Heart Wrenching Historical Event – Review of “Layon Gray’s Feed the Beast”

By Lonnie the Theater Lady

Layton Gray’s “Feed the Beast” is inspired by the shameful study conducted by the U.S. Health Service at the Tuskegee Institute from 1932-1972. Approximately six hundred African American men, 399 of whom were suffering from syphilis, weren’t told of their condition, and cruelly were denied treatment for it. They believed they were in a special government healthcare program that provided high quality care to cure their “bad blood.”

The play opens as young Dr. Phillip John (Milton Lyles, ll) enters his spartan doctor’s office at the Tuskegee Institute. He is optimistic that this, his first job out of medical school, will produce significant medical findings to lead to better medical care for syphilis patients. He speaks aloud the contents of a letter he’s writing to his mother, expressing his excitement due to the importance of his work (The frequently spoken letters to his mother is an effective technique used to reveal his innermost thoughts).

Ellis (Thaddeus Daniels), the long-employed janitor at the Institute, is the first person the doctor meets. Ellis’s wisdom becomes an invaluable resource guiding the doctor through his interactions with his patients over the forty-year span of the study.

One by one the patients enter the office. Pee Wee (Jamar Arthur), Deacon (Dontonio Demarco), Clarence (Layon Gray), Zeke (David Roberts) and Benny (Reggie Wilson). Their treatments involve drawing blood and sometimes painful spinal taps.

Promotional image for “Feed the Beast.”

The play relies on storytelling, and character development, with a loose plot that addresses details of the cruel medical protocol that is implemented. The characters reveal their present circumstances and their dreams for the future. They are all sympathetic, authentic characters. The audience is drawn into the courage, hope and optimism they display. Their interactions with each other are surprisingly playful and often humorous, despite their illness. This much needed comic relief humanizes the characters. They’re touchingly protective of each other. It’s impossible to dislike any of these well-developed characters.

Lyle’s Dr. John morphs from a hopeful young doctor, blindly following orders, to a man struggling with his own immorality, and finally being racked with regret and guilt. Lyles executes his struggle authentically. His well-portrayed humanity is deeply touching.

Daniels is a warm, caring, wise Ellis. His personable demeanor is likeable as he shows moments of both strength and vulnerability. Everyone could benefit from having a loyal, caring friend like Ellis.

Layon Gray’s Clarence is a man pursuing a big dream to go to California and act in movies. He frequently and (unintentionally) comically performs a self-written monologue for his friends who kindly indulge him and encourage him, as they inwardly cringe. Near the end of the play Gray’s raw, emotional, determined monologue lands a stunning punch. Wow! Memorable!

Arthur plays a likeable, sweet, immature Pee Wee. His modest dream is to sometime fly in an airplane. The heart wrenching depictions of his hallucinations are tangibly real. One can almost see the image of his long-ago deceased pet rooster, Mr. Jangles, as he lovingly cradles him in his arms.

Demarco embodies the spiritual, pure of heart Deacon, who dreams of having his own church and congregation someday. His heartfelt sincerity illuminates his countenance.

Wilson’s beleaguered Benny sputters impatiently when the others often tease him about being henpecked. Wilson delivers a deeply moving reaction to the death of his beloved wife.

Roberts flawlessly manifests Zeke’s skepticism, frustration and intelligence.

This remarkable cast deserves to be congratulated on their impeccable commitment to their roles.

Award winning playwright Gray not only wrote, but also directs, choreographs, and acts in the show. All aspects are achieved with impressive results! Gray said that “Feed the Beast” is, “by far the most important piece of theater that I have ever written.”

The characters in this heartbreaking piece highlight some of the best, most courageous, resilient traits of humanity juxtaposed with some of the cruelest, most depraved and immoral parts. Its powerful, impactful scenes should motivate people to not only speak out against inhumanity targeting vulnerable groups but to act in every possible way to combat the wave of inhumanity that we’re currently witnessing in this country.

“Feed the Beast” is highly recommended not only for the brilliant performances and stunning historical value, but, also, it’s relevance to the current political situation is deserving of your attention.

LTL

“Feed the Beast” runs until February 23rd at The Public’s Helen Wayne Rauh Rehearsal Hall – 621 Penn Ave., Pittsburgh, PA 15222. For more information, click here

 

 

Girlz II Women – a review of “Morning Reckoning”

By Michael Buzzelli

“Girl, there’s going to be a reckoning…in the morning!”

The lyrics of the fictional 90s boy band go hard…for laughs in Kelly Trumbull’s  comedy/drama about the break up of a boy band fan group in “Morning Reckoning.”

Eight-grader Kandace (Lola Hodgins) is head of the Morning Reckoning Fan Club, Wayne, New Jersey chapter. Meetings are held in her mom’s basement, a laundry room decked out to look like set of “Saved by the Bell.” The room is littered with Morning Reckoning tchotchkes, t-shirts, pillows and a full-sized cardboard cutout of lead singer, Brandon Brixton.

Kandace does not take her presidency of the fan club lightly. She scrawls an agenda on a blackboard and takes attendance in “The Binder” (a Trapper Keeper with pictures of the boys in it). Latecomers will suffer the consequences of Kandace’s passive-aggressive wrath.

Members of the fan club included Trisha (Spade You), April (Ava Hartman), Emily (Maddie Colucci), Sue (Advika Ravishankar).

Like almost all 90s boy bands, Morning Reckoning is more style than substance. They’re mostly blond highlights and Axe body spray, but that doesn’t stop Kandace from crushing hard on Brandon Brixton. Let’s call it human nature.

Kandace rules the roost with an iron fist. She’s all angst and hormones. Tensions erupt when Trisha invites a new kid on the block to join the original five. A vote passes and in support of Nadia (Emi Prudhoe), with Kandace holding out against the newcomer.

“Morning Reckoning” is about friendships, fandom and obsession. There are revelations and reunions in the second act when the girls meet up again twenty years after their fan group disbanded.

The Morning Reckoning Fan Club members April (Ava Hartman), Kandace (Lola Hodgins), Emily (Maddie Colucci), Trisha (Spade You) and Sue (Advika Ravishankar). A life-sized AI-generated Brandon Brixton stands in the background.

Note: This reviewer saw the first act as part of the Community Supported Art (CSA) 2022-2023 season at the New Hazlett. The second act  takes the story in a thrilling new direction, and the girls reunite as adults to get back in synch.

Hodgins does a great job as Kandace. She makes the role her own (originally –  and brilliantly – played by Alex Manalo).

The cast does a great job inhabiting the preteens, and, with the help of costume designer Claire Stemmer, pass as thirty-year-old women in the second act.

Hartman gives off a strong mom vibe in the second act, helping Kandace bring the girls back together.

Ravishankar is a standout as the buoyant, bubbly Sue. She gets the best lines, and makes a simple “What’s up?” into a mantra.

Prudhoe has a smaller role, but makes the most of it. She resonates kindness and graciousness, foils for the bad-tempered, hard Kandy.

The buzzy boy band songs come straight out of the boyzone, composed by Brad Stephenson and Addi Twigg. The duo are genius-level goofy with lyrics that are delightfully daft, especially when singing about Adderall, love and other drugs. It’s hard not too bop along to the music, while laughing at the lyrics.

The girls lip-synch to the lyrics and memorize the band’s dance routines, brilliantly choreographed by Alex Manalo (the aforementioned original Kandace in  the CSA run).

Playwright Trumbull takes an event with low-key consequences such as the break up of a fan group and blows it up big, taking a moment in their young lives the characters adulthood. It is a brilliant work celebrating the complex intricacies of female friendships.

Ashley Martin does an excellent job directing the madness.

If you’ve ever nerded out over a boy band, or belonged to a fan club, it’s easy to get into the basement shenanigans of “Morning Reckoning.”

-MB

“Morning Reckoning” runs until February 23 at the Richard E. Rauh Studio Theatre, in the sub-basement of the Cathedral of Learning, 4200 Fifth Avenue, Pittsburgh, PA 15260. For more information, click here

 

 

 

 

Marvelous Mr. Messado – A review of “Mr. Messado’s School of Magic for the Young and Young at Heart”

By Lonnie the Theater Lady

Joshua Messado describes Mr. Messado’s School of Magic as a “play with magic”. As he relates his autobiographical story, he  traces his roots in magic back to his early teen years in Philadelphia, when he watched a David Copperfield magic special on television that sparked his strong interest in magic. Later in life he was both surprised and thrilled when he was invited to a house party at David Copperfield’s home in Las Vegas, thus launching his career in magic. Copperfield was impressed with Messado’s linking ring effect. The very same rings are now his signature effect and are known as “Messado Rings” in the magic community known as “Ringistry.”

It’s unsurprising “Mr. Messado’s School of Magic” is the longest running show in Liberty Magic’s history. Messado’s jokes, puns, ad libs, comedic timing, poignant storytelling, and amazing feats of prestidigitation enchant his young (and young at heart) audiences. His ability to relate to and engage children of all ages is a true gift. Posting some “rules” to be followed during the show give the feeling of a whimsical school lesson.

As he chronicles his autobiographical journey to success, Messado inserts inspirational lessons. One of which is, “Anything is possible–even the impossible, if you believe.” If a boy growing up in the mean streets of Philadelphia can achieve international fame, it can happen to anyone with enough practice and preparation. His lessons are motivational, practical, and not even a tiny bit preachy.

The Marvelous Mr. Messado.
Mr. Messado and his rings.

A bonus to this captivating show is much of the piped in low fi, chill hop background music is composed and performed by Messado himself. He’s both a talented magician and creative musician.

My twelve-year-old companion, Theron Raymond particularly liked the interactive parts of the show and loved being one of the many children who were part of the show. He also described the linking rings as “amazing” I must agree! This young at heart reviewer agrees with that and takes it a step further–the whole show was “amazing”. Also impressive are the useful, encouraging life lessons embedded in this wildly entertaining evening of magic! Every child will be thoroughly entertained by this enchanting show!

Note: Patrons can opt for the VIP Key Experience, after any Liberty Magic show.  You’ll be invited backstage for a small group, intimate Q  & A with the magician and be treated to more magic—maybe even learn a trick or two you can use to impress your friends and family! Either experience is fun and truly magical!

LJJ

“Mr. Messado’s School of Magic for the Young and Young at Heart” is at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA 15222. For more information, click here.

 

 

Dreams of Glory – a review of Christopher Jackson’s Trust Arts Cabaret

By Michael Buzzelli

With a glass of bourbon in hand, Christopher Jackson stepped up to the mic in the gloriously restored Greer Cabaret and welcomed us to the “Age of Aquarius,” the opening number to his set.

If you’re not familiar with the Tony-nominated actor, Jackson played Washington in “Hamilton.”

Side note: Washington, Hamilton and Jackson sound like the current contents of my wallet (one each).

He regaled the packed cabaret audience with his journey from Cairo, Illinois, along the banks of the Ohio River (the other side of it) to his performances on Broadway. He particularly accentuated the part when he met Lin-Manuel Miranda over twenty years ago.

Jackson’s anecdotes centered on his Broadway career more than it did on his TV and film career. He’s probably most recognized for his iconic take on George Washington.

The actor also played to the audience, connecting with Pirates fans, and, oddly enough, Oakmont Bakery fans (who isn’t?).

Christopher Jackson
Christopher Jackson as George Washington in “Hamilton.”

While some of his song choices were odd, his rendition of “History Has It’s Eyes on You” was glorious. It even included some audience participation. Patrons sang the “Whoa oh oh” parts. Because the audience was loaded with cabaret regulars (and some local talent), it was beautiful.

Jackson was at his best when the songs required a lower, throatier register.

The cabaret audience got to see a different side of the man. He was personable and displayed a casual ease we didn’t see in the General.

Getting up in front of a live audience and revealing yourself – and singing cannot be an easy task. Jackson seemed genuinely excited to do it.

At one point, he talked about meeting his wife, Veronica. He said, I went to this audition, met her and married her. It would have been nice to hear a bit more about his courtship, learn a few details before skipping to the end.

It was nice to gather a crowd together and listen to Christopher Jackosn and reminisce about a wonderful moment in theatrical history.

The Greer Cabaret has two more shows in the 2024-2025 season. Stephanie J. Block performs on March 10th and Patina Miller will perform on May 5th,

-MB

The Trust Arts Cabaret Series is held at the Greer Cabaret Theater, 655 Penn Avenue, Pittsburgh, PA 15222. For more information and other upcoming events, click here

All Art is Political – a review of “Trouble in Mind”

by Michael Buzzelli

On a Broadway stage in 1957, Wiletta Mayer (Shinnerrie D. Jackson) prepares to trod the boards once more for the temperamental and unpredictable director, Al Manners (Joseph McGranaghan), in “Trouble in Mind.”

In the fifties, life for Black actors wasn’t easy. Wiletta accepts the part of the maid in a play set on a plantation. She meets John Nevins (Vandous Stripling, II), the young man who will be playing her son in the show. They form a fast friendship wherein Wiletta doles out unsolicited advice.

Slowly, the other actors trickle in, Mille Davis (Hope Anthony), Sheldon Forrester (Garbie Dukes) and Judy Sears (Emma Brown Baker). They are joined by Manner’s right-hand-man, Eddie (Anthony Marino) and the theatre’s custodian, Henry (Martin Giles).

Wiletta just wants to act, and when Manners challenges her to think about the character, new feelings of race and identity surface. She begins wrestling with bigger ideas and soon realizes that the self-aggrandizing director intentions were more about his own ego and not to garner heartfelt performances from his actors.

In the show-within-the-show, “Chaos in Belleville,” Wiletta’s characters gives up John’s character to the sheriff to be lynched. The idea doesn’t sit well with her.  She sums up the inner strength to stand up to Manners and try to fix the problem in the third act. Soon, Wiletta realizes that, even though the director seems liberal-leaning, he’s holding on to deep-seated racism.

She finally rages against the theatrical machine, describing her characters are not anything like real people but racial stereotypes – more like plot devices than people. Its a brilliant moment of theatre.

Cast of Pittsburgh Public Theater’s Trouble in Mind. Photo by Maranie R. Staab

Jackson is flawless as Wiletta, a charming rose with prickly thorns. “Trouble in Mind” isn’t a musical, but Jackson gets a few moments to belt out a song, and those moments are big, bright and joyous.

Giles shines as the wise mentor character. He’s an Irish Dumbledore, showing up in Wiletta’s most desperate moments.

Dukes plays Forrester as the Tommiest of Uncle Tom’s. He’s always trying to placate the Caucasian characters. He’s not quite Stephen (Samuel L. Jackson’s character in “Django Unchained”), but his character is definitely trying to hard to impress the wrong people.

Stripling is wonderful as young John Nevins. He is charismatic and charming. He has a subplot where he seemingly flirts with the young, white girl, Judy much to the consternation of the other Black actors in the show. The older, wiser characters know that Nevins was putting himself in a no-win scenario.

Anthony is delightful as Millie Davis. She is also draped in KJ Gilmer’s best costumes.

Dan Krell joins the cast as Bill O’ Wray  in the second act with a flourish. He commands the stage with a lengthy monologue in a rehearsal scene for “Chaos in Belleville.”

Director Justin Emeka manages to mine every ounce of emotion without turning the play into a melodrama.

Playwright Alice Childress tells a powerful tale that, unfortunately (especially in today’s volatile political climate where Diversity, Equity and Inclusion are treated like curse words) is still relevant today. “Trouble in Mind” is surprisingly witty, considering the subject matter.

Note: All art is political. It should make you feel something. It should make you rage against injustice. It should resonate with your soul.

The play has a history rooted in racism. In 1955, Childress, a Black female playwright, refused to alter the play to appease the producers and it’s transfer to Broadway was canceled. It took 66 years before the play made it’s Broadway debut.

If you’re looking for a small way to protest our current administration in the White House, supporting art like “Trouble in Mind” is a gesture in the right direction.  It’s entertaining, informative and a reminder that under the skin, despite what anyone thinks, we are all human and we should all be treated humanely.

-MB

“Trouble in Mind” runs until February 23, 2025 at the O’Reilly Theatre, Pittsburgh Public Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information, click here

There’s Real Magic in Real Magic – a review of “Real Magic”

Reviewed by Dr. Tiffany Knight Raymond, PhD and Theron Raymond (6th grader)

The Pittsburgh Cultural Trust and Liberty Magic continue their 2025 show series with magical power couple Kalin and Jinger in Real Magic. The illusionists waste no time in validating their multi-year accolades as Magicians of the Year.

The show opens with an invitation from Mark Kalin to participate in an “experiment in trust” as he implores the audience to “trust me with your imagination.” Kalin channels the deliberateness of Mr. Rogers as he carefully removes his velvet blazer to start the show. After then rolling up his sleeves, he performs a series of astonishing illusions with white balls. Being sans blazer with exposed forearms heightens the effect as there’s literally no hiding place for physical objects. Kalin is leisurely in his sleight of hand, moving slowly, as if daring us to “catch” him, and yet, we can’t, even in the intimate space of Liberty Magic.

Kalin and Jinger

Like many magicians, Kalin and Jinger rely heavily on audience participation. While their show is appropriate for older children, their act demands adult participation. Having strangers negotiate the stage with the magicians provides interactive fun and moments of levity while also validating the show’s authenticity.

The love between Kalin and Jinger is no illusion; it’s palpable and authentic. Kalin always introduces wife Jinger Leigh as beautiful and talented. She is lovely, and her array of costumes and glittering high heels add sparkle beyond her personality to the show. Jinger’s talents include both illusionist and mentalist. Her feats of mentalism put Sherlock Holmes to shame. The audience collectively reacts aghast in wonder as she unveils facts about audience members.

The show opens promising we will “exit in astonishment,” which can’t help but feel like an overstatement. However, it is a promise fulfilled. Our imaginations partner with Kalin and Jinger to suspend disbelief.

Today’s world can feel markedly less astonishing when answers are an easy keyword search away on our phones. However, that makes finding and experiencing the power of astonishment even more enriching and impactful. Kalin and Jinger’s Real Magic is worth seeking out. While you will indeed exit in astonishment, you won’t want to exit but instead find a way to linger in amazement, delaying reentry to reality.

-TKR, Ph. D & TR

Liberty Magic is celebrating six years in Pittsburgh. Keep the magic alive in the steel city with Kalin and Jinger in Real Magic through March 2, 2025 at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA, 15222.  Purchase tickets online here.

Who’s Protecting the Whos?… a review of Seussical

By Lonnie the Theater Lady

“Seussical” is a mashup of several Dr. Seuss characters and books. The somewhat convoluted plot finds Horton (Nate Perrin) in the difficult position of keeping the Whos (teeny, tiny people who live on a speck of dust) out of harm’s way. Simultaneously, he is tasked with reluctantly guarding the egg that Mayzie (Laura Barletta) has abandoned. Tough duty for poor Horton!

The show opens with a splashy rendition of “Oh, All the Thinks You Can Think”. It introduces the audience to the entire company, including the Bird Girls—glitzy, sequin draped, Vegas style backup singers. Their melodious harmonies charm throughout the show. The very active cast often performs in the aisles of the theater, to the delight of the children in the audience. One of the  many surprises includes an underwater scene featuring beautiful, lighted jellyfish, floating ethereally in the aisles.

The inspirational “It’s Possible” beautifully sung by Jojo (Piper Redford) might just be my next earworm!

The Cat in the Hat (Dixie Surewood) is the narrator/emcee. Her costume design (Patty Folmer) is spot on. (Perfect, as were all the vibrant costumes) This role gives her the chance to highlight her versatility as an actor.

The Wickersham Brothers, a barrel of monkeys, are planning mischief. Photo Credit: Hawk Photography
Horton (Nate Perrin) and The Cat in the Hat (Dixie Surewood) hear a Who! Photo Credit: Hawk Photography

Perrins sweetly shines and exposes his vulnerability in “Solla Solew,” a moving number.

Ivy Ferris plays Gertrude with a sweet, appealing  innocence. Her rich, smooth voice is lovely. As is the lesson that she learns–outward appearance is less important than character.

Laura Barletta’s Mayzie is saucy, flamboyant, and sultry. Her vocals and comedy chops are a sheer delight.

Sour Kangaroo (Myriah Cross) is a vocal dynamo. She belts out every number as she claims ownership of that stage! Move over Jennifer Hudson!

Sarah Barbisch (director) skillfully wrangles and energizes the huge cast.

The clever, versatile, Suess-like, multi-level set (Rob James) rolls, folds, and glides seamlessly off and on the stage to create several different settings.

Garth Shafer’s colorful lighting design adds movement and excitement in several scenes.

This very entertaining show shares themes that can be understood by and that resonate with children. Friendship, loyalty, fighting for your beliefs, and expressing one’s individuality are all addressed. My favorite inspirational Horton quote is, “Don’t give up! I believe in you all. A person’s a person, no matter how small.” Another Horton quote, somewhat topical–“And, you very small persons will not have to die if you make yourselves heard! So come on, now and TRY.”

Seussical is an engaging aesthetic treat, chock full of pleasing vocals, catchy songs, explosive colors, and joy. A few words of wisdom are scattered throughout– an unexpected gift and a perfect pick me up for the winter doldrums.

Quoting Seuss, “You have brains in your head. You have feet in your shoes. You can steer yourself any direction you choose.” So, steer yourself to Stage 62, and enjoy Seussical, and the Who!

-Lonnie

“Seussical the Musical” plays until February 16 at the Andrew Carnegie Free Library & Music Hall, 300 Beechwood Avenue, Carnegie, PA 15106. For more information, click here

Titans Clash over Coffee – a review of “Years to the Day”

By Michael Buzzelli

Two old friends (Dihlon McManne and David Whalen) meet in a coffee house to discuss old times on the same day they met eight years ago in “Years to the Day.”

The play is a two-hander, a single conversation between two college friends now in their mid-fifties. As they banter and bicker, old grievances come to light, secrets are unburied, hard truths are uncovered.

There is a strange lyricism to their dialogue, even though they speak in generalities, generic versions of the real world. They talk about the “Newest film,” “the Actor DuJour,” and “a parking lot outside of the Bullseye Bargain Store,” instead of giving us defining details. The movie could be anything from “Wicked” to “Megalopolis.” The actor could be anyone with IMDb credit, but the Bullseye Bargain Store is hard to miss.

Whalen’s character is named Jeff. If McManne’s character has a name, it’s never mentioned. We will call him Allen, since the play, written and directed by Allen Barton, is loosely based on a true story from the playwright’s past (“Years to the Day” was originally produced in 2013).

There’s no real plot, but the dynamic conversation doesn’t really need one. It is a treatise on our 20th-century lives where we text instead of talk. It posits the question, “In our modern lives are we really getting face time on Facebook? Are we really linked in on LinkedIn? We might be able to send each other a picture instantly, but are we getting the thousand words behind the photo?”

David Whalen (left) and Dihlon McManne (right) in “Years to the Day.”

 

The stage is bare; two chairs, a table and prop coffee cups. It doesn’t need an elaborate set. There’s not even much movement. It’s mostly Whalen and McManne sitting in their chairs, railing for and against social justice, social media, and social constructs.

The dynamism comes from the actors and their dialogue. Nothing else is needed, providing you have the right actors. Whalen and McManne are superb.

Sidenote: There’s something about McManne that reminded this critic of Simon Farnaby, who plays Julian Fawcett, the pants-less Tory MP on the BBC show “Ghosts” (not the American version).

McManne’s character is adroit and acerbic. Whalen’s character is wise and witty. Two titans clash over coffee.

Barton is able to look at both sides of a coin. Both men are sympathetic, regardless of their political and personal ideologies, considering it’s a momentous task to make a social conservative likeable in this particular political climate.

The play is quick but not breezy at 80 minutes with no intermission.

“Years to the Day” is clever, witty and engaging.

-MB

“Years to the Day” runs until Feb. 23 at the Carnegie Stage, 25 W. Main Street, Carnegie, PA 15106. For more information, click .here. 

Fearful Symmetry – a review of “Life of Pi”

By Michael Buzzelli

Stranded on a lifeboat after a shipwreck, Piscine “Pi” Patel (Taha Mandviwala) must survive the Pacific Ocean with unlikely companions in Yann Martel’s “Life of Pi.”

During a time of political unrest in India, Pi’s father, (Sorab Wadia), a zookeeper, packs his family and their animals aboard a Japanese freighter to make a new home in Canada. During a storm several days away from their last stop in Manila, the boat capsizes. His father, Mother (Jessica Angleskhan) and sister Rani (Sharayu Mahale) perish.

Over 200 days later, Pi ends up in a hospital in Mexico. The boy is reluctant to share the gory details of his survival. When Pi finally recants his tale with Mr. Okamoto (Alan Ariano) and Ms. Chen (Mi Kang), they find his story far-fetched.

He claims that he journeyed on a lifeboat through the Pacific with Richard Parker (puppeteers Ben Durocher, Shiloh Goodin, Anna Leigh Gortner, Austin Wong Harper and Aaron Haskell), a Bengal tiger.

While it’s an unusual name for a tiger, Pi explains that a clerical error mistook the name of the tiger for the man who captured him.

Act II is a harrowing adventure as the boy endures his frightening circumstances.

A preview of the show can be seen here.

“Life of Pi” is a sumptuous visual feast.

Nick Barnes and Finn Caldwell’s puppetry design are majestic creations. Caldwell’s movement of the animals under his team of puppeteers is lithe, graceful, but brutal and animalistic. Early in the play, Richard Parker eats a “live” goat. The scene is so viscerally depicted it’s hard to watch.

Mandviwala is fantastic as Pi. He exudes charm and boundless energy.

Angleskhan and Kang are delightful, making the tragedy of their fates even more heartbreaking.

The Cook (alternating between Ben Durocher and Toussaint Jeanlouis) is menacing.

Rishi Jaiswal, in a cameo role is another standout, oozing charisma as Mamaji.

Martel’s story, adapted by Lolita Chakrabarti under the direction of Max Webster is a kinetic, glorious work of art.

There is masterful video and animation design by Andrzej Goulding. The projections are thrilling.

While the “Life of Pi” is filled with pomp and circumstance, the show stands on the merits of the amazing story it has to tell.

It dances on a fine philosophical line between truth and lie, fact and fiction. The show even wrestles with theology. Near the end of the second act, Pi turns to Mr. Okamoto and says, “That’s what fiction is about, isn’t it, the selective transforming of reality? The twisting of it to bring out its essence?”

“Life of Pi” proves that, above all things, a good story matters.

-MB

“Life of Pi” runs from January 28 to February 2 at the Benedum Center, 7th Street and Penn Avenue, Pittsburgh PA 15222. For more information, click here

 

Doble O Siete – a review of “The Real James Bond…was Dominican”

By Michael Buzzelli

In “The Real James Bond…was Dominican,” playwright and performer Christopher Rivas delves into the life of playboy, polo player, racecar driver Porfirio Rubirosa (Rubi).  Rubirosa who bedded the most famous women of his day, including Zsa Zsa Gabor, Doris Duke and heir to the Woolworth fortune, Barbara Hutton was Ian Flemming’s inspiration for his iconic character James Bond. There was one distinct difference. Rubi was from the Dominican Republic and Bond was a paragon of Anglo-Saxon ideals.

Rivas shares some startling facts about Rubirosa. Rubi is believed to be the inspiration behind Ralph Lauren’s Polo Brand, with the polo player swinging his mallet on the right breast of the renowned pullover. The playboy’s legendary member became a phallic euphemism for a pepper grinder in France, due to the prodigious size and shape of …the peppermill.

Rivas aspires to be more like Bond, and, by doing so, be more like Rubi, until startling truths come to light. Rubi had a nose job and lightened his skin to appear more white. Rubi and Sammy Davis, Jr. were invited guests on JFK’s yacht, but only their white colleagues were invited to the inauguration ceremony.

Rivas struggles with his idol’s feet of clay. The erasure of his heritage and identity become mired in the playwright’s own identity.

“The Real James Bond…Was Dominican” is a thoughtful, powerful piece about the intersection of man and myth, creation and reality.

Christopher Rivas leaps on to the stage in “The Real James Bond…was Dominican.”

Rivas is a charismatic lead in a very personal play. Not only is he a powerful performer, but his adlibs are also quick and sharp. On opening night, a loud thump occurred at an inopportune time and he worked the disturbance into the show seamlessly.

Rivas holds court on a nearly barren stage, with a box, a chest of drawers and a musician in the corner (more on that below), proving that while great scenery always enhances a show it isn’t necessary if there are fantastic performers working with an amazing script.

Rivas is backed by Jonathan Gomez deftly playing a variety of musical instruments.

There are some excellent projections by Kelly Coburn (with Production Stage Manager Patti Kelly at the helm).

Director Daniel Banks helps Rivas craft the show into 70 minutes of myriad emotions, love, anger and shame.

“The Real James Bond…was Dominican” reminds us that it is our differences that make us who we are. Our differences make our country great. Something our current administration will never understand.

-MB

“The Real James Bond…was Dominican” runs from January 18 to February 16 ay the City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. For more information, click here

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