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4.48 Psychosis

By: Megan Grabowski
17523703_1389815077723503_6902056036399418031_n4.48 Psychosis opened 4.21.17 at Carnegie Stage.  The black box theater is the perfect space to host an experience which invites the audience inside the mind of someone mentally ill.  The play is a dramatized confession oozing sadness, confusion, anger, lust, fear and desperation, presented as a stream of consciousness narrative. Director Robyne Parrish quickly absorbs the audience into a position of bystander by amalgamating the private and personal pain of emotional illness with the public’s reproach to victims through an intricate portrayal of agony.  With a cast of 3, each playing one dynamic part of a scarred psyche, none of whom are named, lead many people to assume 4.48 Psychosis is a first hand account of playwright Sarah Kane’s plummet toward suicide. This show is not for someone who could easily be triggered by a theatrical execution of mental illness, or representation and discussion of symptoms such as self- harm and suicide. Written by British playwright Sarah Kane, 4.48 Psychosis is often interpreted as an actual account of her intimate relationship with her own mental illness. Off The Wall Productions at Carnegie Stage presents "4.48 Psychosis" by Sarah Kane; directed by Robyn Parrish; choreographed by Moriah Ella Mason; starring Siovhan Christensen, Erika Cuenca, and Tammy Tsai. Running April 21-30, 2017. For more information, go to www.insideoffthewall.com off the WALL Productions have cast Erika Cuenca as the lead/ego, and supporting actors, Tammy Tsai as the superego and Siovhan Christensen as the id.  Cuenca recites the raw and unapologetic dialogue with sincere professionalism.  At times I found her stage presence conflicting with her character;  she wasn’t accurately disheveled, and consistently delivered her lines with confidence.  None of these traits spoiled the role but produced moments when I wondered how comfortable she is imitating someone with a severe emotional disease.  Regardless, the majority of her performance steadily portrays a horrified and frightened victim of derangement.   Tsai, remains stoic through her sobering representation as superego and doctor. Charged with guiding the ego toward healing, teetering between the superego and a sound and grounded medical professional Tsai delivers the disarrayed and disturbed mind most accurately.  As doctor, she asks her patient, “Have you made any plans?”  The ego responds, “Take an overdose, slash my wrists then hang myself.”  Tsai matter factly states, “That won’t work”,  seamlessly blending her role as superego and psychiatrist both cold and isolating.   448-206 Each character is dressed simply in white and this costume design suits Christensen, the id, most appropriately.  She is simply just there; aloof, mercilessly depicting the need for desire, love, and lust.  Like the audience, the id is merely along for the ride through an unhinged mind. She does not flinch when ego screams, “Fuck you for rejecting me by never being there.  Fuck you for making me feel like shit about myself”.  Christensen’s id unintentionally taunts ego with a natural femininity and moves like a dancer.  4.48 Psychosis is an exhibition of art. The exchange of dialogue between the psyche is intentionally desperate and charged with self-doubt and self-loathing. It is the cold and calculated approach to treatment, specifically pharmacology that instigates anxiety in me, as a witness and audience member.  After admittance into a hospital, and yielding to medication, Cuenca, Tsai and Christensen adapt their roles to include uncontrollable physical restlessness, pacing, twitching, shaking, anxiety, panic, and paranoia.  This is hard to watch.  I was compelled to glance away; to momentarily divert my senses, stealing a minute to process what I was seeing and hearing. It may be cliche to say this production of 4.48 Psychosis is ‘edgy’, but it is.  It is moving and troubling and thought provoking.  In the typical manner of off the WALL Productions, 4.48 Psychosis challenges my way of thinking and exposes me to ideas I would not necessarily choose to explore.  This is a theatrical embodiment of madness and an attempt to drive awareness.  The play is sad and disturbing.  It will make you uncomfortable.  It will challenge your perceptions and force you to reevaluate your ideas of mental illness and treatment.  I purposely left out a  synopsis of the play because it is Kane’s poetically scripted chain of experiences, voiced through the talented and driven cast, that will entice theater goes to Carnegie Stage to be a witness to Kane's final outreach through art.   4.48 Psychosis runs at Carnegie Stage through April 30th. For tickets and more information, click here.  Special thanks to off the WALL Productions for complimentary press tickets. Photos courtesy of off the WALL's website here. 

Little Lake Prepares for a Paramount 69th Season!

By: Nicole Tafe
little-lake-logoIn this year’s 69th season, Little Lake Theatre Company is ready to delight audiences with incredible local talent. Since its founding in the spring of 1949 by Edith Disney and her son Will, Little Lake has been a theatrical gem to the many communities that surround Pittsburgh.  Once just an old barn on the side of a lake in Washington County, Little Lake transformed into the area’s first theatre-in-the-round, and has since featured more than 1,700 local actors and 1,200 productions on the local stage. From exploring the days before Peter Pan and his lost boys captured the hearts of many to asking the audience a popular board game’s question of “Who did it?”- this season of musicals, comedies, dramas, children’s theater and more will not disappoint. For more information about Little Lake’s 69th season and the shows listed below, visit www.littlelake.org.

PETER AND THE STARCATCHERPeter and the Starcatcher

April 27 through 29 at 8 p.m.

April 30 at 2 p.m.

May 4 through 6 at 8 p.m.

May 7 at 2 p.m.

May 11 through 13 at 8 p.m.

In Peter and the Starcatcher, audiences will embark on the adventure of a lifetime.  The play is based on the 2006 novel by Dave Barry and Ridley Pearson, and was adapted for the stage by Rick Elice.  The prequel to J.M. Barrie’s Peter and Wendy, this play will delight audiences by providing a backstory to the beloved character of Peter Pan. “Little Lake is thrilled to be doing Peter and the Starcatcher as our 69th season opener,” says Jena Oberg, Artistic Director at Little Lake and the show’s director.  Musical direction will be provided by Holly Jones. “We selected Peter and the Starcatcher for its humor, creativity, emphasis on storytelling, and its message that anyone can be a hero.” This show, perfect for all ages, is sure to provide a great night out for the whole family.  The cast will transform themselves and the space to create a thrilling adventure.  Everyday items will become pirate ships, crocodiles, tropical jungles, and more, and Little Lake provides the perfect playground as the theater-in-the-round setting allows audiences to feel as if they are a part of the worlds that are being created around them.  Aerial silks, ladders, ropes, shadows, lighting, and many more special effects are sure to dazzle anyone taking part in this adventure. PhiladelphaStoryTHE PHILADELPHIA STORY May 18 through 20 at 8 p.m. May 25 through 27 at 8 p.m. May 28 at 2 p.m. June 1 through 3 at 8 p.m. The Philadelpha Story is a beloved classic that is a favorite among Little Lake audiences and has been performed and well-received several times at the local theater.  The 1939 American comic play by Philip Barry tells the story of Tracy Lord, Philadelphia’s most eligible socialite, as she finds herself facing complications prior to her wedding in being attracted to multiple men- to the dismay of her fiancé. Directed by Lora Oxenreiter, this play is perfect for ages 10 and up and will leave audiences asking, “who will Tracy choose?” in this sparkling comedy.

PROOFProof

June 8 through 10 at 8 p.m.

June 15 through 17 at 8 p.m.

June 18 at 2 p.m.

June 22 through 24 at 8 p.m.

In a more mature setting, David Auburn’s play Proof will come to life on the Little Lake stage in June.  Best for ages 15 and up, as the show contains adult language, this play tells the story of Catherine, the daughter of Robert who is a recently deceased mathematical genius in his 50s and a professor at the University of Chicago, as she struggles with mathematical genius and mental illness.  When game changing proof is discovered, Catherine must face the biggest problem of all: how much of her father’s genius-or madness- has she inherited? The play will be directed by Art DeConciliis and was selected because “it is an incredibly well-written view of genius,” says Oberg.  “In this 2001 Pulitzer Prize and Tony Award winning play, the characters and relationships are beautifully complex.”

RAPUNZEL (A World Premiere)

June 14 through July 1 – Wednesdays at 11 a.m., Fridays and Saturdays at 2 p.m. When a bit of fairy tale magic backfires, Rapunzel tumbles into an adventure that includes a preposterous Count, an impossibly tall tower and discovery of extraordinary courage in this world premiere production. This brand-new adaption of the popular fairy tale was written by Little Lake’s former artistic director, Sunny Disney Fitchett, who is now a children’s theater playwright in the state of California.  “Little Lake is beyond thrilled to have the opportunity to produce the world premiere of this play,” says Oberg.  “It is a fun, new twist on the classic story, where Rapunzel uses her smarts and courage to save herself from the tower.” The show will be directed by Mary Meyer and is part of Little Lake’s Summer Looking Glass Theatre season for Young Audiences.  Anyone ages 3 and up will be sure to fall in love with this version of the timeless tale. OneManTwoGuvnorsONE MAN, TWO GUVNORS June 29 through July 1 at 8 p.m. July 6 through 8 at 8 p.m. July 9 at 2 p.m. July 13 through 15 at 8 p.m.   This hilarious farce of mistaken identity tells the story of the bumbling, but charming character Francis as he finds himself simultaneously employed by two bosses.  This play by Richard Bean is an English adaption of Il servitor di due padroni- a 1743 commedia dell’arte style play by Italian playwright Carlo Goldoni- and featured the popular late night host James Corden during its Broadway run. Under the direction of TJ Fineno, this show is best for audience members ages 15 and up.  Fineno will be returning to Little Lake for a month’s time from Texas to direct this crazy comedy.  “TJ is particularly skilled in farce, and so this play was a perfect fit for him,” says Oberg.  “Also, audiences at Little Lake love farces- and this one will feature live music and high energy fun!”

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FANTASTIC MR. FOX

July 5 through 22- Wednesdays at 11 a.m., Fridays and Saturdays at 2 p.m. Fantastic Mr. Fox is an imaginative and creative adaption of the Roald Dahl classic.  Audiences follow Mr. Fox as he cleverly outwits three smelly, horrid farmers to save his family and friends in this “Dahl”icious play. The show will be directed by John Michnya and plans to feature puppets in addition to scenic elements based on the original illustrations and elaborate costuming that will create the world of Dahl’s story.  Part of Little Lake’s Summer Looking Glass Theater season for Young Audiences, this show is perfect for ages 3 and up, and will feature the talent of young actors from the surrounding area.

WONDER OF THE WORLDWonderoftheWorld

July 20 through 22 at 8 p.m.

July 27 through 29 at 8 p.m.

July 30 at 2 p.m.

August 3 through 5 at 8 p.m.

On a hilarious journey of self-discovery, Cass teams up with some unlikely sidekicks in what become a wild ride over Niagara Falls in a barrel full of laughs in the play Wonder of the World.  This play, written by American playwright David Lindsay-Abaire, premiered at the Woolly Mammoth Theater Company in 2000 and then ran Off-Broadway in 2001. Little Lake’s production will be directed by Jena Oberg and is best suited for ages 15 and up, as the show contains adult language.  “This play has always been one of my favorites,” says Oberg.  “It is hilariously funny and absurdly uplifting.  I really think our audiences are doing to love this one and leave the theater feeling just a little bit more optimistic about the future.”

SCHOOLHOUSE ROCK LIVE!, JR.

July 26 through August 12- Wednesdays at 11 a.m., Fridays and Saturdays at 2 p.m. Let’s get ready to rock! Based on the popular, award-winning 1970s cartoons, Schoolhouse Rock Live!, Jr. is a fast past musical that teaches lessons with clever, catchy tunes and is a one-hour version of the full musical. Follow new teacher Tom as he learns how to win over his students with imagination and music. The show will be directed by James Critchfield, with musical direction by Holly Jones.  The musical is part of Little Lake’s Summer Looking Glass Theatre season for Young Audiences- perfect for ages 3 and up- and is full of songs that many adults may remember from their childhood. “We think it’s a perfect back-to-school treat for our young audiences, as cast members sing and dance to musical numbers about basic math, language, and history concepts,” says Oberg.  The cast for this show will all be under the age of 18, showcasing the amazing talent of the young actors that grace the Little Lake stage. TheAudienceTHE AUDIENCE August 10 through 12 at 8 p.m. August 17 through 19 at 8 p.m. August 20 at 2 p.m. August 24 through 26 at 8 p.m. Glimpse into the secret weekly audiences between Queen Elizabeth II and her twelve Prime Ministers during some of England’s most defining moments in Little Lake’s production of The Audience. Directed by Ponny Conomos Jahn, this show is best for ages 13 and up and is a fascinating look at the modern monarchy and relationship between the Queen and her Prime Ministers.  The play, written by British playwright and screenwriter Peter Morgan, opened on Broadway in 2015 and featured Dame Helen Mirren. Audiences will have the opportunity to be a fly on the wall for conversations regarding some of the major events in history.  Fans of the popular television show “The Crown” are especially sure to love this production, as its plot feeds into the current fascination with the Royal Family.

A MASTERPIECE OF COMIC…TIMINGMasterpieceofComicTiming

(An Area Premiere)

August 31 through September 2 at 8 p.m.

September 7 through 9 at 8 p.m.

September 10 at 2 p.m.

September 14 through 16 at 8 p.m.

As a wiz-kid author and theatre producer endeavor to write the next comic masterpiece, the line between comedy and drama is found to be much narrower- and sillier- than you’d think! This newly published play by Robert Caisley will be a regional premiere at Little Lake and was suggested to the artistic staff by a patron who saw a production of the show at a theater in the state of California.  “Once we read it, we know it was perfect for Little Lake,” says Oberg.  As an added bonus, communication with the playwright will last throughout the production- giving Little Lake a true view into the artist’s creative mind and desires for his piece.  “It’s truly exciting to have Robert Caisley on board as a resource when working on his very show,” says Oberg. A Masterpiece of Comic…Timing will be directed by James Critchfield and is perfect for ages 15 and up. Middletown MIDDLETOWN September 21 through 23 at 8 p.m. September 28 through 30 at 8 p.m. October 5 through 7 at 8 p.m.   A deeply moving and funny play, Middletown explores the universe of a small American town.  As a friendship develops between longtime resident John Dodge and new arrival to the town Mary Swanson, the lives of the residents of Middletown intersect in a journey that takes them from the local library to outer space and all points between. The Off-Brodway play written by Will Eno has been hailed as “a testament to the power of words and wordplay” by the Chicago Sun Times.  “The worlds Eno creates are shaped by the cadence, timing and positioning of words to tell stories about the everyday.  In his absurdist, abstract drama, Eno offers up an old-fashioned version of small-town life that is familiar, but with a title to the surreal.” Little Lake’s production will be directed by Ponny Conomos Jahn and is best for ages 13 and up.  “This play is really an artistic piece,” says Oberg.  “It is poetic in the way it is written and is really a cross-section of the complexities, joys, and mysteries of modern life.”

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JUNE B. JONES, THE MUSICAL

September 30 at 2 p.m. October 1, 7, 14, 15, 21, 22 and 28 at 2 p.m. First-grade couldn’t be more exciting with a new pair of glasses, a kickball tournament, a “top-secret personal beeswax journal,” and much more!  Best for ages 5 and up and part of Little Lake’s Fall Family Matinee series, June B. Jones, The Musical is based on one of the best loved book series of all time. “We are delighted to be bringing this fun and energetic musical to our stage,” says Oberg.  “It celebrated being unique and discovering the things that makes each kid special.” This show will be directed by Sara Barbisch, with musical direction by Holly Jones.

CLUE: THE MUSICALClue

October 12 through 14 at 8 p.m.

October 19 through 21 at 8 p.m.

October 26 through 28 at 8 p.m.

The question is... “Who did it?”  Clue- the popular board game- will spring to life in this uproariously funny and interactive musical.  Each night, the audience will actually play the game and the show will change based on the different cards drawn by the night’s participants.  The actors that will bring this show to life will learn 120 possible variations of the script to provide a completely unique experience each show.  The show features all of the timeless board game characters, and the Little Lake stage will be painted to look like the game board, as poster-sized game cards are created. With a book by Peter DePietro, music by Galen Blum, Wayne Barker and Vinnie Martucci, and lyrics by Tom Chiodo, this show originally opened Off-Broadway at the Players Theater on December 3, 1997. Little Lake’s production will be directed by Art DeConciliis, with musical direction by Laura Daniels and is ideal for ages 15 and up. CrucibleTHE CRUCIBLE November 2 through 4 at 8 p.m. November 9 through 11 at 8 p.m. November 16 through 18 at 8 p.m.     Salem, Massachusetts is ablaze with accusations of witchcraft in this exciting drama, still astoundingly relevant today.  A 1953 play by American playwright Arthur Miller, The Crucible is a dramatized and partially fictionalized story of the Salem witch trials that took place in the Massachusetts Bay Colony. Harshly reviewed at the time of its premiere due to its controversial nature, the play won the 1953 Tony Award for Best Play, and a year later a new production paved the way for the classic that is regarded as a central work in the canon of American drama today. The Crucible will be directed by Jena Oberg, is appropriate for ages 13 and up, and will feature two performances for school groups during its run at Little Lake.  “The Crucible seemed like a timely parable for the struggles contemporary society is facing,” says Oberg.  “Our production will use percussion and dancing to create the mood and play transitions as performed by the actors playing Tituba and other girls.”

YES VIRGINIA!

November 24 and 25 at 8 p.m. December 2, 3, 9, 10, 16 and 17 at 2 p.m. This feel-good, family musical is inspired by one of the most famous newspaper editorials of all time: “Yes, Virginia, there is a Santa Claus.” With music by Wesley Whatley, lyrics by William Schermerhorn, and a book adapted by William Schermerhorn from the animated special and storybook by Chris Plehal, Yes Virginia! perfectly captures the holiday spirit and is a great show for the whole family to attend right before the bustling, beautiful Christmas season begins. The show will be directed by Rick Campbell, with musical direction by Holly Jones.  Little Lake will also provide a letter writing station at each performance, giving young ones the opportunity to write their own letters and mail them out to Santa Claus before the big day.

A TUNA CHRISTMASTunaChristmas

November 30 through December 2 at 8 p.m.

December 7 through 9 at 8 p.m.

December 14 through 16 at 8 p.m.

Celebrate Christmas with the good folks of Tuna, Texas in this hootin’, hollerin’, laugh-out-loud, smash hit comedy.  Wrapping up Little Lake’s 69th season, this show will be a restaged version of Sunny Disney Fitchett’s and Art DeConciliis’ previously performed production. The show will feature Kevin Bass and Art DeConciliis, as they play all the characters of Tuna, Texas!  “This is the most requested play at Little Lake of all time!” exclaims Oberg.  “We are delighted to be bringing it back again this season.  It has become a favorite holiday tradition.” Other Season Offerings: SEVEN WEEKS OF SUMMER FUN! In addition to a jam-packed season of theatrical fun, Little Lake will offer seven weeks of summer camps for kids this year including an Improv Camp, Be A Star Camp, Acting Camp (two sessions), Behind the Scenes Camp, Musical Theater Camp (two sessions), and Teen Camp.  These great offerings will help kids hone their skills and take their acting to the next level.  For more information or to sign up, visit www.littlelake.org. ADULT THEATRE CLASSES AT LITTLE LAKE Adults can have some extra fun, too!  Two new classes, Improv for Adults and I Can Do That Too!, will be offered in the evenings for adults, ages 18 and up.  Laugh, play, build your skills, and take your acting to the next level. For more information or to enroll, visit www.littlelake.org.

Paying Attention to Miller’s Masterwork at PPT

By: Yvonne Hudson

Layout 1“He's not the finest character that ever lived. But he's a human being, and a terrible thing is happening to him. So attention must be paid.”

- Linda Loman, Death of a Salesman

When Zach Grenier wrapped up his long-running role as David Lee on “The Good Wife,” he pondered what character he’d most like to have a chance to play on stage. Grenier admits that he didn’t think he’d have a shot at Willy Loman, the titular character of Arthur Miller’s Pulitzer and Tony winning Death of a Salesman. After all, how often is that great American tragedy produced? Meanwhile, stage director Mary B. Robinson says during our interview at Pittsburgh Public Theater, “I’ve known I’d be directing Salesman for a while. I love Pittsburgh audiences, having been here before,” says Robinson, who staged Freud’s Last Session at The Public. “I directed Miller’s All My Sons just last summer--always with Death of Salesman coming up in my head. That was very exciting.” Surrounded by posters and memorabilia in the office of PPT artistic director Ted Pappas on a busy day at the Cultural District theater, Grenier and his director conjured their own dreams and memories. Grenier says: “One Monday I was sitting around with my wife and no longer a regular on “The Good Wife”, doing a number episodics, looking for the next thing,” says Grenier. The couple even discussed moving from New York, perhaps to a good theater town--like Philadelphia, where he’d worked before. He’s been thinking about it for 20 years. Grenier’s that guy who has been on stage with the likes of Frank Langella, Julie Harris, and Jane Fonda. He’s appeared in a wide repertoire of works ranging from Shakespeare to David Rabe to David Mamet. His historical characters have included Beethoven, Oliver Cromwell, and Dick Cheney. Television audiences know him for seven seasons on “The Good Wife” and movie fans will remember him in “Fight Club”, among other films. [caption id="attachment_4641" align="alignleft" width="329"]Greiner in The Good Wife Greiner in The Good Wife[/caption] Grenier said to his wife Lynn, “The thing is that I’m never going to play Willy Loman. I know it. I’m never going to play him. And the next morning I get a call asking if I can play Willy Loman, in Pittsburgh!” he says, sounding as surprised during as a short rehearsal break in April as he probably did in on the Martin Luther King Monday holiday in January. When Grenier learned Robinson would be his director, the deal was sealed. He’s worked with her for Eugene O’Neill’s A Moon for the Misbegotten in the early1990s, he trusted fate, adding “I’ve heard great things about the theater.” “Zach played James Tyrone, another mountain of a role,” says Robinson, adding that Shakespeare’s King John had first connected them a decade earlier in the 1980s. Now Grenier plays the American Lear in Robinson’s Salesman in which Willy Loman wins and loses in his pursuit of the American Dream. The actor began his own preparation well before rehearsals began at the end of March. “With this kind of mountain, you start climbing,” he says of Willy. In February, after he was cast, Grenier turned 63, the same age as Willy. The realities of playing a role coveted by seasoned actors isn’t lost on him for “there is something about getting to this age. When I was younger, I thought Willy was for ‘when I’m an old guy’.” “When I said, ‘I’ll never play Willy’, it had some weight that Monday,” Grenier observes, “because you don’t know what the future holds. When you get to a certain age, you don’t know how much longer you have. You have less time than you have had--unless they come up with something really fancy. In a way time is running out.” Miller’s iconic drama introduced innovative leaps in time and space when it debuted in 1949. Considered on the masterpieces of 20th century American theater, Salesman foreshadowed techniques that have made theater more imaginative for both audiences and actor. Because of Salesman, productions became more nimble. At the same time realistic and abstract, Miller’s script has its lead character traveling from present day into his memories. He recreates a human journey informed by the recollected past and trepidation of the future. Willy Loman is on a downhill journey in his career and relationships. Dreams are built from his delusions as the traveling salesman’s self-confidence erodes. His wife Linda is concerned while their sons Biff and Happy struggle with respecting their father. Robinson and Grenier agree that Willy is a recognizable member of many families. “My father was nothing like Willy,” says Robinson, “but many of my friends’ fathers were a lot like Willy. I was certainly around a lot of Willys growing up.” “Miller really captured something so specific yet so universal and yet so not dated,” says the director. “Such rich characters and such real human beings--contradictions and all. The relationships are so full, fascinating and complex. And Miller set his plays all in a larger context so that these plays without being didactic about it, he cites something about this country as well. And I just find that extraordinary.” Grenier notes his own personal connections to the Miller’s characters: “My father’s family is from the Bronx. Four boys grew up there in a very, very tough family emotionally. It happens with Neil Simon, it happens with Miller--not as much with O’Neill--but there’s an emotional language that I understand because it came from being around my uncles. I have a Manny Newman [the playwright’s uncle and inspiration for Willy] in my family.” Grenier says that was his Uncle Vin. “There are things in the play--the kind of emotional blackmail that happens and broken dreams, like those my own father,” Grenier recalls. “I love the fact we are doing this in a thrust space, says Robinson who is thrilled about her design team that includes scenic designer James Noone and costumer Tilly Grimes, with lighting by Dennis Parichy, and sound by Zach Moore. [the_ad id="2996"] Robinson recalls the story of a producer who questioned Miller’s use of flashback to share Willy’s past and present journey: “I don’t get it, these flashbacks, what are they there for?” “They are not actual flashbacks, they are not memories,” she says. “They are Willy’s constructs. The play was originally titled ‘The Inside of His Head’. So we go inside Willy’s mind.” So what was initially defined through theatrical effects as Willy Loman’s fantasies or memories are now accepted by audiences as an expected form and experience. She and Grenier agree the PPT set is perhaps even more minimalistic than the original yet complicated enough to accommodate both the realistic and dreamlike scenes. Grenier says catching some news on a break he considered how now many voices are talking to us via the media. He compares Miller’s expressionistic and leading edge approach was a precursor to today’s delivery of many messages that distract, inform, and converge--much like the influences of Willie’s thoughts, dreams, emotions, and delusions. “In a way this audience is in some ways more primed for this play,” Grenier observes. “We all do this now in so many ways. What it allows in the production is to not worry so much about that and go to the heart of the matter, the poetry of the play, the moment-to-moment. Of course, they did that then, but now I feel we are most comfortable in this form.” Grenier considers Miller’s text “a long poem” in a form reminiscent of Shakespeare’s poetic prose. “When you really take this play apart,” he says, “you really are reminded of Shakespeare, of how he uses the verse. It’s a Brooklyn Shakespeare that we are reciting. Grenier delights in the harmonics and the echoes of words and emotions in Miller’s script as he relishes the role of a lifetime. “To get to do this is such a gift.” Arthur Miller’s Death of a Salesman previews at Pittsburgh Public Theater beginning Thurs., April 20, with the official opening on Fri., April 28. Performances continue Tuesdays through Sundays until May 21. Curtain times vary. Audiences have several chances to delve deeper into the play and production. Featured Salesman events include “Sips & Scripts” on Wed., May 10, which provides a pre-show reception, a talkback after the show, and a script sent in advance with ticket purchase at $45. Use promo code PITTSCRIPTS online or by phone at 412-316-8200, ext. 704. Tickets otherwise start at $30 with discounts for groups of 10 or more. A special price of $15.75 for age 26 and younger (valid ID required) is offered with code HOTTIX online while Friday and Saturday tickets may be purchased at the O’Reilly Theater box office. Order online at PPT.ORG or call 412-316-1600.

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