications behind making compassion turn into meaningful action and of the unpredictability of human nature which is neither black nor white. We witness the strong feelings of the characters, but from outside. Although intellectually understanding these people and what they represent, I didn’t find myself emotionally connected.
I was continually impressed with the sincere, totally believable and natural acting of the cast and how McKenna got it all to look effortless with pacing that never seemed forced or rushed or overly pointed. Everyone makes the dialogue totally real.
Laurie Klatscher gives a fine portrayal of Christine making her innocent and warm. Point Park junior David Anthony Berry’s Gabriel stays constantly appealing and truthful and his darker moments become equally genuine. I did find it hard to understand many words he said, given his convincing Sudanese accent which, nonetheless, did not detract from understanding the character. Point Park faculty member Ben Blazer also contributes solid substance to the role of Michael Dolan, an ex- Catholic Charities staff member involved in aiding Gabriel and Panther.
Steve Shapiro’s sound design stays compelling, at times intensely tribal, but appropriately becoming more American black contemporary to dovetail with looming events within the story.
Ryan and The Rep have much to tell us and they tell us extraordinarily well.
Lost Boy Found in Whole Foods continues through Sunday, Oct. 16 at Point Park University’s Pittsburgh Playhouse Studio Theater. 412/ 392-8000 or www.pittsburghplayhouse.com.
Ryan here says much about a subject most of us have only slight knowledge, Sudan’s second civil war which preceded the genocide in Darfur. But this is not really a history lesson because the widespread brutality, deaths, terror-stricken migrations and escapes to refugee camps have gone on over and over in many parts of Africa and elsewhere in the world. Moreover, although Pittsburgh is the setting for the play, this too could take place elsewhere. Thus, fundamentally, Ryan deals with the vast divide between our own affluent culture and the struggle to survive in far-away third world societies. But Ryan does not lay a guilt trip on us, more into revelations than accusations. Less obvious, beneath the surface, she deals with the communality of family ties and with senses of self. She has created fine, thorough character development along with sincere and natural dialogue which speaks eloquently but directly. The result becomes a remarkable experience, given that she has gone deep into portraying the beliefs and rituals of a culture alien to average Americans.
Well-off single mother Christine encounters a young man named Gabriel working at Whole Foods. He is a refugee from Sudan and has found church and government- sponsored asylum in the U.S. She is drawn to him by his vulnerable charm and seeming joy in life, despite the hardships he has endured. She takes him into her home to share it with her rebellious, spoiled daughter Alexandria. Also in the story is Gabriel’s seemingly menacing older Sudanese tribal companion Panther. Christine wants to do all she can to help and support Gabriel. Eventually, Alexandria does too.
With Lost Boy in Whole Foods you can read internal meanings about the contrasts between Christine’s home life with Alexandria and the home life Gabriel had to flee. But Ryan does not seem to be a polemicist. She also gets engaged in telling us of the intricacies of practical complications behind making compassion turn into meaningful action and of the unpredictability of human nature which is neither black nor white. We witness the strong feelings of the characters, but from outside. Although intellectually understanding these people and what they represent, I didn’t find myself emotionally connected.
I was continually impressed with the sincere, totally believable and natural acting of the cast and how McKenna got it all to look effortless with pacing that never seemed forced or rushed or overly pointed. Everyone makes the dialogue totally real.
Laurie Klatscher gives a fine portrayal of Christine making her innocent and warm. Point Park junior David Anthony Berry’s Gabriel stays constantly appealing and truthful and his darker moments become equally genuine. I did find it hard to understand many words he said, given his convincing Sudanese accent which, nonetheless, did not detract from understanding the character. Point Park faculty member Ben Blazer also contributes solid substance to the role of Michael Dolan, an ex- Catholic Charities staff member involved in aiding Gabriel and Panther.
Steve Shapiro’s sound design stays compelling, at times intensely tribal, but appropriately becoming more American black contemporary to dovetail with looming events within the story.
Ryan and The Rep have much to tell us and they tell us extraordinarily well.
Lost Boy Found in Whole Foods continues through Sunday, Oct. 16 at Point Park University’s Pittsburgh Playhouse Studio Theater. 412/ 392-8000 or www.pittsburghplayhouse.com.
Sunday, September 11, 2011
Theatre review: "Race" from Pittsburgh Irish and Classical Theatre.Sunday 11th September 2011
David Mamet’s exercise in black and white, called Race, surges with all kinds of color and intensity as produced by Pittsburgh Irish and Classical Theatre. Given that it’s only been around for two years it seems a little early to call it a classic. But, in Mamet’s comments about it, reprinted in the excellent program book, he does call attention to the essence of classic tragedies as if some kind of inspiration.
This cast, superbly paced by director Andrew Paul, dynamically makes clear the broad, shimmering palette of Mamet’s provocative ideas.
I call it an exercise in black and white not just because, obviously, it deals with race, but with the questionable absolutes of truth and justice and, in this case, one major part of the American way. Mamet’s recurring theme concerns guilt and shame. I won’t go into what he means or why; that and much more of what he has to say become the fascinating reason for being there.
This revolves around a wealthy white man, Charles Stickland, who is accused of raping a black woman. Strickland comes to Jack Lawson and Henry Brown’s law firm hoping to have them defend him. As the play spirals and twists back and forth, Lawson, who is white and Brown, who is black, at first debate whether or not they should take the case. They also have the assistance and input of recently hired Susan. She’s black. As the play progresses her relationship with Lawson also emerges.
Fundamentally this 90 minute version of Mamet’s Race, evidently tightened compared to the two acts on Broadway, vibrates with conceptions and pre-conceptions rather than with definitions of characters. Strickland, the accused rapist, is the only person clearly defined beyond the confines of the sweaty but spartan office walls. Michael Fuller’s convincing performance makes him look vulnerable and innocent, but lacks the shadings which would seem to go with such a man of privilege and affluence. Meanwhile as the lawyers, John DeMita’s Lawson seethes with the appropriate fervor of a man with a passion for verbal combat while Alan Bomar Jones’ take on Henry Brown comes across with sturdy humor and winning personality. Caisha Felt plays Susan totally right, as a woman with attitude.
You may find some analogy here with the more recent Dominic Strauss- Kahn case, especially since part of the developments concern questionable testimony by an immigrant chamber maid. But the play was written before that case surfaced.
This reminder, should you need it, as usual, Mamet’s language is peppered with expletives. But they and all the other words serve a more intense purpose: to get us to ponder those thorny aspects of our society which still color our perceptions and our behavior concerning race.
Race continues through October 1st in the Henry Heymann Theatre in Oakland’s Stephen Foster Memorial. Tickets and info at ProArtsTickets at 412/394 -3353 or www.picttheatre.org
This cast, superbly paced by director Andrew Paul, dynamically makes clear the broad, shimmering palette of Mamet’s provocative ideas.
I call it an exercise in black and white not just because, obviously, it deals with race, but with the questionable absolutes of truth and justice and, in this case, one major part of the American way. Mamet’s recurring theme concerns guilt and shame. I won’t go into what he means or why; that and much more of what he has to say become the fascinating reason for being there.
This revolves around a wealthy white man, Charles Stickland, who is accused of raping a black woman. Strickland comes to Jack Lawson and Henry Brown’s law firm hoping to have them defend him. As the play spirals and twists back and forth, Lawson, who is white and Brown, who is black, at first debate whether or not they should take the case. They also have the assistance and input of recently hired Susan. She’s black. As the play progresses her relationship with Lawson also emerges.
Fundamentally this 90 minute version of Mamet’s Race, evidently tightened compared to the two acts on Broadway, vibrates with conceptions and pre-conceptions rather than with definitions of characters. Strickland, the accused rapist, is the only person clearly defined beyond the confines of the sweaty but spartan office walls. Michael Fuller’s convincing performance makes him look vulnerable and innocent, but lacks the shadings which would seem to go with such a man of privilege and affluence. Meanwhile as the lawyers, John DeMita’s Lawson seethes with the appropriate fervor of a man with a passion for verbal combat while Alan Bomar Jones’ take on Henry Brown comes across with sturdy humor and winning personality. Caisha Felt plays Susan totally right, as a woman with attitude.
You may find some analogy here with the more recent Dominic Strauss- Kahn case, especially since part of the developments concern questionable testimony by an immigrant chamber maid. But the play was written before that case surfaced.
This reminder, should you need it, as usual, Mamet’s language is peppered with expletives. But they and all the other words serve a more intense purpose: to get us to ponder those thorny aspects of our society which still color our perceptions and our behavior concerning race.
Race continues through October 1st in the Henry Heymann Theatre in Oakland’s Stephen Foster Memorial. Tickets and info at ProArtsTickets at 412/394 -3353 or www.picttheatre.org
Saturday, September 10, 2011
Theatre review: "Wicked" at Benedum Center, Sunday, 11th September, 2011
Once again, a traveling version of Wicked has landed in Pittsburgh. You can bet that seats will be packed throughout its flight, even though this hit has been running for nearly eight years on Broadway. Surely people are drawn to it more than once, like re-visiting a beloved movie. In this case, as you probably know, this musical is a spin-off of a movie version of The Wizard of Oz. Not L. Frank Baum’s book really, but rather the enduring, classic 1939 film derived from it. And, although Wicked is said to be based on Gregory Maguire’s novel of that name, the sung and danced version of it is only a shadow of its source. In fact it looks as if Winnie Holtzman’s book tries to exploit familiarity by constantly throwing in references to the movie as do some of director Joe Mantello’s effects. Nonetheless both keep the frequently comic spirit alive during the first parts.
Some of Maguire’s most original ideas clearly come through, derived from his back-story about the Wicked Witch of the West, whom Maguire named Elphaba. And when you get to witness that imaginatively conceived story, swiftly sketched-in to make room for so many peripheral songs and production numbers, you get glimpses of satirical edges about animal rights, racism and fascism. Thus, this take on what Maguire created remains interesting and colorful amid the unrelenting sparkle and flash of making everything look dynamic.
But Steven Schwartz’s generally utilitarian, uninteresting and predictable music, spiced up with a few clever lyrics, take up too much time and space. This could have made such an interesting play. Would people buy tickets for such as that? Probably. But if you want to mount a theatrical spectacle aiming for really big bucks you have to have songs.
Anyway, this production of Wicked looks great with cleverly-styled costumes and sets to suggest another off-center time and place, decorated with some very good special effects. And everyone sings with style and verve, meaning, in this case, the leads belting out their numbers in the predictable stand-and-deliver, crowd-provoking style so common to recent musicals, short on meaningful melody, long on volume. Anne Brummel does everything right as Elphaba and Natalie Daradich plays all of Glinda’s bubble-headedness with good, big comic touches. On the other hand, they don’t really evoke much specific and interesting character. I also don’t find Don Amendola’s version of the Wizard to have any interesting qualities, as if he’s walking through the part. Come to think of it, most of the performances of other specific roles, although polished, came across as likewise generic.
I was surprised too by a very chintzy effect towards the end when Dorothy, an incidental character, is portrayed in a slapped-together shadow show throwing an empty bucket of water on Elphaba. With all the money this show costs to mount, you’d think that the producers could have had some member of the chorus do this on the stage front with real water.
But my throwing cold water on this production probably doesn’t matter to anyone interested in the show. And it does have such an imaginative premise. So, even if this performance seems to be taking itself for granted, it still looks and sounds good.
Wicked is at Benedum Center through October 2nd in the PNC Broadway Across America-Pittsburgh series : 412/-471-1390 or wicked.pgharts.org.
Some of Maguire’s most original ideas clearly come through, derived from his back-story about the Wicked Witch of the West, whom Maguire named Elphaba. And when you get to witness that imaginatively conceived story, swiftly sketched-in to make room for so many peripheral songs and production numbers, you get glimpses of satirical edges about animal rights, racism and fascism. Thus, this take on what Maguire created remains interesting and colorful amid the unrelenting sparkle and flash of making everything look dynamic.
But Steven Schwartz’s generally utilitarian, uninteresting and predictable music, spiced up with a few clever lyrics, take up too much time and space. This could have made such an interesting play. Would people buy tickets for such as that? Probably. But if you want to mount a theatrical spectacle aiming for really big bucks you have to have songs.
Anyway, this production of Wicked looks great with cleverly-styled costumes and sets to suggest another off-center time and place, decorated with some very good special effects. And everyone sings with style and verve, meaning, in this case, the leads belting out their numbers in the predictable stand-and-deliver, crowd-provoking style so common to recent musicals, short on meaningful melody, long on volume. Anne Brummel does everything right as Elphaba and Natalie Daradich plays all of Glinda’s bubble-headedness with good, big comic touches. On the other hand, they don’t really evoke much specific and interesting character. I also don’t find Don Amendola’s version of the Wizard to have any interesting qualities, as if he’s walking through the part. Come to think of it, most of the performances of other specific roles, although polished, came across as likewise generic.
I was surprised too by a very chintzy effect towards the end when Dorothy, an incidental character, is portrayed in a slapped-together shadow show throwing an empty bucket of water on Elphaba. With all the money this show costs to mount, you’d think that the producers could have had some member of the chorus do this on the stage front with real water.
But my throwing cold water on this production probably doesn’t matter to anyone interested in the show. And it does have such an imaginative premise. So, even if this performance seems to be taking itself for granted, it still looks and sounds good.
Wicked is at Benedum Center through October 2nd in the PNC Broadway Across America-Pittsburgh series : 412/-471-1390 or wicked.pgharts.org.
Saturday, September 3, 2011
Theatre review: "The Merry Wives of Windsor" from Pittsburgh Shakespeare in the Parks-Sunday 4th September
Pittsburgh Shakespeare in the Parks offers a lively take on the comedy The Merry Wives of Windsor. The cast kept it amazingly energetic despite the intense heat and a few heavy -looking costumes at the Saturday afternoon opening in Frick Park. Director Tommy Costello has had his actors project everything clearly while getting the basic sense of most of the lines. Sometimes, though, they milked the words instead of allowing them to flow naturally plus a few mugged too often as if in some kind of 19th century vaudeville show instead of in an actual play. While no one came across with an interesting and specific characterization, everyone made clear the elements of the story in broad, comic spirit.
Aging, overweight, self-important Falstaff is very short on money and decides that he will court two wealthy married women, Mistress Ford and Mistress Page. Meanwhile three different men are trying to win the hand of Page's daughter. The husbands learn of Falstaff’s plan and the wives agree to have fun with Falstaff by making him more of a fool than he is already.
You could learn more about the plot; Alan Irvine gives a verbal synopsis before each performance plus the program book gives all the details.
Costello has cast Joanna Getting as Falstaff and her performance stays loud and boisterous rather than specific, the most vaudevillian of all, nearly a clown act. Among the more interesting choices Jorgè Azcàrate triples in three roles which he gives clear and separate definition. And as another two characters, Adam Huff makes them nearly credible. Several other women also play men’s roles without going overboard to mimic masculinity. Characteristic of semi or non professional actors, child-like, many threw away important words at the ends of sentences, as if periods require downward inflections.
Cellist Rachel Smith adds musical color, which, unfortunately, at times competes with dialogue delivered a few feet away from her.
Costello has everyone walking through and sometime directly playing to the randomly seated audience, a friendly way to make the experience as down to earth as the story.
This reminder: you choose your own seating, meaning you might want to bring a folding chair or at least a blanket for sitting on the grass.
The free performances of The Merry Wives of Windsor are all at 2pm. The next are September 10th and 11th at West Park at Allegheny Commons, on West North Ave & Brighton Road, on the North Side
Those September 17th and 18th are in Arsenal Park , 39th and Butler St , Lawrenceville
And September 24th and 25th they return to Frick Park at Beechwood Blvd. and Nicholson St in Squirrel Hill.
Info at www.pittsburghshakespeare.com
Aging, overweight, self-important Falstaff is very short on money and decides that he will court two wealthy married women, Mistress Ford and Mistress Page. Meanwhile three different men are trying to win the hand of Page's daughter. The husbands learn of Falstaff’s plan and the wives agree to have fun with Falstaff by making him more of a fool than he is already.
You could learn more about the plot; Alan Irvine gives a verbal synopsis before each performance plus the program book gives all the details.
Costello has cast Joanna Getting as Falstaff and her performance stays loud and boisterous rather than specific, the most vaudevillian of all, nearly a clown act. Among the more interesting choices Jorgè Azcàrate triples in three roles which he gives clear and separate definition. And as another two characters, Adam Huff makes them nearly credible. Several other women also play men’s roles without going overboard to mimic masculinity. Characteristic of semi or non professional actors, child-like, many threw away important words at the ends of sentences, as if periods require downward inflections.
Cellist Rachel Smith adds musical color, which, unfortunately, at times competes with dialogue delivered a few feet away from her.
Costello has everyone walking through and sometime directly playing to the randomly seated audience, a friendly way to make the experience as down to earth as the story.
This reminder: you choose your own seating, meaning you might want to bring a folding chair or at least a blanket for sitting on the grass.
The free performances of The Merry Wives of Windsor are all at 2pm. The next are September 10th and 11th at West Park at Allegheny Commons, on West North Ave & Brighton Road, on the North Side
Those September 17th and 18th are in Arsenal Park , 39th and Butler St , Lawrenceville
And September 24th and 25th they return to Frick Park at Beechwood Blvd. and Nicholson St in Squirrel Hill.
Info at www.pittsburghshakespeare.com
Sunday, August 7, 2011
Theatre review: "The Importance of Being Earnest" from Pittsburgh Irish and Classical Theatre-Sunday 7th August 2011
I’ve never had as much fun and found so much delight in Oscar Wilde’s The Importance of Being Earnest as I had experiencing director Conall Morrison’s version produced by Pittsburgh Irish and Classical Theatre. And I’ve seen it many times before.
Morrison originally created this for Dublin, Ireland’s Abbey Theatre where actor Alan Stanford has performed the same role he interprets here. Adding to the special nature of the offering, the remarkable set also has been brought across the Atlantic.
It works so well because Morrison has found ways to make the Pittsburgh cast get the most out of its comic possibilities, full of constant vitality and broad playing rather than the more usual English restraint most people expect. Morrison has also inserted a multitude of hilarious bits of business and reactions. And it sounds as if Morrison found ways to get his actors to overcome the sonic limitations of the Charity Randall Theatre, an accomplishment in itself.
As you may have heard, this production has an all-male cast. Yet this does not camp it up nor do anything to point up that you are watching men in those roles. This is no send-up. The men in those roles make the women truly funny women.
Visiting actors Will Reynolds and Matthew Cleaver portray the two young ladies Gwendolen, with whom Jack is totally smitten, and Cecily with whom Algernon is wildly, passionately, devotedly in love. Reynolds’ Gwendolen gets just right the mirror image of her mother, Lady Bracknell, even up to towering over the men in unassailable stature and command. And Cleaver’s take on Cecily has all the dopey innocence you could wish for. Both men create marvelous portraits.
Astonishingly memorable David Whalen plays Jack gloriously full throttle, romping through every moment, playing it all to a fare thee well. As Algernon, Leo Marks brings out a lot of the smart aleck side, more restrained than Whalen but a good contrast.
In a smaller role, Martin Giles’ take on the servant Merriman serves up its own laughs.
Mr. Stanford has the inevitably plum role of Lady Bracknell which he never pushes or overdoes. He makes the zingy lines zing, his timing and inflections perfect.
Stanford also appears as Oscar Wilde in what, as you may have heard, is director Morrison’s own material to frame the whole thing in which Wilde is seen in the final downward days of his life, when his memory seems to call forth the play. Although Stanford’s performance as Wilde has sad verisimilitude, that part of this production doesn’t work. It even gets egregious when we see Wilde heading upstairs with a bare-chested young man. The add-on seems superfluous and even diminishes the effect of Earnest’s jolly conclusion when we once again see lonely, solitary, abandoned Wilde in a bar. I imagine Morrison wants to show a contrast between the broad hilarity of the play and the sad reality of Wilde’s last days. Program notes make that completely clear for anyone who doesn’t know the facts already.
Nonetheless, this element does not take away from the rest of this otherwise thoroughly entertaining, fresh approach. Seeing what can be done with what is considered a classic makes it even clearer that Wilde did indeed create a joyful treasure.
The Importance of Being Earnest continues through August 27th a The Charity Randall Theatre in the Stephen Foster Memorial, Oakland. Tickets at ProArtsTickets: 412/ 394-3353 or www.picttheatre.org
Morrison originally created this for Dublin, Ireland’s Abbey Theatre where actor Alan Stanford has performed the same role he interprets here. Adding to the special nature of the offering, the remarkable set also has been brought across the Atlantic.
It works so well because Morrison has found ways to make the Pittsburgh cast get the most out of its comic possibilities, full of constant vitality and broad playing rather than the more usual English restraint most people expect. Morrison has also inserted a multitude of hilarious bits of business and reactions. And it sounds as if Morrison found ways to get his actors to overcome the sonic limitations of the Charity Randall Theatre, an accomplishment in itself.
As you may have heard, this production has an all-male cast. Yet this does not camp it up nor do anything to point up that you are watching men in those roles. This is no send-up. The men in those roles make the women truly funny women.
Visiting actors Will Reynolds and Matthew Cleaver portray the two young ladies Gwendolen, with whom Jack is totally smitten, and Cecily with whom Algernon is wildly, passionately, devotedly in love. Reynolds’ Gwendolen gets just right the mirror image of her mother, Lady Bracknell, even up to towering over the men in unassailable stature and command. And Cleaver’s take on Cecily has all the dopey innocence you could wish for. Both men create marvelous portraits.
Astonishingly memorable David Whalen plays Jack gloriously full throttle, romping through every moment, playing it all to a fare thee well. As Algernon, Leo Marks brings out a lot of the smart aleck side, more restrained than Whalen but a good contrast.
In a smaller role, Martin Giles’ take on the servant Merriman serves up its own laughs.
Mr. Stanford has the inevitably plum role of Lady Bracknell which he never pushes or overdoes. He makes the zingy lines zing, his timing and inflections perfect.
Stanford also appears as Oscar Wilde in what, as you may have heard, is director Morrison’s own material to frame the whole thing in which Wilde is seen in the final downward days of his life, when his memory seems to call forth the play. Although Stanford’s performance as Wilde has sad verisimilitude, that part of this production doesn’t work. It even gets egregious when we see Wilde heading upstairs with a bare-chested young man. The add-on seems superfluous and even diminishes the effect of Earnest’s jolly conclusion when we once again see lonely, solitary, abandoned Wilde in a bar. I imagine Morrison wants to show a contrast between the broad hilarity of the play and the sad reality of Wilde’s last days. Program notes make that completely clear for anyone who doesn’t know the facts already.
Nonetheless, this element does not take away from the rest of this otherwise thoroughly entertaining, fresh approach. Seeing what can be done with what is considered a classic makes it even clearer that Wilde did indeed create a joyful treasure.
The Importance of Being Earnest continues through August 27th a The Charity Randall Theatre in the Stephen Foster Memorial, Oakland. Tickets at ProArtsTickets: 412/ 394-3353 or www.picttheatre.org
Thursday, August 4, 2011
Theatre review: "Jesus Christ Superstar" from Pittsburgh CLO-Sunday 7th August 2011
Many people attest that Jesus Christ Superstar, the 1971 Tim Rice, Andrew Lloyd Webber musical is some kind of a classic. I do not share such belief, but, as far as I can tell, Pittsburgh CLO’s resurrection sounds and looks faithful to the original conception. I’ve seen it only once before, in Pittsburgh Musical Theater’s Ken Gargaro’s 2006 goofy take, which had almost as many laughs as Mel Brooks’ version of The Last Supper. I thought then, and continue to think, that’s it’s a bizarre. mixed-up piece of theatre. But who’s to thrice deny that producers can count on faithful followers, suffering little children and their parents to come unto them, laying out riches to witness the rite?
Certainly director Charles Repole has made tellingly graphic, disturbing and moving the final cruelties to Christ. And the large cast comes across with solid portrayals, singing and dancing in this nearly sung-through product with Doug Kreeger’s take on Jesus both sympathetic and believable. Josh Tower’s Judas, though, throughout seems an empty shell. FYI: many local performers are in the ensemble,
Verily, lest ye not know already, this deals with one week in which the Gospels tell of events leading to the Crucifixion. The book, evidently by Rice, albeit not credited, gives equal weight to the eventually equally dead- by- suspension Judas, suggesting that he too is tragic. That’s probably the most original take on the story. But there’s also the image of Christ as human rather than God-like while Pilate’s scenes make him look weak and indecisive and Herod is presented as a buffoon. There are other elements with original perspectives. So, this is no ritual telling of the story.
Musically Webber mostly favors generic rock but also gets into a couple of other styles, including music hall and something symphonic, none of it particularly interesting. Rice’s lyrics, meanwhile sound pretty obvious, sometimes so patent that they become funny. As for the overall style, howling and wailing is standard delivery. Hardly subtle.
I found quite dopey the title song delivered as if a rock act with microphones and elaborately coiffed back-up singers. Huh?
As for the title, I understand that this is sometimes staged in contemporary clothing with Christ depicted as a hippie. Here the cast wears a mixture of styles. A harmless way to make a point about universality.
The whole thing could have been much more inventive. Spinning off of “superstar” which suggests a performing icon of the genre, all that Webber and Rice have done is feature rock songs. But this could have been about Christ as a traveling rock star whose gigs consist of him preaching in song, with backstage stories dealing with how he relates to his retinue and groupies. And as for Christ’s betrayal and eventual eclipse, that could have been done by making the villains record producers with the Crucifixion symbolic rather than realistic, or have someone sabotage his sound setup to electrocute him.
But then Rice and Webber didn’t ask me what I thought. And, if you already find this show a masterpiece, you’d not care what I think either. All kinds of people come up with all kinds of interpretations of this story. Jesus Christ! Why not?
Jesus Christ Superstar continues through August 14th at Benedum Center, Downtown. Tickets at 412/456-6666 or pittsburghCLO.org
Certainly director Charles Repole has made tellingly graphic, disturbing and moving the final cruelties to Christ. And the large cast comes across with solid portrayals, singing and dancing in this nearly sung-through product with Doug Kreeger’s take on Jesus both sympathetic and believable. Josh Tower’s Judas, though, throughout seems an empty shell. FYI: many local performers are in the ensemble,
Verily, lest ye not know already, this deals with one week in which the Gospels tell of events leading to the Crucifixion. The book, evidently by Rice, albeit not credited, gives equal weight to the eventually equally dead- by- suspension Judas, suggesting that he too is tragic. That’s probably the most original take on the story. But there’s also the image of Christ as human rather than God-like while Pilate’s scenes make him look weak and indecisive and Herod is presented as a buffoon. There are other elements with original perspectives. So, this is no ritual telling of the story.
Musically Webber mostly favors generic rock but also gets into a couple of other styles, including music hall and something symphonic, none of it particularly interesting. Rice’s lyrics, meanwhile sound pretty obvious, sometimes so patent that they become funny. As for the overall style, howling and wailing is standard delivery. Hardly subtle.
I found quite dopey the title song delivered as if a rock act with microphones and elaborately coiffed back-up singers. Huh?
As for the title, I understand that this is sometimes staged in contemporary clothing with Christ depicted as a hippie. Here the cast wears a mixture of styles. A harmless way to make a point about universality.
The whole thing could have been much more inventive. Spinning off of “superstar” which suggests a performing icon of the genre, all that Webber and Rice have done is feature rock songs. But this could have been about Christ as a traveling rock star whose gigs consist of him preaching in song, with backstage stories dealing with how he relates to his retinue and groupies. And as for Christ’s betrayal and eventual eclipse, that could have been done by making the villains record producers with the Crucifixion symbolic rather than realistic, or have someone sabotage his sound setup to electrocute him.
But then Rice and Webber didn’t ask me what I thought. And, if you already find this show a masterpiece, you’d not care what I think either. All kinds of people come up with all kinds of interpretations of this story. Jesus Christ! Why not?
Jesus Christ Superstar continues through August 14th at Benedum Center, Downtown. Tickets at 412/456-6666 or pittsburghCLO.org
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