A touring company version of the still running-strong Broadway hit Memphis has jumped into town for a few days landing at Heinz Hall in a dynamically sung, vigorously danced, snappy looking version. Joe DiPietro’s Tony Award winning book gives strong and significant substance to a story which actually most looks like a framework on which to hang a whole bunch of quasi-rock and roll songs.
That story, based on a true one, focuses on the emerging 1950s career of a Memphis, Tennessee white disc jockey and subsequent TV dance show host, here called Huey. He has an abiding love for and faith in black music of his day. He also falls in love with a black singer, Felicia, setting up antagonisms in both the white and black communities.
In Huey DiPietro has created an interesting, distinctive, unconventional character, more innocent than slick, sticking to who he wants to be and what he wants to do regardless of the consequences. In that way DiPietro’s book has a lot of intelligent integrity, neither whitewashing the negative nor coming up with feel- good resolutions. And, as Huey, Bryan Fenkart stands out with personality in fine voice.
Felicia Boswell in the role of Felicia also strongly lives up to the vocal demands as does Julie Johnson as Huey’s Mama. But neither performer conveys any special definition. In that regard they resemble the rest of the cast, remaining more generic than specific. Everyone sings with the kind of unceasing energy and volume that the big, down-front and center songs require. After a while, though, David Bryan’s music, patterned after the style and sound of the period, more and more resemble each other, even if his and DiPietro’s lyrics capably advance the story.
Sergio Trujillo’s choreography has impressive energy, full of elemental vigor and some of David Gallo’s scene settings look imaginative.
You might think that this could equal last month's zinger Million Dollar Quartet. That came loaded with great, memorable, catchy songs. So, although this is set in the same city, listening to Memphis you may feel that you’ve wandered down a much less compelling street.
Memphis plays through 6:30 p.m. Sunday, New Year’s Day at Heinz Hall, downtown.
412/ 392-4900. pgharts.org
Thursday, December 29, 2011
Thursday, December 8, 2011
Theatre review: "The Mask of Moriarty" from Pittsburgh Irish and Classical Theatre for Sunday, 11th December 2011
Pittsburgh Irish and Classical Theatre offers an amusing, splendid-looking entertainment for the holidays, Hugh Leonard’s 1986 send-up of tales of Sherlock Holmes The Mask of Moriarty. The director is Alan Stanford who originated the role of Dr. Watson those 25 years ago. The production looks as if he is trying to resurrect what it might have been back then, rather than create something fresh and vigorous. A heavy pace underlies Stanford’s take as does a lack of inventive style.
Leonard’s script is full of good, silly business and funny, sometimes Oscar-Wildish lines, along with imaginative situations. But, one must consider how best to deliver what’s there, since such a parody in and of itself is not rare; many writers and performers have tried this sort of thing. Actually, though, Leonard’s initial Holmes-Watson dialogue gets things off to a sluggish start with long, basically straight chatter.
Even though most of Stanford’s visual gags work well, he has David Whalen’s Holmes and Martin Giles’ Watson, as well as most other characters, played earnestly rather than comically or broadly. This looks as if Stanford thinks the lines and situations can carry it on their own. Or that the actors, left to their own devices, know what to do, which might explain why James Fitzgerald goes far overboard, milking two roles.
Leonard has created an original story wherein two people are murdered. And, at the same time, Holmes’ evil alter ego, Professor Moriarty, returns from presumed death to haunt Holmes, resurrected with a new face. In time, devilishly clever disguises are devised giving rise to mistaken identities. The rest of the plot is not a lot to be concerned with.
Among Stanford’s strange conceptions, he has the talented, versatile Edward Charles Huff initially, unjustifiably, play Moriarty resembling Frankenstein’s Monster, complete with guttural speech and stomping feet. Equally Stanford has Tony Bingham pointlessly revert to playing the wacky, bent and stumbling Mr. Herring after his real and normal underlying persona has been revealed.
On the plus side, Gianni Downs has created original and clever sets. But you can’t go home savoring the decorations. And speaking of going home, I attended the second post-opening performance in what started out as a nearly full house. But, after intermission, it was clear that some people had left. I imagine that what was happening up there on the stage wasn’t holding them. Alas, poor Sherlock. I knew him. A fellow of potentially infinite jest and most excellent fancy. Where are his jibes now?
The Mask Of Moriarty continues through December 17th in the Charity Randall Theatre in the Stephen Foster Memorial, Oakland. ProArtsTickets: 412/394.3353 or www.picttheatre.org.
Leonard’s script is full of good, silly business and funny, sometimes Oscar-Wildish lines, along with imaginative situations. But, one must consider how best to deliver what’s there, since such a parody in and of itself is not rare; many writers and performers have tried this sort of thing. Actually, though, Leonard’s initial Holmes-Watson dialogue gets things off to a sluggish start with long, basically straight chatter.
Even though most of Stanford’s visual gags work well, he has David Whalen’s Holmes and Martin Giles’ Watson, as well as most other characters, played earnestly rather than comically or broadly. This looks as if Stanford thinks the lines and situations can carry it on their own. Or that the actors, left to their own devices, know what to do, which might explain why James Fitzgerald goes far overboard, milking two roles.
Leonard has created an original story wherein two people are murdered. And, at the same time, Holmes’ evil alter ego, Professor Moriarty, returns from presumed death to haunt Holmes, resurrected with a new face. In time, devilishly clever disguises are devised giving rise to mistaken identities. The rest of the plot is not a lot to be concerned with.
Among Stanford’s strange conceptions, he has the talented, versatile Edward Charles Huff initially, unjustifiably, play Moriarty resembling Frankenstein’s Monster, complete with guttural speech and stomping feet. Equally Stanford has Tony Bingham pointlessly revert to playing the wacky, bent and stumbling Mr. Herring after his real and normal underlying persona has been revealed.
On the plus side, Gianni Downs has created original and clever sets. But you can’t go home savoring the decorations. And speaking of going home, I attended the second post-opening performance in what started out as a nearly full house. But, after intermission, it was clear that some people had left. I imagine that what was happening up there on the stage wasn’t holding them. Alas, poor Sherlock. I knew him. A fellow of potentially infinite jest and most excellent fancy. Where are his jibes now?
The Mask Of Moriarty continues through December 17th in the Charity Randall Theatre in the Stephen Foster Memorial, Oakland. ProArtsTickets: 412/394.3353 or www.picttheatre.org.
Sunday, December 4, 2011
Theatre review: "The House of Yes" at Off the Wall Productions-Sunday, 4th December ,2011
Off The Wall Productions, adhering to the well-worn meaning of such a phrase, offers Wendy MacLeod’s much acclaimed , often-produced (even as a movie) The House of Yes. Evidently the 85 minute family drama, rummaging around in dysfunction, is often billed as a dark comedy and perceived as savagely satirical.
This performance, directed by Robyne Parrish, mostly seems to take itself literally and seriously, rather than as comedy, as if such absurdity could be real. That is, except for the opening which is executed, incongruously, as a stylized dance and chatter routine. I found the rest played believably but without enough interior personality to compensate for puppet-like characters.
At the Pascal home, Mom prepares to carve the Thanksgiving turkey, awaiting the return of her prodigal son Marty and not yet approved girlfriend Lesly. Marty’s twin sister, known as Jackie-O, is the fruit and nuts course. She has often fallen off the reality wagon and subsists on a diet of soap operas and channeling John F. Kennedy’s widow. While their younger brother Anthony seems to be stable, he hungers for Lesly’s thighs and breasts. Early on, we served up the info that Marty and Jackie have connected again post-umbillically and that she can’t wait for another helping. The most pungent ingredient is Jackie O’s fondness for re-creating Kennedy’s widow at the moment of assassination, complete with costume and brain-spattered bloody skirt.
The dialogue waltzes around these conditions, without much verbal originality. But, as far as other movement goes, director Parrish keeps the pace lively as if to make sure that what these people do and say becomes relentless rather than allowing pauses for reflection.
Lauren Michaels has the most challenging role, Jackie. Craziness is seldom easy to play and fortunately she never goes too far overboard, making Jackie seem hopelessly pathetic despite a constant grin. Justin Mohr’s Marty seems in no way a mirror image. And, although there are Marty’s own off-center moments, Mohr plays everything without specific definition. On the other hand, Erica Cuenca as Lesly, written as simple and not too bright, gives her neither quality and, instead, offers Cuenca’s standard, albeit appealing sweetness. John Steffenauer’s sincere interpretation of Anthony works but he makes the character not the least as comic as he could be. And Virginia Wall Gruenert rounds out the cast as Mrs. Pascal, subtly understating her as a hovering dark presence watching over her cuckoo nest.
I suspect that playwright MacLeod’s underpinning for the whole thing is the unending national obsession with the Kennedy assassination. Yes, it seems a theme worth exploring. Yes, you may be able to see what potential lurks within the concept, even if this take doesn’t get near enough.
The House of Yes remains through December 17th at Off the Wall Productions
147 N. Main Street, Washington PA 724/873 3576 or 412/394-3353. www.insideoffthewall.com
This performance, directed by Robyne Parrish, mostly seems to take itself literally and seriously, rather than as comedy, as if such absurdity could be real. That is, except for the opening which is executed, incongruously, as a stylized dance and chatter routine. I found the rest played believably but without enough interior personality to compensate for puppet-like characters.
At the Pascal home, Mom prepares to carve the Thanksgiving turkey, awaiting the return of her prodigal son Marty and not yet approved girlfriend Lesly. Marty’s twin sister, known as Jackie-O, is the fruit and nuts course. She has often fallen off the reality wagon and subsists on a diet of soap operas and channeling John F. Kennedy’s widow. While their younger brother Anthony seems to be stable, he hungers for Lesly’s thighs and breasts. Early on, we served up the info that Marty and Jackie have connected again post-umbillically and that she can’t wait for another helping. The most pungent ingredient is Jackie O’s fondness for re-creating Kennedy’s widow at the moment of assassination, complete with costume and brain-spattered bloody skirt.
The dialogue waltzes around these conditions, without much verbal originality. But, as far as other movement goes, director Parrish keeps the pace lively as if to make sure that what these people do and say becomes relentless rather than allowing pauses for reflection.
Lauren Michaels has the most challenging role, Jackie. Craziness is seldom easy to play and fortunately she never goes too far overboard, making Jackie seem hopelessly pathetic despite a constant grin. Justin Mohr’s Marty seems in no way a mirror image. And, although there are Marty’s own off-center moments, Mohr plays everything without specific definition. On the other hand, Erica Cuenca as Lesly, written as simple and not too bright, gives her neither quality and, instead, offers Cuenca’s standard, albeit appealing sweetness. John Steffenauer’s sincere interpretation of Anthony works but he makes the character not the least as comic as he could be. And Virginia Wall Gruenert rounds out the cast as Mrs. Pascal, subtly understating her as a hovering dark presence watching over her cuckoo nest.
I suspect that playwright MacLeod’s underpinning for the whole thing is the unending national obsession with the Kennedy assassination. Yes, it seems a theme worth exploring. Yes, you may be able to see what potential lurks within the concept, even if this take doesn’t get near enough.
The House of Yes remains through December 17th at Off the Wall Productions
147 N. Main Street, Washington PA 724/873 3576 or 412/394-3353. www.insideoffthewall.com
Saturday, November 26, 2011
Theatre review: "Dr. Seuss' How the Grinch Stole Christmas! The Musical" at Benedum Center
You might think that a show whose title and timing suggests commercial exploitation of this season would be standard and obvious. But, actually, the traveling version of Dr. Seuss’ How the Grinch Stole Christmas! The Musical, to lay out the whole cumbersome title, looks, sounds and feels like an absolute charmer.
I imagine the concept and the story have become well known by now, yet it’s fresh to me. So I can’t offer an opinion on how well it does with the original source, the book, the animated film nor the Jim Carrey movie. But with the wonderful Stefan Karl starring as the Mean One, this package comes loaded with delights, including, front and center, attractive, melodious songs by Timothy Mason, Mel Marvin, Albert Hague and Dr. Seuss himself. Moreover the clever Seuss-style costumes and sets by Robert Morgan and John Lee Beatty as well as Matt August’s snappy direction give the whole thing loads of style and personality. This is all augmented by special effects, puppets and jolly moments encouraging audience participation.
Karl’s playing of The Grinch explores a delightful range of implications, intonations and non- verbal sounds, making the creature sincerely, wildly distressed but not nasty enough to be despicable. The result comes across as something any adult will enjoy while any kid will find neither scary nor silly. Plus director August’s staging has funny little twists that reach across all age boundaries.
Seth Bazacas give the Grinch’s dog Max just the right sense of a happy, innocent companion while, on opening night, Bailey Ryon bubbled with professional aplomb as the inevitable little girl who could steal your heart. But she never overdid it. FYI: the role is double cast, Clara Young also has the role.
Interestingly, I learned from Wikipedia that some critics of Seuss’ book take issue with his criticizing the commercialization of Christmas. Most of us would applaud that. I do. Here such an observation is very brief. Quote: “Christmas doesn’t come from a store. Maybe it means a little bit more.” Right on Doctor. Let’s cheer that and all the other things that make this a good, simple, sweet story well told.
The traveling version of Dr. Seuss’ How the Grinch Stole Christmas! The Musical is at Benedum Center downtown through Sunday November 27th at 6: 30 p.m.
412-456-6666 or pgharts.org
I imagine the concept and the story have become well known by now, yet it’s fresh to me. So I can’t offer an opinion on how well it does with the original source, the book, the animated film nor the Jim Carrey movie. But with the wonderful Stefan Karl starring as the Mean One, this package comes loaded with delights, including, front and center, attractive, melodious songs by Timothy Mason, Mel Marvin, Albert Hague and Dr. Seuss himself. Moreover the clever Seuss-style costumes and sets by Robert Morgan and John Lee Beatty as well as Matt August’s snappy direction give the whole thing loads of style and personality. This is all augmented by special effects, puppets and jolly moments encouraging audience participation.
Karl’s playing of The Grinch explores a delightful range of implications, intonations and non- verbal sounds, making the creature sincerely, wildly distressed but not nasty enough to be despicable. The result comes across as something any adult will enjoy while any kid will find neither scary nor silly. Plus director August’s staging has funny little twists that reach across all age boundaries.
Seth Bazacas give the Grinch’s dog Max just the right sense of a happy, innocent companion while, on opening night, Bailey Ryon bubbled with professional aplomb as the inevitable little girl who could steal your heart. But she never overdid it. FYI: the role is double cast, Clara Young also has the role.
Interestingly, I learned from Wikipedia that some critics of Seuss’ book take issue with his criticizing the commercialization of Christmas. Most of us would applaud that. I do. Here such an observation is very brief. Quote: “Christmas doesn’t come from a store. Maybe it means a little bit more.” Right on Doctor. Let’s cheer that and all the other things that make this a good, simple, sweet story well told.
The traveling version of Dr. Seuss’ How the Grinch Stole Christmas! The Musical is at Benedum Center downtown through Sunday November 27th at 6: 30 p.m.
412-456-6666 or pgharts.org
Tuesday, November 22, 2011
Theatre review: "Sam Bendrix at the Bon Soir" at City Theatre. For broadcast Sunday, 27th November 2011
Sam Bendrix at the Bon Soir by Keith Bunin is world-premiering at City Theatre. It’s a fictional night club act dwelling on one man, Sam, a singer, who’s been struggling to have a New York career in 1958. While on-stage, detouring into drinking too much, he goes even further off –center and talks about his emotional ups and downs as a gay man at a time when coming out could risk lives and livelihoods.
20 songs, some of them pop standards, others from Broadway musicals, seem to be front and center. Bunin picked some really great ones as well as some fine others which are less known. Clearly he’s selected many to underscore the monologue. The end result looks like a musically decorated story which Bunin wanted to tell about being gay 11 years before, a few blocks away from the Bon Soir, the Stonewall Riots broke out. I’m not sure that this device works.
Certainly on the first Saturday night performance, I came away feeling sorry that whole thing didn’t work better. Luke McFarlane as Sam, having already given a late afternoon performance, didn’t sound up to the singing challenges. As everything progressed, his intonations too often went awry. His acting looked convincing though. But he didn’t get enough out of the meaning of many great lyrics; director Mark Rucker should work with him on that. McFarlane did come across, validly, first as Sam being a polished, slick performer. Later, as Sam begins to unravel, McFarlane also did well with that too.
The piece itself doesn’t hold up well if taken as being realistic, since Sam, once too much alcohol dissolves the intended act, starts doing unexpected things up there on the stage while the trio backing him always knows the songs, and is always able to play them without being coached or prompted.And, certainly Sam’s intended act did not include such items as “That’s Him” and “The Gentleman is a Dope” or other songs women usually sing about romances with men.
You could ponder the whole idea of a night club performer telling personal stories as far back as 1958. Not stand-up comedy based on their own personalities which some acts suggested (e.g Woody Allen). But rather, something serious, eventually personified by such people as Spalding Grey and John Leguizamo, taking up stages all by themselves. They’ve become famous for making their own stories unique and special with style and good writing. Sam, as written by Bunin, doesn’t have that much personality, being neither eloquent nor personally appealing. Is he supposed to be representative rather than specific?
Speaking of devices, at one point Sam brings out a cello and plays a little. But after that, he never goes back to it. Why not? McFarlane sounded good on the instrument. Credit too, Douglas Levine at the piano, suggesting an always agreeable, skillful part of the evolving act.
This new show itself is probably still evolving. And McFarlane, with good coaching and discipline, may be able to master his second Saturday performances.
I wish him and Bunin well.
Sam Bendrix at the Bon Soir plays through December 18th at City Theatre, 1300 Bingham Street on Pittsburgh’s South Side. 412-431-4400 . www.citytheatrecompany.org
20 songs, some of them pop standards, others from Broadway musicals, seem to be front and center. Bunin picked some really great ones as well as some fine others which are less known. Clearly he’s selected many to underscore the monologue. The end result looks like a musically decorated story which Bunin wanted to tell about being gay 11 years before, a few blocks away from the Bon Soir, the Stonewall Riots broke out. I’m not sure that this device works.
Certainly on the first Saturday night performance, I came away feeling sorry that whole thing didn’t work better. Luke McFarlane as Sam, having already given a late afternoon performance, didn’t sound up to the singing challenges. As everything progressed, his intonations too often went awry. His acting looked convincing though. But he didn’t get enough out of the meaning of many great lyrics; director Mark Rucker should work with him on that. McFarlane did come across, validly, first as Sam being a polished, slick performer. Later, as Sam begins to unravel, McFarlane also did well with that too.
The piece itself doesn’t hold up well if taken as being realistic, since Sam, once too much alcohol dissolves the intended act, starts doing unexpected things up there on the stage while the trio backing him always knows the songs, and is always able to play them without being coached or prompted.And, certainly Sam’s intended act did not include such items as “That’s Him” and “The Gentleman is a Dope” or other songs women usually sing about romances with men.
You could ponder the whole idea of a night club performer telling personal stories as far back as 1958. Not stand-up comedy based on their own personalities which some acts suggested (e.g Woody Allen). But rather, something serious, eventually personified by such people as Spalding Grey and John Leguizamo, taking up stages all by themselves. They’ve become famous for making their own stories unique and special with style and good writing. Sam, as written by Bunin, doesn’t have that much personality, being neither eloquent nor personally appealing. Is he supposed to be representative rather than specific?
Speaking of devices, at one point Sam brings out a cello and plays a little. But after that, he never goes back to it. Why not? McFarlane sounded good on the instrument. Credit too, Douglas Levine at the piano, suggesting an always agreeable, skillful part of the evolving act.
This new show itself is probably still evolving. And McFarlane, with good coaching and discipline, may be able to master his second Saturday performances.
I wish him and Bunin well.
Sam Bendrix at the Bon Soir plays through December 18th at City Theatre, 1300 Bingham Street on Pittsburgh’s South Side. 412-431-4400 . www.citytheatrecompany.org
Sunday, November 20, 2011
Theatre review: "Red" at Pittsburgh Public Theater. Sunday 20th November 2011
Looking at the poster and the program book for Pittsburgh Public Theater’s production of Red by John Logan, you might think it’s a holiday show. Maybe something about jolly Santa in his shiny suit sliding down an inevitably clean chimney loaded with gifts. That’s not in this package. This play says serious things, things to stimulate your thinking.
Actually you might respond to that often vibrant color in any number of ways, and many such meanings are splattered and strewn all over the floor and the walls hanging out with a somewhat fictionalized version of American modern painter Mark Rothko, dynamically portrayed by Jeff Still. Director Pamela Berlin has superbly paced, shaped and shaded this, vibrating within an impressively realistic setting devised by Michael Schweikardt.
Playwright Logan exceptionally articulates a pointed discourse about the nature of art and the nature of people who create it. The character of Rothko is the medium. But Rothko could be any self-obsessed artist working in any discipline in any time.
The discourse constantly provokes us to think about what goes into creating art and what comes out of how we perceive it. Because, as Logan points out via Rothko, the viewer, the hearer, the listener is a significant part of the equation.
So, as far as the play goes, on your side of the equation, you could find the many philosophical strokes and swipes, the esoteric ruminations, the polemical round-about, too much talk and too little action. Or you could, like me, remain fascinated and engaged.
The play doesn’t really establish emotional connections, although there is a second fictional character, essentially a Rothko sounding board, for all of the 100 minutes, a young assistant named Ken. In Ken, Logan sketches a person who moves away from being a mere recipient of Rothko’s often agitated pronouncements and becomes an intense inquisitor, goading and provoking Rothko about his faith in himself and in his own significance. The intensity of the talk and of the spiky arguments vibrate and seethe with ideas, even as we get some exposure to what kind of a person Rothko must have been.
Jack Cutmore Scott makes the most and best of Ken, a humanly vulnerable, nearly believable portrait despite interpreting a character who’s essentially a dramatic device.
The dimensions of this play frame eternal questions about our relationship to art and artists, and you may come away, as I did, with fresh perceptions about the many ideas laid out. And, should that be so, consider how well playwright Logan, with his art, has created something worth your time and attention.
Red continues through December 11 at Pittsburgh Public Theater, downtown on Penn Avenue. For tickets and info: 412/316.1600 or ppt.org
Actually you might respond to that often vibrant color in any number of ways, and many such meanings are splattered and strewn all over the floor and the walls hanging out with a somewhat fictionalized version of American modern painter Mark Rothko, dynamically portrayed by Jeff Still. Director Pamela Berlin has superbly paced, shaped and shaded this, vibrating within an impressively realistic setting devised by Michael Schweikardt.
Playwright Logan exceptionally articulates a pointed discourse about the nature of art and the nature of people who create it. The character of Rothko is the medium. But Rothko could be any self-obsessed artist working in any discipline in any time.
The discourse constantly provokes us to think about what goes into creating art and what comes out of how we perceive it. Because, as Logan points out via Rothko, the viewer, the hearer, the listener is a significant part of the equation.
So, as far as the play goes, on your side of the equation, you could find the many philosophical strokes and swipes, the esoteric ruminations, the polemical round-about, too much talk and too little action. Or you could, like me, remain fascinated and engaged.
The play doesn’t really establish emotional connections, although there is a second fictional character, essentially a Rothko sounding board, for all of the 100 minutes, a young assistant named Ken. In Ken, Logan sketches a person who moves away from being a mere recipient of Rothko’s often agitated pronouncements and becomes an intense inquisitor, goading and provoking Rothko about his faith in himself and in his own significance. The intensity of the talk and of the spiky arguments vibrate and seethe with ideas, even as we get some exposure to what kind of a person Rothko must have been.
Jack Cutmore Scott makes the most and best of Ken, a humanly vulnerable, nearly believable portrait despite interpreting a character who’s essentially a dramatic device.
The dimensions of this play frame eternal questions about our relationship to art and artists, and you may come away, as I did, with fresh perceptions about the many ideas laid out. And, should that be so, consider how well playwright Logan, with his art, has created something worth your time and attention.
Red continues through December 11 at Pittsburgh Public Theater, downtown on Penn Avenue. For tickets and info: 412/316.1600 or ppt.org
Sunday, November 13, 2011
Theatre review: "Illyria" at Point Park Conservatory-Sunday 13th November 2011
Once again, students of Point Park University’s Conservatory Theatre Company, singing superbly, do wonderful things with a musical. This time it’s Illyria, Peter Mills and Cara Reichel’s take on Shakespeare’s Twelfth Night. Company director Scott Wise has come up with a great look to the production giving it lots of style, personified in Michael Montgomery’s Maxfield Parrish-like costumes. And choreographer Jeremy Czarniak has added some very clever steps and effects.
Mills wrote the music and lyrics devising attractive melodies and, occasionally, quite clever lyrics. Despite having written them seven years ago, his songs have the sound and feel of traditional ones at the heartbeat of musical theater rather than aiming for something more contemporary. Particularly fun: note Feste yodeling Malvolio’s name.
The Shakespeare story and conception remain intact but only a few of his words are used. Although the plot and characters have become very well-known and you could have seen a great production of the play by Quantum Theatre a little over three months ago, here are reminders: Duke Orsino has a crush on Countess Olivia and engages a young woman named Viola, recently arrived on the shores of Illyria and disguised as her brother Sebastian, to court Olivia. Viola falls in love with Orsino and Olivia falls in love with disguised Viola. Add to this, three memorable members of Olivia’s court: her uncle Sir Toby Belch, her haughty, self-impressed steward Malvolio and her sometimes wise jester Feste. Plus she has a new suitor, foolish Sir Andrew Aguecheek.
Mills and Reichel’s script does a fresh take on Feste, making the jester actually jest, being more of a wise guy than a wise person. And L. Fox plays the role with smart personality, also singing with class. Paul Koudouris exceptionally stands out personifying Malvolio with edgy panache, never pushing it too far. On the other hand, as Sir Andrew, Connor Russell flutters and flits so often that, at on opening night, I expected him to sprout wings and fly up into those of the theatre. Plus Jaron Frand’s performance of the real Sebastian has convincing charm with his attractive singing adding to the production’s consistently appealing sound, as does the impressive voice of Jaclyn McSpadden’s Olivia.
Shakespeare’s original script opens with these words: “If music be the food of love, play on…” Although the rest of that speech suggests that Orsino is unhappy, happily this version of the story could make you love its sound, its look and its feel.
Illyria plays on through Sunday November 20th at Pittsburgh Playhouse’s Rauh Theater, 222 Craft Ave., Oakland. 412-392-8000 or www.pittsburghplayhouse.com
Incidentally, the Conservatory also has performances of Shakespeare’s play itself December 9th through 18th
Mills wrote the music and lyrics devising attractive melodies and, occasionally, quite clever lyrics. Despite having written them seven years ago, his songs have the sound and feel of traditional ones at the heartbeat of musical theater rather than aiming for something more contemporary. Particularly fun: note Feste yodeling Malvolio’s name.
The Shakespeare story and conception remain intact but only a few of his words are used. Although the plot and characters have become very well-known and you could have seen a great production of the play by Quantum Theatre a little over three months ago, here are reminders: Duke Orsino has a crush on Countess Olivia and engages a young woman named Viola, recently arrived on the shores of Illyria and disguised as her brother Sebastian, to court Olivia. Viola falls in love with Orsino and Olivia falls in love with disguised Viola. Add to this, three memorable members of Olivia’s court: her uncle Sir Toby Belch, her haughty, self-impressed steward Malvolio and her sometimes wise jester Feste. Plus she has a new suitor, foolish Sir Andrew Aguecheek.
Mills and Reichel’s script does a fresh take on Feste, making the jester actually jest, being more of a wise guy than a wise person. And L. Fox plays the role with smart personality, also singing with class. Paul Koudouris exceptionally stands out personifying Malvolio with edgy panache, never pushing it too far. On the other hand, as Sir Andrew, Connor Russell flutters and flits so often that, at on opening night, I expected him to sprout wings and fly up into those of the theatre. Plus Jaron Frand’s performance of the real Sebastian has convincing charm with his attractive singing adding to the production’s consistently appealing sound, as does the impressive voice of Jaclyn McSpadden’s Olivia.
Shakespeare’s original script opens with these words: “If music be the food of love, play on…” Although the rest of that speech suggests that Orsino is unhappy, happily this version of the story could make you love its sound, its look and its feel.
Illyria plays on through Sunday November 20th at Pittsburgh Playhouse’s Rauh Theater, 222 Craft Ave., Oakland. 412-392-8000 or www.pittsburghplayhouse.com
Incidentally, the Conservatory also has performances of Shakespeare’s play itself December 9th through 18th
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