'Burgh Vivant

By Michael Buzzelli

Richard Marsh is quite a bard; he’s written and performed a rhyming “Die Hard.”  You don’t need a formal invitation to his one-person show; know that, to the Greer, is the place you must go.  Most holiday tales are jolly and gay, but not the tale he’s calling, “Yippee Ki Yay.” 

This version of Gruber’s diabolical crime is told completely in meticulous rhyme.

Marsh is on stage alone; no one else has to get ready. It’s just Marsh, and a bear – a bear he calls Teddy.  The bear is a stand-in for a terrorist thug, but, honestly, you’ll just want to give it a hug.

It’s all quite insane, he plays all of the parts, including McClane.

“Die Hard” is an action flick and it gets pretty gory. Marsh also slides in a personal story. He spins a tale about his girlfriend-turned-wife. It starts out sweet, but it’s a tale full of strife. The two stories come together, they weave, in a way that you would have to see to believe.

It’s a sweet story of two toothsome lovebirds, they consider each other brilliant film nerds. The two meet and bond over the flick. There chemistry is good, they really click. In a year,  the couple’s love grows, soon he summons the strength to propose.

Between his story and “Die Hard” does our actor switch. Its quite a feat for the performer named Rich.

Fans all know what happens on the big screen, McClane’s a hero and  Hans Gruber is mean.  Meanwhile, if you want some new drama, wait till Rich’s wife becomes a mama.

The show’s got quite a kick, man. I loved his impression of Alan Rickman.

The show is amusing, but somewhat confusing. There’s ninety minutes of rhyme, but it goes by quick, a very fun time.

Another Christmas, another year, another rhyming show fills the Greer.

Robbie Butler’s lighting design, is terrific, definitely better than fine.

Voice and accent coach Alice White, keeps Rich’s American accent extremely tight. Marsh does his level best, though he has to explain the word ‘vest.’ Frankly, I hate the word American’s use for said sleeveless shirt. Hearing ‘wifebeater’ makes my heart hurt.

The team also has Hudson and Adams, both men named Ben. Hudson’s the composer and I’d score him ten out of ten. Ben Adams is the manager of the stage, he deserves a mention on this very page.

Who’s the director of this show you might ask? It’s Hal Chambers and he keeps Marsh on his task.

Another Christmas, another year, another rhyming show fills the Greer.

Marsh is terrific, you might even say groovy, but he confirms once and for all  that “Die Hard” is…a Christmas movie!

-MB

“Yippie Ki Yay (a parody of Die Hard) runs until December 21 at the Greer Cabaret Theater, 622 Penn Avenue, Pittsburgh, PA 15222. For tickets and more information, click here. 

 

By Michael Buzzelli

Playwright Caryl Churchill explores multiple facets of modern life, spinning Fortuna’s Wheel, and wrapping her play into the randomness of life in “Love and Information.”

Churchill devised the play so that scenes (or rather, individual short plays with a common theme of love, information, or both) can be mixed and told in different orders, with one character, Gray (McKenna Reiser), providing a sad throughline to hold it all together.

Imagine a play as a jigsaw puzzle: some pieces are beautiful on their own, like a corner of sky, such as “God’s Voice + Dance,” and others are but tiny fragments that don’t make much sense. Other pieces don’t seem to belong, like “Torture,” where a man is beaten for information he never provides (yes, technically on theme, because a recurring idea is the nature of pain, but seemingly brutal for little reason).

There’s a lyrical beauty to “Love and Information,” but there are times when an actor comes on stage, utters half a line of dialogue, and exits the stage. Other times, actors flit about on stage or perform a chaotic ballet that looks like a Stanislavski acting exercise.

You might be reminded of Yesmina Reza’s “Art.”  Watching the show, you might ponder such questions as “Is this art?” “Is this art for art’s sake?” “Is it pretentious bullshit?”

The play is, however, a beautiful showcase of a terrific ensemble, a grand experiment wherein actors must memorize material out of sequence (thanks to the aforementioned randomized order).

This ensemble of actors is exceptional. Each performer gets to play a variety of emotions; each had a moment to shine.

In “Facts” the final piece of the puzzle, Nai’Ron Arnett’s Lime was outstanding. 

There is a luminous quality to Alika Samora (who played Green). Her movements were sharp and crisp. Every line delivery was expressive, heartfelt. It was hard to take your eyes off of her when she was on stage.

Don’t count your chickens in front of Mustard (Benjamin Kucharski) and Yellow (Lexi Casey). The two are hilarious in “Lab.”

Jamie Spurrell and Lucas Lee deliver the most shocking scene in a vignette called, “Mother.” Spurrell delivers devastating dialogue with aplomb. Lee’s reaction to the news is also heartfelt and real.

Reiser carries the emotional weight of the show as Gray. She does it with superbly.

The set, by Jonmichael Bohach, is elegant and spartan, a series of polished slabs of squares and boxes, superbly lit by Katie Gordy to give them a futuristic gleam.

Director Carlos E. Martinez is a croupier with a poetic Roulette wheel. His direction is kinetic, visceral. He pushes his ensemble past their comfort zones (with the help of fight and intimacy director Tonya Lynn), and that’s a good thing. His actors are up for every challenge and that’s what makes “Love and Information” a joy to watch.

Because the kaleidoscopic cast members are playing a variety of characters, sexuality is fluid here, and representation matters.

“Love and Information” might not be your cup of tea, but if you want to see some excellent experimental theater in Pittsburgh, this is the ticket.

-MB

“Love and Information” runs through December 7 at the Highmark Theatre, inside the Pittsburgh Playhouse, 350 Forbes Avenue, Pittsburgh, PA 15222. For additional information and tickets, please click here.

By Lonnie the Theater Lady

In the Robert Owens, Wilton E. Hall Jr, and William A. Miles Jr adaptation of “Orwell’s 1984,” every moment is an alarming wake-up call. Big Brother rails against “fake news” and constantly spouts propaganda over omnipresent two-way telescreens. He broadcasts a daily message of “Today’s Hate.” He touts a multitude of wartime “victories” he claims as his own. Those so-called “victories” are reminiscent of former empty promises heard in the U.S. Let’s not forget, “You will win so much you’ll get tired of winning.” The parallels to the present make this play frighteningly relevant.

In Orwell’s world, “If facts say otherwise, then the facts must be altered.” After all, “Who controls the past, controls the future and who controls the present, controls the past.” This leads to the dumbing down of the comrades living in Oceania. Citizens are living in constant fear in their world of no privacy, memory control, and fear-mongering. They’re bombarded with alternative facts. “Freedom is slavery,” and “Ignorance is strength” are two of the most relevant slogans today.

Winston (Ryan Rattley) works at the ironically named Ministry of Truth, where truth is destroyed and replaced with lies. He has in his possession a photograph that provides evidence of a past event that the party has erased. He falls in love with his co-worker, Julia (Veta Piscitella), and has a forbidden romantic relationship with her. The couple meets with O’Brien (Trent Wolfred), a trusted, high-ranking comrade in the privileged inner party. Winston makes the mistake of asking about the past and then acts on rumors of a conspiracy against Big Brother and the government. This lands him and his beloved Julia in a governmental facility where they’re tortured and ultimately brainwashed.

Rattley is a natural on stage. His curiosity, confusion, fear, courage, and pain are conveyed with convincing sincerity and a measure of innocence. Rattley gazes lovingly at Piscitella with a glowing warmth in his eyes.

Piscitella is a likable, sweet, feminine Julia. Her delight in shedding the drab uniform coveralls brings a lighthearted moment of normalcy to the colorless sameness of the world, where individuality is squashed. She has excellent chemistry with Rattley.

Wolfred is well cast as the party loyalist, O’Brien. He looks the part. His nuanced performance reveals a multidimensional O’Brien who is convincingly not who he seems to be — at least temporarily.

In the director’s notes, M.A.C. states, “I hope you don’t enjoy this, but rather wake up.” Mission accomplished. One can’t help but appreciate the talented cast, technical expertise, and the clever, versatile rolling set (Viscaya Wilson, designer). This show is meant to enlighten, shock, and provoke thought, not to provide enjoyment.

Cody Duke’s original musical compositions enhance the action on stage. In the scene where Winston is losing his grip on reality, the dissonant music is wildly effective at creating an eerily alarming mood.

Congratulations to Point Park graduate, Marc Palumbo, the founder of Playbox Productions and the Executive Producer of “1984”. This exceptionally well-done maiden voyage Playbox production is an auspicious start for this new company’s future successes.

-LtTL

Playbox Productions, at Three Stories, 937 Liberty Avenue, Runs December 4- 7. Burgh Vivant followers receive a $10 discount with code VIVANT. For tickets and additional information, click here. 

 

By Michael Buzzelli

Jean Valjean (Nick Cartell) and the people of France once more fight for life, love, and liberty in the hit musical adapted from Victor Hugo’s classic novel “Les Misérables.“

The French convict, Jean Valjean, AKA Prisoner 24601, is pursued by an inflexible, immutable, and ignominious Javert (played by David Thomas Walker, subbing for Nick Rehberger) throughout the decades of his life. Valjean escapes to start his life anew, thanks to the unexpected assistance of the Bishop of Digne (Randy Jeter).

In his new life, he meets Fantine (Lindsay Heather Pearce), who tells him about her daughter, Cosette (played as a child by Lillian Castner or Kayla Scola-Giampapa, depending on which night you see the play).  When Cosette dies, Valjean agrees to take her in as his own.

Years later, a rebel fighting for France’s independence, Marius (Peter Neureuther), falls for Valjean’s adopted daughter, now fully grown, Cosette (Alexa Lopez), as tensions mount days before the revolutionaries build a barricade to fight the monarchy (the Paris Uprising that took place during the 5th and 6th of June, 1832).

Marius is so busy making plans with the Friends of the ABC (from the French word abaissés), run by the charismatic Enjolras (Christian Mark Gibbs), that he doesn’t even realize the young Éponine (Kaitlyn Sumner, subbing in for Jaedynn Latter) is pining for him.

There’s a lot of plot in “Les Misérables,” and a great deal of essential characters drift in and out as it speeds through the years of Valjean’s life, especially the Masters of the House, Thenardier, and his wife (Matt Crowle and Victoria Huston-Elem respectively), who thwart Valjean at every turn.

Les Misérables, colloquially known as “Les Miz,” debuted way back in 1980, but we aren’t going to spoil it for the uninitiated.

Cartell makes a terrific Jean Valjean. His “Bring Him Home” was beautifully nuanced with perfect pitch. It’s a showstopping number!

Walker does a fabulous job as Javert. He is a big, bold, barrel-chested baritone with a magnetic charm.

Pearce is a proud and fierce Fantine.

Lopez is lovely as Cosette with another amazing voice.

Sumner does a terrific job as another understudy.

Additional Personal Note: As a sucker for unrequited love, Eponine is a favorite character. Her version of “On My Own” is glorious.

Crowle and Huston-Elem deliver almost all of the laughs in the tragic tale. They are a fine comedic duo of rapscallions, delighting the audience with their rendition of “Master of the House.”

The only other laugh comes from Young Gervais (the adorable Rocco Van Auken), who gets to flip the bird to Javert.

Personal note: I kept thinking, “If this dude is the understudy, I wonder what Rehberger was like that he was cast instead of Walker?!?”

Andrenae Neofitou’s bright, colorful costumes in the wedding scene starkly contrast with the drab, dark browns, maroons, and navies of the peasants. Neofitou is the original costume designer,

The set is dark and foreboding. The shadowy sepia tones are the perfect backdrop for the grimy 1830s France, wonderfully captured by Matt Kinley, enhanced by wondrous projection design (Javert’s plunge is a particular marvel).

Laurence Connor and James Powell keep everything moving at a brisk pace (excising some superfluous material from previous productions).

“Les Misérables” is, sadly, incredibly relevant centuries later. While freedom from tyranny is a recurring theme in novels and real life, their is a beautiful balance of dark and light inside the story. Despite a lifetime of tragedy, love wins in the end. In the novel (as well as on stage), Hugo wrote, “To love another is to touch the face of God.”

-MB

“Les Misérables” runs through Thanksgiving Weekend at the Benedum Theater, 237 Seventh Street, Pittsburgh, PA 15222. For tickets and additional information, click here.

 

 

By Lonnie the Theater Lady

“Refracted Light” centers on Penny’s (Maya Anabella) discomfort as she anticipates living away from home for her freshman year in college. She’s conflicted and uncertain if she’s ready for such a major life change. Her overprotective mother, Lucy (Rebecca Godlove), worries that her daughter’s mood disorder will make it difficult for Penny to function without her daily guidance. Penny’s father, Ted (Patrick Daniels), is confident that Penny will function well on her own.

When Penny runs away from home, her parents and her “cool” Aunt Becky (Kaitlin Marie Cliber) are unsure of how to best proceed. Their conflicting ideas make it clear that they must all learn ways to clearly state their opinions in order to successfully communicate with each other.

Therapist, Dr. Daker (Joe Eberle) provides helpful strategies that eventually allow both Penny and Lucy to achieve some clarity in approaching their interpersonal interactions.

Anabella depicts Penny’s angst authentically and sympathetically. Her struggles are a reminder of the difficulties everyone faces in their fragile teenage years.

Every mother can relate to Godlove’s anxiety filled Lucy. Her alcohol fueled unease exudes from every pore of her being. The audience fully feels her pain.

Photo:  Patrick Daniels, Kaitlin Cliber

Cliber is perfectly cast as the out of work actress. She creates a vibrant, glamorous, eccentric, yet damaged Aunt Becky. She telegraphs Becky’s raw suffering brought on by the generational dysfunction of her family.

Daniels embodies the likeable, long-suffering Ted. His skillful comedic timing, as he goes to war with a backyard squirrel, brings welcome comic relief.

Eberle’s Dr. Daker is the voice of sanity and reason amidst the chaos. His comforting demeanor and soothing voice exemplify the textbook approach expected of therapists.

Compliments to Ponny Conomos Jahn, director. Her astute casting choices assemble a cast of believable characters who share great chemistry in their every interaction.

Dana Hall (playwright) addresses themes of mental health, grief, alcohol addiction and drug dependency with sensitivity and respect for the characters. Her experience as a mental health therapist must certainly have influenced the genuine nature of the characters. By injecting bits of humor throughout, she makes it more palatable to digest the sensitive topics being discussed.

The actors’ strong performances as they navigate difficult challenges are both painful and inspirational. The Becoming Arts Collective, as part of their mission, states, “Through powerful storytelling, we invite audiences to experience theatre that sparks empathy, resilience, courage and most of all HOPE.” This poignant, achingly beautiful production successfully fulfills that lofty mission.

LTL

Runs November 20-23 at Carnegie Stage.  Produced by  Becoming Arts Collective.

By Michael Buzzelli

The titular character, Iphigenia (Mariya Dempsey), a new bride, is slain (or sent into exile on a deserted island…it’s a little bit confusing). In retaliation, Clytemnestra (Akisse Morton) slays her husband, setting off a cycle of blood and revenge among Iphigenia’s siblings in Ellen McLaughlin’s modern retelling of “The Fall of the House of Atreus” with her play, “Iphigenia and Other Daughters.”

Chrysothemis (Kiki Farrell) wants to be left alone in her garden. She wants no part of any revenge schemes that her feral sister, Electra (Abbie Siecinski), is cooking up. The problem is that the wild Electra can’t find the strength to plunge the dagger into her mother’s breast.  Luckily (or unluckily, depending on your point of view), when the prodigal son, Orestes (John Papadimitriou), returns from the war, Electra convinces him to commit matricide.

There’s death, human sacrifice, murder, and talk about suicide. The play is not for the squeamish. Most of the death scenes take place off stage, and the blood is represented with stains, dyes, and even silken threads (like a flower, see photograph below).

Thanksgiving dinner is going to be awkward at the House of Atreus this year.

It’s a soulful reimagining of the family’s plight, where death leads to more death. Of course, there are a lot of monologues. Every character gets a few paragraphs of lyric language about blood and violence.

Naturally, there’s a Chorus of young women watching as the events unfold (played by a group of female students).

The modern retelling has some curious anachronisms, such as Ritz crackers and the evening news. Modern touchstones that seemed out of place for this grand Greek tragedy.

Morton is a diabolical Clytemnestra. She excels in the role, posing regally as she traipses through the halls of the family estate.

Siecinski is an electrifying Electra. She struts around the stage like a caged animal (at some point, she is actually constrained by a thick rope, chained like a dog in the front yard).

The play is interesting, but it really doesn’t get going until Papadimitriou’s Orestes shows up. Before his arrival, there are many speeches and no action, but when Orestes shows up, things get done. The play finally has some forward momentum. Papadimitriou is the perfect actor to drive the plot. He is charismatic and bold on the Pitt Stage. It’s an excellent performance.

Payne Bannister gets the actors to envelop every part of Gianni Downs beautifully designed set. Downs set is Greek architectural marvel with columns and stairs, giving the actors multiple planes to perform on. It’s expertly lit by Annmarie Duggan with soft blue lights.

While it starts slow, “Iphigenia and Other Daughters” provides a powerful punch in the last twenty minutes of the 75-minute show.

-MB

“Iphigenia and Other Daughters” runs until November 21 at the Charity Randall Theater, inside the Stephen Foster Memorial Theater, 4129 Forbes Avenue, Pittsburgh, PA. For more information, click here.

By Joseph Szalinski

Unlike Millvale, West View, PA, is typically considered a pretty dry part of the Greater Pittsburgh Area. It’s been a little over a century since the town was swampy, and about half that amount of time since people could paddle around a glorified puddle. Residents and visitors are being offered the chance to embark on an aquatic odyssey—and no, it’s not my plan to flood the plaza, revive Lake Placid (with alligators), and bring the Gateway Clipper to the North Hills—but rather Steel City Shakespeare’s latest production of William Shakespeare’s The Tempest, directed and designed by Cat Aceto, now running at the Hubworks in West View, PA.

Shakespeare’s calamitous comedy kicks off with a dash of sibling rivalry. Sorcerer Prospero has been usurped by his brother Antonio. Who hasn’t been there? After giving his brother the Edmund Fitzgerald treatment, the story splinters into various humorous narratives. They eventually reconnect over the course of the play, culminating in hilarity, forgiveness, and applause.

Brimming with memorable characters, the cast does a commendable job bringing them to life, many times with just their voices. Jeffrey Chips mystifies as the sorcerer Prospero, one of the few performers to appear in the flesh. Bob Colbert goes all in as the creature Caliban, balanced by a comedic turn as the jester Trinculo, among other roles. Alexandra Hellinger and Lauren Scheller-Wolf both do double duty as Ariel and Boatswain, and Miranda and Alonso, respectively, and do so expertly. Music director Michael Kirk provides an acoustic soundtrack when not entertaining as Ferdinand, Stephano, or Sebastian. Anna Bop, Siena Forschein, and Sydney Forschein round out the cast as Spirits of the Island and Puppeteers.

This production boasts outstanding technical elements in addition to a terrific cast. For starters, the program is as incredible as it is invaluable. Inside, there is a ton of stuff, but most importantly, breakdowns of the plot, who each character is, and how each character figures into the story. Beyond this, music, lighting, and sound effects make the onstage action much more immersive, transporting audiences into a world where magic reigns.

Shadow puppetry is the cornerstone of this show. It’s really cool to see an ancient art still so relevant in our modern age. Cat Aceto and the cast do a marvelous job manipulating the puppets, providing animation to a play typically relegated to flesh-and-blood performers. This allows the cast and crew to indulge in the script’s more fantastical elements without the limitations of special effects and the like.

Steel City Shakespeare Center is a talented gaggle of creatives determined to put on incredible live theatre. Finding exciting ways to breathe life into the works of Shakespeare, they can always be counted on to deliver memorable productions. Whether they’re staging a play or providing a workshop, they manage to inspire future generations of thespians, which is the best way to honor the Bard’s legacy.

-JS

The Tempest continues its run on November 21^st, 22^nd, and 23^rd at Hubworks in West View, PA.

 

by Michael Buzzelli

“I always fall for the truly cold, cold people, cold men, because I decide their reserve and awkwardness is really bottled-up warmth that they’re waiting for me to release, an act for which they’ll repay me with extravagant love.”

-Thomas Mallon, “Fellow Travelers”

Timothy Laughlin (Logan Wagner) meets the cold, but confident Hawkins Fuller (Erik Nordstrom) in 1950s Washington, D.C. at the height of the Red Scare, when Senator Joe McCarthy (Daniel Teadt) and his ilk are rooting out Communists, intellectuals, and homosexuals in Gregory Spears and Greg Pearce’s adaptation of Thomas Mallon’s “Fellow Travelers.”

It’s a cautionary tale of forbidden love (like most all operas) brought into the 20th Century. Hawk and Tim’s love story is tragic (like most operas), and it’s filled with tumultuous ups and downs. Hawk helps Tim get a job working alongside Tommy McIntyre (Yazid Gray) for Senator Charles E. Potter (Joel Balzun). Tim repays Hawk by buying a book and gifting it to him. This leads Hawk to show up unexpectedly at his apartment and initiate a romantic relationship. It’s Timothy’s first, but Hawk has more experience.

Much more experience.

Both men are hiding their true natures from a society that hates and fears homosexuals. They risk being fired from their jobs and, possibly, blacklisted. At one point, Hawk has to take a lie-detector test to prove he’s not gay. His suave self-assurance helps him pass the test.

Both men have a confidant in Mary Johnson (Shannon Crowley), a secretary who also has her own problems.

Wagner is excellent as the timid Timmy, a shy and earnest Catholic boy who wants to defend America against Communism. When he falls for Hawk, he has to reconcile his passions with his faith. Wagner’s voice is amazing. It’s a star turn for the talented tenor.

Nordstrom is delightful as the cold, cocky Hawk, a player who doesn’t give away his hand. Yet, deep down, Hawk loves Timmy, even if he can’t admit it. Nordstrom can ride the line between detached and distraught. His voice resonates mellifluously.

Crowley is spectacular in her role as Mary. She looks longingly at both characters, Hawk and Tim, secretly loving each of them in the only ways that they will let her. She hits some incredibly high notes.

The set by Jacquelyn Scott is efficient, compact, and functional, aided by some clever projection design. There were sixteen scenes in the opera, but the audience was given just enough to imagine each new setting. Scene changes seemed laboriously slow, considering there weren’t that many extraneous props (beds, desks, chairs, etc.), but Conductor Antony Walker and the orchestra filled the time with transitional music.

Director Brian Staufenbiel staged a dynamic interpretation of the piece. There is a separate national touring version of the show that will traverse multiple cities, but Pittsburgh will not be one of them.

The production proves that opera doesn’t need to be some stuffy, seventeenth-century. The form, like all forms of art, can change with the times and tell iconic contemporary stories.

-MB

There are three exciting shows left in the season: “Curlew River” (January 24 to February 1, 2026), “Time to Act” (February 28 through March 8, 2026), and “Falstaff” (April 28 through March 3, 2026). For tickets and more information about Pittsburgh Opera, please click here. 

By Michael Buzzelli

Diana (Randi Walker) is on a variety of mind-altering pharmaceuticals to help her with her mounting depression. Still, it’s apparent that she’s losing the battle in her brain in Brian Yorkey and Tom Kitt’s rock musical, “Next to Normal.” 

Her husband, Dan (a terrific Evan Krug), is watching her dive off a metaphorical cliff, but he can’t seem to stop it. Their daughter, Natalie (Marie Perez), an all-star student, is feeling ignored. Then there’s their son, Gab (Ethan Leicht). He, in his own way, is struggling to be seen.

No spoilers.

Doctors Madden and Fine (both played by Bella Elizabeth) attempt to help her in various ways, but to little or no avail.

Though her home life is an ever-increasing disaster, Natalie meets a boy, Henry (sweetly played by Danny Gavlik), but she may not be ready for romance.

The show is a poignant exploration of love, loss, and how each person grieves in their own unique way.

While “Next to Normal” is full of drama, Yorkey finds the moments to add humor to the text (and even to the lyrics). It’s challenging to balance grief and humor, but it’s done remarkably well here. “Next to Normal” never loses its tone (no pun intended). Expect laughter through tears.

It’s a sensational production with an all-star cast and a fitting conclusion to an epic season at Riverfront.

Walker holds down layers of emotional weight. Her acting is real and raw. She breathes so much life into Diana Goodman.  It’s heartbreaking to watch her struggle.

Perez is a firecracker in mid-spark. Her rendition of “Superboy and the Invisible Girl” is worth the price of admission.

Leicht shines as Gabriel.

While Bella Elizabeth plays two smaller roles, she lights up the stage. The young woman has star quality. She is perfectly cast as a rock star psychiatrist, or, more aptly, a psychiatrist who is perceived as a rock star.

Musical Director Michael Meketa Sanchez rocked out with a fabulous band, while the cast glided along to Ethan Butler’s inspired choreography.

Surya Ravindran’s kinetic direction worked so well on the simple utilitarian set, which he also designed. It’s a heartrending rendition of the rock musical. Making “Next to Normal” work in a small space is a daunting task, but Ravindran and Riverfront proved to be up to the challenge.

The characters find some inner solace, but by the end of the musical, not everything is fixed – just like real life, but there is a glimmer of hope in “Next to Normal” as Natalie’s relationship with Henry begins anew. Hope is always enough.

-MB

Riverfront Theater Company’s “Next to Normal” runs until November 22 at the Allegheny Trail Park in Aspinwall. For tickets and additional information, click here. 

 

By Claire DeMarco

Set sometime in the future, Urinetown is gripped by a twenty-year drought.  The government attempts to reduce water consumption by banning private toilets. However, the wealthy continue to have theirs.  People with low incomes are forced to use public bathrooms (controlled by the government) and are charged a fee for their use.  Anyone who fails to pay the cost is in serious trouble.

Caldwell B. Cladwell (Ben Allen Carter) is the executive in charge of Urine Good Company.  He is wealthy, not very friendly, and controls everything concerning water consumption with a handful of cronies.

To ensure that water is conserved, the police, led by Officer Lockstock (Leandro Bilello) and Officer Barrel (Devin Claudio), always hover near the public toilets, looking for problem citizens.  Lockstock is corrupt.

Cladwell’s daughter Hope (Andrea Paulina Robles), having none of the corrupt, unfeeling emotions of her father, wants to understand the plight of people experiencing poverty.

At the same time, she attempts to reach out to the less fortunate, and she meets Bobby Strong (Marshall Benton).  Strong is part of the poorer element and is Penelope Pennywise’s (Morgan Zeidman) assistant in Urinetown.

Hope and Strong meet and have strong feelings for one another.  They are both crossing (or attempting to cross) into worlds unfamiliar to them.

As their romantic involvement grows, they become part of a world that drastically affects both those from the lower class and the governing class.

How or will anything be resolved?   Will life go on in the same way with people separated from one another?   Will Cladwell succeed or will Strong and his contingent?

Carter’s portrayal of Cladwell is over the top.  He’s as cruel as the money-hungry executive but deliciously funny as he contorts and cavorts across the stage.  He has excellent facial expressions and great comedic timing.

As the narrator and policeman, Bilello plays his part with gusto.  He easily transitions from funny to sarcastic to belligerent.  He has great comedy instincts.  How he acts depends on who’s on the receiving end!

As the leading man, Benton plays Strong with youthful enthusiasm, yet he also develops into a strong leader for those caught in the tangle with Cladwell and his company.  He and Robles sing a lovely duet of “Follow Your Heart.”

Jensen is delightful as the precocious Little Sally.  She loves to discuss town happenings with Lockstock, and she appears to stare into space when in deep thought.  Although a juvenile, she has a mature outlook on what’s happening in Urinetown.

Robles develops her character as Cladwell’s daughter from a naïve young girl recently back from college to a more mature woman slowly discovering her father’s evil.  She has compassion for the poor class and falls for Strong.

As the warden of one of Urinetown’s worst public toilets, Zeidman effectively controls her domain.   Although she is part of the public arena, she also commands Cladwell’s attention.  She has no problem meeting, talking, or demanding action from him.

All of the characters are ridiculous and exaggerated.  That’s a compliment!  It does seem absurd to be singing songs about the human function of peeing like “It’s a Privilege to Pee.”  But it’s a clever satire, void of any constraints.

The entire cast is well-balanced.  They are all great actors, singers, and dancers!

Note:  So, whatever you call it – whizz, tinkle, pee, piss, take a leak, or more formally, urinate, when you gotta go, you gotta go! And that’s always a relief!

Music and Lyrics by Mark Hollmann, Book and Lyrics by Greg Kotis.

Conductor Camille Villalpando-Rolla and the orchestra deliver.

Cathleen Crocker-Perry’s creative futurist costumes for those characters associated with the Urine Good Company are unique and striking.

Excellent choreography by Lucas Fedele. Kudos to Director Benjamin Viertel.

-CED

“Uniontown” runs from November 12th to November 16^th at the Pittsburgh Playhouse, 350 Forbes Avenue, Pittsburgh, PA. 15222.  Produced by the Conservatory of Performing Arts.  For tickets and additional information, click here.