Spamalot

spamalotI love musicals for the interlude of melodrama and escape they provide from my tragically mundane life. The singing and dancing, costumes, and live orchestra swelling between me and the stage make my heart happy. Opening night of Stage 62’s production of Monty Python’s Spamalot has me beyond excited. This is my first time seeing Spamalot but I am familiar with the zany British sketch comedy of Monty Python and the absurdist humor that forces you to laugh, even if you aren’t sure what you are seeing and hearing is stupid beyond measure or ridiculously hilarious. As I wait for the curtain to rise, I can’t imagine disappointment.

Rob James and Carl Hunt
Rob James and Carl Hunt

Spamalot is a parody of the 1975 film, Monty Python and The Holy Grail. Theatergoers who have never seen the film will not be left in the dark. The musical, ‘lovingly ripped off from the motion picture’, maintains much of the plot of the film, (or what there is of a plot amongst the craziness of smutty French soliders, a killer rabbit, knights who say “Ni” and the impossible task of locating Jews for a Broadway musical). Spamalot takes place in 932 A.D. England, when King Arthur, played by renowned Rob James and the animated Carl Hunt cast as his servant Patsy, traverse the country in search of recruits for the Round Table at Camelot. King Arthur’s first 2 volunteers, Matthew Rush as Robin and Jeremy Spoljarick playing Lancelot are soon followed by a political radical, Sir Galahad played by Chad Elder and Nick Mitchell as Sir Bedevere. After some convincing by, leading lady, Stephanie Ottey as The Lady of the Lake and her Laker Girls the troupe arrive in Camelot. Once there they are contacted by God, the voice of Marcus Stevens, fresh from the Pittsburgh Public Theater’s prominent performance An Act of God, who instructs the knights to locate the Holy Grail. The men receive more encouragement from The Lady of the Lake and set off traveling the land, visiting a French castle, a dark and “very expensive” forest, and a frightfully comic run in with The Black Knight.

L-R Nick Mitchell, Matthew J. Rush, Rob James, Jeremy Spoljarick, Carl Hunt, Chad Elder
L-R Nick Mitchell, Matthew J. Rush, Rob James, Jeremy Spoljarick, Carl Hunt, Chad Elder

The Knights of the Round Table are next tasked with finding Jews for a Broadway musical then Lancelot runs off to rescue a damsel in distress and The Lady in the Lake is ticked off for not getting enough stage time. All of these experiences are expounded through madcap musical numbers, some ripping off other well known musicals. Songs such as “I Am Not Dead Yet”, “The Song That Goes Like This”, “Knights of the Round Table”, “You Won’t Succeed On Broadway”, “Whatever Happened to My Part?” and “His Name is Lancelot” will without a doubt cause laughter. There is so much more hair- brained chaos I would hate to spoil the show by revealing too much, but I assure you, with the help of the audience, the Holy Grail is found and a Broadway-esque musical is successfully performed, nonsensical perhaps but loads of fun.

Stephanie Ottey
Stephanie Ottey

Typical of Stage 62 productions, Spamalot’s cast is bursting with talent. Aside from James and Ottey, each lead is cast in multiple roles, which requires many costume changes and sometimes different accents and it all appears effortless. The cast includes many accomplished thespians, but it is without a doubt James and Ottey who steal the show. Their strong voices and mastered characterization are delightful to watch. Ottey’s diva flourish and Jame’s execution as King, provide moments of side stitching hilarity. The ensemble is a tight bunch, especially The Laker Girls. After seeing several musicals at Stage 62 I am confident in reporting the choreography for Spamalot is by far the best I have ever seen. Hats off to choreographer Devyn Brown for creating routines that are energized and engaging, especially, ”Fisch Schlapping Song”, “I Am Not Dead Yet”, “Knights of the Round Table” and “His Name Is Lancelot”. Becki Toth’s skilled stage direction allows the cast to emanate ease in movements and smooth scene changes on a small stage, all of which translate into a show well done.

I will offer you with a trigger warning: if easily offended by the offensive, if you are uncomfortable with bawdy jokes, parodies, preposterous plots, ‘little boy’ type humor often revolving around flatulence, then perhaps you might lighten up just a bit. This is a summer show you don’t want to miss. Spamalot does not make much sense but that doesn’t matter. The show is for grins, starring a tremendously talented cast and crew who clearly aim for having as much fun on stage as the audience does watching them.

If planning to attend a performance of Spamalot be aware that the venue has a major construction project happening right now and there is no parking on their property. Neighborhood side streets may offer a few spaces. The theater company has a shuttle service that will transport you from the parking lot on Main Street in downtown Carnegie, up the hill to the entrance of their building.

Spamalot runs at the Andrew Carnegie Free Library and Music Hall through July 30. For tickets and more information click here

Special thanks to Stage 62 for complimentary press tickets. Photos courtesy of Friedman Wagner-Dobler.

4.48 Psychosis

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. 

Friday Fringe at AIR!

17636851_781096878709340_3255313992491545639_oThe evening began with the ridiculous but thoroughly entertaining one man show Laundry Night by Captain Ambivalent.  Captain Ambivalent sings with the accompaniment of a gold accordion,  telling the story of an ordinary super hero.  The one man show reflects on the struggles of being a regular guy in Chicago, through lyrics reminiscent of They Might Be Giants or King Missile.  Sharing experiences of heartbreak, boredom and public transit as well as his rise to local fame, and a brief stint on America’s Got Talent. His costumes and props, including a 15’ purple inflatable dinosaur(not Barney) compliment the silliness of his lyrics.  The show is amusing and certainly a production all ages will enjoy.  Of course in Pittsburgh, everyone loves the the accordion.  All music performed is original, except for the famed 1989 hit by Technotronic, Pump Up the Jam, which is beyond hilarious played on an accordion.  

Next up, is Melissa Cole’s Mo-to-the-Oncle.  The story begins when Detroit img-2737Price loses his vision insurance, just at the time his teenage son, Detroit Price Jr. is in need of new glasses.  When Price reveals to the eyewear associate he has no vision coverage for his son, Detroit Jr is provided with a monocle in place of eyeglasses. The teen is horrified at the abuse he anticipates upon returning to school with a monocle. He goes to school only to have his greatest fear come true.  Another student threatens to jump Detroit Jr, so he elicits the help if his uncle, a pimp.  

Through detailed costume changes, voice reflection and finely tuned body language Cole expertly presents each character; father, optical sale associate, teenager, pimp and doctor.  The program lists Mo-to-the-Oncle as a comedy.  Detroit Jr’s rhyme is clever, the colorful characters depicted by writer/ performer Cole are well developed, the dialogue is sharp but in today’s political climate, to clarify this is a dark comedy.

Proxemics, a wearable art performance by local Pittsburgh fabric sculpturer hannah-thompson_origHannah Thompson is performed on the 3rd floor at AIR, in the gallery exhibiting Visual Fringe 2017 artists. By definition,  Proxemics is the study of humans use of space and the effects of population on behavior, communication and the ways in which humans interact with one another. I was intrigued by the synopsis in the program, I enjoy how performance art challenges my perceptions. Unfortunately, this performance was tarnished for me before it even began.  The artist arrived late, experienced technical difficulties with her music and as she prepared her props, she casually engaged other audience members in conversation about her political positions. When launched, the performance consisted of Thompson climbing into several elaborate cocoon-like stretchy ‘Snuggie’s’. Then she rolled around on the floor, extending her arms and legs or stood and stretched inside the long tubes of fabric.  Maybe she was practicing yoga or some form of free movement dance.  No one else in the audience seemed bothered.  Others mingled around after the 20-minute show engaging the artist in conversation and asking questions.  Performance art? Definitely, but definitely not my thing.

The Pink Hulk: One Woman’s Journey to Find the Superhero Within is written valerie-david-the-pink-hulk-richard-booper-photography-pressand performed by Valerie David, 2 time cancer survivor and improv artist.  Part anecdotal comedy and 100% personal narrative, solo artist David shares her terror,  frustration, depression and anger after learning she is diagnosed with breast cancer just weeks after celebrating her fifteenth anniversary of being cancer free from Lymphoma.  David bares her soul and owns the stage as she reveals the darkest time of her life; a direct attack on her womanhood; breast cancer diagnosis and treatment.  She holds back nothing, is brutally honest and frank. This is uncomfortable and frightening but David’s skill for storytelling puts me on the edge of my seat, almost immediately feeling an alliance with her.   She uses minimal props and I am tempted to say, they could actually be eliminated altogether as her narrative and stage presence are engaging enough.  

pittsburgh-image-2The Portable Dorothy Parker written by Annie Lux is a flashback in time.  The year is 1944, New York.  Writer Dorothy Parker is visited by a young editor for Viking Press, tasked to help edit the soon to be released The Portable Dorothy Parker.  Parker reflects on her time working for Vanity Fair, her friends and enemies, and the places she visited and shares these experiences and stories.   Actor Margot Avery portrays Parker over the course of the eighty minute solo performance.   Avery delivers Parkers witticisms and a straightforward rendition of her life and career with brilliant ease.  Avery reincarnates Parker on stage, and Lux channels her intellectual poise and intelligent cynicism through the script. The show, directed by Lee Costello is smart and moves fast despite being nearly an hour and a half of monologue.  

Avery’s ability to capture and exhibit Parker through delivery of dialogue, body language and slight movement are further captured through the use of period dress.   If you are a Dorothy Parker connoisseur, do not skip this performance.

Stay tuned for more Pittsburgh Fringe fun! Follow along with our adventures through our FacebookTwitter, or Instagram using the hashtag #PITRdoesFringe 
Special thanks to the Pittsburgh Fringe Festival for complimentary press passes. For tickets, day passes, and more information, click here. 

A Musical Christmas Carol

Hero_50495Holiday spirit abounds at the Byham Theater! Pittsburghers greet the season with a classical tale starring a cast of captivating characters and tremendous singing. A Musical Christmas Carol is a gateway to all things Christmas. The CLO kicked off their 25th anniversary inaugural performance to a packed house on Friday December 9. Enticing a second generation of guests, the musical rendition of Charles Dickens’ A Christmas Carol welcomes repeat patrons and many performers who return to the stage, reviving their roles for a second, third or sixth season. The CLO honors a quarter century of performances by unveiling a handsome new set and innovative special effects that will not disappoint. All the while maintaining the charm and inspiration of characters Ebenezer Scrooge, the ghosts of Christmas Past, Christmas Present and Christmas Yet to Come and the wise, young Tiny Tim.DSC_4500-RETOUCH

Together, Patrick Page as Ebenezer Scrooge and Jeffrey Howell cast as the gentle and hardworking Bob Cratchit, are a forceful presence, depicting both the ‘ba humbug’ attitude and the poor but contented father, with energy and conviction. Tim Hartman portrays a gregarious Mr. Fezziwig and a surprisingly frightening Ghost of Christmas Present. Terry Wickline cast as both Mrs. Dilber and the zealous Mrs. Fezziwig and Daniel Krell as the commanding Ghost of Marley help draw the audience deeper into the story. The artistic energy between Hartman and Wickline, as Mr. and Mrs. Fizziwig is perfectly timed. Their playful banter evokes warm returns of laughter from the audience. The children own their roles with polish and professionalism, especially Marco Attilio Petrucci, making his theatrical debut as Tiny Tim, the youngest Cratchit child who ultimately influences Scrooge’s change of heart.

Performance highlights include Krell, as the ghost of Jacob Marley, emerging from the floor, an aura of smoke clouding the stage. His booming voice calls out “Scrooge!” and nearly stuns the audience. It is an ominous scene that enthralled me. As the show progressed with each specter’s appearance, I was taken aback by how down right creepy the spirits are; nothing like the angelic image I anticipated from a Christmas themed story. The contrast between the hauntings, enhanced with dim lightning and lots of smoke, against the colorful and jubilant costumes of the Carolers was mesmerizing. So, what would be A Musical Christmas Carol without Carolers? The enchanting ensemble files through the theater and onto the stage dressed in authentic attire; men sporting top hats and suits and women in full skirts and capes. Their resounding voices are a glistening accoutrement next to the dark hauntings and despicable demeanor of Scrooge.

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Patrick Page (left) and Daniel Krell (right)

Since this was my first time attending A Musical Christmas Carol I have nothing to compare from previous years but in regard to the set, I found the design of Scrooge’s residence magnificent. His over-sized and stately bed and the neatly arranged parlor chairs represent his abundances in true Victorian fashion compared to the drab and sparsely decorated home of the Cratchit family. I also particularly enjoyed the London street vendors who further added color and life to the mise-en-scene.

Never mind what you already know of the plot of A Christmas Carol. This show is A Musical Christmas Carol and includes many glorious musical selections delivered alongside an all- star cast. Dickens messages of charity, humility, forgiveness and family resonate throughout making this a perfect holiday event no matter your age or creed.

A Musical Christmsa Carol runs at the Byham Theater through December 23rd. For tickets and more information click here. 

Photos courtesy of Matt Polk.

The Music Man

the music manStage 62‘s The Music Man presents a caliber of talent that surpasses the status quo of community theater. This rhythmic masterpiece, made up of sweet melodies, a lively story and charming characters is a slice of American pie. The production boasts a wide range of music styles, dance ensembles, comedic moments and romance. This is a performance the whole family can enjoy. There are opportunities for performers of all ages to shine and Stage 62‘s rendition rises to this challenge.

The performance begins with the orchestra playing the overture. The sound swells the theater, traditionally designed for concerts, permitting the acoustics to resonate. Having never seen The Music Man before I enjoyed the prelude of familiar tunes realizing just how many songs I recognized. The story unfolds quickly, partly due to the tempo of the first 3 musical numbers, Rock Island, Iowa Stubborn and (Ya Got) Trouble, and the superior delivery of dialogue by con man ‘Professor’ Harold Hill (Andy Folmer) the fast- talking traveling salesman. Hill’s scam; convince parents their sons will keep out of trouble by joining in a band. Hill sells instruments, uniforms and music materials, promises to offer instruction and direction to the boys, then once the supplies are delivered and payment collected, he’ll skip town before anyone catches on. Arriving in River City, Iowa Hill learns the townsfolk are not very friendly. He determines the best way to earn the confidence of parents is to gain the assurance of the local music teacher/ librarian, Marian Paroo (Becca Chenette). She too is cold and stand-offish but luckily, for Hill, Marcellus Washburn (Chris  Martin) a former ‘associate’ turned straight, is living in River City. Washburn agrees to help Hill launch his scheme and escape town without a hitch. Things go, more or less, as Hill intends; except for the few residents who question his credentials, a young boy in need of a father figure and a blossoming romance that quickly changes the path of Hill’s plan.

Harold Hill (Andy Folmer) and Marian Paroo (Becca Chenette)
Harold Hill (Andy Folmer) and Marian Paroo (Becca Chenette)

If you’re familiar with The Music Man you won’t be surprised to learn this is a 61 person cast. Director Rob James successfully incorporates all elements necessary for a seamless production and choreographer Devyn Brown manages to keep the shows momentum flowing with movement. Two memorable dance numbers, Marian the Librarian and Shipoopi, showcase the abundance of talent from supporting cast members Chris Martin, Adam Speers as Tommy Djilas and Alex Ficco as Zanetta Shinn. Other highlights include, the harmonizing Quartet and the ladies Pickalittle (Talk-a-Little) song and dance. There’s a lot of theatrical zeal from each character especially the budding talent of cast members Alexa Speicher as Amaryllis and Elliott Bruno as Winthrop, who appear poised and confident in character despite their young age.

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Amaryllis (Alexa Speicher), Winthrop (Elliott Bruno), Amaryllis (Hannah Post)

A strong supporting cast and a dynamite ensemble can carry a show a long way but The Music Man demands veteran performers to fill the shoes of Professor Hill and Marian Paroo. Andy Folmer as Hill is a big presence on a small stage, a virtuoso of voice, he consistently maintains savvy delivery of both dialogue and song. Becca Chenette is a genuine Marian. Her voice is lilting and strong. A seasoned vocalist she exudes sweetness and sentimentality while singing the beautiful ballads.

Stage 62‘s performance of The Music Man is lively and fun. It has all the elements of a classic American musical. The costumes are bright and represent a time and place that accentuate the extensively detailed set. Highlights of the show included the expertly executed speak- song, Rock Island the highly energetic Ya Got Trouble, the notable Seventy-Six Trombones and the endearing Till There Was You .

Special thanks to Stage 62 for complimentary press tickets. The Music Man runs at the Andrew Carnegie Free Library and Music Hall (ACFL& MH) Carnegie, PA through November 20th. Tickets and more information can be found here.

Photos courtesy of Amber Smith.

PNWF Program A

1456790_591177400919641_1267552918_nSeptember 1, 2016 was opening night of the 26th annual Pittsburgh New Works Festival.  The tiny lobby of Carnegie Stage was full of chatter.  I saw Lora Oxenreiter, all smiles, sitting near the front door. Lora introduced me to Festival Director, Mindy Rossi- Stabler.  I felt so lucky being at the festival for opening night and having my sister accompany me.  My sister, visiting from NYC, is no stranger to theater, art and culture and I was so proud and excited to share this unique Pittsburgh event with her.  We each ordered a glass of wine then found seats  in the theater.

Thursday was a full house. Scanning the audience everyone was grinning looking happy, thumbing through their programs, pointing at the large plants positioned on stage, leaning sideways or forward in their seat to talk to the people around them.  When the lights dimmed the audience hushed but the  energy swelled.   As introductions were made and announcements presented  the audience responded repeatedly with cheers.   Thanks given to mayor Jack of Carnegie, to Off The Wall Charitable Trust and FedEx Ground, the first corporate sponsor of PNWF.   The audience cheered.  The reception by the audience clearly reflects the success of the PNWF for reaching out and creating a community of theatergoers, actors, playwrights, directors and producers who support one another.  The festival and all present on September 1 are clearly committed to the festival’s growth and success.

Program AThe first performance of the evening, More Than Meets The Eye, written by Johnston, PA playwright F.J. Hartland and presented by South Hills Players, Castle Shannon, PA is a one- man, one- act.  The play features actor Sean Butler as Tommy.   In the beginning I struggled to discern whether Tommy was a child or a grown man.  His character wavered  between the two.  He dressed in camouflage, with a bandanna on his head and binoculars around his neck.  On stage he military crawled between trees and shrubs.  The monologue consisted of Tommy communicating with ‘Mother Hen’ through a walkie- talkie.  He identified himself as ‘Eagle Eye’.

Eagle Eye Tommy spies on a family.   He gives play by play details to Mother Hen via the walkie talkie, announcing how the children greet father when he return  home from work, what mother has prepared for dinner and dessert and how parents help the children with their homework and tuck them into bed. He intersperses song lyrics, the chorus of popular  songs nearly anyone would recognize.  Just when you would really begin to wonder if Tommy is a creep or maybe slow the true meaning of the play is revealed.  When it appeared all the audience sucked in their breath at the moment of revelation.  Suddenly the silliness of the bitty choruses sung by Tommy are no longer cute but mournful.  Quickly the story turned from lighthearted to serious.  Playwright Hartland, addresses an important subject in a  unique way and  Butler delivers the effect of bystanders in a manner that will make you think.

A quick pause then  Deck Chairs begins.  Presented by Cup-A-Jo-Productions, written by Bill Arnold of Connecticut. The play takes place on the deck of the Titanic- as it is sinking.  Albert Swanson, deck hand, is busy arranging chairs, positioning them just right when Chief Steward Harrington appears and questions why he is doing this.  Swanson doesn’t believe the ship is sinking, ‘because the band is playing music on the deck, it can’t be serious’.  The two debate White Star Line policies, which is one of the funniest moments of the play.  Eventually Harrington agrees with Swanson, stating his logic is infallible.   He begins to aid Swanson with the setting up the deck chairs, then, Chief Pembrook hurries by.  He stops to question the actions of the two men.   Swanson states it was he who gave the direction to get the chairs in proper order.  Pembrooke reminds them the ship is sinking.  Swanson and Harrington relay their infallible theory to Pembrooke  and soon he too questions what he thought  to be  true about the status of the ship.  Finally, Duchess Ida Mansard frantically enters.  Frightened, she wants answers and assistance.  The men easily convince her  the ship is not sinking and she offers to  help arrange the deck chairs through Feng Shui.  The play is filled with witty dialogue, delivered exquisitely by the cast;   Benjamin Michael as Albert Swanson, Eric J. McAnallen as Chief Steward Harrington, Jim Froehlich cast as Chief Pembrooke and  Candice Fisher as Duchess Ida Mansard.

After a second pause and a quick set change, CCAC South Campus presents All Good Things by Australian playwright Michael Lill.  The one-act, features Frank Shoup and Rose- Lorene Miller, husband and wife, Tom and Claire.  The two tell stories about their youth.  They begin each story with a number; Tom starts with fourteen.  He speaks about Allison Cooper, a dance, a kiss, his erection and how much happiness he felt in that moment.  It was a story told in the voice of a fourteen year old, I found it easy to get lost in the memory.

Claire starts with the number twelve. She shares the story of her best friend Billy and the tragedy of his life.  The next number is forty and is a story about class 7-C and teacher Molly Hardwick.  Each story means something- as Tom and Claire reflect they reveal twelve is about confidence, fourteen represents courage and forty is about compassion.  These are the lessons Tom and Claire have learned form the different people associated with the stories. All of the story telling culminates in an announcement; Tom and Claire received a big lottery winning; fifty- million dollars.  Each person addressed in the stories impacted them in a positive, taught them about the traits of courage, confidence and compassion, and reminded them, ‘Hate never works’, ‘be kind’ and ‘love is like Pi, it goes on forever’.   Feel good messages, no matter how they are delivered.

PNWF, Program A, presented 9/1, 9/9 and 9/10 at 8pm as well as 9/3 at 4pm and finally on 9/4  at 2pm. For more on the Pittsburgh New Works Festival, check out our preview article or hit up the PNWF website here.

Buy your tickets to these world premiere plays.  Support local theater and familiarize yourself with the art of one- acts.  After viewing Program A on Thursday evening, I wouldn’t expect anyone to be disappointed.

PNWF Returns for 26th Annual Showcase

1456790_591177400919641_1267552918_nOn a rainy Sunday I sat down with Pittsburgh New Works Festival (PNWF) director, Lora Oxenreiter.  A board member for well over a decade, Lora instantly began talking about the time commitment involved in planning a six- week long annual event, especially this time of year; the festival is just a month away, but Lora obviously loves being a part of the theater community, teaching and sharing the mission of PNWF with others.  I certainly was no exception.

A well established annual Pittsburgh event, PNWF has actively worked to create a community; their relationships are a focal point of their success and span all facets of the the festival. Lora, is quite proud of the ways in which the organization builds alliances, “We are the only one we know in the world who does this- we get 18 theater companies to come in and direct”.  This is where the bonds begin.

Program A Showcase
Program A Showcase

It starts with a call for submissions of one- act plays.  Playwrights from all over the world proffer their plays;  this year a total of 275 were received.  Next the submissions are narrowed down, to just 40, through a reading process.  Then 18 theater companies from the Pittsburgh region choose a play to present.  From these 18 plays, 6 are  produced as staged readings and the remaining dozen are produced as world premiere full stage productions.  The 22 plays not chosen by a presenting company receive recognition through a reading series.  This event held at the 3rd Street Gallery in Carnegie is open to the public.  The readings give local actors a chance to perform in front of an audience and for the playwrights, opportunity to see life breathed into their story. Theater lovers are encouraged to attend the readings, sip wine and be introduced to new works. The reading series connects local thespians with an occasion to perform, exposes the public to the festival and gives the playwrights a chance to collect some feedback.

Program B Showcase
Program B Showcase

Carnegie Stage, the small 90 seat black- box theater in Carnegie will host the 2016 festival for the fourth year in a row. The relationship between festival and theater has grown over the years and finally spilled out into the borough of Carnegie.  The mayor of Carnegie is a huge supporter of the festival and has gone so far as to park cars for attendees.  This kind of rapport enhances the festival’s synergy and carries their ideology throughout the threads of both the Pittsburgh theater community and the borough of Carnegie.  This kind of exposure can lead to big opportunities for playwright, producing company, theater organizer and community supporter to network.   These relationships encourage stronger ties, better communication and solid professional relationships, all f which complement the mission of the PNWF.  A mingling of small town with art and culture has the potential to open doors to many new patrons as well as for those involved in the festival hands- on.Program C

When I asked Lora what is new to the series for 2016 she excitedly revealed a major corporate sponsor, FedEx Ground.  This collaboration is evidence of the professional partnerships PNWF has achieved throughout their years of growth and maturity.  Despite 26 years of producing and premiering one- act plays, Lora reports there are still plenty of people, and theater companies, in the area unaware of who or what PNWF is all about.  Lora wants the public to know that the festival doesn’t just begin and end over the course of two weekends in September.   An event of this magnitude takes round the clock efforts.  She hopes, as the festival continues to grow so will the bonds of the close knit theater community she has helped to create.   Lora points out,  a common misconception regarding one-acts may hold people back from attending.  She wants readers to understand these are complete plays with a beginning, middle and end to each, comparable to a short story.

Last, I asked Lora what is so special about PNWF, what should everyone know?   Simply said,  “it’s unique”.

Interested in checking  out the festival this year?  The event is split into 4 programs, each hosts three one- acts, ranging from 15- 40 minutes a piece.

Program D Showcase
Program D Showcase

Staged readings opened August 21 with Not About the Money by Los Angeles playwright Amy Tofte,   On Golden Sands written by Mark Costello of Philadelphia, PA and Unlikely Event by Dennis Moore of Bothell, WA.  The second series of readings begin August 28th with three plays produced by local theater companies Prime Stage Theater, producing Mercy Killing, Pittsburgh New Works presents We Got This! and Retro Red Theater Productions with That Time At Black Lake.

Starting September 1st and running 9/1, 9/3, 9/4, 9/9 and 9/10 Program A will debut, Deck Chairs by Bill Arnold,  All Good Things written by Michael Lill of Murwillumbah, N.S.W., Australia and More Than Meets the Eye by Johnstown, PA playwright F.J. Hartland.

Program B begins 9/2 and runs 9/3, 9/8, 9/10, and 9/11.  This series features The Man Who Invented Love, produced by Thoreau, NM, My Strange Journey produced by R- Act Theater Productions and Writer’s Block presented by Actors Civic Theater.

Program C offers another sequence of one- acts by two Pittsburgh based playwrights Evan Saunders and Whitney Rowland as well as Chicago’s Steven Peterson. Program C runs from 9/15, 9/17, 9/18, 9/23 and 9/24.

The final series of plays Program D, kicks off 9/16 and runs 9/17, 9/18, 9/22, 9/24 and 9/25.  This set offers three plays, Brotherhood produced by The Theater Factory, Influence presented by The Heritage Players and finally Once Upon a Mattress Store produced by Stage Right Players.

The Pittsburgh New Works Festival, Inc. is a non-profit organization with a mission of encouraging and supporting the writing and production of original one-act plays. Since its founding in 1991, PNWF has served as a collaborative organization, pooling the talents and rich resources of western Pennsylvania’s emerging theater community and playwrights from around the world in a series of creative activities” (www.pittsburghnewworks.org).

All ticket information, including weekend and series passes can be found by visiting http://www.pittsburghnewworks.org/tickets/

 

This is Why We Can’t Have Nice Things

13924936_1163379360367077_6947173493795849123_nOnce again, off the WALL Productions and Carnegie Stage have succeeded in showcasing a performance unlike any other.  This is Why We Can’t Have Nice Things, a one- woman show created and performed by Heidi Nagle, written by Nagle, Matt Butoryak and Virginia Wall Gruenert. This show, an hour long sketch comedy act, is a different kind of show for me. As I filed into my seat I was surprised by how full the theater was.  I have seen some pretty incredible performances at this venue and Thursday was the first time I’ve ever seen the seats filled.  The majority of people in the audience were young- late twenties, maybe early 30’s, which I love. A youthful audience makes me anticipate a show full of life.

As the stage lights dimmed the projection screen illuminated and we, the audience are suddenly at the bar, having a beer. Everything looks a little blurry, kinda sideways and swaying; Ha! We are drunk, no it’s Heidi Nagle.  Then, Tech Crew member, Jenna Campbell insists Heidi hurries to the theater.   We follow Heidi and Jenna down Main Street from Riley’s Pour House to Carnegie Stage. We stop in route to pet a cute dog, converse with a pervert, and pause on the bridge, overlooking the creek, and contemplate the jump down. Each time Heidi stops to mingle with various characters the audience cheers and laughs hysterically. I’m liking the use of mixed media and I think it’s a clever idea to film yourself stumbling drunkenly down Main Street, with an audience tagging along.  It was funny when Nagle became so easily distracted by a cute puppy and when the creepy man in the car made reference to ‘Pokeballs’.

Once we ‘arrived’ at the theater we find out we are there for a viewing of Jurassic Park. Yes, I do mean the 1993 Steven Spielberg block buster film starring Laura Dern and Jeff Goldblum. Nagle pulls up a chair in front of the screen, the film begins. She adds commentary and everyone in the audience laughs.  She pops herself popcorn, the DVD skips and Nagle fills us in on what we missed; the audience laughs again. Nagle finally decides to stop playing the movie until the DVD player is fixed, henceforth the Interstitial Interviews begin. As the audience around me snorts with laughter I begin to wonder what I missed, did the joke go right over my head?  Am I too old to ‘get it’?  Then it hits me, the audience are Nagle’s friends, acquaintances and people familiar with her style of comedy, writing and quite possibly her background and this must be why everyone finds these stories so damn hysterical.  I am not part of their circle therefore I am feeling a little lost.

Sometimes the interviews are funnier than the sketches that follow.  I knew I was out of my element before the performance even began but by the time Nagle took her final bow and the audience was applauding uproariously, I had only one thought running through my head- what was that?

I admit I don’t love sketch comedy, generally speaking, but there have been times I’ve fallen to the floor from laughing so hard.  Thursday night, not so much one of those floor hitting moments.  All was not lost, the sketch with Billy the Puppet, Nagle telling us about her mom chaperoning her school trip to see Les Miserables on Broadway and the skit about hipsters were entertaining.

I’m disappointed I didn’t ‘get’ much of what was happening or find what everyone else was laughing uncontrollably over as funny.  The meaning of the title, This Is Why We can’t Have Nice Things, never came into focus for me either. Though sketch comedy isn’t necessarily my cup of tea, I think we can all appreciate it when something other than just a play is brought to the stage.

Special thanks to off the WALL for complimentary press tickets. Unfortunately, This is Why We Can’t Have Nice Things had its final performance last night. For more information about off the WALL Productions and what’s happening at Carnegie Stage, click here.

 

A Pirate’s Tale

13754080_843778182421335_6615489263587421444_nIn the words of Tristan LaMarque, captain of the Anne- Marie, “Tonight we celebrate the birth of our fleet. Tonight we celebrate us”. Fitting words for the premiere performance of A Pirate’s Tale. Four years in the making, this show has been successfully performed as a one-act on the Gateway Clipper’s Empress for three seasons thus far and is now available to land lovers young and old at Carnegie Stage.

The story, typical in many buccaneering myths, A Pirate’s Tale offers the audience an original score with music and lyrics written by composer Paul Shapera, the well renowned creator of “The Dolls Of New Albion: A Steampunk Opera“.  The story begins with the band of pirates from the Anne- Marie, and their Captain Tristan LaMarque, played by Ray Cygrymus, and his crew discussing their recent capture of the Raven and how they plan to celebrate the acquisition of their greatest triumph.  The shipmates are in good spirits and Tristan and his pirate queen Cassandra McKaye, played by Tiffany Joy Williams, are making plans for their future and are clearly happily in love, until first mate Sebastian Palk, played by Michael Petyak enters the captain’s quarters. Tristan awards Sebastian with the title Captain of the Raven but an argument quickly ensues over what to do with the Raven’s crew they are holding captive. Sebastian wants to put up a ransom, the usual action imposed upon prisoners, but Tristan, demands they be sold into slavery off the Barbary Coast. When Cassandra learns that the Raven was given to Sebastian she becomes angry; Tristan had promised  her a ship of her own and when the rest of the crew learn of Tristan’s orders to sell the prisoners, they all agree, it will be the death of them.  Sebastian organizes a mutiny and the following chain of events lead to trickery, plank walking and sword fights.

Although the story itself isn’t new to the world of pirating sagas, there are components of A Pirate’s Tale which make it unique and entertaining.  Writer Shaun Rolly spins the life of swashbuckling marauders on the high seas as not only adventurous and daring but as sensitive human beings, allowing the cast to portray characteristics of friendship and love and anger with passion and melds this humanness with lyrics that are intelligent and tunes that are catchy. Tristan and Cassandra’s relationship is emotionally charged and full of affection and song, Jonathan, played by Tim Tolbert, is the imbecile pirate who gets the most laughs based on his highly irrelevant and off the wall comments.  The relationship between the female cast as they come together forming their own pack is empowering and just the twist you hope for when seeing a performance at Carnegie Stage. The most troubling aspect of the story is witnessing Tristan go soft after ordering that his lover and partner Cassandra be sent to walk the plank.  Personally, I  never want to see a pirate go soft and listening to the rough and cold captain sing, ‘Cassie, Losing You’ seemed out of character for a pirate, but again, this moment reinforces the idea that the story is not limited to clashing of silver and plundering.

The production offered some strong musical scores, specifically ‘Hey Diddle- Diddle, Ride the Hemp’ and the final, ‘A Pirate’s Tale’.  There is an energetic and lively dance number, ‘Abigail’s Jig’, which incorporates the entire cast.  Most important, what pirate story would be complete without jousting?  The excitement and movements on stage are intoxicating.  The fight choreography, combined with costumes and the stage direction aid in generating a real sense of life on the high- seas.

A strong stage presence is felt from Cygrymus and Williams as well as Andy Hickly who plays shipmate Jonah, Sandi Oshaben cast as Victoria and Hope Anthony, playing Abigail.  Kudos to Leah Klocko, costumer, for creating an authentic look for the players, and the direction of Catherine Gallagher and the choreography of Lisa Moran Elliot, are nothing short of professional, incorporating all of the elements that you would imagine.  For pirating enthusiasts this show will excite your love of the lore.

As a musical in its infancy, will A Pirate’s Tale sink or swim?  I expect to see the show cultivated and adapted as the cast continues to perform together.

Special thanks to A Pirate’s Tale for complimentary press tickets. A Pirate’s Tale is being performed through July 31, 2016 at Carnegie Stage for tickets and more information, click here. Would you like to see more reviews and articles like this from Pittsburgh in the Round? Then help us out and donate to our indiegogo!

Eff.UL.Gents

Poster_Effulgents_2016_new_01_final__750-1464801899413-298fc7919e5cb2b5a2b09348e24c945a1483d7ac-256wEff.UL.Gents is the most recent creation from choreographer Elisa-Marie Alaio and FireWALL Dance Theater, debuting at Carnegie Stage now through July 16. This work radiates passion and energy, from the six member company, Elisa- Marie Alaio, Alexis Bomer, Glenna Clark, Vicki Lynn McWilliams, Cammi Nevarez and Jenna Rae Smith.  The performance offers three dance segments each symbolizing experiences from the female perspective, offering an artistic embodiment of feminism, covering subjects such as sexual exploration, body image, and a woman’s role in society.

Mason jars are suspended from above the stage, conceiving a natural space representative of modesty and simplicity.  The dancers emerge in nude color tops and white shorts. They react to the buzzing of electricity incorporated into the industrial sounds composed exclusively for Eff.UL.Gents by Reni Monteverde. The dancers lift their heads up toward the glowing jars and move like moths to a flame.  The dancers often use exaggerated and harsh movements; stroking their arms, kicking their legs, rolling hips and stretching necks, caressing their curves, until they remember  to, ‘be gentle’. They declare bodily connectedness, exploration and acceptance of shape while an Eff.UL.Gents chant is spoken just loud enough.Eff 105 1mb

The contemporary modern choreography allows each dancer to contribute a piece of herself, study her shape, recognize the privilege of womanhood as well as come to terms with the imperfections or parts which make them uncomfortable. Although their steps are often frenzied the dancers complete this series as the lights in the mason jar flicker on and off.  The definition of Eff.UL.Gents is projected onto the wall behind the stage, “A brilliant radiance shining forth”.

The second series begins with a film projected onto a screen while a larger version plays on the wall behind the stage. A film of tantalizing intimacy, a prelude to the intense feelings, words, looks, touches which encompass a new relationship. The music begins, smooth, mellow jazz, as light as the mingling of new love. Soon the show escalates into an explosion of passion. Spoken word, beginning as a whisper, grows progressively stronger and confident. The dancers in black wigs and lingerie enhance the susceptibility of intimate relationships. The energy fueling this portrayal and the dancers’ bodies and facial expressions create a primal passion driven mood full of vulnerability, inhibition, ecstasy, and regret linked by incredibly raw movements.Eff 101 1mb

The third and final act brings the dancers to stage in a cage. Dressed in black, pants, men’s oxford- style shirts and black ties, the dancers move over and under and around each other: trapped. They lean and stretch their arms desperate for more room, a wider space, and use exaggerated leg swings to attempt to free themselves from the cage. One dancer slides free but stays close to the outside of the cage moving in fluid motion, turning the cage until finally the door swings open and each dancer is free.  A prolific rendition of a ‘woman in a man’s world’.  Women pitted against one another the dancers climb on each others backs, then lift each other up.

The company concludes Eff.UL.Gents with force behind every step.  From standard feminine indicators to disowning gender, Alaio has created a work of art that is provoking, important and intensely emotional.  Through rigorous choreography and a team of dancers who expertly convey Alaio’s story, the audience is reminded to give ourselves permission to be human, to make mistakes, to think and speak our mind, to forgive and to love; most important, to love our own selves.

Special thanks to fireWALL Dance Theater for complimentary press tickets. Photos courtesy of Carnegie Stage. Would you like to see more articles and reviews like this from Pittsburgh in the Round? Then help us out and donate to our indiegogo!

Eff.Ul.Gents continues July 14, 15, and 16 at Carnegie Stage. For ticket and more information, click here.