Tag: Theatre

by Brian Edward, ‘Burgh Vivant

In the current climate of theatre in America, the staging of ancient Greek and Roman plays has become a tricky business among the trends of 90-minute shows and economic casts of three to four actors.  They have at times been dodged by producers and audiences alike, presumably due to the fear of the pieces lacking appeal.  Shakespeare suffers a similar treatment to some degree, though it seems he’s been spared the level of avoidance that has befallen the ancients of Greece and Rome.  The dilemma is almost inconceivable when considering that these works were the original blockbusters: immensely popular in their time and influencing all drama and comedy to follow for hundreds of years.  To argue that the premise or period of any such work is dull, boring, or uneventful is fruitless when considering the numerous serial dramas that have borrowed from them and found their way to millions of weekly watchers through HBO and Showtime, among other subscription networks who have peppered in just enough sex and violence to insure mass appeal.  So were then is the disconnect between the Acropolis of Athens and the modern stage?  I refuse to concede that the answer lies simply in the absence of blood and nudity.  Instead, I believe it to be in the translation.

When Sophocles wrote Electra circa 400 BC, the very concept of theatre as it is known today was in its infancy.  Storytelling had evolved to form a more dimensional means of presentation and thus, the actor was born.  Despite the razzle dazzle of movement, characters, and chorus, plays were still in the habit of telling a story rather than allowing one to unfold realistically before an audience.  Many plays of the era were mired in exposition, leaving it to an actor to monologue events that happened, were happening, or were going to happen, rather than producing them.  When accurately translated, these scripts don’t leave much room for compelling dialogue or interesting staging that most modern audiences might expect in a night out at the theatre.  Adaptations tend to be more palatable, but deny us the glimpse of how these stories were originally told.  It’s a classic “catch XXII.”

The production of Electra staged by Little Lake Theatre Company, as well as its translation by Robin Bond, can boast authenticity as one of its stronger points.  Bond’s text recalls Sophocles’ tragedy of Electra (Rachel Pfenningwerth) who with her brother Orestes (Brendan Karas) enacts vengeance upon her mother Clytemnestra (Ponny Conomos Jahn) for the murder of her father, King Agamemnon.  Director Jena Oberg makes good use of the theater-in-the-round and minimal set, keeping the tale focused and moving throughout one 90-minute act.

Bond’s accurate translation takes little liberty in the use of poetic language, and on top of Sophocles’ narrative approach to dialogue, stifles the enjoyment of the story.  When this equation manifests in performance, the line between drama and melodrama becomes a fine one that is straddled precariously throughout.  The cure for this comes by way of Ponny Conomos Jahn’s performance as Clytemnestra and Carly Adams’ performance as Electra’s sister Chrysothemis.  Both actors illuminate the text and the stage with irrepressible presence and a thorough mastery of their roles.  In their handling of the language, the inherent dust that can sit upon the delivery of ancient Greek drama quickly vanishes.  Even Jahn’s stillness while berated by Pfenningwerth’s Electra emanates great power.

When engaged beyond the role of set dressing, the Chorus, comprised of Mona Bapat, Kerry Benson, Ina Block, Lexi Feldman, Kathi Finch, Heather Friedman, and Gretchen VanHoorelbeke, presents itself as a strong ensemble and compliments the stage action well.

SEE IT FOR:  An authentic treatment of an ancient Greek tragedy.  The performances by Carley Adams and Ponny Conomos Jahn.

Electra continues at Little Lake Theatre through July 13.  For tickets and more information, visit www.littlelake.org

By Mike “Buzz” Buzzelli, ‘Burgh Vivant

Just before Violet Stoner dies, she grabs her sister  Enid (Jessie Wray Goodman) and chokes out her two final words, “band” and “speckled,” in Sir Arthur Conan Doyle’s play, “The Speckled Band: An Adventure of Sherlock Holmes.”

The young lady died under mysterious circumstances just prior to her engagement to Scott Wilson (Ethan Saks).  An investigation of her death yields inconclusive results, though the town grocer, Mr. Armitage (Wali Jamal) suspects that she was murdered by the lord of the Stoke Manor, Dr. Grimesby Rylott (Sam Tsoutsouvas).

Though Rylott is a cruel man, Enid is hesitant to believe that her stepfather, Rylott, is capable of murder. She does, however, report to the Coroner (Martin Giles) that she heard strange music the night Violet died.

Two years later, Enid is now engaged and the strange music begins again. She believes she will suffer a similar fate. She calls upon her friend Dr. John Watson (James FitzGerald) for aid. Watson believes he can help her, because he, in turn, has a friend who might be able to get to the bottom of the mystery. Any mystery! A man named Sherlock Holmes (David Whalen).

Dunt dunt da!

Rylott seeks to keep Enid from marrying. He is aided by his valet, Ali (Arjun Kumar), his maid, Mrs. Staunton (Lisa Ann Goldsmith), and, unwittingly, his doddering butler Rodgers (David Crawford).

The killer’s identity is crystal clear by the end of the first act. We don’t need Sherlock to solve this mystery. Heck, Scooby Doo could have figured it out without the help of Shaggy, Velma, Daphne or Freddie. But “The Speckled Band” isn’t really a whodunit. It’s more of a “Will he do it again?”

Sherlock must outwit the villain to save Enid in time. It’s a nail-biter more than it’s a mystery. The game is afoot!

Director Andrew Paul assembles an outstanding local cast, and brings back Pittsburgh’s favorite Sherlock, David Whalen (a former native now living in Murrells Inlet, South Carolina). Paul moves the actors around the stage organically. The actors move with purpose and intent.

Tsoutsouvas chews up Johnmichael Bohach’s stately scenery. He rails against Enid, bullies his butler and threatens Sherlock. It’s a grand performance.

Goodman is so charismatic as the girl in peril. Her accent equally charming thanks to dialect coach, Lisa Ann Goldsmith.

Whalen is Sherlock. He’s reprised the role so many times, it’s difficult to imagine anyone else under the deerstalker hat. He thrives, playing the iconic detective masterfully, with a bounty of brilliance and soupcon of arrogance, relishing every moment.  

FitzGerald is once again his foil, Watson. Watson would be the smartest man in the room, until Sherlock enters the scene.  It’s a joy to watch Watson get outwitted by his friend, every single time. Whalen and FitzGerald’s chemistry is delightful.

Crawford is hilarious as the bumbling butler.

Giles takes on two disparate parts, the Coroner and a Milverton, a slimy blackmailer. He is amazing in both roles. Giles is some sort of mad genius who is at his peak when he immerses himself into crazed characters.

Other standouts include Jamal’s Armitage, Goldsmith’s smug and imperious maid, and Sherlock’s new major domo, Billy (R. Daniel Murphy).

If you’re going for the sake of solving a perplexing, Sherlockian mystery, you will be a little disappointed. But if you’re going because you want to see a bunch of Pittsburgh’s best and brightest actors romping through a suspenseful tale of greed and murder, get a ticket right away!

-MB

“The Speckled Band: An Adventure of Sherlock Holmes” runs through June 30th at the Charity Randall Theater inside the Stephen Foster Memorial, 4301 Forbes Avenue, Pittsburgh, PA 15213. For more information, click here.

By Mike “Buzz” Buzzelli, ‘Burgh Vivant

Magician Billy Kidd is in Pittsburgh astonishing audiences in her new show, “Bridging the Gap” at Liberty Magic. The magician has been seen on several television shows, such as Discovery Channel’s “Breaking Magic,” SyFy’s “Wizard Wars,” and Penn & Teller’s “Fool Us.”

Kidd has a very theatrical flair. She opens the show with a bit of performance art, talking to a stuffed monkey who answers her back by clashing his cymbals at opportune times. There’s a bit of storytelling with her tricks. She weaves a delightful tale of her origins with magic, beginning as a street performer. Kidd’s story is told with a lot of humor.

Most of her magic is the standard sleight of hand type, making objects disappear and reappear with a sharp, quick gestures. Kidd is considered one of the preeminent sleight-of-hand and close up magicians. She does, however, perform one or two feats of magic that made the audience squirm (Kidd expels a bean from her eyeball).

There is a big show-stopping number where the aforementioned monkey plays a larger role (no spoilers).

Kidd’s show is full of fun, little surprises. She is exuberant and enthusiastic. There’s a sense of wonder in her eyes. She’s still a kid (pardon the pun) at heart. And “Bridging the Gap,” unlike many shows down on Liberty Avenue, is suitable for younger audiences. It’s also a short show, at seventy minutes (no intermission).

If you have an opportunity, splurge for the VIP tickets. You get a bit extra for your buck with a additional show in the back room of the venue. Kidd also lets her guard down and answers questions from the private audience.

Be warned: A lot of Kidd’s show is participatory. She called several audience members up on stage to get into the act. Some of the funniest lines came from the audience members who were either excited or frightened into participating.

Maybe you can get into the act at “Bridging the Gap.”

-MB

“Bridging the Gap” runs until June 23 at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA 15222. For more information, click here.

By Mike “Buzz” Buzzelli, ‘Burgh Vivant

Gerard Alessandrini, the comedic genius behind “Forbidden Broadway,” is up to his old tricks. He’s planting his tongue firmly in his cheek, and sending up the blockbuster rap opera, “Hamilton,” in the musical spoof, “Spamilton: An American Parody.”

In 1982, Gerard Alessandrini created “Forbidden Broadway” where he skewered Broadway musicals, constantly updating the show parodying almost every show on the Great White Way ever since. When you consider the sheer enormity and popularity of “Hamilton,” it was only a matter of time before Alessandrini satirized the history-making musical (about American history).

In the show, Lin-Manuel/Alexander Hamilton (T.J. Newton) is joined on stage by Hamilton’s political rival and nemesis, Aaron Burr (Tru Verret-Fleming), a pianist (Nick Stamatakis), and the rest of the “Hamilton” cast (Justin Lonesome, Erin Ramirez, LaTrea Rembert) to discuss the musical phenomenon that launched a thousand careers.

Not only is “Hamilton” lambasted, but the characters needle every possible musical that’s passed through the sacred spaces in midtown Manhattan. No show is safe. Every show is lampooned in “Hamilton” style, nearly forty songs poking fun at “Willy Wonka and the Charlie Factory,” “Wicked,” “The Lion King,” “The King and I,” “Miss Saigon,” “Cats,” and many, many more.

There’s also a running gag with some of Broadway’s biggest divas.

Everybody gets into the act, literally and figuratively. At one point, the pianist (Stamatakis) dons a cape and crown and becomes King George, and belts out a tune.

Eliza (Ramirez) encapsulates the plot at the end with a topsy-turvy version of “Who Lives, Who Dies, Who Tells Your Story.”

Director Gerry McIntyre cast the show superbly. The actors sing and dance with enthusiasm and verve. While they’re in on the joke, they play it as seriously as the can, which makes it even funnier. Many of the actors are playing dual roles.

Newton’s resemblance to Lin-Manuel Miranda is uncanny. From far away, you might be fooled. He is also a fantastic singer.

Verret-Fleming is an extremely talented Burr (or Burr wannabe), and Lonesome is terrific in various roles.

Ramirez puts the ham in the spam. She gets some of the best lines, and she knows how to use them. Her impersonations are spot on. She’s hilarious. Her Mary Poppins is amazing.

Rembert’s dancing is flawless, every move was sharp and crisp. It’s hard to take your eyes off of him when he’s moving (looking fierce in a supersized afro). The only problem is he is out-dancing the rest of the cast. It’s hard for the others to match his ability. Don’t let this deter you from going to see this fun-filled extravaganza.

Stamatakis plays the piano beautifully. He also gets to sing one of the funniest songs in the show. He camps it up in a big, broad way (broad way not Broadway) and it’s delightful.

Dustin Cross’s costumes are spectacular, and the cast has to get in and out of them so swiftly.

“Spamilton” is full of silly fun. If you’re a Hamilfan (Hamiltonian?), the jokes will be even funnier; but you haven’t paid the small fortune to see the original – you can still enjoy this spoof.

Side note (for locals only): In the Southwestern corner of heaven, Don Brockett and Barbara Russell are looking down on the Greer Cabaret Theater and laughing there ethereal asses off.

There is simply not a more convenient spot for laughing up a lung than here at “Spamilton.”

-MB

“Spamilton” runs through the summer at the Greer Cabaret Theater, 655 Penn Avenue, Pittsburgh, PA 15222. For more information, click here.

By Claire DeMarco, ‘Burgh Vivant

A stimulating dinner with guests requires guests who are stimulating. And to ensure a successful dinner party, Marlene (Kauleen Cloutier) creates a get-together with a fantasy group of diverse females in Caryl Churchill’s “Top Girls.” This make-believe meeting celebrates Marlene’s promotion as the Director of Top Girls, an employment agency, after winning the job over a male co-worker.

The women attending this meeting of the minds are a combination of real and fictional women from the past. Isabella Bird (Leah Hillgrove) is an explorer, a naturalist, a writer and photographer. Lady Nijo (Jillian Lesaca), a Japanese concubine who ultimately became a Buddhist nun. Dull Gret (Rebecca Herron) is a fictional character painted by Brueghel who led an army of women intent on attacking Hell. Legendary Pope Joan (Jennifer Sinatra) disguised as a male, gains the ultimate position in the Catholic Church. Highlighted in several pieces of literature, Patient Griselda (Carley Adams) is the epitome of the obedient (some may say subservient) wife.

On the menu is the history of all these characters as they converse about their backgrounds, husbands and children, how they coped in a male-dominated world.

Note: The Waitress (Erika Krenn) moves quietly and efficiently among the guests, serving several courses of real food and drink throughout the dinner.

After the fantasy dinner we transition to the present (actually 1982) in the Top Girls’ office where a series of interviews occurs with female clients looking for employment (where the actors play multiple roles). There’s a lot of dry comedy but also some matter-of-fact interview questions that today would make any prospective employee shiver. “How old are you?” “You’re interested in computers – you’ll be competing with males.”

(Shudder!!)

Marlene decided long ago that she wants a career in the corporate world and her path has been sequential – just a career, no multi-tasking with a marriage or children. Her determination to succeed carries over in her interviews with the female clients. Any one daring to indicate that they need a job in order to pay for a wedding is chastised. If that’s their goal, they need to downplay it. After all, Marlene’s success depends on her female interviewees actually securing positions.

From this point on we go back and forth between the Top Girls Agency to the English countryside where Marlene grew up, which is still the home of her sister, Joyce (Jena Oberg), and Joyce’s daughter, Angie (Sadie Crow). Angie is anxious to leave and stay with her Auntie Marlene. She confesses her plans to her young friend, Kit (Amanda DeConciliis Weber).

Angie makes it to London and to the Top Girls Agency much to the surprise of Auntie Marlene, and, of course, things spiral from there.

Another Note: Many of the actors play dual roles that require an English accent and they are flawless.

Excellent performances from this talented cast!

Cloutier easily transitions from the career woman in command of her life and goals into the working-class vulnerable girl when she’s back in her old neighborhood.

Sinatra is powerful as Pope Joan, her eyes conveying much of her emotion.

Hillgrove tackles Isabelle Bird with confidence and is saucy as Win.

Lesaca brings a gentleness to Lady Nijo. Often interrupted during the dinner, she’s softly able to make her point.

Adams’ Griselda is perfect as the ever-obeying wife.

Throughout most of the fantasy dinner, Herron as Dull Gret rarely speaks, stuffing bread in her mouth, drinking wine out of a bottle. Most of her emotions are conveyed with eye movements and double-takes. She perfectly creates the rough, folkloric war leader.

Jena Oberg is superb as the downtrodden sister clashing with Marlene over her unhappy life. She and Cloutier are riveting in their sibling showdown.

Crow’s fantastic as the solemn, lost but unknowingly funny niece. Her comedy skills are spot on.

Deconciliis Weber as Kit and Shona brings humor to both roles with her cadence and facial gestures and physical movements.

This play portrays the many nuances and underlying circumstances that have affected women all through the ages. The employment agency interviews subtly shine light on those prejudices evident at the time this play was produced. It is no longer acceptable to ask personal questions at an interview. It is still possible (and highly probable) that you may still hear an occasional personal question, after an interviewee leaves – questions such as, “So, how old do you think she is?”

The process is improving for women, but we’re not there yet!

-CED

“Top Girls” is a production of Little Lake Theatre Company, 500 Lakeside Drive, Canonsburg, PA 15317. It runs from May 16th to June 1st. For more information, click here.