I have no idea about what playwright Elizabeth Meriwether is trying to tell us in her short play The Mistakes Madeline Made and no idea why No Name Players decided to invest time and talent to it. The only thing that becomes clear is that director Marci Woodruff and her cast perform this possibly deliberately absurd material with realistic sincerity and skill, even if I’m not sure if that’s the best or only choice. Certainly the set has a lot of substance.
Characteristically, as with so many semi-professional groups, nothing in the program says anything about the most essential person of this play, the writer. But I learned from Wikipedia that Meriwether wrote this in 2006 along with Heddatron and Oliver Parker! in 2010 as well as the screenplay for this year’s romantic comedy film No Strings Attached and has been grouped with "The Fempire" a group of female screenwriters.
The focus is on Edna, who hates her job as part of the home office staff of very wealthy family. Wilson is on the staff and, seemingly a mental case, delights in creating sound effects and incessantly babbling. Edna continually drops off into her past as a college student when her visiting brother Buddy, a war correspondent, spent much time in an empty bathtub. Since his death,Edna hasn’t bathed and gravitates to sex with writers. Also seemingly central is an obsession with Handi Wipes.
As for the title, it too seems more obscure than meaningful. It’s a reference to a short passage read aloud from a book by Dr. Joyce Brothers. I guess overall that Meriwether is trying to say something about contemporary women. And, I’m sure that, if you want to spend time and energy attending this and pondering it subsequently you might discover more merit in the experience than I did.
The Mistakes Madeline Made is at the Studio Theater in the Cathedral of Learning at the University of Pittsburgh through August 13th. Tickets at : ShowClix 1-888-71-TICKETS which is the same as 1 -888-718-4253. Info: nonameplayers.org
Sunday, July 31, 2011
Saturday, July 30, 2011
Theatre Review: "Twelfth Night" from Quantum Theatre. Sunday 31st July 2011
Quantum Theatre’s Karla Boos has come up with a delightfully charming version of Shakespeare’s Twelfth Night. Her excellent directorial concept with a nearly perfect cast carrying it out, renew the life in this thoroughly familiar comedy. Boos and her actors do not radically transform the characters or the story but make it all live again, enriching the spirit of fun without pushing or overdoing it. Here, the emphasis is on people taking themselves too seriously, never knowing that they are foolish, becoming unwittingly comic.
To make sure you remember the play, the best known people in it are Malvolio, Sir Toby Belch and Sir Andrew Aguecheek whose ludicrous qualities along with their names have become indelible. In the center of the plot are the highly earnest Olivia and Orsino. Orsino believes because he is so passionate about Olivia that she’s obliged to love him. She, forswearing the company of men, swiftly finds her resolve crumbling encountering a boy sent to woo her on Orsino’s behalf. That boy is really a girl, wandering and homeless Viola whose twin brother Sebastian eventually arrives. Malvolio, Sir Toby and Sir Andrew are in Olivia’s circle as is Feste, most often defined a clown, although not in this instance.
Boos always keeps the touch light and the pacing lively. And Robin Abramson’s Viola brims with winning personality, most of it while Voila has assumed the guise of a boy which she never forces. Abramson makes it all truthful, simple and gentle. No wonder Olivia falls in love. Meanwhile Robin Walsh expertly makes believable Olivia’s constant disarray. I don’t think, though, that Mark Staley found the subtle comic possibilities in Orsino. John Gresh turns the perpetually soused, perpetually playful Sir Toby into a jolly delight and Tony Bingham finds clever comic possibilities in Sebastian. As Malvolio, Gregory Lehane does something quite unexpected, an excellent choice. Malvolio is often played as initially laughable, but Lehane makes him totally serious, a good counterpoint to all that happening around him where seemingly respectable people don’t know that they are fools. On the other hand, the actual fool character, Feste, is often played as wise and reasonable. A good contrast. But, in this case, young, marginally experienced Justin DeWolf does nothing at all with that role.
Boos has made a few strange choices in costuming and staging, albeit peripheral. Most of the cast comes generically attired, suggesting no period. Several people wear visible, tight black corsets, I suppose to suggest characters seeking to control themselves. On the other hand Sir Andrew’s clothes look incongruously near Elizabethan. Plus, to symbolize money, “purses” in the script, she has everyone passing along credit cards. Odd. And she needlessly uses door buzzers to summon people who could just as easily be called directly. Maybe there are symbolisms which I missed.
As is often true in a Quantum production, the setting adds a further dimension. In this case Boos borrows an abandoned building along functioning railroad tracks beneath the South Millvale Avenue Bridge, a courtyard of the former West Penn Hospital Foundation Research Facility. With seats arranged on platforms facing the courtyard it becomes a fine amphitheatre. Crickets chirp, birds twitter and, once in a while, a train chugs nearby, all making no special point but adding to the appeal.
Everything feels so fresh. And, as the moon rises above the trees, so will your spirits lift.
Twelfth Night continues through August 21st at The West Penn Hospital Foundation Research Facility, 720 Gross Street, Bloomfield
Tickets through ShowClix 1-888-71-TICKETS i.e. 1-888 718 4253 or at www.quantumtheatre.com
To make sure you remember the play, the best known people in it are Malvolio, Sir Toby Belch and Sir Andrew Aguecheek whose ludicrous qualities along with their names have become indelible. In the center of the plot are the highly earnest Olivia and Orsino. Orsino believes because he is so passionate about Olivia that she’s obliged to love him. She, forswearing the company of men, swiftly finds her resolve crumbling encountering a boy sent to woo her on Orsino’s behalf. That boy is really a girl, wandering and homeless Viola whose twin brother Sebastian eventually arrives. Malvolio, Sir Toby and Sir Andrew are in Olivia’s circle as is Feste, most often defined a clown, although not in this instance.
Boos always keeps the touch light and the pacing lively. And Robin Abramson’s Viola brims with winning personality, most of it while Voila has assumed the guise of a boy which she never forces. Abramson makes it all truthful, simple and gentle. No wonder Olivia falls in love. Meanwhile Robin Walsh expertly makes believable Olivia’s constant disarray. I don’t think, though, that Mark Staley found the subtle comic possibilities in Orsino. John Gresh turns the perpetually soused, perpetually playful Sir Toby into a jolly delight and Tony Bingham finds clever comic possibilities in Sebastian. As Malvolio, Gregory Lehane does something quite unexpected, an excellent choice. Malvolio is often played as initially laughable, but Lehane makes him totally serious, a good counterpoint to all that happening around him where seemingly respectable people don’t know that they are fools. On the other hand, the actual fool character, Feste, is often played as wise and reasonable. A good contrast. But, in this case, young, marginally experienced Justin DeWolf does nothing at all with that role.
Boos has made a few strange choices in costuming and staging, albeit peripheral. Most of the cast comes generically attired, suggesting no period. Several people wear visible, tight black corsets, I suppose to suggest characters seeking to control themselves. On the other hand Sir Andrew’s clothes look incongruously near Elizabethan. Plus, to symbolize money, “purses” in the script, she has everyone passing along credit cards. Odd. And she needlessly uses door buzzers to summon people who could just as easily be called directly. Maybe there are symbolisms which I missed.
As is often true in a Quantum production, the setting adds a further dimension. In this case Boos borrows an abandoned building along functioning railroad tracks beneath the South Millvale Avenue Bridge, a courtyard of the former West Penn Hospital Foundation Research Facility. With seats arranged on platforms facing the courtyard it becomes a fine amphitheatre. Crickets chirp, birds twitter and, once in a while, a train chugs nearby, all making no special point but adding to the appeal.
Everything feels so fresh. And, as the moon rises above the trees, so will your spirits lift.
Twelfth Night continues through August 21st at The West Penn Hospital Foundation Research Facility, 720 Gross Street, Bloomfield
Tickets through ShowClix 1-888-71-TICKETS i.e. 1-888 718 4253 or at www.quantumtheatre.com
Thursday, July 21, 2011
Theatre review: "The Sound of Music" from Pittsburgh CLO for Sunday 24th July 2011
Pittsburgh CLO offers a superbly sung, good looking and convincing production of The Sound of Music Rodgers and Hammerstein’s final collaboration. Although you may think you know this classic, the songs, the story, you could be surprised by its virtues. And this performance, directed by James Brennan, honors the concept, never pushing the sentimentality nor overdoing the more obvious elements.
The story is a sketchy re-working of a true one. Maria Rainer, at first a postulant at an abbey near Salzburg, Austria, becomes a governess for the seven children of widowed Captain Georg von Trapp, a celebrated navel hero of World War I. While at first very severe, he loses some of his edge when the children’s virtues become more apparent under Maria’s guidance, He plans to marry a Viennese woman, Elsa Schraeder, more to provide stability to his family than out of love. But, in fact he and Maria fall in love and marry. Meanwhile The Captain opposes the takeover of Austria by the Third Reich, Eventually the family finds a way to escape.
Howard Lindsay and Russell Crouse’s book has some excellent elements, for example implying that the Captain’s initial edginess may be due to having lost his wife. Moreover they have given the Mother Abbess human wisdom and have evoked dark drama in the threats of Nazism.
The musical begins with sounds of wonderful simplicity, lovely a cappella singing by the nuns, followed by swift sung depictions of Maria’s basic character. The story moves along quite well for a while before detouring into some attractive but gratuitous songs. By now those songs have become so familiar that they are easy to appreciate even if superfluous.
Rodgers created lovely and charming melodies while Hammerstein regularly came up with good meaningful lyrics. “My Favorite Things,” I find one of their best. Also in this production “Climb Every Mountain” becomes really moving, due to compelling singing by Lisa Howard as the Mother Abbess. Note especially, too, the song “Edelweiss” as if the elemental beauty of the mountain flower has symbolic meaning.
Howard’s performance is among many which have integrity without being overdone including Robert Cuccioli’s interpretation of the Captain. He finds multiple dimensions and when he finally smiles, his genuine warmth lights up the stage. Jennifer Hope Wills’s Maria doesn’t have equal depth; she seems charmingly innocent at first but doesn’t emerge with any more character. However, she sings beautifully, flawlessly.
The children are all played by local performers. North Hills High School grad Kirsten Hoover as the oldest daughter Liesl comes across with as much polish and personality as any of the professionals. And, as you would expect, the youngest child, seven year old Madeline Dick steals the show just by being adorably tiny and a performer as skilled as anyone else on stage.
The cast includes Pittsburgh’s Terry Wickline, Gene Saraceni and Joe Jackson in minor supporting roles plus other local well-knowns Maria Becoates-Bey, Michael Campayno and Christine Laitta in the ensemble.
Rodgers, Hammerstein, Lindsay and Crouse created something quite good, even if sometimes formulaic. Pittsburgh CLO makes the best of it work on every level.
The Sound of Music continues through July 31st at Benedum Center, downtown.
412/456-6666 or pittsburghclo.org
The story is a sketchy re-working of a true one. Maria Rainer, at first a postulant at an abbey near Salzburg, Austria, becomes a governess for the seven children of widowed Captain Georg von Trapp, a celebrated navel hero of World War I. While at first very severe, he loses some of his edge when the children’s virtues become more apparent under Maria’s guidance, He plans to marry a Viennese woman, Elsa Schraeder, more to provide stability to his family than out of love. But, in fact he and Maria fall in love and marry. Meanwhile The Captain opposes the takeover of Austria by the Third Reich, Eventually the family finds a way to escape.
Howard Lindsay and Russell Crouse’s book has some excellent elements, for example implying that the Captain’s initial edginess may be due to having lost his wife. Moreover they have given the Mother Abbess human wisdom and have evoked dark drama in the threats of Nazism.
The musical begins with sounds of wonderful simplicity, lovely a cappella singing by the nuns, followed by swift sung depictions of Maria’s basic character. The story moves along quite well for a while before detouring into some attractive but gratuitous songs. By now those songs have become so familiar that they are easy to appreciate even if superfluous.
Rodgers created lovely and charming melodies while Hammerstein regularly came up with good meaningful lyrics. “My Favorite Things,” I find one of their best. Also in this production “Climb Every Mountain” becomes really moving, due to compelling singing by Lisa Howard as the Mother Abbess. Note especially, too, the song “Edelweiss” as if the elemental beauty of the mountain flower has symbolic meaning.
Howard’s performance is among many which have integrity without being overdone including Robert Cuccioli’s interpretation of the Captain. He finds multiple dimensions and when he finally smiles, his genuine warmth lights up the stage. Jennifer Hope Wills’s Maria doesn’t have equal depth; she seems charmingly innocent at first but doesn’t emerge with any more character. However, she sings beautifully, flawlessly.
The children are all played by local performers. North Hills High School grad Kirsten Hoover as the oldest daughter Liesl comes across with as much polish and personality as any of the professionals. And, as you would expect, the youngest child, seven year old Madeline Dick steals the show just by being adorably tiny and a performer as skilled as anyone else on stage.
The cast includes Pittsburgh’s Terry Wickline, Gene Saraceni and Joe Jackson in minor supporting roles plus other local well-knowns Maria Becoates-Bey, Michael Campayno and Christine Laitta in the ensemble.
Rodgers, Hammerstein, Lindsay and Crouse created something quite good, even if sometimes formulaic. Pittsburgh CLO makes the best of it work on every level.
The Sound of Music continues through July 31st at Benedum Center, downtown.
412/456-6666 or pittsburghclo.org
Sunday, July 10, 2011
Theatre review: "Comic Potential" at Little Lake Theatre -Sunday 10th July 2011
Given that Alan Ayckbourn has written 74 full-length plays, it stands to reason that his work has gone in many directions in the 52 years since his first was produced. He’s become best-known for comic theatrical tricks and gimmicks and for often focusing on dysfunctional marriages, as in 1999’s House and Garden currently visited by Pittsburgh Irish and Classical Theatre. But, at Little Lake Theatre, you’ll experience something quite different, from the year before, a really very good, well-directed version of the play called Comic Potential, with performances equal to the professionalism of PICT.
This work has no special devices and not many deliberately comic lines and situations. Rather Ayckbourn thoroughly explores the potential for satire and philosophical themes, using what could be called science fiction, often a vehicle for comment on contemporary life. Also, he briefly, successfully mimics situation comedies and takes a few convincing turns toward melodrama.
Set in what Ayckbourn calls “the foreseeable future” he also says that that is “when everything has changed except human nature.” Here he follows along the possible permutation of what could develop and what could be inferred if modern science were to develop “actoids,” androids specifically designed to be actors in low-budget soap operas. Already you can see how such a concept can poke fingers at generic actors and generic programs, and at bottom-line producers who are indifferent to talent.
Idealistic young writer Adam Trainsmith visits a set where Chandler Tate, a former director of classic comedies, makes a living directing such soap operas. But some actoids start malfunctioning. One of them, a female, JC-F31-333, unpredictably starts laughing.
Adam, calling her “Jacie,” sees in her the potential for creating a new script evoking long-gone classic comedies. He also finds himself falling in love and they run away together. Here we could see a parallel to the idea of The Stepford Wives, Jacie programmed to be anything anybody else wants her to be. Also being sent-up are such ideas as people trying to contain and control human emotions. But I leave it to you to discover the many other themes Ayckbourn wonderfully satirizes and develops.
This production of Comic Potential features two exceptionally talented actors, Kate Neubert-Lechner as Jacie and Jason Dille as Adam. She, always able to suggest someone not completely human, still finds the many possible dimensions within that role. Dille has a charming sense of youthful vitality along with a great loose-limbed way of moving suggesting Dick Van Dyke. When both of them get into a dance routine, they are a delight to watch together. Neubert-Lechner, by the way, choreographed that.
In multiple supporting roles John McGovern, Bill Bennett and Charles Grant Carey also contribute to the polish and substance of this production. Given that this is an Ayckbourn script, director Sunny Disney Fitchett seems to have required English accents. She needn’t have done so; nothing in the story or its developments need accents, and, unfortunately, a couple of other supporting cast members sometimes make their words unintelligible. Disney Fitchett does do very well keeping the pace lively and the acting convincing. However, on the second night of the production, Dale Irvin’s playing of Chandler often seemed to be floundering for his lines, leaving clumsy, empty verbal spaces. The role could be played in several inventive ways, none of which he’d found yet. But, given that the character is more marginal than central to the story and to Ayckbourn’s many clever ideas, this in no way diminishes neither the admirable accomplishments of the playwright nor those of most of the cast and the company.
Comic Potential continues through July 23rd at Little Lake Theatre Company-500 Lakeside Drive, Canonsburg. 724/745-6300 www.littlelake.org
This work has no special devices and not many deliberately comic lines and situations. Rather Ayckbourn thoroughly explores the potential for satire and philosophical themes, using what could be called science fiction, often a vehicle for comment on contemporary life. Also, he briefly, successfully mimics situation comedies and takes a few convincing turns toward melodrama.
Set in what Ayckbourn calls “the foreseeable future” he also says that that is “when everything has changed except human nature.” Here he follows along the possible permutation of what could develop and what could be inferred if modern science were to develop “actoids,” androids specifically designed to be actors in low-budget soap operas. Already you can see how such a concept can poke fingers at generic actors and generic programs, and at bottom-line producers who are indifferent to talent.
Idealistic young writer Adam Trainsmith visits a set where Chandler Tate, a former director of classic comedies, makes a living directing such soap operas. But some actoids start malfunctioning. One of them, a female, JC-F31-333, unpredictably starts laughing.
Adam, calling her “Jacie,” sees in her the potential for creating a new script evoking long-gone classic comedies. He also finds himself falling in love and they run away together. Here we could see a parallel to the idea of The Stepford Wives, Jacie programmed to be anything anybody else wants her to be. Also being sent-up are such ideas as people trying to contain and control human emotions. But I leave it to you to discover the many other themes Ayckbourn wonderfully satirizes and develops.
This production of Comic Potential features two exceptionally talented actors, Kate Neubert-Lechner as Jacie and Jason Dille as Adam. She, always able to suggest someone not completely human, still finds the many possible dimensions within that role. Dille has a charming sense of youthful vitality along with a great loose-limbed way of moving suggesting Dick Van Dyke. When both of them get into a dance routine, they are a delight to watch together. Neubert-Lechner, by the way, choreographed that.
In multiple supporting roles John McGovern, Bill Bennett and Charles Grant Carey also contribute to the polish and substance of this production. Given that this is an Ayckbourn script, director Sunny Disney Fitchett seems to have required English accents. She needn’t have done so; nothing in the story or its developments need accents, and, unfortunately, a couple of other supporting cast members sometimes make their words unintelligible. Disney Fitchett does do very well keeping the pace lively and the acting convincing. However, on the second night of the production, Dale Irvin’s playing of Chandler often seemed to be floundering for his lines, leaving clumsy, empty verbal spaces. The role could be played in several inventive ways, none of which he’d found yet. But, given that the character is more marginal than central to the story and to Ayckbourn’s many clever ideas, this in no way diminishes neither the admirable accomplishments of the playwright nor those of most of the cast and the company.
Comic Potential continues through July 23rd at Little Lake Theatre Company-500 Lakeside Drive, Canonsburg. 724/745-6300 www.littlelake.org
Wednesday, June 29, 2011
Theatre review: "House" of "House and Garden" at PICT. Not yet broadcast.
Were you to visit people for the first time, initially you’d be most likely to get to know them where they live, not on the way in through the garden. As for Alan Ayckbourn’s House and Garden, going inside looks like the best way to orient yourself. As you can see from my review of Garden(below),it may have been difficult for Pittsburgh Irish and Classical Theatre audience members on its opening night to easily grasp relationships. So, despite advance publicity claiming that you can start with either play, begin with House. Relationships are the core of the whole thing, clearly revealed in House, which can stand alone, rather than only as part of something divided. Meaning that this feels like one play separated into two unequal parts, Garden a supplement. House could be less decorated and Garden could be pruned.
Ayckbourn certainly wrote interesting, imaginative, clever and sometimes amusing scenes, but the combination looks as if he didn’t want to try to fit everything into a longer- than- usual script. Collectively, the total equals more than five hours of material worth about three and half.
House has substance, good exposition, perceptive and inventive parallels in personalities and developments as well as truly funny moments. And the performances in this basically serious material seem more solid and admirable than those fleetingly seen in Garden.
Here Teddy Platt explores the potential of standing for Parliament and cannot understand nor deal with his wife Trish’s acting as if he doesn’t exist. Their daughter Sally is making an effort to mature beyond her 17 years, including making a pass at Gavin Ryng-Mayne, a successful novelist with government connections; he could help Teddy become an MP. Meanwhile Jake Mace tries his earnest utmost to get closer to Sally. This part of the story also makes clear the long-time close friendship of Teddy and Giles, Jake’s father and the husband of Joanna whom Teddy has been screwing. And Teddy more clearly looks like a buffoon.
The most intentionally comic aspect is Trish’s constantly treating Teddy as if he were invisible, which actually suggests that she’s nearly as dotty as Joanna. It becomes most comic when a roomful of people ignore him, hilariously talking French to visiting movie star Lucille Cadeau, leaving Teddy on the damp other side of the English Channel.
Yet, for too long, the first act consists of long, setting-up serious but unsubstantial talk where very little actually happens. The second, more meaningful act moves better, and includes telling, insightful dialogue from Trish, Gavin and Jake.
David Bryan Jackson, whose performance as Giles is one of the highlights of Garden again brightens up the stage every moment he’s on it. Sean Mellott’s Jake perfectly comes across full of teen-age excess, quite a contrast to Anwen Darcy’s Sally, who, at times, seems much too old to be so young. The suave Gavin is played by Leo Marks, who gives a model performance of subtlety; his reactions say as much as do his words. Meanwhile Martin Giles and Helena Ruoti as Teddy and Trish do everything right and Nike Doukas makes Lucille a genuinely charming delight.
Knowing Ayckbourn’s much-publicized device behind all this can make you admire what he tries to do. That by itself can become fascinating, making you aware of Ayckbourn’s cleverness. Certainly getting to know what’s behind the intricate workings can be entertaining. In fact that may even compensate for what’s missing as the hands of the clock keeping ticking away. i.e You can have a good time, even getting a few things to think about in this occasionally meaningful entertainment. The intricacies within House move well, with such memorable performances and solid direction by Andrew S. Paul.
House continues at the Charity Randall Theatre and Garden at the Henry Heymann simultaneously through July 17th at the Stephen Foster Memorial, Forbes Avenue in Oakland. Tickets at ProArtsTickets at 412/394.3353 or online at www.proartstickets.org. More info at www.picttheatre.org
Ayckbourn certainly wrote interesting, imaginative, clever and sometimes amusing scenes, but the combination looks as if he didn’t want to try to fit everything into a longer- than- usual script. Collectively, the total equals more than five hours of material worth about three and half.
House has substance, good exposition, perceptive and inventive parallels in personalities and developments as well as truly funny moments. And the performances in this basically serious material seem more solid and admirable than those fleetingly seen in Garden.
Here Teddy Platt explores the potential of standing for Parliament and cannot understand nor deal with his wife Trish’s acting as if he doesn’t exist. Their daughter Sally is making an effort to mature beyond her 17 years, including making a pass at Gavin Ryng-Mayne, a successful novelist with government connections; he could help Teddy become an MP. Meanwhile Jake Mace tries his earnest utmost to get closer to Sally. This part of the story also makes clear the long-time close friendship of Teddy and Giles, Jake’s father and the husband of Joanna whom Teddy has been screwing. And Teddy more clearly looks like a buffoon.
The most intentionally comic aspect is Trish’s constantly treating Teddy as if he were invisible, which actually suggests that she’s nearly as dotty as Joanna. It becomes most comic when a roomful of people ignore him, hilariously talking French to visiting movie star Lucille Cadeau, leaving Teddy on the damp other side of the English Channel.
Yet, for too long, the first act consists of long, setting-up serious but unsubstantial talk where very little actually happens. The second, more meaningful act moves better, and includes telling, insightful dialogue from Trish, Gavin and Jake.
David Bryan Jackson, whose performance as Giles is one of the highlights of Garden again brightens up the stage every moment he’s on it. Sean Mellott’s Jake perfectly comes across full of teen-age excess, quite a contrast to Anwen Darcy’s Sally, who, at times, seems much too old to be so young. The suave Gavin is played by Leo Marks, who gives a model performance of subtlety; his reactions say as much as do his words. Meanwhile Martin Giles and Helena Ruoti as Teddy and Trish do everything right and Nike Doukas makes Lucille a genuinely charming delight.
Knowing Ayckbourn’s much-publicized device behind all this can make you admire what he tries to do. That by itself can become fascinating, making you aware of Ayckbourn’s cleverness. Certainly getting to know what’s behind the intricate workings can be entertaining. In fact that may even compensate for what’s missing as the hands of the clock keeping ticking away. i.e You can have a good time, even getting a few things to think about in this occasionally meaningful entertainment. The intricacies within House move well, with such memorable performances and solid direction by Andrew S. Paul.
House continues at the Charity Randall Theatre and Garden at the Henry Heymann simultaneously through July 17th at the Stephen Foster Memorial, Forbes Avenue in Oakland. Tickets at ProArtsTickets at 412/394.3353 or online at www.proartstickets.org. More info at www.picttheatre.org
Sunday, June 26, 2011
Theatre review: "Garden" of "House and Garden" presented by PICT. Sunday 26th June 2011
England’s Alan Ayckbourn has become admired and renowned for writing clever, amusing plays using inventive, original concepts often dealing with marriages in trouble. One of those is House and Garden which occurs simultaneously in two places, hence, in effect, depicting separate moments with the same characters, events which relate to each other but cannot be seen together. These two experiences opened together but physically apart presented by Pittsburgh Irish and Classical Theatre.
I’ve only seen Garden so far. But with so many interesting, incompletely understood developments taking place, inevitably, like most people, I look forward to experiencing the rest, intrigued and curious. Good trick A.A. Get em asking for more.
The question is, though, can either play stand alone? At first, I wasn’t sure about Garden.The first act looks like fragments rather than something going somewhere specific. But ultimately a lot comes together with some good character development and truly funny situations. Plus the fine PICT cast plays both the subtleties and the comedy exceptionally well, guided expertly by director Melissa Hill Grande. Hence, although, some pieces are missing, intentionally, Garden grows on one.
It helps to prepare yourself about the characters and how they relate. At opening night I saw people in the audience examining program books during the performance. My guess is that they were trying to sort out everyone on stage. Well, there are four couples, (1) Teddy and Trish Platt plus their daughter Sally (2) Giles and Joanna Mace plus their son Jake (3) Warn Coucher married to Izzie Truce who has a 30 year old daughter Pearl and (4) childless Barry and Lindy Love. This takes place during May at the Platt’s country estate to which there are also three visitors Gavin Ryng-Mayne, Lucille Cadeau and Fran Briggs. Notice the names: some seem rather patent, like something out of Restoration comedy. Maybe intentionally, come to think of it, given that those classics also dealt with morals among the upper classes.
The fulcrum of Garden concerns Teddy’s breaking off his extra-marital affair with Joanna. When Joanna’s husband, innocent Giles, learns of the liaison he has serious trouble dealing with it. That brings him closer to his son Jake who has a crush on Teddy and Trish’s daughter Sally. Meanwhile, Barry and Lindy set up a garden party during which their relationship gets clearly revealed. Along the way, Teddy gets briefly, sensuously involved with visiting movie star Lucille Cadeau, even though neither speaks the other’s language. i.e. A lot of this is about developments and characters rather than just a playful romp through flowering, deliberately funny lines. Among the best parts is a scene between the bereft Giles and his son Jake where each unburdens his insecurities and doubts, making it clear how much alike they are. David Bryan Jackson becomes a marvel to watch as Giles in a standout performance at every turn.
As the self-involved Barry Love, Michael Fuller gives a superb,subtle performance in which he and director Grande have chosen not to show him deliberately and harshly pushy, but rather as if Barry is unaware of his effect on his wife Lindy. As for other portrayals I found Beth Hylton’s take as the newly- jilted Joanna, too much over the top on opening night.
The cast includes Pittsburgh’s Helena Routi, seen only briefly in Garden, Martin Giles as Teddy, Tressa Glover as Lindy Love and Mary Rawson as the housekeeper Izzie. Plus there’s a wonderful bunch of little local kids romping through and about.
Other visiting artists include the excellent Nike Doukas as Lucille and Leo Marks as Gavin. Both of them often appear in PICT productions.
You may want to know that several varieties of English accents are used and that Lucille speaks only French which is almost never translated. Nonetheless, everything that is happening and why is it happening remains completely clear. Considering how well this is all done, I recommend you drop in. I think you’ll look forward to the entire visit, even if it takes you more time, cumulatively, than it takes the actors to do the whole thing.
House continues at the Charity Randall Theatre and Garden at the Henry Heymann simultaneously through July 17th at the Stephen Foster Memorial, Forbes Avenue in Oakland. Tickets at ProArtsTickets at 412/394.3353 or online at www.proartstickets.org. More info at www.picttheatre.org.
I’ve only seen Garden so far. But with so many interesting, incompletely understood developments taking place, inevitably, like most people, I look forward to experiencing the rest, intrigued and curious. Good trick A.A. Get em asking for more.
The question is, though, can either play stand alone? At first, I wasn’t sure about Garden.The first act looks like fragments rather than something going somewhere specific. But ultimately a lot comes together with some good character development and truly funny situations. Plus the fine PICT cast plays both the subtleties and the comedy exceptionally well, guided expertly by director Melissa Hill Grande. Hence, although, some pieces are missing, intentionally, Garden grows on one.
It helps to prepare yourself about the characters and how they relate. At opening night I saw people in the audience examining program books during the performance. My guess is that they were trying to sort out everyone on stage. Well, there are four couples, (1) Teddy and Trish Platt plus their daughter Sally (2) Giles and Joanna Mace plus their son Jake (3) Warn Coucher married to Izzie Truce who has a 30 year old daughter Pearl and (4) childless Barry and Lindy Love. This takes place during May at the Platt’s country estate to which there are also three visitors Gavin Ryng-Mayne, Lucille Cadeau and Fran Briggs. Notice the names: some seem rather patent, like something out of Restoration comedy. Maybe intentionally, come to think of it, given that those classics also dealt with morals among the upper classes.
The fulcrum of Garden concerns Teddy’s breaking off his extra-marital affair with Joanna. When Joanna’s husband, innocent Giles, learns of the liaison he has serious trouble dealing with it. That brings him closer to his son Jake who has a crush on Teddy and Trish’s daughter Sally. Meanwhile, Barry and Lindy set up a garden party during which their relationship gets clearly revealed. Along the way, Teddy gets briefly, sensuously involved with visiting movie star Lucille Cadeau, even though neither speaks the other’s language. i.e. A lot of this is about developments and characters rather than just a playful romp through flowering, deliberately funny lines. Among the best parts is a scene between the bereft Giles and his son Jake where each unburdens his insecurities and doubts, making it clear how much alike they are. David Bryan Jackson becomes a marvel to watch as Giles in a standout performance at every turn.
As the self-involved Barry Love, Michael Fuller gives a superb,subtle performance in which he and director Grande have chosen not to show him deliberately and harshly pushy, but rather as if Barry is unaware of his effect on his wife Lindy. As for other portrayals I found Beth Hylton’s take as the newly- jilted Joanna, too much over the top on opening night.
The cast includes Pittsburgh’s Helena Routi, seen only briefly in Garden, Martin Giles as Teddy, Tressa Glover as Lindy Love and Mary Rawson as the housekeeper Izzie. Plus there’s a wonderful bunch of little local kids romping through and about.
Other visiting artists include the excellent Nike Doukas as Lucille and Leo Marks as Gavin. Both of them often appear in PICT productions.
You may want to know that several varieties of English accents are used and that Lucille speaks only French which is almost never translated. Nonetheless, everything that is happening and why is it happening remains completely clear. Considering how well this is all done, I recommend you drop in. I think you’ll look forward to the entire visit, even if it takes you more time, cumulatively, than it takes the actors to do the whole thing.
House continues at the Charity Randall Theatre and Garden at the Henry Heymann simultaneously through July 17th at the Stephen Foster Memorial, Forbes Avenue in Oakland. Tickets at ProArtsTickets at 412/394.3353 or online at www.proartstickets.org. More info at www.picttheatre.org.
Theatre review: "Into the Woods" from Carnivale Theatrics-Sunday, 26th June 2011
There’s a new, wonderful sounding, great-looking production of Stephen Sondheim and James Lapine’s Into the Woods briefly offered by the still- new local theatre company Carnivale Theatrics which, in 2009, started producing one show per year. This proves that young founders Justin Fortunato and Robert Neumeyer know how to do what they’re doing. They’ve assembled a cast of superb singers, most of whom are still students at Point Park U. That connection, by the way, assures much singing talent; Point Park Conservatory musicals always sound first class. In addition, a 13 piece orchestra led by Neumeyer plays expertly. Plus there’s a great set by inevitably inventive Tony Ferrieri and Rich Preffer created fine costumes.
But don’t forget the choice of material. Into the Woods clearly remains a marvelous show with Stephen Sondheim’s gorgeous,bright,imaginative music coupled with his consistently significant and clever lyrics. All of that thrives appealingly and charmingly.
Just in case you’ve forgotten, James Lapine created a script about story-book legends combining many of them in one place. A community. Pointedly. Familiar tales come into play. They include those about Cinderella, Jack of Beanstalk fame, Little Red Riding Hood, Rapunzel. There’s also witch and a giant as well as the more generic Baker and his Wife. All of them connect. Lapine and Sondheim also infer well-known psychological interpretations of symbolisms during a mostly amusing, somewhat satirical first act. In the second act, Lapine and Sondheim get into the darker parts of the woods and developments, offering further, more deliberately substantial insights. Together what they created ,and how well they’ve done it, has its own rewards and, of course, as in many fairy tales, offers morals to ponder.
I was particularly impressed by Jaclyn McSpadden’s sweet, innocent version of Cinderella, often played as more goofy than this, but working equally well. And, as the story progresses, Andrea Weinzierl’s performance as the Baker’s Wife keeps on, amusingly, getting better and better. Playing the Witch, Caroline Nicolian comes across with appealing elegance after being transformed out of her rags, grungy hair and crooked nose. Each of them and many other people in the cast do extremely well getting the most out of the lyrics. Credit director Fortunato for making sure that that happens
On opening night a few members of the cast went a little overboard trying to be funny or dramatic. And, unfortunately, some dialogue thudded to halts when the performers didn’t pick up their cues, leaving clumps of silence between lines where vigorous pace is needed. Director Fortunato needs to work on that. He did come up with a few clever physical bits; but some others clunked like rusty armor.
So, despite this being a production by a fledgling company featuring performers still studying and learning their craft, this keeps the justly famed musical’s best qualities alive happily ever after.
Carnivale Theatrics production of Into the Woods continues through July 3rd at New Hazlett Theater, 6 Allegheny Square, North Side. 412/320 4810 www.newhazletttheater.org
But don’t forget the choice of material. Into the Woods clearly remains a marvelous show with Stephen Sondheim’s gorgeous,bright,imaginative music coupled with his consistently significant and clever lyrics. All of that thrives appealingly and charmingly.
Just in case you’ve forgotten, James Lapine created a script about story-book legends combining many of them in one place. A community. Pointedly. Familiar tales come into play. They include those about Cinderella, Jack of Beanstalk fame, Little Red Riding Hood, Rapunzel. There’s also witch and a giant as well as the more generic Baker and his Wife. All of them connect. Lapine and Sondheim also infer well-known psychological interpretations of symbolisms during a mostly amusing, somewhat satirical first act. In the second act, Lapine and Sondheim get into the darker parts of the woods and developments, offering further, more deliberately substantial insights. Together what they created ,and how well they’ve done it, has its own rewards and, of course, as in many fairy tales, offers morals to ponder.
I was particularly impressed by Jaclyn McSpadden’s sweet, innocent version of Cinderella, often played as more goofy than this, but working equally well. And, as the story progresses, Andrea Weinzierl’s performance as the Baker’s Wife keeps on, amusingly, getting better and better. Playing the Witch, Caroline Nicolian comes across with appealing elegance after being transformed out of her rags, grungy hair and crooked nose. Each of them and many other people in the cast do extremely well getting the most out of the lyrics. Credit director Fortunato for making sure that that happens
On opening night a few members of the cast went a little overboard trying to be funny or dramatic. And, unfortunately, some dialogue thudded to halts when the performers didn’t pick up their cues, leaving clumps of silence between lines where vigorous pace is needed. Director Fortunato needs to work on that. He did come up with a few clever physical bits; but some others clunked like rusty armor.
So, despite this being a production by a fledgling company featuring performers still studying and learning their craft, this keeps the justly famed musical’s best qualities alive happily ever after.
Carnivale Theatrics production of Into the Woods continues through July 3rd at New Hazlett Theater, 6 Allegheny Square, North Side. 412/320 4810 www.newhazletttheater.org
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