Gordon Spencer on WRCT

Theatre review: "Through the Night" at City Theatre

2012-01-21T12:00:00.000-08:00

In Daniel Beaty’s Through the Night at City Theatre the actor/writer has created a beautiful performance piece like a fabric warming you, clinging to you through 75 minutes, compressing hours during a darkness lit by shining moments.

Beaty’s words interweave several developments, less like stories, more like revelations, full of soft and sweet poetic moments, including rap-suggesting internal rhymes, devoid of fury, rich in color. His body moves with eloquence and grace. Sometimes he sings as if a tender soul brother, embracing the overtones of the notes. And sometimes he resembles a passionate preacher, but one who doesn’t have to pound and stomp to make his points.

I can’t tell you precisely how many characters he personifies, more than six principal ones, fewer than a dozen, I imagine. Who would sit there and take the time to count when what counts is the result, not the virtuosity?

Two sets of fathers and sons as well as two young men try to change their lives for the better. All connect, being part of the same community in a housing project.

Mr. Rogers owns Maxine’s Health Foods, an unsuccessful shop for herbal remedies and healthy meals. His precocious 10 year old son Eric seeks formulas to heal and strengthen anyone with whom he comes in contact. On the other side of the food chain, 300 pound, 60 year old Bishop Sanders imperils his own flesh and blood addicted to HoHos. His other flesh and blood, his son Isaac, an unmarried 40 year old over-achieving music industry executive, questions his own identity. In this rich tapestry is 20 year old ‘Twon, a college-bound high school student, encouraged and mentored by Isaac but who wants to make something of his life on his own. And there is Dre, a recovering addict who cherishes the woman he loves carrying his yet-to-be born child. Dre has sometimes worked at Mr. Rogers' shop.

Beaty also seemingly effortlessly conjures up the women in these lives, never satirizing but rather admiring them for their strength. And sometimes he remarkably plays two sides of the same discourse between fathers and sons, full of definition and clear meaning. Nothing feels designed merely to entertain. And, although the opening night audience justly applauded the riffs and refrains that stood out in separate moments, appropriately, everything was honored with respect, not punctuated by in-the-know laughter.

Yes, this stays serious but not sad, more full of hope than sorrow. I call it art.

Through the Night runs through February 5th at City Theatre, 1300 Bingham Street on Pittsburgh’s South Side. 412/431-4400 and www.citytheatrecompany.org

Theatre review: "Jesus Hopped the A Train" from barebones productions

2012-01-15T17:01:00.000-08:00

More and more I’m getting the feeling that barebones productions consistently gravitates to dark, profanity-laden explorations of nasty people. The latest example is Jesus Hopped the A Train, a much admired work from 2000 by Stephen Adly Guirgis. This follows on the grinding heels of violent white trash in Tracy Letts’ Killer Joe and Bug (2010 and 2007), sleazy, greedy salesmen out to destroy each other in David Mamet’s Glengarry Glen Ross (2009), Jews complicit in Auschwitz murders in The Grey Zone by Tim Blake Nelson (2006) and Bryony Lavery’s Frozen (2005) dwelling on a serial-murdering pedophiliac. These productions always come across as expertly acted and produced with polish and style. Yet, what thinking, what orientation is behind such choices?

This time the play focuses on two killers of limited intelligence, with vocabularies to match, awaiting sentencing while in prison hovered over by a guard who looks for every opportunity to beat the shit out of them.

Yes, this play has been praised for explorations of faith and morality, about taking responsibility for one’s life and deeds, dichotomies between guilt and innocence, about redemption, freedom, good versus evil. You name it; it’s probably there beneath the volatile surface. The script does indeed call forth the dark shadows between black and white, portraying a mixed race cast of characters. While Guirgis exposes all such issues to simmer and burn under a briefly seen sun, he makes few salient points, as if telling things as they are, not how they should be. He has, though, come up with a thorough exploration of two complex and unpredictable main characters seen across the divide between unrepentant, self-assured violence and confused innocence. They seethe with intensity, especially as exceptionally portrayed by two New York actors with major credits.

Essentially this concentrates on dialogue between Lucius Jenkins, a born-again, self-confessed multiple killer and Angel Cruz (uh-uh, an angel on a cross) a confused young Puerto Rican who tried to take the law into his own hands by shooting a religious cult leader who had brainwashed Angel’s closest pal. In two roof cages, where they get one hour’s relief a day from solitary confinement, they heatedly argue about belief in God and about the meaning of what they’ve done which put them there. These don’t seem, though, conclusive, focused exchanges which could provoke us outsiders to ponder the issues. Also there are intermittent scenes showing Angel with his court-assigned attorney whose motivations are more personal than compassionate. Plus she and two prison guards occasionally directly tell the audience what makes them tick.

Raul Castillo’s portrayal of Angel stays vividly alive, calling forth sympathy beneath a constantly combative exterior, tough of necessity, sorrowfully wounded by fate. As Lucius, Edwin Lee Gibson has a far more complicated role to play, superbly bringing out the complex permutations of Lucius’ seeming rationality, his crazy pleasure in killing and his belief that, having chosen God, he lives in some state of grace.

California-based actor Leandro Cano is also in the cast as the brutal guard Valdez and Elena Passarello interprets attorney Mary Jane Hanrahan. Both make their non-stop harshness totally convincing. Meanwhile Derrick Sanders’ direction keeps the staging and pacing constantly dynamic and compelling.

You might find it interesting that Guirgis actually had a close friend who joined a cult and whom he tried, unsuccessfully, to de-program. Guirgis’s resultant anger, he says, made him a lapsed-Catholic re-assessing God. He also was a public school student in Harlem and a violence prevention counselor in New York City prisons. No doubt he knows the facts behind what he says. But I have to wonder, having told us what he thinks about such people, what he’d like us to think while we remain outside, emotionally unconnected to those he portrays.

Equally, I can’t help wondering what barebones wants to tell us, so often calling forth disturbing subjects about people with whom we can neither identify nor empathize.

barebones productions presents Jesus Hopped The A Train through January 29th at The New Hazlett Theater, Allegheny Square East, North Side. 1-888-71TICKETS (1-888 718 4253) www.showclix.com, barebonesproductions.com

FYI: The next broadcasts and theatre reviews

2012-01-09T11:49:00.000-08:00

"The Best of Broadway" and "Classics" are scheduled to resume on February 26th. WRCT has scheduled broadcast coverage of CMU basketball games during those same hours on Sundays, January 15th, 22nd, 29th, February 5th, 12th, 19th.

I will still review local theatre productions here during that period.

gs

Playlist: "The Best of Broadway" Sunday 8th January 2012

2012-01-09T11:47:00.000-08:00

Stephen Flaherty: music & Lynn Ahnens: lyrics-"A Man of No Importance"-(original off-Broadway cast) Jay Productions CDJAY 1369-excerpts w/ Jessica Molasky, Charles Keating, Faith Prince, Ronn Carroll, Sally Murphy, Roger Rees-Ted Sperling, music director
David Heneker: music & lyrics-"Half a Sixpence" (original Broadway cast) RCA 09026-63691-2-excerpts w/Tommy Steele, Polly James, Grover Dale, Will MacKenzie, Norman Allen-Stanley Lebowsky, music director
Sammy Cahn: lyrics & James Van Heusen: music-"Walking Happy" (original Broadway cast) Broadway Angel ZDM 7243 5 65133 2 7-excerpts w/Norman Wisdom, Louise Troy, Gordon Dilworth-Herbert Grossman, music director
Leslie Bricusse & Anthony Newley: music & lyrics-"The Roar of the Greasepaint, The Smell of the Crowd" (original Broadway cast) RCA 60351-2-RG-excerpts w/Cyril Ritchard, Anthony Newley-Herbert Grossman, music director

Playlist: "Classics" Sunday 8th January 2012

2012-01-09T11:44:00.000-08:00

"Lukas Foss-Curriculum Vitae" New World Records 80703-2-"Curriculum Vitae" w/Guy Klucevsek, accordion
"James Mulcro Drew-Animating Degree Zero" New World Records 80687-2-"Solemn Acts In Rain" w/Marieke Keser, violin-Frank Denyer, piano
"Devisadero-Christopher Shultis" Navona Records NV 5849-"Openings: Mouth" w/University of New Mexico Wind Symphony-Eric Rombach-Kendall, conductor
Elias Tanenbaum-"Breathing Lessons-Music for Saxophone Quartet" Naxos 8.559627-"Sax Quartet" w/ New Hudson Saxophone Quartet
"Allen Bonde-Sound Spectrum" Navona NV5862-"Three Elizabethan Songs Revisted: A Ditty"/ "Four Shakespeare Songs: "I Am Ashamed"/"You Were the One" w/Mara Bonde, soprano-Allen Bonde, piano
"David Gompper-Violin Concerto" Naxos 8.559637-"Ikon" w/Wolfgang David, violin-Royal Philharmonic Orchestra-Emmanuel Siffert, conductor
"Ann Millikan-Ballad Nocturne" Innova 713-"Ballad Nocturne" w/Emanuele Arciuli, piano-Bulgarian National Radio Symphony Orchestra-Grigor Palikarov, conductor
"Nico Muhly: A Good Understanding-Los Angeles Master Chorale -Grant Gershon" Decca B0014741-02-"Expecting the Main Things from You”: "I Hear America Singing"/ "Poets to Come” w/Claire Fedoruk, sop-Drea Pressly, mezzo sop-Kimo Smith,organ-Los Angeles Master Chorale-Grant Gershon, conductor

Playlist: "Classics" 1st January 2012

2012-01-02T08:09:00.000-08:00

The “This is Jazz” All-Stars-"Sidney Bechet-Up a Lazy River" Good Time Jazz GTJCD -12064-2-"Baby, Won't You Please Come Home?" /"Blues Improvisation" w/ George Brunis, voc.-Sidney Bechet, Albert Nicholas,cl.-Muggsy Spanier, cnt.-James P. Johnson, p-Pops Foster, bass
The Modern Jazz Quartet-"the modern jazz quartet-a celebration" (correct-lower case) Atlantic 82538-2-"Memories of You"/ "Indiana" w/Illinois Jacquet, ts-Harry "Sweets" Edison, tpt"
Billie Holiday-All or Nothing At All" Verve LP VE 2 2529-"Lady Sings the Blues"/ "Some Other Spring" w/Charlie Shavers, tp-Tony Scott, cl-Paul Quinichette, ts-Wynton Kelly, p-Kenny Burrell, g
"Kansas City-original motion picture soundtrack" Verve/Polygram 314 529 554-2-"Moten Swing"/ "I Surrender Dear" w/James Carter, ts-Jesse Davis, as-Nicholas Payton,tp-Cyrus Chestnut, p
A Buck Clayton Jam Session-"Buck Clayton-Jam Sessions from the Vault" Columbia LP CJ 44291-"Don't You Miss Your Baby?" w/Jimmy Rushing,voc-Buck, Ruby Braff, Billy Butterfield, tps-J.C. Higginbotham, tb-Coleman Hawkins, Julian Dash, ts-Kenny Kersey, p
Duke Ellington Orchestra & Count Basie Orchestra-"Duke Ellington Orchestra/Count Basie Orchestra-First Time! The Count Meets the Duke" Columbia LP CJ 40586-"Seque in C" w/Frank Wess, fl-Budd Johnson, ts-Louis Blackburn, Quentin Jackson, tbs-Sonny Cohn, Thad Jones, tp-Count, Duke, p
"Horace Silver-Pencil Packin' Papa" Columbia CK 64210
"Let It All Hang Out"/"Red Beans and Rice" w/O.C. Smith, voc-Red Holloway, Ricky Woodard, ts/ Silver,p-Bob Maize, b
"Milt Jackson-Plenty, Plenty Soul" Atlantic LP SD 8811-"Blues at Twilight" Jackson, vibes-Silver, p-Lucky Thompson, ts-Joe Newman, tp-Oscar Pettiford, b
"Herbie Nichols -The Complete Blue Note Recordings" Blue Note CDP 7243 8 694352 2 0-"House Party Starting"/ "Crisp Day"/"Shuffle Montgomery" w/Max Roach, Art Blakey, dms-Al McKibbon, b
"James Carter-Conversin' with the Elders" Atlantic 82908-2-"Atitled Valse" w/Lester Bowie, tp-Craig Taborn, p
James Carter, soprano sax-"James Carter-Caribbean Rhapsody" EmArcy B0015472-02-"Soprano Interlude" (solo)

Playlist: "The Best of Broadway" Sunday 1st January 2012

2012-01-02T07:59:00.000-08:00

Trey Parker, Robert Lopez, Matt Stone-Music & lyrics: "The Book of Mormon" (original Broadway cast) Ghostlight no #-excerpts w/Andrew Rannells, Josh Gad, Rory O'Malley, Nikki M. James-Stephen Oremus, music director
Alan Menken: music & Glenn Slater: lyrics-"Sister Act" (original Broadway cast) Ghostlight CD 8-4446-excerpts w/Chris Jarman, Thomas Goodridge, Ivan de Frietas, Nicholas Coucos, Ako Mitchell, Patina Miller, Claire Greenway, Julia Sutton, Kate Rowley Jones-Nicholas Skilbeck, music director
Peter Brown, Robert Rans, Dino Fakaris, Freddie Perren: music & lyrics-"Priscilla, The Queen of the Desert-The Musical" Rhino R2 527371-excerpts w/ Nick Adams, Tony Sheldon, Will Swenson, James Brown III-Jeffrey Klitz, music director

Theatre review: "Memphis" through Sunday January 1st, 2012

2011-12-29T15:10:00.000-08:00

A touring company version of the still running-strong Broadway hit Memphis has jumped into town for a few days landing at Heinz Hall in a dynamically sung, vigorously danced, snappy looking version. Joe DiPietro’s Tony Award winning book gives strong and significant substance to a story which actually most looks like a framework on which to hang a whole bunch of quasi-rock and roll songs.

That story, based on a true one, focuses on the emerging 1950s career of a Memphis, Tennessee white disc jockey and subsequent TV dance show host, here called Huey. He has an abiding love for and faith in black music of his day. He also falls in love with a black singer, Felicia, setting up antagonisms in both the white and black communities.

In Huey DiPietro has created an interesting, distinctive, unconventional character, more innocent than slick, sticking to who he wants to be and what he wants to do regardless of the consequences. In that way DiPietro’s book has a lot of intelligent integrity, neither whitewashing the negative nor coming up with feel- good resolutions. And, as Huey, Bryan Fenkart stands out with personality in fine voice.

Felicia Boswell in the role of Felicia also strongly lives up to the vocal demands as does Julie Johnson as Huey’s Mama. But neither performer conveys any special definition. In that regard they resemble the rest of the cast, remaining more generic than specific. Everyone sings with the kind of unceasing energy and volume that the big, down-front and center songs require. After a while, though, David Bryan’s music, patterned after the style and sound of the period, more and more resemble each other, even if his and DiPietro’s lyrics capably advance the story.

Sergio Trujillo’s choreography has impressive energy, full of elemental vigor and some of David Gallo’s scene settings look imaginative.

You might think that this could equal last month's zinger Million Dollar Quartet. That came loaded with great, memorable, catchy songs. So, although this is set in the same city, listening to Memphis you may feel that you’ve wandered down a much less compelling street.

Memphis plays through 6:30 p.m. Sunday, New Year’s Day at Heinz Hall, downtown.
412/ 392-4900. pgharts.org

Playlist: "Classics" Sunday 25th December 2011

2011-12-27T10:18:00.000-08:00

"Nancy Galbraith: "Sacred Songs and Interludes" Pittsburgh Camerata CD-excerpts w/Kara Cornell, mezzo-sop/ Thomas Octave, bar/ Pittsburgh Camerata-Rebecca Rollett, director
Alan Hovhaness: -"Looking to the East" CRI 836-"Triptych": "Christmas Ode" w/Benita Valente, sop-members of the Bamberg Symphony-Bavarian Radio Singers-Alfredo Antonini, conductor & "The Holy City" w/Elgar Howarth, tpt-The Royal Philharmonic Orchestra-Arthur Bennett Lipkin, conductor
"Frederick Jacobi: Cello Concerto; Sabbath Service" Naxos 8.559434-"Hagiographa" w/Brian Krinke,Perrin Young, violins-George Taylor, viola-Stefan Reuss, cello-Joseph Werner, piano
Leo Sowerby: composer-"The Pulitzer Project" Cedille 90000 125-"The Canticle of the Sun" Grant Park Orchestra and Chorus-Carkos Kalmar, conductor
Jonathan Leshnoff: -"Leshnoff: Forgotten Chants and Refrains" Naxos 8.559670-Symphony No 1. "Forgotten Chants and Refrains" w/IRIS Orchestra-Michael Stern, conductor

Playlist: "The Best of Broadway" Sunday 25th December 2011

2011-12-26T14:13:00.000-08:00

Marc Shaiman: music and lyrics & Scott Wittman: lyrics-"Catch Me If You Can" (original Broadway cast) Ghostlight 8-4449- excerpts w/Tom Wopat, Aaron Tveit, Norbert Leo Butz, Rachel de Benedet-John McDaniel, music director
Maury Yeston: music & lyrics-"Death Takes a Holiday" (original off-Broadway cast) ps classics PS 1104-excerpts w/Jill Paice, Michael Siberry, Rebecca Luker, Max Van Essen, Mara Davi, Alexandra Socha, Jay Jaski, Kevin Early, Simon Jones-Kevin Stites, music director

Playlist: "Classics" Sunday 18th December 2011

2011-12-19T19:14:00.000-08:00

"Scala & Kolacny Brothers-One Winged Angel" EMI 3891962-"The Bitter End"/ "One Winged Angel"/ "Colorblind" -Scala, singers w/arr: Steven Kolacny, also at piano-Stijn Kolacny conductor
"Jan Hammer: The First Seven Days" Nemperor LP NE 432-"Sixth Day: The People" w/Steven Kindler, violin
Alex North: composer-"Written on the Wind"/"Four Girls in Town" Decca LP DL 8424-"Rhapsody for Four Girls In Town" w/Andre Previn, p-The Universal-International Orchestra-Joseph Gershenson, conductor
Patrick Williams: composer-"Patrick Williams and The London Symphony Orchestra-"An American Concerto" Columbia LP JC 36318-"Out of the Darkness" w/Phil Woods, as-Dave Grusin,p-Grady Tate, dms-Chuck Domanico, b-The London Symphony Orchestra-Williams, conducting
Phil Moore: composer-"Phil Moore-Fantasy for Leda" Righteous Psalm 23-29-"Portrait of Leda" Part 2-w/Leda Annest, singer-orchestra conducted by Phil Moore
Moondog: composer"Moondog" Columbia LP MS 7335-"Symphonique #3-Ode to Venus"/ “ Stamping Ground" w/Moondog conducting
"Moondog" Prestige OJCCD 1741-2)-"Lullaby"/ "Tree Trail"/"Big Cat" /"Surf Session"-w/Suzuko, singer-Weiner-Sabinsky Duo, Moondog, recorder
"More Moondog" Prestige OJCCD-1781-2-"Hardshoe"/ "Tugboat Toccata"/"Chant"/"All is Loneliness" w/Ray Malone, tap dancer-Moondog. piano, voice

Playlist: "The Best of Broadway" Sunday 18th December 2011

2011-12-19T17:44:00.000-08:00

Alan Jay Lerner: lyrics & Burton Lane: music-"On a Clear Day You Can See Forever" (original Broadway cast) RCA 09026-60820-2-excerpts w/John Collum, Barbara Harris, William Daniels-Theodore Saidenberg, music director
Frank Loesser: music & lyrics"How to Succeed In Business Without Really Trying" (1995 Broadway cast) RCA 09026-68197-2-excerpts w/Matthew Broderick, Jerry Vichi, Lillias White-Ted Sperling, music director
Cole Porter: Music & lyrics:"Anything Goes" (1987 Broadway cast) RCA 7769-2-RC-excerpts w/ Howard McGillan, Patti LuPone, Kathleen Mahony-Bennett-Edward Strauss, music director

Playlist: "Classics" Sunday 11th December 2011

2011-12-13T19:34:00.000-08:00

Samuel Beckett: "Waiting for Godot" (1956 Broadway cast) complete w/E. G Marshall, Bert Lahr, Kurt Kaszner,Alvin Epstein, Luchino Solito De Solis. Herbert Berghof director
Stan Kenton Orchestra-"The Complete Capitol Stan Kenton 1943-47"Mosaic 163-"Monotony"

Playlist:"The Best of Broadway" Sunday 11th December 2011

2011-12-11T20:34:00.000-08:00

Burton Lane: music & Yip Harburg; lyrics-"Finian's Rainbow" (2009 Broadway cast) ps classics PS 1088-excerpts w/Cheyenne Jackson, Kate Baldwin, James Stovall, Jim Norton, Terri White, Guy Davis, Chuck Cooper, Bernard Dotson, Devin Richards-Rob Berman, music director
Sammy Fain: music & Yip Harburg:lyrics-Plus Moises Vivanco (for Sumac)>"Flahooley" (original Broadway cast) Broadway Angel ZDM 0777 7 64764 2 1-excerpts w/ Barbara Cook, Jerome Courtland, Yma Sumac -Maurice Levine, music director

Theatre review: "The Mask of Moriarty" from Pittsburgh Irish and Classical Theatre for Sunday, 11th December 2011

2011-12-08T11:00:00.001-08:00

Pittsburgh Irish and Classical Theatre offers an amusing, splendid-looking entertainment for the holidays, Hugh Leonard’s 1986 send-up of tales of Sherlock Holmes The Mask of Moriarty. The director is Alan Stanford who originated the role of Dr. Watson those 25 years ago. The production looks as if he is trying to resurrect what it might have been back then, rather than create something fresh and vigorous. A heavy pace underlies Stanford’s take as does a lack of inventive style.

Leonard’s script is full of good, silly business and funny, sometimes Oscar-Wildish lines, along with imaginative situations. But, one must consider how best to deliver what’s there, since such a parody in and of itself is not rare; many writers and performers have tried this sort of thing. Actually, though, Leonard’s initial Holmes-Watson dialogue gets things off to a sluggish start with long, basically straight chatter.

Even though most of Stanford’s visual gags work well, he has David Whalen’s Holmes and Martin Giles’ Watson, as well as most other characters, played earnestly rather than comically or broadly. This looks as if Stanford thinks the lines and situations can carry it on their own. Or that the actors, left to their own devices, know what to do, which might explain why James Fitzgerald goes far overboard, milking two roles.

Leonard has created an original story wherein two people are murdered. And, at the same time, Holmes’ evil alter ego, Professor Moriarty, returns from presumed death to haunt Holmes, resurrected with a new face. In time, devilishly clever disguises are devised giving rise to mistaken identities. The rest of the plot is not a lot to be concerned with.

Among Stanford’s strange conceptions, he has the talented, versatile Edward Charles Huff initially, unjustifiably, play Moriarty resembling Frankenstein’s Monster, complete with guttural speech and stomping feet. Equally Stanford has Tony Bingham pointlessly revert to playing the wacky, bent and stumbling Mr. Herring after his real and normal underlying persona has been revealed.

On the plus side, Gianni Downs has created original and clever sets. But you can’t go home savoring the decorations. And speaking of going home, I attended the second post-opening performance in what started out as a nearly full house. But, after intermission, it was clear that some people had left. I imagine that what was happening up there on the stage wasn’t holding them. Alas, poor Sherlock. I knew him. A fellow of potentially infinite jest and most excellent fancy. Where are his jibes now?

The Mask Of Moriarty continues through December 17th in the Charity Randall Theatre in the Stephen Foster Memorial, Oakland. ProArtsTickets: 412/394.3353 or www.picttheatre.org.

Playlist-"The Best of Broadway" Sunday 4th December 2011

2011-12-05T19:40:00.000-08:00

Stephen Sondheim: music & lyrics-"Follies" (2011 Broadway cast) ps classics PS 1105-excerpts w/Danny Burstein, Bernadette Peters, Jan Maxwell, Christian Delcroix, Nick Verina, Kirsten Scott, Lora Lee Gayer, Jayne Houdyshell, Mary Beth Pell, Terri White, Elaine Paige, Rosalind Elias, Leah Horowitz-James Moore, music director

Playlist: "Classics" Sunday 4th December 2011

2011-12-05T19:26:00.000-08:00

Gian Carlo Menotti-"Copland /Menotti Piano Ctos (sic). Earl Wild" Vanguard Classics SVC-3-Concerto in F for Piano and Orchestra-w/Earl Wild, piano-The Symphony of the Air-Jorge Mester, conductor
"Kamran Ince: Symphony No. 5 'Galatasaray" Naxos 8.572553-Symphony No. 5-"Galatasaray": Parts II & IV w/Tulay Uyar, sop-Levent Gunduz, ten.-Anil Kirkyilduz, boy sop.-Turkish Ministry of Culture Choir-Bilkent Symphony Orchestra-Kamran Ince, conductor
"Hyo-Shin Na-All The Noises" New World 80674-2-"Ocean/Shore 2" w/John Anderson, cl-Marieke Keser, vn-Manual Visser,viola-Nina Hitz, cello & narrator.
"Osvaldo Golijov: Oceana-Tenebrae-Three Songs-Souza-Kronos Quartet-Upshaw-Spano" DGG B 0009069-02-"Three Songs: Night of the Flying Horses-How Slow the Wind" w/Dawn Upshaw, sop.-Atlanta Symphony Orchestra-Robert Spano, conductor
"A Sense of Time-Music of Efrain Amaya" Elan 82424-"Pajaros de tres alas" w/Carnegie Mellon Wind Ensemble-Amaya, conductor
Leonardo Balada-"Balada: Caprichos Nos 2, 3 and 4" Naxos 8.572176-"Caprichos No. 2: Samba & Tango" w/Andres Cardenes, conductor & violinist-Jeffrey Turner,bass-David Premo, cello-Gretchen Van Hoesen, harp

Theatre review: "The House of Yes" at Off the Wall Productions-Sunday, 4th December ,2011

2011-12-04T17:03:00.000-08:00

Off The Wall Productions, adhering to the well-worn meaning of such a phrase, offers Wendy MacLeod’s much acclaimed , often-produced (even as a movie) The House of Yes. Evidently the 85 minute family drama, rummaging around in dysfunction, is often billed as a dark comedy and perceived as savagely satirical.

This performance, directed by Robyne Parrish, mostly seems to take itself literally and seriously, rather than as comedy, as if such absurdity could be real. That is, except for the opening which is executed, incongruously, as a stylized dance and chatter routine. I found the rest played believably but without enough interior personality to compensate for puppet-like characters.

At the Pascal home, Mom prepares to carve the Thanksgiving turkey, awaiting the return of her prodigal son Marty and not yet approved girlfriend Lesly. Marty’s twin sister, known as Jackie-O, is the fruit and nuts course. She has often fallen off the reality wagon and subsists on a diet of soap operas and channeling John F. Kennedy’s widow. While their younger brother Anthony seems to be stable, he hungers for Lesly’s thighs and breasts. Early on, we served up the info that Marty and Jackie have connected again post-umbillically and that she can’t wait for another helping. The most pungent ingredient is Jackie O’s fondness for re-creating Kennedy’s widow at the moment of assassination, complete with costume and brain-spattered bloody skirt.

The dialogue waltzes around these conditions, without much verbal originality. But, as far as other movement goes, director Parrish keeps the pace lively as if to make sure that what these people do and say becomes relentless rather than allowing pauses for reflection.

Lauren Michaels has the most challenging role, Jackie. Craziness is seldom easy to play and fortunately she never goes too far overboard, making Jackie seem hopelessly pathetic despite a constant grin. Justin Mohr’s Marty seems in no way a mirror image. And, although there are Marty’s own off-center moments, Mohr plays everything without specific definition. On the other hand, Erica Cuenca as Lesly, written as simple and not too bright, gives her neither quality and, instead, offers Cuenca’s standard, albeit appealing sweetness. John Steffenauer’s sincere interpretation of Anthony works but he makes the character not the least as comic as he could be. And Virginia Wall Gruenert rounds out the cast as Mrs. Pascal, subtly understating her as a hovering dark presence watching over her cuckoo nest.

I suspect that playwright MacLeod’s underpinning for the whole thing is the unending national obsession with the Kennedy assassination. Yes, it seems a theme worth exploring. Yes, you may be able to see what potential lurks within the concept, even if this take doesn’t get near enough.

The House of Yes remains through December 17th at Off the Wall Productions
147 N. Main Street, Washington PA 724/873 3576 or 412/394-3353. www.insideoffthewall.com

Playlist: "Classics" Sunday 27th November 2011

2011-11-27T15:22:00.000-08:00

"In Concert-Ravi Shankar" World Pacific LP 1421-"Madhuvanti" (raga) w/Kanai Dutta, tabla
"The Shenai Artistry of Bismillah Khan" Capitol/ EMI LP ST 10513-"Katavati" (raga) unk,tabla
Ramani, flute-"Sounds of the Veena-Balachandar" World Pacific LP WP 21436-"Bhairavi" (ragam) w/ Ramabhadran, mridangam
Ram Narayan, sarangi-"Sarangi-The Voice of a Hundred Colors" Nonesuch LP H 72030-"Jogia" (raga-thumri) w/Mahapurush Misra,tabla
S. Balachandar, veena"Sounds of the Veena-Balachandar" World Pacific LP WP 21436-"Kaapi Naaraayani" (ragam) w/ Sivaraman, mridangam
"Duets from India-Vilayat Kahn, sitar & Bismillah Khan, shenai" Capitol LP ST 10483-'Gujaree-Todi" (raga) w/Shanta Prasad, tabla
Ravi Shankar, sitar & Aki Akbar Khan, sarod-"The Exotic Sitar and Sarod-Ravi Shankar & Ali Akbar Khan" Capitol LP ST 10497-'Sindhu Bhairavi" (raga) w/Alla Rakha, tabla

Playlist: "The Best of Broadway" Sunday 27th November 2011

2011-11-27T15:16:00.000-08:00

Rupert Holmes: music & lyrics-"The Mystery of Edwin Drood" (original Broadway cast) Polydor G 827 969-2-Y-1-excerpts w/Patti Cohenour, Betty Buckley, Joe Grifasi, Cleo Laine, Howard McGillin-Michael Starobin, music director
John Kander: music & Fred Ebb + Rupert Holmes: lyrics-"Curtains" (original Broadway cast) EMI Broadway Angel 0946 3 92212 2 6-"The Woman's Dead" w/cast-David Loud, music director
Charles Strouse: music & Richard Maltby: lyrics-"Nick and Nora" (original Broadway cast) Jay Records 1268-excerpts w/ Barry Bostwick, Joanna Gleason, Christine Baranski, Chris Sarandon-Jack Lee, music director

Theatre review: "Dr. Seuss' How the Grinch Stole Christmas! The Musical" at Benedum Center

2011-11-26T18:18:00.000-08:00

You might think that a show whose title and timing suggests commercial exploitation of this season would be standard and obvious. But, actually, the traveling version of Dr. Seuss’ How the Grinch Stole Christmas! The Musical, to lay out the whole cumbersome title, looks, sounds and feels like an absolute charmer.

I imagine the concept and the story have become well known by now, yet it’s fresh to me. So I can’t offer an opinion on how well it does with the original source, the book, the animated film nor the Jim Carrey movie. But with the wonderful Stefan Karl starring as the Mean One, this package comes loaded with delights, including, front and center, attractive, melodious songs by Timothy Mason, Mel Marvin, Albert Hague and Dr. Seuss himself. Moreover the clever Seuss-style costumes and sets by Robert Morgan and John Lee Beatty as well as Matt August’s snappy direction give the whole thing loads of style and personality. This is all augmented by special effects, puppets and jolly moments encouraging audience participation.

Karl’s playing of The Grinch explores a delightful range of implications, intonations and non- verbal sounds, making the creature sincerely, wildly distressed but not nasty enough to be despicable. The result comes across as something any adult will enjoy while any kid will find neither scary nor silly. Plus director August’s staging has funny little twists that reach across all age boundaries.

Seth Bazacas give the Grinch’s dog Max just the right sense of a happy, innocent companion while, on opening night, Bailey Ryon bubbled with professional aplomb as the inevitable little girl who could steal your heart. But she never overdid it. FYI: the role is double cast, Clara Young also has the role.

Interestingly, I learned from Wikipedia that some critics of Seuss’ book take issue with his criticizing the commercialization of Christmas. Most of us would applaud that. I do. Here such an observation is very brief. Quote: “Christmas doesn’t come from a store. Maybe it means a little bit more.” Right on Doctor. Let’s cheer that and all the other things that make this a good, simple, sweet story well told.

The traveling version of Dr. Seuss’ How the Grinch Stole Christmas! The Musical is at Benedum Center downtown through Sunday November 27th at 6: 30 p.m.
412-456-6666 or pgharts.org

Theatre review: "Sam Bendrix at the Bon Soir" at City Theatre. For broadcast Sunday, 27th November 2011

2011-11-22T13:37:00.000-08:00

Sam Bendrix at the Bon Soir by Keith Bunin is world-premiering at City Theatre. It’s a fictional night club act dwelling on one man, Sam, a singer, who’s been struggling to have a New York career in 1958. While on-stage, detouring into drinking too much, he goes even further off –center and talks about his emotional ups and downs as a gay man at a time when coming out could risk lives and livelihoods.

20 songs, some of them pop standards, others from Broadway musicals, seem to be front and center. Bunin picked some really great ones as well as some fine others which are less known. Clearly he’s selected many to underscore the monologue. The end result looks like a musically decorated story which Bunin wanted to tell about being gay 11 years before, a few blocks away from the Bon Soir, the Stonewall Riots broke out. I’m not sure that this device works.

Certainly on the first Saturday night performance, I came away feeling sorry that whole thing didn’t work better. Luke McFarlane as Sam, having already given a late afternoon performance, didn’t sound up to the singing challenges. As everything progressed, his intonations too often went awry. His acting looked convincing though. But he didn’t get enough out of the meaning of many great lyrics; director Mark Rucker should work with him on that. McFarlane did come across, validly, first as Sam being a polished, slick performer. Later, as Sam begins to unravel, McFarlane also did well with that too.

The piece itself doesn’t hold up well if taken as being realistic, since Sam, once too much alcohol dissolves the intended act, starts doing unexpected things up there on the stage while the trio backing him always knows the songs, and is always able to play them without being coached or prompted.And, certainly Sam’s intended act did not include such items as “That’s Him” and “The Gentleman is a Dope” or other songs women usually sing about romances with men.

You could ponder the whole idea of a night club performer telling personal stories as far back as 1958. Not stand-up comedy based on their own personalities which some acts suggested (e.g Woody Allen). But rather, something serious, eventually personified by such people as Spalding Grey and John Leguizamo, taking up stages all by themselves. They’ve become famous for making their own stories unique and special with style and good writing. Sam, as written by Bunin, doesn’t have that much personality, being neither eloquent nor personally appealing. Is he supposed to be representative rather than specific?

Speaking of devices, at one point Sam brings out a cello and plays a little. But after that, he never goes back to it. Why not? McFarlane sounded good on the instrument. Credit too, Douglas Levine at the piano, suggesting an always agreeable, skillful part of the evolving act.

This new show itself is probably still evolving. And McFarlane, with good coaching and discipline, may be able to master his second Saturday performances.

I wish him and Bunin well.

Sam Bendrix at the Bon Soir plays through December 18th at City Theatre, 1300 Bingham Street on Pittsburgh’s South Side. 412-431-4400 . www.citytheatrecompany.org

Playlist: "Classics" Sunday 20th November 2011

2011-11-21T13:36:00.000-08:00

Elie Siegmeister-"Music from The Fleisher Collection, Vol. 2" Troy 502-Clarinet Concerto w/Robert Alemany, clarinet-Czech National Symphony Orchestra-JoAnn Falletta, conductor
Pierre Jalbert-"PNME-against the emptiness" Indiana University Southeast CD "Visual Abstract" w/ Pittsburgh New Music Ensemble-Kevin Noe, conductor
Ayala Asherov-Kalus-"Claviatures-Modern Chamber Works" Navona NV 5864-"Three Rivers" w/Doug Graham, cl.-Neil Casey, viola-Winifred Goodwin, p
"Ellen Taaffe Zwilich-MSU Symphony Orchestra" Koch 3-7487-2 HI-'Symphony No. 4-"The Gardens" w/Michigan State Symphony Orchestra, University Choral Ensemble, University Children's Choir-Leon Gregorian, conductor
"Chester Biscardi;In Time's Unfolding" Naxos 8.559639-"Companion Piece (for Morton Feldman)" w/ Mark Helias, double bass-Marc Peloquin, p
"Karol Rathaus-Piano Concerto-LSO-Falletta-Pirone" Koch 3-7397-2 HI-"Vision Dramatique" w/London Symphony Orchestra-JoAnn Falletta, conductor
Jose Serebrier"Serebrier-Symphony No.3" Naxos 8.559183-"Pasacaglia and Perpetuum Mobile" w/Yi Yao, accordion-Toulouse National Chamber Orchestra-Serebrier conductor

Playlist: "The Best of Broadway" Sunday 20th November 2011

2011-11-21T13:27:00.000-08:00

Joe Darion: text and lyrics & George Kleinsinger: music: "archy and mehitabel" (original studio cast) drg 19064-w/ David Wayne, Eddie Bracken, Carol Channing, Percival Dove-Kleinsinger, music director
Johnny Mercer: lyrics & Gene De Paul: music: "L'il Abner" (original Broadway cast) Columbia LP OL 5150- excerpts w/Peter Palmer, Stubby Kaye, Edith Adams-Lehman Engel, music director

Theatre review: "Red" at Pittsburgh Public Theater. Sunday 20th November 2011

2011-11-20T08:07:00.000-08:00

Looking at the poster and the program book for Pittsburgh Public Theater’s production of Red by John Logan, you might think it’s a holiday show. Maybe something about jolly Santa in his shiny suit sliding down an inevitably clean chimney loaded with gifts. That’s not in this package. This play says serious things, things to stimulate your thinking.

Actually you might respond to that often vibrant color in any number of ways, and many such meanings are splattered and strewn all over the floor and the walls hanging out with a somewhat fictionalized version of American modern painter Mark Rothko, dynamically portrayed by Jeff Still. Director Pamela Berlin has superbly paced, shaped and shaded this, vibrating within an impressively realistic setting devised by Michael Schweikardt.

Playwright Logan exceptionally articulates a pointed discourse about the nature of art and the nature of people who create it. The character of Rothko is the medium. But Rothko could be any self-obsessed artist working in any discipline in any time.

The discourse constantly provokes us to think about what goes into creating art and what comes out of how we perceive it. Because, as Logan points out via Rothko, the viewer, the hearer, the listener is a significant part of the equation.

So, as far as the play goes, on your side of the equation, you could find the many philosophical strokes and swipes, the esoteric ruminations, the polemical round-about, too much talk and too little action. Or you could, like me, remain fascinated and engaged.

The play doesn’t really establish emotional connections, although there is a second fictional character, essentially a Rothko sounding board, for all of the 100 minutes, a young assistant named Ken. In Ken, Logan sketches a person who moves away from being a mere recipient of Rothko’s often agitated pronouncements and becomes an intense inquisitor, goading and provoking Rothko about his faith in himself and in his own significance. The intensity of the talk and of the spiky arguments vibrate and seethe with ideas, even as we get some exposure to what kind of a person Rothko must have been.

Jack Cutmore Scott makes the most and best of Ken, a humanly vulnerable, nearly believable portrait despite interpreting a character who’s essentially a dramatic device.

The dimensions of this play frame eternal questions about our relationship to art and artists, and you may come away, as I did, with fresh perceptions about the many ideas laid out. And, should that be so, consider how well playwright Logan, with his art, has created something worth your time and attention.

Red continues through December 11 at Pittsburgh Public Theater, downtown on Penn Avenue. For tickets and info: 412/316.1600 or ppt.org

Playlist: "The Best of Broadway" Sunday 13th November 2011

2011-11-13T17:49:00.000-08:00

"Irving Berlin's White Christmas" (2006 studio cast) Ghostlight 7915581225-2-excerpts w/Brian D'Arcy James, Jeffrey Denman, Anastasia Barzee, Karen Morrow, Meredith Patterson-Rob Berman, music director
Jerry Bock: music & Sheldon Harnick: lyrics-"She Loves Me' (original Broadway cast) Polydor 831 968-2-excerpts w/Ralph Williams, Nathaniel Frey, Barbara Baxley, Jack Cassidy, Daniel Massey, Barbara Cook -Harold Hastings, music director

Playlist; "Classics" Sunday 13th November 2011

2011-11-13T17:36:00.000-08:00

"Louis Armstrong Plays W.C. Handy" Columbia LP 591-"Atlanta Blues"/ "Hesitating Blues," w/Barney Bigard, cl-Trummy Young, tb- Billy Kyle, p-Arvell Shaw, b-Barrett Deems, dms-Velma Middleton, voc
W. C. Handy: speaker-"W.C. Handy-The Father of the Blues" Audio Archives LP A 1200"-excerpts
"Louis Armstrong Plays W.C. Handy" Columbia LP 591-"Yellow Dog Blues"/ "St. Louis Blues"/ "Beale Street Blues" w/same as above
"Hampton Hawes-The Sermon" Contemporary OJCCD 1067-2-"Joshua Fit the Battle of Jericho" w/Leroy Vinnegar, b-Stan Levey, dms
"Hampton Hawes-Four!" Contemporary LP JC 165-"Like Someone in Love" w/Barney Kessel,g-Red Mitchell,b-Shelly Manne, dms
"Hampton Hawes-Vol 3-The Trio" Contemporary LP C 3523-"Billy Boy"/"Body and Soul" w/Mitchell, Chuck Thompson,dms
"Jimmy Witherspoon Singin' The Blues" World Pacific LP WP 1267-"It Ain't What You're Thinkin' "/ "All That's Good" /"There's Good Rockin' Tonight" w/Hawes, Gerald Wilson, tp-Teddy Edwards, Jimmy Hamilton, ts
"Hampton Hawes-Four!" Contemporary LP JC 165-"Up Blues" w/Kessel, Mitchell, Manne
"Sonny Criss-I'll Catch the Sun" Prestige Lp 7628-"Blue Sunset" w/Hawes, Manne & Monte Budwig,bs
"Hampton Hawes-At the Piano" Contemporary OJCCD -877-2-"Soul Sign Eight" w/Manne & Ray Brown,bs
"Hampton Hawes-Recorded Live at The Great American Music Hall" Concord LP CJ 222-"The Status of Maceo": Third Movement Hawes, solo

Theatre review: "Illyria" at Point Park Conservatory-Sunday 13th November 2011

2011-11-13T08:59:00.000-08:00

Once again, students of Point Park University’s Conservatory Theatre Company, singing superbly, do wonderful things with a musical. This time it’s Illyria, Peter Mills and Cara Reichel’s take on Shakespeare’s Twelfth Night. Company director Scott Wise has come up with a great look to the production giving it lots of style, personified in Michael Montgomery’s Maxfield Parrish-like costumes. And choreographer Jeremy Czarniak has added some very clever steps and effects.

Mills wrote the music and lyrics devising attractive melodies and, occasionally, quite clever lyrics. Despite having written them seven years ago, his songs have the sound and feel of traditional ones at the heartbeat of musical theater rather than aiming for something more contemporary. Particularly fun: note Feste yodeling Malvolio’s name.

The Shakespeare story and conception remain intact but only a few of his words are used. Although the plot and characters have become very well-known and you could have seen a great production of the play by Quantum Theatre a little over three months ago, here are reminders: Duke Orsino has a crush on Countess Olivia and engages a young woman named Viola, recently arrived on the shores of Illyria and disguised as her brother Sebastian, to court Olivia. Viola falls in love with Orsino and Olivia falls in love with disguised Viola. Add to this, three memorable members of Olivia’s court: her uncle Sir Toby Belch, her haughty, self-impressed steward Malvolio and her sometimes wise jester Feste. Plus she has a new suitor, foolish Sir Andrew Aguecheek.

Mills and Reichel’s script does a fresh take on Feste, making the jester actually jest, being more of a wise guy than a wise person. And L. Fox plays the role with smart personality, also singing with class. Paul Koudouris exceptionally stands out personifying Malvolio with edgy panache, never pushing it too far. On the other hand, as Sir Andrew, Connor Russell flutters and flits so often that, at on opening night, I expected him to sprout wings and fly up into those of the theatre. Plus Jaron Frand’s performance of the real Sebastian has convincing charm with his attractive singing adding to the production’s consistently appealing sound, as does the impressive voice of Jaclyn McSpadden’s Olivia.

Shakespeare’s original script opens with these words: “If music be the food of love, play on…” Although the rest of that speech suggests that Orsino is unhappy, happily this version of the story could make you love its sound, its look and its feel.

Illyria plays on through Sunday November 20th at Pittsburgh Playhouse’s Rauh Theater, 222 Craft Ave., Oakland. 412-392-8000 or www.pittsburghplayhouse.com

Incidentally, the Conservatory also has performances of Shakespeare’s play itself December 9th through 18th

Playlist: "The Best of Broadway" 6th November 2011

2011-11-08T12:26:00.000-08:00

Tom Snow: music & Dean Pitchford: lyrics-"Footloose" (original Broadway cast) Ghostlight 8-4454-excerpts w/Stacy Francis, Kathy Deitch, Rosalind Brown, Dee Hoty, Catherine Cox, Hunter Foster, Tom Plotkin, Paul Castree, Artie Harris, Jeremy Kushnier-Doug Katsaros, music director
Elvis Presley, Mae Boron Axton, Tommy Durden, Arthur Crudup, Carl Perkins, Otis Blackwell, Joy Byers,Joy Johnston, Charles E. Daniels, Mac Davis,Billy Strange, Bill Grant, Bernie Baum, Florence Kay, Jerry Lieber, Mike Stoller, W. Earl Brown music & lyrics-"All Shook Up" (original Broadway cast) Sony 82876 69124-2-excerpts w/Cheyenne Jackson, Jenn Gambatese, Leah Hocking, Jonathan Hadary, Mark Price-Stephen Oremus, music director

Playlist: "Classics" Sunday 6th November 2011

2011-11-08T07:51:00.000-08:00

'Winging It: Piano Music of John Corigliano" Cedille 90000 123-"Kaleidoscope" w/Ursula Oppens, Jerome Lowenthal, pianos
Michael Daugherty-"Daugherty: Route 66-Ghost Ranch-Time Machine" Naxos 8.559613-"Time Machine: "Future" w/Bournemouth Symphony Orchestra, conducted by Marin Alsop, Mei-Ann Chen, Laura Jackson
William Thomas McKinley-"Divergence-modern concerti for strings" (right, no caps) Navona Records NV 5858-"Concert Variations" w/Glenn Dicterow, violin-Karen Dreyfus, viola-Warsaw National Philharmonic Orchestra-Carl St. Clair, conductor
"Thomas Oboe Lee-Hawthorne String Quartet" Koch 3-7452-2-"Seven Jazz Pieces": some w/Hawthorne String Quartet
"Walter Piston-Symphonies 2 & 6, Sinfonietta" Delos DE 3074-Symphony No. 6 w/Seattle Symphony -Gerard Schwarz, conductor
"Michael Ellison-Invocation" innova 766-String Quartet No.2:parts w/ Borromeo String Quartet
John Mackey-"Strange Humors" Naxos 8.572529-"Strange Humors" (yes) w/Rutgers Wind Ensemble-William Berz, conductor
"Francis E. Fairman III-Diurnal Thoughts" Navona NV 5863-"The Fox" w/Slovak Radio Symphony Orchestra-Kirk Trevor, conductor

Theatre review: "Sweeney Todd" at University of Pittsburgh. Sunday 6th November 2011

2011-11-06T08:45:00.000-08:00

It’s taken me some time to realize that what’s called the University of Pittsburgh Repertory Theatre has actually, thoroughly become a training program for the University’s Theatre Arts students. Not so long ago excellent, professionally experienced actors on the faculty performed often and well enough to give some sense of an actual repertory company creating quality of potential widespread audience appeal. Clearly those days are gone. Gone too from the faculty are such talents as Elena Alexandratos, Doug Mertz and Sam Turich.

The present staff has now taken on a major project which certainly is good experience for students. Stephen Sondheim and Hugh Wheeler’s Sweeney Todd features a wealth of magnificent music and exceptional lyrics by Sondheim set into Wheeler’s sordid melodrama like jewels scattered on dirty pavements. Making the best of this complex work, with its great songs, its dark story and its almost stock characters has always been a major challenge for even the best professional performers. Plus the score calls for a really good orchestra.

Sondheim’s melodies and intricate words don’t make things easy and, as the performance wore on during the first of the two Saturday evening productions, the singing and the orchestra’s playing continued to deteriorate while everybody did their best they could. The University Symphony Orchestra and the cast are led by music director Roger Zahab. He’s on the Pitt faculty.

Three other faculty members with professional experience interpret significant roles. One of them sings quite well, Richard Teaster as Sweeney. His acting comes across as serviceable as does that of Theo Allyn as Mrs. Lovett and Andy Narraj as Judge Turpin. The student acting looks competent as guided by director, the Theatre Arts Department’s Lisa Jackson-Schebetta who has come up with much that seems more utilitarian than insightful.

Family and friends of everyone involved in the production certainly remained a game and friendly audience. As for others, those unfamiliar with the show can get some idea of what it is supposed to be and get a glimmer of the songs’ inherent richness.

FYI: CMU students will try it themselves early next year. It will be interesting to see how they fare.

Sweeney Todd continues through November 13th at Charity Randall Theatre in The Stephen Foster Memorial, Oakland. 412-624-PLAY i.e :412 624- 7529 or http://www.play.pitt.edu/

Theatre review: "Million Dollar Quartet" tour at The Benedum-Sunday 6th November 2011

2011-11-04T13:37:00.001-07:00

There was a time when southern white guys were learning to perform rhythm and blues, harking to black singers, soul singers, and down home back country guitarists. And out of those fundamental sources, those white guys began making names for themselves bringing forth music and words that sounded like the sources even if it was their own new stuff. And, lord a mighty, out of those roots, rock and roll was born, surging forth, stirring crowds, bringing many of those newcomers fame and fortune.

In the Broadway musical Million Dollar Quartet, some of them, Jerry Lee Lewis, Carl Perkins, Johnny Cash and Elvis Presley, surge forth again, not as wax replicas in a museum, not as plastic, deliberate impersonations, but as soulful, gutsy, down-home, full-blown talents, romping through 23 great songs that they made famous or that made them famous themselves. They do so in a version of that show that has hit the road and planted its feet for just a few days here at The Benedum. That trip is worth the trip.

Rock and roll history is full of milestones. In 1956 the roots had firmly planted, even if some people in the music business never thought that that new thing would survive or wanted to trim it or turn it into topiary. And, in 1956, those four stars, almost by accident, collectively moseyed on in to the small Memphis recording studio that gave birth to their careers. Sun Records. The one-time gathering was real. It became history.

That event has been re-imagined and evoked by writers Colin Escott and Floyd Mutrux in Million Dollar Quartet. It’s fundamentally a showcase for a mighty fine bunch of songs although Sun Records producer Sam Phillips, personified by Christopher Ryan Grant, narrates background while telling his own part of the story. Most of the dialogue sounds fundamental, the acting of it sounding capable enough. But note: unlike so many other shows of the day, this one has no profanity, no nudity. You might think these rock stars were as innocent as the days they were born.

Those good old songs catchily, compellingly grab you, hold you, warm you, thanks to the talents on stage. Listen to Lee Ferris as Carl Perkins play the heck of that guitar. Watch Martin Kaye as sassy upcomer Jerry Lee Lewis delightfully pound and sound every note from every angle of the piano while his stomping feet nearly put holes into the floor. Hear Derek Keeling resonantly probe the down-to-earth lower notes as Johnny Cash. Watch Cody Slaughter make young Elvis a sincere, gentle soul who just happens to have knees that can’t help rocking and legs that can’t help stomping. And Chuck Zayas’ bass sturdily underpins the propulsion.

Great balls of fire, there’s a whole lot of great shaking going on.

Million Dollar Quartet is at Benedum Center through 6:30 pm Sunday November 6th. In the PNC Broadway Across America-Pittsburgh series : (412) 456-6666 or pgharts.org

Playlist: "Classics" Sunday 23rd October 2011

2011-10-24T12:22:00.000-07:00

"At Home with Screamin' Jay Hawkins" Epic LP LN 3448-"I Put Spell On You", "Hong Kong," "You Made Me Love You"
Leona Anderson: singer-"Music to Suffer By" RKO Unique LP 115-"Rats in My Room," "Limburger Lover"
Jonathan and Darlene Edwards, piano and vocal-"The Piano Artistry of Jonathan Edwards" Columbia LP CL 1024-"It's Magic," "Cocktails for Two," "Dizzy Fingers"Spike Jones and His City Slickers
"The Best of Spike Jones and His City Slickers" RCA LP LSP 3849-"My Old Flame," "Laura" w/Paul Frees, Paul Judson, Jimmy Cassidy
"Lenny Bruce: Interviews of Our Time" Fantasy LP 7001-"Enchanting Transylvania"
Jimmy Giuffre, clarinet-"The Jimmy Giuffre Clarinet" Atlantic LP 1238-"The Side Pipers" w/ Buddy Collette, Bud Shank, Harry Klee, flutes-Shelly Manne, drums
Henry Jacobs: producer/speaker-"The Weird World of Shorty Petterstein" World Pacific LP 412-"Telephone Therapy," "Drums In My Typewriter"
"Brecker Brothers-Out of the Loop" GRP GRD 9784-"When It Was" w/Michael Brecker, ts-Randy Brecker, tp-Dean Brown, Robbie Kilgore-Maz Kessler, kybds
Yusef Lateef-"The Centaur and the Phoenix" Riverside LP 337-"Iqbal" w/Richard Williams,tp-Curtis Fuller, tb-Yusef, oboe-Josea Taylor, bassoon-Joe Zawinul, piano
Ken Nordine-"Word Jazz" Dot LP DLP 3075-"Flibberty Jib," "Looks Like It's Going to Rain"
Pete Rugolo: composer-"The Original Music of 'Thriller" Time LP 52034-"The Guilty Men" Rugolo conducting
"The Complete Capitol Stan Kenton 1943-47"Mosaic 163-"This Is My Theme" (by Rugolo)w/June Christy, voc
"Burgess Meredith Reads Ray Bradbury" Prestige/Lively Arts LP 30004-"Marionettes Inc."
Wayne Shorter-"High Life" Verve 314 529 224-2-"Midnight in Carlotta's Hair" w/Shorter, saxes-Rachel Z,keyboards-David Gilmore, guitar
Weather Report-"Mr. Gone" Columbia LP JC 35358-"The Pursuit of the Woman With The Feathered Hat" w/Joe Zawinul, kybds-Wayne Shorter, ss-Manolo Badrena, voc
"The Films of Franz Waxman-The Bride of Frankenstein etc." Varese Sarabande LP 704.320-"The Bride of Frankenstein: Dance Macabre" w/The Queensland Symphony Orchestra-Richard Mills, conductor

Playlist: "The Best of Broadway" Sunday 23rd October 2011

2011-10-24T12:13:00.000-07:00

Andrew Lippa: music & lyrics-"The Addams Family" (original Broadway cast) Decca Broadway B00 14280-02-excerpts w/ Nathan Lane, Bebe Neuwirth, Kevin Chamberlin, Jackie Hoffman, Krysta Rodriguez, Adam Reigler, Carolee Carmello-Mary-Mitchell Campbell, music director
Mel Brooks: music & lyrics-"Young Frankenstein" (original Broadway cast) Decca Broadway B0001374-02-"Transylvania Mania" w/Christopher Fitzgerald, Roger Bart, Sutton Foster, Fred Applegate-John Miller, music director,
Hugh Martin and Timothy Gray: music & lyrics-"High Spirits" (original Broadway cast) MCA MACD 10767-excerpts w/Beatrice Lillie, Tammy Grimes, Edward Woodward, Louise Troy-Fred Werner, music director
John Bucchino: music & lyrics-"3hree" (original cast) drg 12992-“The Lavender Girl”: excerpts w/ Will Gartshore, Donna Lynne Champlin, Valerie Wright-Lawrence Yurman, music director

Theatre review: "Time Stands Still" @ City Theatre. Sunday 23rd October 2011

2011-10-24T09:06:00.000-07:00

City Theatre has started its new season with a remarkably well-written, well-developed thoroughly thought-provoking play. It’s Time Stands Still by Donald Margulies. He won a Pulitzer Prize for Dinner With Friends seen here in 2002 produced by Pittsburgh Public Theater. Both, intensely focused on just a few people, offer well-developed characters whose intelligent, articulate, natural dialogue goes beneath the surface, deep into what they feel. The totally convincing acting by the City Theatre cast and Tracey Brigden’s insightful direction make this throb on many intense levels, provoking you during the performance and after to ponder where it has all gone and why.

The primary focus is on a journalist-couple, Sarah, a photographer and James, a reporter. Both have looked closely into the bloody, shattered faces of war. And, at the core of their existence, lies the question of how, being so close to death, they can live with what they’ve seen and try to live with each other with their shared, haunted memories. They also share their feelings and thoughts with close friend and editor Richard and with Mandy, Richard’s much younger, less sophisticated girlfriend.

The relationship between Sarah and James evolves before your eyes while Mandy’s personality develops in new, surprising ways. Margulies writes far more than essential dialogue; the character development continually engages you, wondering what these people might do or say next and where they will go inside the play’s frame or outside in the rest of the world. Moreover, beneath what is seen and said, other lines of story-telling remain implied in just a few words, background you will not learn and need not learn but which fills in even more these thoroughly-developed portraits.

Time Stands Still goes into how such people as Sarah and James can deal with the horrible trauma they’ve witnessed and how they try to objectify the effect. That colors their lives not only away from the war zones but how they relate to life in their different other real world. In this respect Margulies perceptively has them rarely touch or never actually use the word “love," as if being too committed to anything emotional could shatter their well-constructed armor against what they have witnessed in other parts of the world gone mad.

Director Brigden subtly and meaningfully stages Sarah’s and James’ movements to underscore their fragmented connections. Don’t look for that or think about it. Let it stand there while, more important, you become engaged with the truthful passion and vulnerable reasonableness of Andrew May’s portrayal of James. Or watch the many levels of meaning in Angela Reed’s version of Sarah, getting you to know and feel how much goes on inside her which she need not say to make genuine.

Add to this Robin Abramson’s always believable, sweet take on Mandy, at first comic but later even more endearing. Tim McGeever’s Richard perfectly rounds out the ensemble.

Time Stands Still never stands still but moves in many directions, all of them masterful, all of them worth your time inside the theater and later outside while you ponder what Margulies tells us about real people.

It continues through November 6th at City Theatre 1300 Bingham Street on Pittsburgh’s South Side www.citytheatrecompany.org 412/ 431-4400

Playlist: "The Best of Broadway" Sunday 16th October 2011

2011-10-17T12:27:00.000-07:00

Jule Styne: music & Bob Hilliard: lyrics-"Hazel Flagg" (original Broadway cast) Sepia 1035-excerpts w/Jack Whiting, John Howard, Helen Gallagher, Dean Campbell, Benay Venuta-Pembroke Davenport, music director
Jule Styne: music & Sammy Cahn: lyrics-"High Button Shoes" (original Broadway cast)RCA/Camden LP CAL 457-excerpts w/Mark Dawson, Lois Lee, Nanette Fabray,Jack McCauley-Milton Rosentock, music director
JuleStyne: music & Leo Robin: lyrics-"Gentlemen Prefer Blondes" (original Broadway cast) Sony Broadway SK 48013-excerpts w/ Carol Channing, Jack McCauley, Yvonne Adair-Milton Rosenstock, music director
Jule Styne: music & Leo Robin: lyrics-"Gentlemen Prefer Blondes" (1995 Broadway/Goodspeed Opera cast) drg 94762-"A Ride on a Rainbow" w/George Dvorsk, Karen Prunzik-Andrew Wilder, music director

Playlist: "Classics" Sunday 16th October 2011

2011-10-17T12:20:00.000-07:00

Pierre Max Dubois: -"The Prism Quartet: Dubois/Levy/Singelee/Peck/Woods" Koch 3-7024-2-"Quatour Pour Saxophones" w/Prism
Toru Takemitsu: "Nexus Now" Nexus 10262-"Rain Tree" w/Nexus (percussion ensemble)
"Angel Dubeau & La Pieta' -Arvo Part, Portrait" Analetka AN 2 8731-"Wallfahrtslied(Pilgrim's Song)" w/La Pieta'-Angele Dubeau, leader plus (unidentified men's chorus)
Bohuslav Martinu-"Martinu-Orchestral Works-Conlon" Erato 3984-24238-2-"Tre Ricercari" w/Jean-Francois Heisser & Alain Planes,pianos-Orchestre National de France-James Conlon. conductor
Heitor Villa-Lobos-"Villa-Lobos String Quartets, Vol.6-Cuarteto Latinoamericano" Dorian DOR 93229-String Quartet No. 4 w/Cuarteto Latinoamericano
"Ernesto Halffter-Sonatina-Miriam Conti,piano" Koch KIC-CD-7751-"Sonatina" excerpts w/Miriam Conti, piano
Norbert Glanzberg:"Glanzberg: Holocaust Leider-Trekel/Klajner" MDG 901 1588-6-"Holocaust Lieder" excerpts w/Roman Trekel, baritone-Orchestre Symphonique de Mulhouse-Daniel Klajner, conductor

Theatre review: "Electra" at Pittsburgh Public Theater. Sunday, 9th October 2011

2011-10-15T10:21:00.000-07:00

Electra. She strides the stage. She commands your attention. Every word she says, every gesture she makes exudes passion. She’s played at Pittsburgh Public Theater by Catherine Eaton. But she does not stand alone. She is surrounded by a vibrant cast full of equal urgency, equal energy, equal depth. Ted Pappas has placed them there. Ted Pappas has them move with primal meaning, speaking forcefully, clearly, definitively in this powerful version of the Sophocles play. Frank McGuiness adapted it, tightening it into an intense microcosm, whose energy burns up not so many minutes as you’d think, watching the inexorable hands of the clock. But within that flame, within that frame, everything happens that needs to happen.

The timeless Greek tragedy seethes with meaning while evoking the ritual that gave it birth. Pappas’ staging makes it so.

Electra vows revenge on her mother Clytemnestra and on her step-father Aegisthus. They murdered Electra’s father Agamemnon. But Electra has no power in that man’s world and yearns for her brother Orestes to return and kill them. More than that you need not know now. All will be revealed under the intense lights of the stage.

The dialogue, spoken forcefully, tells it all. This cast knows how to speak the speeches. Pappas knows how to bring that out. Pappas knows how to move these people in James Noone’s starkly evocative setting. Zach Moore’s choices of music and sound underscore it all with equal fervor.

Lisa Harrow surges forth but for a few intense minutes, her Clytemnestra clearly a woman who can kill, clearly a woman who knows what she is doing. No weakness shows. She could stand toe to toe with this daughter.

But when Orestes returns Clytemnestra is no match. When Orestes returns Electra knows the joy of anticipation even if he wavers for a time. Michael Simpson perfectly makes clear those shadows of doubt. And when the brother and sister re-unite their love lights up the darkness.

Witness too Edward James Hyland’s compelling, dynamic version of Orestes’ servant.

Meanwhile, in the center, Eaton glows with fire.

Electra. The classic lives.

It continues through October 30th at Pittsburgh Public Theater. 412/316-1600 or ppt.org

Theatre review: "The End of the Affair" from Quantum Theatre-Sunday 16th October 2011

2011-10-14T15:03:00.000-07:00

Graham Greene’s novel,The End of the Affair, a somewhat personal exploration of romantic liasons in London during World War II, has been admired so much that it has been transformed into two films and an opera. Quantum Theatre’s Karla Boos has turned it into a play and it is currently world-premiering.

The underlying story seems simple enough. Writer Maurice Bendrix and Sarah Miles, the wife of civil servant Henry Miles, fall in love and struggle to sort out their lives together and separately, ruminating on their feelings. With Bendrix frequently narrating, Boos encapsulates the story with just three actors in 90 minutes. One can appreciate such modest dimensions given the elemental premise. But her script lacks an essential: clarifying the various years in which things take place. They do not occur sequentially and time is frequently crossed. The program book also does not specify. Director Martin Giles could have helped audiences in that regard. He also failed to provide such essential information when staging Quantum’s production of When The Rain Stops Falling.

His excellent cast convincingly delivers all of the speeches in a sturdy pace and in intelligible accents, while, occasionally, a few vivid displays of feeling emerge. In what most looks like a case-study of emotionally constrained English people amid the dreariness of their time and place, who can readily identify with them or care about them? Not I, for one.

These aliens, conversing in civilized ways in language much like our own, dressed in drab clothes, regularly got soaked in dirty rain and ate ugly food. Certainly they also heroically endured the ravages of incessant deadly bombings and must be admired and respected for their resilience. But this play only deals with that part of their lives once. Death and destruction regularly rained from the skies tearing apart their beloved city. Yet Maurice and Sarah initially don’t even discuss it as a moderate inconvenience, until he is injured and feared dead. Which is the crux of how the affair ends. You’d think such constant danger would have intensified their initial need for love and tenderness, yet that significant, meaningful theme remains undeveloped.

Maurice, whose self-reflections become the dominant element of this version of The End of the Affair, often speaks of passion, of love and hate as if from the outside, describing feelings as abstractions, rather than being moved by them. Sarah also discourses objectively about her own behavior. Both occasionally get emotional but, more often, in their self-analyzing ways, remain as remote as their period and their culture.

Tony Bingham’s performance as Maurice reminds me of Dana Andrews uni-dimensional leading man roles in 1940s movies. A handsome face delivering lines capably but with nothing much behind them. A shadow in a world of black and white. Bingham, often a colorful actor, here sounds as if attempting to be so English that his own personality has been submerged in the gloom. Gayle Pazerski’s take on Sarah just as much lacks specific personality, despite obvious physical fragility. Neither comes across enough as special or distinct, as if Giles worked hard to make them authentic instead of having them get inside themselves and inside deeper feelings. And yet, James Fitzgerald, as the husband Henry, succeeds in the deliberately right look of a genuinely boring person, whose insecurities make him real and sad.

Giles or Karla Boos in her script call for total frontal nudity several times. You can certainly see that it makes the lovers seem vulnerable and human. Moreover Giles insightfully has them, in their oh-so-English way, carefully undress in an orderly manner never uncontrollably leaping onto the bed and onto each other. These surfaces work well as do the intentionally shabby details of Tony Ferrieri’s sets.

The performances, appropriately, take place in drab surroundings, within a back room of the former Emma Kaufmann Clinic of Pittsburgh’s Polish Hill. The address is 3028 Brereton Street. But you could find yourself confused since that address is the closed front of the building and the performances are at the back, one block away on one-lane Phalen Street on which there is no parking. You may need extra time to get oriented and to walk the distance. Directions are at Quantum’s website: quantumtheatre.com.

Performances of The End of the Affair continue through October 30th. Tickets are at Showclix: 1-888-71 TICKETS of 1-888-718 4253.

Playlist: "Classics" Sunday 9th October 2011

2011-10-09T17:19:00.001-07:00

All the music is by Miklos Rosza
"Ben Hur" (film score) Turner Classic Movies R2 72197-excerpts w/Rozsa conducting MGM Studio Orchestra
"Rozsa: Music for Violin and Piano" Naxos 8.570190-Duo for Violin and Piano Op. 7 w/Philippe Quint, violin-William Wolfram, piano
"The Royal Philharmonic Orchestra-Miklos Rozsa Conducts His Great Film Music" DGG LP 2584 013-"The Thief of Baghdad: A Short Suite” : parts w/Rozsa conducting The Royal Philharmonic Orchestra
"Rosza: Kipling's Jungle Book Suite-The Thief of Bagdad (sic) Suite" RCA LP LM 2118-"The Thief of Bagdad" (sic) excerpt w/Leo Genn, narrator-The Frankenland State Symphony Orchestra-Rozsa, conductor
"Spellbound and other Classic Film Scores -Gerhardt-National Philharmonic Orchestra" RCA ARL1-0911-"The Thief of Baghdad" : "The Love of the Princess"- w/Gerhardt, National Philharmonic
"Spellbound and other Classic Film Scores -Gerhardt-National Philharmonic Orchestra" RCA ARL1-0911-"The Jungle Book: "Song of the Jungle" w/Gerhardt, National Philharmonic and Ambrosian Singers
"Spellbound and other Classic Film Scores -Gerhardt-National Philharmonic Orchestra" RCA ARL1-0911-"Spellbound: The Dream Sequence-The Mountain Lodge" w/Gerhardt, National Philharmonic
"Miklos Rozsa-El Cid-Ben Hur-King of Kings" Varese Sarabande VCD 47268-"El Cid": Overture w/The Hamburg Concert Orchestra-Richard Muller-Lampertz, conductor
"Rozsa: String Quartets/Sonata-The Flesch Quartet"- ASV DCA 1105-String Quartet No. 2, Op. 38: 1st and 4th movements w/The Flesch Quartet
"Rozsa: Violin Concerto-Sinfonia Concertante" Naxos 8.570350-Sinfonia Concertante:"Theme and Variations" w/Anastasia Khitruk, violin-Andrey Tchekmazov, cello-Russian Philharmonic Orchestra-Dmitry Yablonsky, conductor

Playlist-"The Best of Broadway" Sunday 9th October 2011

2011-10-09T17:12:00.000-07:00

Maury Yeston: music and lyrics
"Death Takes A Holiday" (original off-Broadway cast) ps classics PS 1104-excerpts w/ Simon Jones, Jill Paice, Kevin Early, Michael Siberry, Rebecca Luker, Mara Davi, Alexandra Socha, Jay Jaski, Max von Essen-Kevin Stites, music director
"Nine" (original Broadway cast) Columbia/Sony Classical/Legacy AS2K 86858-"Overture delle donne-Spa Music-Not Since Chaplin” -w/Raul Julia, Karen Akers, Anita Morris, Shelly Burch, Taina Elg, Liliane Montevecchi-Wally Harper, music director
"Nine" (2003 Broadway cast) ps classics PS 312-"The Bells of St. Sebastian" w/Antonio Banderas, William Ulrich-Kevin Stites, music director

Theatre review: "Shaken and Stirred" at Off the Wall Productions-Sunday 9th October 2011

2011-10-09T17:03:00.000-07:00

I’ve no doubt that you will be stirred by the performances and by the stories of Shaken and Stirred, written by Virginia Wall Gruenert and produced by her own company Washington PA’s Off the Wall Productions.

As the title certainly suggests, this has to do with drinking. Serious drinking. Alcoholism, in fact. That’s hardly a rare subject for drama, being depicted in many famous movies, but less often dealt with on stage. It is a theme clearly running through stage works, such as many Irish plays or the work of Irish-American Eugene O’Neill. O’Neill in particular explored the effect of drunkenness on families. Wall-Gruenert’s play also deals with families but goes in many meaningful, insightful and unpredictable directions, effortlessly blending interconnected themes in ways neither polemic nor melodramatic. The result left a deep, thoughtful, strong impression long after I’d departed the theater, especially since I have just been watching Ken Burns’ TV series about Prohibition.

Likewise leaving a strong impression: the phenomenal acting of Erica Cuenca and Karen Baum. These two have become regulars at Off the Wall and director Robyne Parrish could not have made a better choice than to cast them in the two principal roles. Cuenca’s natural, truthful playing comes suffused with internal beauty which makes her every moment on stage alive with meaning, from portraying a pre-teen to a maturing college girl. Watching her, for example, at one end of a phone conversation would be instructive for any actor. And Baum gives an amazingly disturbing, convincingly sorrowful performance evolving into another kind of sweet beauty.

Shaken and Stirred essentially probes the lives of two young women, Harley played by Baum and Happy, interpreted by Cuenca. Harley, raped in her teens, has become a stumbling, wanton bar girl and unwed mother, yearning as much for the daughter taken away from her as for any kind of bottle with which to nurse her addiction. By contrast, Happy has intelligent, perceptive control of her life, despite a father so perpetually drunk as to be mentally and emotionally absent even while at home.

Wall-Gruenert’s one-act 75 minute play also dwells on a woman named Roz, swiftly but thoroughly drawn, and whose life outside the bottle is as unpredictable and original as other developments in the script. Wall-Gruenert plays that role herself with the same kind of unforced truthfulness that director Parrish has capably evoked from the other women.

Oddly, though, there is one scene which goes into an incongruous non-realistic fantasy, a quiz show called “Name That Belief System,” which sidetracks the otherwise believable essence of the play. Continuing to ponder it, I still don’t get the point. Deleting it certainly would make the play about 10 minutes shorter, but since the rest never drags and always remains engaging, the question of minutes seems irrelevant; you won’t think about how long or how short this is, but rather about how much it says in whatever time it takes.

FYI: speaking of time, you may find, as I did, that driving from Pittsburgh to Washington, PA along Interstate 79 will not move swiftly. Construction projects narrowed a long stretch into one lane for several miles. I found the trip worth it.

Shaken and Stirred continues through October 22nd at Off The Wall Productions 147 N.Main Street, Washington, PA Tickets through www.proartstickets.org at 12/ 394-3353 or at www.insideoffthewall.com; phone: 724/873-3576

Playlist:"Classics" Sunday 2nd October 2011

2011-10-03T19:40:00.000-07:00

Erich Wolfgang Korngold-"Santa Fe Chamber Music Festival" Koch 3-7532-2 III-Quintet in E major....Op. 15 w/ Arnold Steinhardt, Benny Kim, violins-Kirsten Johnson, viola-Eric Kim, cello-Cecile Licad, piano
"Violanta" CBS Masterworks MK 79229-(Complete)w/Walter Berry,bar.- Eva Marton,sop.- Siegfried Jeruselem,ten- Horst Laubenthal, Gertraut Stoklassa, Ruth Hesse, Manfred Schmidt, Heinrich Weber, Paul Hansen, Karin Hautermann-Munich Rundfunk Choir & Orchestra-Marek Janowski,conductor
"Erich Wolfgang Korngold: Orchestral Works3-W.A. Albert" cpo 999 077-2-"Symphonic Serenade: Intermezzo" w/ Nordwestdeutsche Philharmonie-Werner Andreas Albert, conductor

Playlist: "The Best of Broadway" Sunday 2nd October 2011

2011-10-03T19:34:00.000-07:00

Cole Porter: music and lyrics-"Anything Goes" (2011 Broadway cast) Ghostlight 8-4452-excerpts w/Sutton Foster, Colin Donnell, Laura Osnes, Joel Grey, Jessica Stone-James Lowe, music director
"Fifty Million Frenchmen" (1991 studio cast) New World Records 80417-2-excerpts w/Jason Graae, Susan Powell, Karen Ziemba-James Sinclair, music director

Theatre review: "Lost Boy in Whole Foods" at Point Park Rep Sunday 2nd October 2011

2011-10-02T09:42:00.001-07:00

Pittsburgh’s Tammy Ryan has come up with another highly original, provocative and evocative play and The Rep at Pittsburgh Playhouse makes it vividly alive thanks to director Sheila McKenna and a cast full of talent. The title is Lost Boy Found in Whole Foods which may sound as if suggesting something jocular or whimsical. But actually this is deeply serious and straightforward, far less quirky than A Confluence of Dreaming which The Rep staged in June of last year, that play full of symbolisms but deep with meaning. This 2010 work seems most to be storytelling but, within it, significant themes come forward.

Ryan here says much about a subject most of us have only slight knowledge, Sudan’s second civil war which preceded the genocide in Darfur. But this is not really a history lesson because the widespread brutality, deaths, terror-stricken migrations and escapes to refugee camps have gone on over and over in many parts of Africa and elsewhere in the world. Moreover, although Pittsburgh is the setting for the play, this too could take place elsewhere. Thus, fundamentally, Ryan deals with the vast divide between our own affluent culture and the struggle to survive in far-away third world societies. But Ryan does not lay a guilt trip on us, more into revelations than accusations. Less obvious, beneath the surface, she deals with the communality of family ties and with senses of self. She has created fine, thorough character development along with sincere and natural dialogue which speaks eloquently but directly. The result becomes a remarkable experience, given that she has gone deep into portraying the beliefs and rituals of a culture alien to average Americans.

Well-off single mother Christine encounters a young man named Gabriel working at Whole Foods. He is a refugee from Sudan and has found church and government- sponsored asylum in the U.S. She is drawn to him by his vulnerable charm and seeming joy in life, despite the hardships he has endured. She takes him into her home to share it with her rebellious, spoiled daughter Alexandria. Also in the story is Gabriel’s seemingly menacing older Sudanese tribal companion Panther. Christine wants to do all she can to help and support Gabriel. Eventually, Alexandria does too.

With Lost Boy in Whole Foods you can read internal meanings about the contrasts between Christine’s home life with Alexandria and the home life Gabriel had to flee. But Ryan does not seem to be a polemicist. She also gets engaged in telling us of the intricacies of practical complications behind making compassion turn into meaningful action and of the unpredictability of human nature which is neither black nor white. We witness the strong feelings of the characters, but from outside. Although intellectually understanding these people and what they represent, I didn’t find myself emotionally connected.

I was continually impressed with the sincere, totally believable and natural acting of the cast and how McKenna got it all to look effortless with pacing that never seemed forced or rushed or overly pointed. Everyone makes the dialogue totally real.

Laurie Klatscher gives a fine portrayal of Christine making her innocent and warm. Point Park junior David Anthony Berry’s Gabriel stays constantly appealing and truthful and his darker moments become equally genuine. I did find it hard to understand many words he said, given his convincing Sudanese accent which, nonetheless, did not detract from understanding the character. Point Park faculty member Ben Blazer also contributes solid substance to the role of Michael Dolan, an ex- Catholic Charities staff member involved in aiding Gabriel and Panther.

Steve Shapiro’s sound design stays compelling, at times intensely tribal, but appropriately becoming more American black contemporary to dovetail with looming events within the story.

Ryan and The Rep have much to tell us and they tell us extraordinarily well.

Lost Boy Found in Whole Foods continues through Sunday, Oct. 16 at Point Park University’s Pittsburgh Playhouse Studio Theater. 412/ 392-8000 or www.pittsburghplayhouse.com.

Playlist: "Classics" Sunday 11th September 2011

2011-09-12T09:38:00.000-07:00

"Ned Rorem: Flute Concerto-Violin Concerto" Naxos 8.559278-Flute Concerto w/Jeffrey Khaner, flute-Royal Liverpool Philharmonic Orchestra-Jose Serebrier, conductor
"Elliott Miles McKinley-String Quartets" Navona NV 5855-String Quartet No. 4 w/Martinu Quartet
Jonathan Leshnoff-"Leshnoff: Forgoten Chants and Refrains" Naxos 8.559670-"Symphony No. 1 -Forgotten Chants and Refrains" w/IRIS Orchestra-Michael Stern, director
James Adler-"Sculpting The Air-Modern Works for Wind Instruments" Navona NV 5852-"Reverie, Interrupted" w/Adler, piano-Jordan P. Smith, tenor saxophone
"Ingram Marshall-September Canons" New World Records 80704-2-"September Canons" w/Todd Reynolds, violin w/electronic processing
William Schuman-"The Pulitzer Project" Cedille CDR 90000 125-"A Free Song: Part 1"Look Down, Fair Moon" w/Ryan J. Cox, baritone-Grant Park Orchestra & Chorus-Carlos Kalmar, conductor

"The Best of Broadway" Sunday 11th September 2011

2011-09-12T09:34:00.001-07:00

Stephen Flaherty: music & Lynn Ahrens: lyrics "Ragtime" (original Broadway cast) RCA 09026 63167-2 excerpts w/Marin Mazzie, Mark Jacoby, Peter Friedman, Brian Stokes Mitchell, Larry Daggett, Audra McDonald, Steven Sutcliffe-David Loud, music director

Theatre review: "Race" from Pittsburgh Irish and Classical Theatre.Sunday 11th September 2011

2011-09-11T17:34:00.000-07:00

David Mamet’s exercise in black and white, called Race, surges with all kinds of color and intensity as produced by Pittsburgh Irish and Classical Theatre. Given that it’s only been around for two years it seems a little early to call it a classic. But, in Mamet’s comments about it, reprinted in the excellent program book, he does call attention to the essence of classic tragedies as if some kind of inspiration.

This cast, superbly paced by director Andrew Paul, dynamically makes clear the broad, shimmering palette of Mamet’s provocative ideas.

I call it an exercise in black and white not just because, obviously, it deals with race, but with the questionable absolutes of truth and justice and, in this case, one major part of the American way. Mamet’s recurring theme concerns guilt and shame. I won’t go into what he means or why; that and much more of what he has to say become the fascinating reason for being there.

This revolves around a wealthy white man, Charles Stickland, who is accused of raping a black woman. Strickland comes to Jack Lawson and Henry Brown’s law firm hoping to have them defend him. As the play spirals and twists back and forth, Lawson, who is white and Brown, who is black, at first debate whether or not they should take the case. They also have the assistance and input of recently hired Susan. She’s black. As the play progresses her relationship with Lawson also emerges.

Fundamentally this 90 minute version of Mamet’s Race, evidently tightened compared to the two acts on Broadway, vibrates with conceptions and pre-conceptions rather than with definitions of characters. Strickland, the accused rapist, is the only person clearly defined beyond the confines of the sweaty but spartan office walls. Michael Fuller’s convincing performance makes him look vulnerable and innocent, but lacks the shadings which would seem to go with such a man of privilege and affluence. Meanwhile as the lawyers, John DeMita’s Lawson seethes with the appropriate fervor of a man with a passion for verbal combat while Alan Bomar Jones’ take on Henry Brown comes across with sturdy humor and winning personality. Caisha Felt plays Susan totally right, as a woman with attitude.

You may find some analogy here with the more recent Dominic Strauss- Kahn case, especially since part of the developments concern questionable testimony by an immigrant chamber maid. But the play was written before that case surfaced.

This reminder, should you need it, as usual, Mamet’s language is peppered with expletives. But they and all the other words serve a more intense purpose: to get us to ponder those thorny aspects of our society which still color our perceptions and our behavior concerning race.

Race continues through October 1st in the Henry Heymann Theatre in Oakland’s Stephen Foster Memorial. Tickets and info at ProArtsTickets at 412/394 -3353 or www.picttheatre.org

Theatre review: "Wicked" at Benedum Center, Sunday, 11th September, 2011

2011-09-10T08:33:00.000-07:00

Once again, a traveling version of Wicked has landed in Pittsburgh. You can bet that seats will be packed throughout its flight, even though this hit has been running for nearly eight years on Broadway. Surely people are drawn to it more than once, like re-visiting a beloved movie. In this case, as you probably know, this musical is a spin-off of a movie version of The Wizard of Oz. Not L. Frank Baum’s book really, but rather the enduring, classic 1939 film derived from it. And, although Wicked is said to be based on Gregory Maguire’s novel of that name, the sung and danced version of it is only a shadow of its source. In fact it looks as if Winnie Holtzman’s book tries to exploit familiarity by constantly throwing in references to the movie as do some of director Joe Mantello’s effects. Nonetheless both keep the frequently comic spirit alive during the first parts.

Some of Maguire’s most original ideas clearly come through, derived from his back-story about the Wicked Witch of the West, whom Maguire named Elphaba. And when you get to witness that imaginatively conceived story, swiftly sketched-in to make room for so many peripheral songs and production numbers, you get glimpses of satirical edges about animal rights, racism and fascism. Thus, this take on what Maguire created remains interesting and colorful amid the unrelenting sparkle and flash of making everything look dynamic.

But Steven Schwartz’s generally utilitarian, uninteresting and predictable music, spiced up with a few clever lyrics, take up too much time and space. This could have made such an interesting play. Would people buy tickets for such as that? Probably. But if you want to mount a theatrical spectacle aiming for really big bucks you have to have songs.

Anyway, this production of Wicked looks great with cleverly-styled costumes and sets to suggest another off-center time and place, decorated with some very good special effects. And everyone sings with style and verve, meaning, in this case, the leads belting out their numbers in the predictable stand-and-deliver, crowd-provoking style so common to recent musicals, short on meaningful melody, long on volume. Anne Brummel does everything right as Elphaba and Natalie Daradich plays all of Glinda’s bubble-headedness with good, big comic touches. On the other hand, they don’t really evoke much specific and interesting character. I also don’t find Don Amendola’s version of the Wizard to have any interesting qualities, as if he’s walking through the part. Come to think of it, most of the performances of other specific roles, although polished, came across as likewise generic.

I was surprised too by a very chintzy effect towards the end when Dorothy, an incidental character, is portrayed in a slapped-together shadow show throwing an empty bucket of water on Elphaba. With all the money this show costs to mount, you’d think that the producers could have had some member of the chorus do this on the stage front with real water.

But my throwing cold water on this production probably doesn’t matter to anyone interested in the show. And it does have such an imaginative premise. So, even if this performance seems to be taking itself for granted, it still looks and sounds good.

Wicked is at Benedum Center through October 2nd in the PNC Broadway Across America-Pittsburgh series : 412/-471-1390 or wicked.pgharts.org.

Playlist: "The Best of Broadway" Sunday 4th September 2011

2011-09-05T12:07:00.000-07:00

Michael John LaChiusa: words and music-"See What I Wanna See" (original off-Broadway cast) Ghostlight 7915584408-2-excerpts w/Henry Stram, Aaron Lohr, Idina Menzel, March Kudisch, Mary Testa-Chris Fenwick, music director
Burt Bacharach: music & Hal David:lyrics-"Promises, Promises" (2010 Broadway cast) Sony Masterworks Broadway 88697 73495-2-excerpts w/Kristin Chenoweth, Sean Hayes, Tony Goldwyn-Phil Reno, music director

Playlist: "Classics" Sunday 4th September 2011

2011-09-05T11:58:00.000-07:00

The Modern Jazz Quartet-"the modern jazz quartet-a celebration" (right. no caps) Atlantic 82538-2-"Indiana" w/Illinois Jacquet, ts-Harry "Sweets" Edison, tp MJQ: John Lewis,p-Milt Jackson,vibes-Percy Heath,b-Mickey Roker,dms
Count Basie-The Golden Years" Pablo 4PACD 4419-2-"Doubling Blues" w/Count, p & org-Sweets, J J Johnson,tb-Eddie "Lockjaw" Davis & Zoot Sims,ts-Irving Ashby,g
Billy Taylor & Gerry Mulligan-Live at MCG- MCG Jazz MCGJ 1025-"Come Sunday" w/Taylor, p-Mulligan, bs
A Buck Clayton Jam Session-"How Hi The Fi-A Buck Clayton Jam Session" CBS LP CL 567-"Moten Swing" w/Lem Davis, as-Benny Powell & Urbie Green, tbs-Joe Newman, Buck Clayton, tps-Julian Dash, ts. Sir Charles Thompson,p
Jam Miami-"Jam Miami-A Celebration of Latin Jazz" Concord CCD 4899-2-"Ican" w/Chick Corea, kybd-Arturo Sandoval,tp-Ed Calle, ts-Steve Turre,tb-Poncho Sanchez,congas
The All-Stars-"The All Stars at Bob Haggart's 80th Birthday Party" Arbors ARCD 19265-"Blue Turning Grey Over You" w/Rick Fay, voc-Randy Sandke,tp-George Masso, tb-Kenny Davern,cl-Derek Smith, p-Bucky Pizzarelli,g-Jack Lesberg,b
George French, Germains Bazzle, Johnny Adams-"The New Orleans C.A.C. Jazz Orchestra-Mood Indigo" Rounder 2145-"Mood Indigo"/"Every Day"/"Stormy Monday"/ "Not Trustworthy" w/French, Bazzle, Adams, voc-John Touchy,tb-Mark Mullins,tb-Willie Singleton, tp-Ed Peterson,ts-Peter Martin, p
Norman Granz Jam Session-"Norman Granz Jam Session-The Charlie Parker Sides' Verve LP VE 2 2508-"Funky Blues" w/ Johnny Hodges, Charlie Parker, Benny Carter, as-Oscar Peterson, p-Barney Kessel, g-Charlie Shavers,tp-Flip Phillips, Ben Webster, ts
Dizzy Gillespie All-Star Alumni Band-"The Dizzy Gillespie All-Star Alumni Big Band-Things To Come" MCG MCGJ 1009-"A Night in Tunisia" w/Jon Faddis, Terrell Stafford, Greg Gisbert, Claudio Roditi, tps-Slide Hampton, tb-John Lee, b
Jazz At the Philharmonic 1949-'Norman Granz' J. A.T.P.-Carnegie Hall 1949" Pablo PACD 5311-2-"Sophisticated Lady"/ "Stuffy" w/Coleman Hawkins, ts-Fats Navarro,tp-Hank Jones.p-Ray Brown, b-Shelly Manne,dms

Theatre review: "The Merry Wives of Windsor" from Pittsburgh Shakespeare in the Parks-Sunday 4th September

2011-09-03T14:58:00.000-07:00

Pittsburgh Shakespeare in the Parks offers a lively take on the comedy The Merry Wives of Windsor. The cast kept it amazingly energetic despite the intense heat and a few heavy -looking costumes at the Saturday afternoon opening in Frick Park. Director Tommy Costello has had his actors project everything clearly while getting the basic sense of most of the lines. Sometimes, though, they milked the words instead of allowing them to flow naturally plus a few mugged too often as if in some kind of 19th century vaudeville show instead of in an actual play. While no one came across with an interesting and specific characterization, everyone made clear the elements of the story in broad, comic spirit.

Aging, overweight, self-important Falstaff is very short on money and decides that he will court two wealthy married women, Mistress Ford and Mistress Page. Meanwhile three different men are trying to win the hand of Page's daughter. The husbands learn of Falstaff’s plan and the wives agree to have fun with Falstaff by making him more of a fool than he is already.

You could learn more about the plot; Alan Irvine gives a verbal synopsis before each performance plus the program book gives all the details.

Costello has cast Joanna Getting as Falstaff and her performance stays loud and boisterous rather than specific, the most vaudevillian of all, nearly a clown act. Among the more interesting choices Jorgè Azcàrate triples in three roles which he gives clear and separate definition. And as another two characters, Adam Huff makes them nearly credible. Several other women also play men’s roles without going overboard to mimic masculinity. Characteristic of semi or non professional actors, child-like, many threw away important words at the ends of sentences, as if periods require downward inflections.

Cellist Rachel Smith adds musical color, which, unfortunately, at times competes with dialogue delivered a few feet away from her.

Costello has everyone walking through and sometime directly playing to the randomly seated audience, a friendly way to make the experience as down to earth as the story.

This reminder: you choose your own seating, meaning you might want to bring a folding chair or at least a blanket for sitting on the grass.

The free performances of The Merry Wives of Windsor are all at 2pm. The next are September 10th and 11th at West Park at Allegheny Commons, on West North Ave & Brighton Road, on the North Side

Those September 17th and 18th are in Arsenal Park , 39th and Butler St , Lawrenceville

And September 24th and 25th they return to Frick Park at Beechwood Blvd. and Nicholson St in Squirrel Hill.

Info at www.pittsburghshakespeare.com

Playlist: "Classics" Sunday 28th August 2011

2011-08-29T09:24:00.000-07:00

Jennifer Higdon-Summer Shimmers" Koch KIC 7738-"Summer Shimmers" (correct) w/Susan Glaser, flute-Stephen Taylor, oboe-Todd Palmer, clarinet-Marc Goldberg, bassoon-Joseph Anderer, horn-John Novacek,piano
Stephen Barber-Astral Vinyl" Navona NV 5850-"Conversatio Morum-Movement 1" w/American Repertory Ensemble
Stephen Barber-Astral Vinyl" Navona NV 5850-"Elvis and Annabelle-Movement 1" w/The Boiler Makers
Numinous/Joseph C. Phillips Jr.-Vipassana" innova 720-"The Nothingness That is the Source of Everything" w/Julie Hardy, singer-Dan Willis, flute-Skye Steele, violin-"Numinous", Joseph C. Phillips Jr. conductor
David Diamond-"Diamond-Symphonies 2 & 4-Concerto for Small Orchestra" Delos DE 3093-Symphony No. 4 w/Seattle Symphony-Gerard Schwarz, conductor
Richard Crosby-"Sculpting The Air-Modern Works for Wind Instruments" Navona NV 5852-Sonata for Trombone and Piano Op.1-w/Ken Haddix, trombone-Crosby, piano
Ned Rothenberg-Quintet for Clarinet and Strings" Tzadik 12 8073-"Terrace and Fold" w/Rothenberg, clarinet & Mivos Quartet
Marc Neikrug-"Neikrug: Violin Concerto-Pinchas Zukerman, violin" Koch KIC 7671-Violin Concerto: "=60" w/Zukerman, violin-Hessischer Rundfunk Orchestra-Neikrug, conductor
Eternal Evolution-Judith Lang Zaimont" Navona NV 5846-"Serenade" w/Melissa White,violin-Paul Wiancko. cello-Awadagin Pratt, piano

Playlist :"The Best of Broadway" Sunday 28th August 2011

2011-08-29T09:22:00.000-07:00

Vincent Youmans: music w/ Irving Caesar & Otto Harbach: lyrics-"No, No Nanette" (1971 Broadway cast) Sony Classical-Columbia/Legacy SK 60890-excerpts w/Bobby Van, Helen Gallagher, Roger Rothburn, Ruby Keeler-Buster Davis, music director
John Kander: music & Fred Ebb: lyrics-"Steel Pier" (original Broadway cast) RCA 09026-68878-2-excerpts w/ Karen Ziemba, Daniel McDonald, Gregory Harrison, Mary Illes, Rosa Curry, Sarah Solie Shannon-David Loud, music director

(Delayed) Playlist: "The Best of Broadway" Sunday 7th August 2011

2011-08-16T09:33:00.001-07:00

Frank Loesser: music & lyrics-"Where's Charley?" (1958 London cast) EMI/Angel ZDM 7243 5 65071 2 8-excerpts w/Norman Wisdom, Pip Hinton, Terence Cooper, Pamela Gale-Michael Collins, music director
Leslie Bricusse & Anthony Newley: music & lyrics-"The Roar of the Greasepaint, The Smell of the Crowd" (original Broadway cast) RCA 60351-2-RG-excerpts w/Cyril Ritchard, Anthony Newley, Joyce Jillson-Herbert Grossman, music director
Leslie Bricusse & Anthony Newley: music & lyrics-"Stop The World, I Want To Get Off" (original London cast) London/Deram 820 958-2-excerpts w/Newley-Ian Fraser, music director

(Delayed) Playlist:"Classics" Sunday 7th August 2011

2011-08-16T09:17:00.000-07:00

These are all movie scores

James Newton Howard: composer "Water for Elephants" (movie score) Sony 88697782662 excerpts w/ Pete Anthony conducting
Henry Mancini: composer "Hatari!-Henry Mancini and His Orchestra" RCA LP LSP 2559 RE "The Sounds of Hatari" w/Mancini conducting
Jerome Moross: composer "The Big Country" (film score) Silva Screen FILMCD 030 excerpts w/The Philharmonia Orchestra-Tony Bremner, conductor
Victor Young: composer "Shane- A Tribute to Victor Young-New Zealand Symphony Orchestra-Richard Kaufman" Koch 3-7365-2-H1 "Samson and Delilah": excerpts w/New Zealand Symphony Orchestra-Richard Kaufman, conductor
Rachel Portman: composer "Snow Flower and The Secret Fan-Original Motion Picture Soundtrack" Sony 88697904852 excerpts w/David Snell, conductor
Franz Waxman: composer "The Spirit of St. Louis" (film score) RCA LP LPM 1472 excerpts w/ Waxman, conducting
Franz Waxman: composer "Sunset Boulevard-The Classic Film Scores of Franz Waxman" RCA Red Seal/Sony 88697 81265-2 "Old Acquaintance": "Elegy for Strings" -National Philharmonic Orchestra-Charles Gerhardt, conductor
Franz Waxman: composer "Classic Films Scores for Bette Davis" RCA Red Seal/Sony 8869781272-2 "Mr. Skeffington": "Forsaken" w/National Philharmonic & Gerhardt
Max Steiner: composer "Classic Film Scores for Bette Davis" RCA Red Seal/Sony 8869781272-2 "In This Our Life:excerpts-"Now Voyager": "It Can't Be Wrong"-"Jezebel": Waltz-"Beyond the Forest": excerpts-w/National Philharmonic-Gerhardt

Playlist: "Classics" Sunday 14th August 2011

2011-08-14T17:44:00.000-07:00

Phillippe Gaubert-"Fantaisie-Mathieu Dufour" Cedille CDR 90000 121-"Fantaisie" w/Mathieu Dufour, flute and Kuang-Hao Huang, piano
Albert Roussel-"Roussel/Symphonies 1 & 3-Ch. Dutoit" Erato ECD88225-Symphony No. 3 opus 42, in g minor w/Orchestre National de France-Charles Dutoit, conductor
Florent Schmitt-"Schmitt: Piano Quintet" Naxos 8.570489-"A Tour d'anches" Op. 97 w/Birgitta Wollenweber, piano-Matthias Backer, oboe-Richard Obermayer, clarinet-Frank Forst, bassoon
Arthur Honegger-"Interwar Duets-Olivier Thouin & Yegor Dyachkov" Analetka AN 2 9971-"Sonatine pour violon et violoncello" H. 80 w/Olivier Thouin, violin & Yegor Dyachkov, cello
Olivier Messiaen-"Messiaen: L'Ascension/ Saint-Saens: Symphony No. 3" DGG 435 854-2-"L'Ascension" w/Orchestre de l'Opera Bastille-Myung-Whun Chung, conductor
Claude Debussy-"Debussy: Melodies-Dietrich Fischer-Dieskau" Claves 50-8809-"Beau Soir"/"Le Jet d'Eau" w/ Dietrich Fischer -Dieskau, baritone & Hartmut Holl, piano

Playlist: "The Best of Broadway" Sunday 14th August 2011

2011-08-14T17:42:00.000-07:00

Jelly Roll Morton: music & Susan Birkenhead: lyrics-"Jelly's Last Jam" (original Broadway cast) Mercury/Polygram 314 510 846-2-excerpts w/Mamie Duncan-Gibbs, Stephanie Pope, Allison Williams, Mary Bond Davis, Ruben Santiago-Hudson, Gregory Hines, Keith David-Linda Twine, music director
Bob Crewe, Kenny Nolan, Bob Gaudio, Peggy Farina, L. Russell Brown, Raymond Bloodworth, Doug Flett, Gary Fletcher: music & lyrics-"The Jersey Boys" (original Broadway cast) Rhino R2 73271-excerpts w/John Lloyd Young, Daniel Reichard, Christian Hoff, J. Robert Spencer, Jennifer Naimo-Ron Melrose, music director
Jule Styne: music & Bob Merrill: lyrics-"Funny Girl" (original Broadway cast) Broadway Angel D 100362-excerpts w/ Jean Stapleton, Kay Medford, Danny Meehan, Sydney Chaplin, Barbra Streisand-Milton Rosenstock, music director

Theatre review: "The Importance of Being Earnest" from Pittsburgh Irish and Classical Theatre-Sunday 7th August 2011

2011-08-07T14:32:00.000-07:00

I’ve never had as much fun and found so much delight in Oscar Wilde’s The Importance of Being Earnest as I had experiencing director Conall Morrison’s version produced by Pittsburgh Irish and Classical Theatre. And I’ve seen it many times before.

Morrison originally created this for Dublin, Ireland’s Abbey Theatre where actor Alan Stanford has performed the same role he interprets here. Adding to the special nature of the offering, the remarkable set also has been brought across the Atlantic.

It works so well because Morrison has found ways to make the Pittsburgh cast get the most out of its comic possibilities, full of constant vitality and broad playing rather than the more usual English restraint most people expect. Morrison has also inserted a multitude of hilarious bits of business and reactions. And it sounds as if Morrison found ways to get his actors to overcome the sonic limitations of the Charity Randall Theatre, an accomplishment in itself.

As you may have heard, this production has an all-male cast. Yet this does not camp it up nor do anything to point up that you are watching men in those roles. This is no send-up. The men in those roles make the women truly funny women.

Visiting actors Will Reynolds and Matthew Cleaver portray the two young ladies Gwendolen, with whom Jack is totally smitten, and Cecily with whom Algernon is wildly, passionately, devotedly in love. Reynolds’ Gwendolen gets just right the mirror image of her mother, Lady Bracknell, even up to towering over the men in unassailable stature and command. And Cleaver’s take on Cecily has all the dopey innocence you could wish for. Both men create marvelous portraits.

Astonishingly memorable David Whalen plays Jack gloriously full throttle, romping through every moment, playing it all to a fare thee well. As Algernon, Leo Marks brings out a lot of the smart aleck side, more restrained than Whalen but a good contrast.

In a smaller role, Martin Giles’ take on the servant Merriman serves up its own laughs.

Mr. Stanford has the inevitably plum role of Lady Bracknell which he never pushes or overdoes. He makes the zingy lines zing, his timing and inflections perfect.

Stanford also appears as Oscar Wilde in what, as you may have heard, is director Morrison’s own material to frame the whole thing in which Wilde is seen in the final downward days of his life, when his memory seems to call forth the play. Although Stanford’s performance as Wilde has sad verisimilitude, that part of this production doesn’t work. It even gets egregious when we see Wilde heading upstairs with a bare-chested young man. The add-on seems superfluous and even diminishes the effect of Earnest’s jolly conclusion when we once again see lonely, solitary, abandoned Wilde in a bar. I imagine Morrison wants to show a contrast between the broad hilarity of the play and the sad reality of Wilde’s last days. Program notes make that completely clear for anyone who doesn’t know the facts already.

Nonetheless, this element does not take away from the rest of this otherwise thoroughly entertaining, fresh approach. Seeing what can be done with what is considered a classic makes it even clearer that Wilde did indeed create a joyful treasure.

The Importance of Being Earnest continues through August 27th a The Charity Randall Theatre in the Stephen Foster Memorial, Oakland. Tickets at ProArtsTickets: 412/ 394-3353 or www.picttheatre.org

Theatre review: "Jesus Christ Superstar" from Pittsburgh CLO-Sunday 7th August 2011

2011-08-04T17:21:00.000-07:00

Many people attest that Jesus Christ Superstar, the 1971 Tim Rice, Andrew Lloyd Webber musical is some kind of a classic. I do not share such belief, but, as far as I can tell, Pittsburgh CLO’s resurrection sounds and looks faithful to the original conception. I’ve seen it only once before, in Pittsburgh Musical Theater’s Ken Gargaro’s 2006 goofy take, which had almost as many laughs as Mel Brooks’ version of The Last Supper. I thought then, and continue to think, that’s it’s a bizarre. mixed-up piece of theatre. But who’s to thrice deny that producers can count on faithful followers, suffering little children and their parents to come unto them, laying out riches to witness the rite?

Certainly director Charles Repole has made tellingly graphic, disturbing and moving the final cruelties to Christ. And the large cast comes across with solid portrayals, singing and dancing in this nearly sung-through product with Doug Kreeger’s take on Jesus both sympathetic and believable. Josh Tower’s Judas, though, throughout seems an empty shell. FYI: many local performers are in the ensemble,

Verily, lest ye not know already, this deals with one week in which the Gospels tell of events leading to the Crucifixion. The book, evidently by Rice, albeit not credited, gives equal weight to the eventually equally dead- by- suspension Judas, suggesting that he too is tragic. That’s probably the most original take on the story. But there’s also the image of Christ as human rather than God-like while Pilate’s scenes make him look weak and indecisive and Herod is presented as a buffoon. There are other elements with original perspectives. So, this is no ritual telling of the story.

Musically Webber mostly favors generic rock but also gets into a couple of other styles, including music hall and something symphonic, none of it particularly interesting. Rice’s lyrics, meanwhile sound pretty obvious, sometimes so patent that they become funny. As for the overall style, howling and wailing is standard delivery. Hardly subtle.

I found quite dopey the title song delivered as if a rock act with microphones and elaborately coiffed back-up singers. Huh?

As for the title, I understand that this is sometimes staged in contemporary clothing with Christ depicted as a hippie. Here the cast wears a mixture of styles. A harmless way to make a point about universality.

The whole thing could have been much more inventive. Spinning off of “superstar” which suggests a performing icon of the genre, all that Webber and Rice have done is feature rock songs. But this could have been about Christ as a traveling rock star whose gigs consist of him preaching in song, with backstage stories dealing with how he relates to his retinue and groupies. And as for Christ’s betrayal and eventual eclipse, that could have been done by making the villains record producers with the Crucifixion symbolic rather than realistic, or have someone sabotage his sound setup to electrocute him.

But then Rice and Webber didn’t ask me what I thought. And, if you already find this show a masterpiece, you’d not care what I think either. All kinds of people come up with all kinds of interpretations of this story. Jesus Christ! Why not?

Jesus Christ Superstar continues through August 14th at Benedum Center, Downtown. Tickets at 412/456-6666 or pittsburghCLO.org

Playlists: "Classics" Sunday 31st July 2011

2011-08-01T20:46:00.000-07:00

This featured performances by Bob & Ray plus Ruby Braff with Dick Hyman.
These are the selections, but not the sequence.
Bob Elliot, Ray Goulding, Tom Koch, Tony Webster: writers
"Fun Time" Coral LP CRL 57072-"No Talent Hunt"“Bob & Ray: The Lost Episodes, Volume Two" Radio Art RACD 5016-4-"The Midnight Zone” “Widen Your Horizons: How to Brush Your Hair” "Tippy The Wonder Dog"
"Bob & Ray-A Night of Two Stars" RadioArt RACD 6000-1/2-"Wally Ballou at the Paper Clip Family" "Hobby Hut" "Hard Luck Stories" 'Speaking Out"
"Bob and Ray On a Platter" RCA LPM 2131-"Ladies Grab Your Seats" “People to People”
"Bob and Ray-The Two and Only" Sony/RadioArt A 28308-7000-"Larry Lovebreath Show: Barry Campbell"
"Bob & Ray:The Lost Episodes, Volume One" RadioArt RACD 5015-4-"Charles the Poet" "Mr. I Know Where They Are"
Ruby Braff, cornet & Dick Hyman, piano"Ruby Braff/Dick Hyman-Music for My Fair Lady"-"I Could Have Danced All Night" "The Rain in Spain" "With a Little Bit of Luck" "I'm An Ordinary Man"
"Dick Hyman/Ruby Braff: Manhattan Jazz" Musicmasters CIJD 60136 M-"Jeepers Creepers" "Some Day You'll Be Sorry"
"Ruby Braff/Dick Hyman-Music from South Pacific" Concord CCD 4445-"Cockeyed Optimist" "Happy Talk"
"Ruby Braff and Dick Hyman Play Nice Tunes" Arbors ARCD 19141-"Save It Pretty Mama"
Ruby Braff,cornet & Dick Hyman, organ
"Dick Hyman & Ruby Braff-Fats Waller's Heavenly Jive" Chiaroscuro LP CR 162-"I've Got a Brand New Suit" "I'm Gonna See My Ma" “Persian Rug”
"Ruby Braff and Dick Hyman: America, the Beautiful" Arbors ARCD 19269-"When My Sugar Walks Down the Street" "High Society"

Playlist: "The Best of Broadway" Sunday 31st July 2011

2011-08-01T20:21:00.000-07:00

Vernon Duke: music & Ogden Nash: lyrics-"Sweet Bye and Bye" (2011 studio cast) ps classics PS 1198-excerpts w/Philip Chaffin, Marin Mazzie-Eric Stern, music director
James Lipton: lyrics & Laurence Rosenthal: music-"Sherry" (2003 studio cast) EMI/Angel 7243 5 33757 0 6-excerpts w/Bernadette Peters, Nathan Lane, Tom Wopat, James Lipton, Carol Burnett-Marvin Laird, music director

Theatre review: "The Mistakes Madeline Made" from No Name Players. Sunday 31st July 2011

2011-07-31T08:33:00.000-07:00

I have no idea about what playwright Elizabeth Meriwether is trying to tell us in her short play The Mistakes Madeline Made and no idea why No Name Players decided to invest time and talent to it. The only thing that becomes clear is that director Marci Woodruff and her cast perform this possibly deliberately absurd material with realistic sincerity and skill, even if I’m not sure if that’s the best or only choice. Certainly the set has a lot of substance.

Characteristically, as with so many semi-professional groups, nothing in the program says anything about the most essential person of this play, the writer. But I learned from Wikipedia that Meriwether wrote this in 2006 along with Heddatron and Oliver Parker! in 2010 as well as the screenplay for this year’s romantic comedy film No Strings Attached and has been grouped with "The Fempire" a group of female screenwriters.

The focus is on Edna, who hates her job as part of the home office staff of very wealthy family. Wilson is on the staff and, seemingly a mental case, delights in creating sound effects and incessantly babbling. Edna continually drops off into her past as a college student when her visiting brother Buddy, a war correspondent, spent much time in an empty bathtub. Since his death,Edna hasn’t bathed and gravitates to sex with writers. Also seemingly central is an obsession with Handi Wipes.

As for the title, it too seems more obscure than meaningful. It’s a reference to a short passage read aloud from a book by Dr. Joyce Brothers. I guess overall that Meriwether is trying to say something about contemporary women. And, I’m sure that, if you want to spend time and energy attending this and pondering it subsequently you might discover more merit in the experience than I did.

The Mistakes Madeline Made is at the Studio Theater in the Cathedral of Learning at the University of Pittsburgh through August 13th. Tickets at : ShowClix 1-888-71-TICKETS which is the same as 1 -888-718-4253. Info: nonameplayers.org

Theatre Review: "Twelfth Night" from Quantum Theatre. Sunday 31st July 2011

2011-07-30T14:18:00.000-07:00

Quantum Theatre’s Karla Boos has come up with a delightfully charming version of Shakespeare’s Twelfth Night. Her excellent directorial concept with a nearly perfect cast carrying it out, renew the life in this thoroughly familiar comedy. Boos and her actors do not radically transform the characters or the story but make it all live again, enriching the spirit of fun without pushing or overdoing it. Here, the emphasis is on people taking themselves too seriously, never knowing that they are foolish, becoming unwittingly comic.

To make sure you remember the play, the best known people in it are Malvolio, Sir Toby Belch and Sir Andrew Aguecheek whose ludicrous qualities along with their names have become indelible. In the center of the plot are the highly earnest Olivia and Orsino. Orsino believes because he is so passionate about Olivia that she’s obliged to love him. She, forswearing the company of men, swiftly finds her resolve crumbling encountering a boy sent to woo her on Orsino’s behalf. That boy is really a girl, wandering and homeless Viola whose twin brother Sebastian eventually arrives. Malvolio, Sir Toby and Sir Andrew are in Olivia’s circle as is Feste, most often defined a clown, although not in this instance.

Boos always keeps the touch light and the pacing lively. And Robin Abramson’s Viola brims with winning personality, most of it while Voila has assumed the guise of a boy which she never forces. Abramson makes it all truthful, simple and gentle. No wonder Olivia falls in love. Meanwhile Robin Walsh expertly makes believable Olivia’s constant disarray. I don’t think, though, that Mark Staley found the subtle comic possibilities in Orsino. John Gresh turns the perpetually soused, perpetually playful Sir Toby into a jolly delight and Tony Bingham finds clever comic possibilities in Sebastian. As Malvolio, Gregory Lehane does something quite unexpected, an excellent choice. Malvolio is often played as initially laughable, but Lehane makes him totally serious, a good counterpoint to all that happening around him where seemingly respectable people don’t know that they are fools. On the other hand, the actual fool character, Feste, is often played as wise and reasonable. A good contrast. But, in this case, young, marginally experienced Justin DeWolf does nothing at all with that role.

Boos has made a few strange choices in costuming and staging, albeit peripheral. Most of the cast comes generically attired, suggesting no period. Several people wear visible, tight black corsets, I suppose to suggest characters seeking to control themselves. On the other hand Sir Andrew’s clothes look incongruously near Elizabethan. Plus, to symbolize money, “purses” in the script, she has everyone passing along credit cards. Odd. And she needlessly uses door buzzers to summon people who could just as easily be called directly. Maybe there are symbolisms which I missed.

As is often true in a Quantum production, the setting adds a further dimension. In this case Boos borrows an abandoned building along functioning railroad tracks beneath the South Millvale Avenue Bridge, a courtyard of the former West Penn Hospital Foundation Research Facility. With seats arranged on platforms facing the courtyard it becomes a fine amphitheatre. Crickets chirp, birds twitter and, once in a while, a train chugs nearby, all making no special point but adding to the appeal.

Everything feels so fresh. And, as the moon rises above the trees, so will your spirits lift.

Twelfth Night continues through August 21st at The West Penn Hospital Foundation Research Facility, 720 Gross Street, Bloomfield
Tickets through ShowClix 1-888-71-TICKETS i.e. 1-888 718 4253 or at www.quantumtheatre.com

Playlist:"The Best of Broadway" Sunday 24th July 2011

2011-07-25T17:02:00.000-07:00

Trey Parker, Robert Lopez, Matt Stone: music & lyrics-"The Book of Mormon" (original Broadway cast) Ghostlight w/o #-excerpts w/Andrew Rannells, Josh Gad,Rory O'Malley-Stephen Oremus, music director
Steven Sater: lyrics & Duncan Sheik: music-"Spring Awakening" (original Broadway cast)Decca Broadway B0008020-02-excerpts w/Lea Michele, Jonathan Groff, Lili Cooper, Lauren Pritchard-Kimberly Grigsby, music director
Jason Robert Brown: music & lyrics-"13" (original Broadway cast) Ghostlight 8-4415-excerpts w/Al Calderon, Malik Hammond, Eric M. Nelson, Elizabeth Egan Gillies, Delaney Moro, Graham Phillips, Allie Trimm-Tom Kitt, music director

Playlist: "Classics" Sunday 24th July 2011

2011-07-25T16:59:00.000-07:00

All music by Benjamin Britten
"Britten-Piano Concerto-Diversions-Young Apollo-Stephen Osborne-BBC Scottish Symphony Orchestra/Ivan Volkov" Hyperion CDA 6765-Piano Concerto in D Major-w/ Osborne, piano-Volkov, conductor
"Britten-String Quartets 1-3 etc.-Belcea Quartet" EMI 7243 5 57968 2-String Quartet No. in C: 1st and 2nd movements w/Belcea Quartet
"Britten: Serenade-Les Illuminations-Nocturne" Naxos 8.553834-"Les Illuminations" :parts w/Adrian Thompson, tenor-Bournemouth Sinfonietta-David Lloyd Jones, conductor
"Britten: Double Concerto-Kremer/Bashmet/Lubansky/Nagano" Erato 3984-25502-2
"Young Apollo" w/Nikolai Lugansky, piano-Halle' Orchestra -Kent Nagano, conductor
"Britten: Violin Concerto-Walton: Viola Concerto-Vengerov-Rostropovich-London Symphony Orchestra" EMI 5 57510-2-Britten: Violin Concerto: 1st movement w/ Maxim Vengerov, violin-London Symphony Orchestra-Mstislav Rostropovich, conductor
"Ravel-Prokofiev-Britten-Leon Fleisher-Seiji Ozawa" Sony SK 47188
"Diversions for Piano (left hand) and Orchestra, Op.21" w/Leon Fleisher, piano-Boston Symphony Orchestra-Seiji Ozawa

Theatre review: "The Sound of Music" from Pittsburgh CLO for Sunday 24th July 2011

2011-07-21T20:17:00.000-07:00

Pittsburgh CLO offers a superbly sung, good looking and convincing production of The Sound of Music Rodgers and Hammerstein’s final collaboration. Although you may think you know this classic, the songs, the story, you could be surprised by its virtues. And this performance, directed by James Brennan, honors the concept, never pushing the sentimentality nor overdoing the more obvious elements.

The story is a sketchy re-working of a true one. Maria Rainer, at first a postulant at an abbey near Salzburg, Austria, becomes a governess for the seven children of widowed Captain Georg von Trapp, a celebrated navel hero of World War I. While at first very severe, he loses some of his edge when the children’s virtues become more apparent under Maria’s guidance, He plans to marry a Viennese woman, Elsa Schraeder, more to provide stability to his family than out of love. But, in fact he and Maria fall in love and marry. Meanwhile The Captain opposes the takeover of Austria by the Third Reich, Eventually the family finds a way to escape.

Howard Lindsay and Russell Crouse’s book has some excellent elements, for example implying that the Captain’s initial edginess may be due to having lost his wife. Moreover they have given the Mother Abbess human wisdom and have evoked dark drama in the threats of Nazism.

The musical begins with sounds of wonderful simplicity, lovely a cappella singing by the nuns, followed by swift sung depictions of Maria’s basic character. The story moves along quite well for a while before detouring into some attractive but gratuitous songs. By now those songs have become so familiar that they are easy to appreciate even if superfluous.

Rodgers created lovely and charming melodies while Hammerstein regularly came up with good meaningful lyrics. “My Favorite Things,” I find one of their best. Also in this production “Climb Every Mountain” becomes really moving, due to compelling singing by Lisa Howard as the Mother Abbess. Note especially, too, the song “Edelweiss” as if the elemental beauty of the mountain flower has symbolic meaning.

Howard’s performance is among many which have integrity without being overdone including Robert Cuccioli’s interpretation of the Captain. He finds multiple dimensions and when he finally smiles, his genuine warmth lights up the stage. Jennifer Hope Wills’s Maria doesn’t have equal depth; she seems charmingly innocent at first but doesn’t emerge with any more character. However, she sings beautifully, flawlessly.

The children are all played by local performers. North Hills High School grad Kirsten Hoover as the oldest daughter Liesl comes across with as much polish and personality as any of the professionals. And, as you would expect, the youngest child, seven year old Madeline Dick steals the show just by being adorably tiny and a performer as skilled as anyone else on stage.

The cast includes Pittsburgh’s Terry Wickline, Gene Saraceni and Joe Jackson in minor supporting roles plus other local well-knowns Maria Becoates-Bey, Michael Campayno and Christine Laitta in the ensemble.

Rodgers, Hammerstein, Lindsay and Crouse created something quite good, even if sometimes formulaic. Pittsburgh CLO makes the best of it work on every level.

The Sound of Music continues through July 31st at Benedum Center, downtown.
412/456-6666 or pittsburghclo.org

"The Best of Broadway" Playlist Sunday 17th July 2011

2011-07-18T19:46:00.000-07:00

Richard Rodgers: music & Oscar Hammerstein II: lyrics-"The King and I" (1996 Broadway cast) Varese Sarabande VSD 5763-excerpts w/Joohee Choi, Donna Murphy, Jose Llana, Lou Diamond Phillips, Randall Duk Kim-Michael Rafter, music director
Richard Rodgers: music & Oscar Hammerstein II: lyrics-"State Fair" (original Broadway cast) drg 94765-excerpts w/Andrea McArdle, John Davidson, Scott Wise, Ben Wright, Donna McKechnie, Kathryn Crosby-Kay Cameron, music director

Playlist: "Classics" Sunday 17th July 2011

2011-07-18T17:19:00.000-07:00

"Chen Yi-Sound of the Five" New World Records 80691-2
"Tibetan Tunes: Dui Xie" w/Ron Blessinger, violin-Hamilton Cheifetz, cello-Susan Smith,piano
"Tan Dun: Water Passion after Saint Matthew" Sony Classical S2K 89927-"Last Supper"/ "In the Garden of Gethsemane"/"Give Us Barabbas"/"Water and Resurrection" w/Elizabeth Keusch, sop.-Stephen Bryant,bs-Mark O'Connor,vn-Maya Beiser, cello-RIAS Kammerchor-Tan Dun, conductor
Chen Yi-Sound of the Five" New World Records 80691-"Sprout" w/Ron Blessinger, Greg Ewer, violins-Brian Quincy, viola-Hamilton Cheifetz, cello
"Tan Dun-Bitter Love" Sony Classical SK 61658
excerpts w/ Ying Huan, soprano-Linqiang Yu. tenor-NChiCa Orchestra-New York Virtuoso Singers-Tan Dun, conductor
Chen Yi-Sound of the Five" New World Records 80691-2-"Happy Rain on a Spring Night:" w/Blessinger, Cheifetz, Todd Kuhns, clarinet-Georgeanne Ries, flute-Susan Smith, piano

Playlist: "The Best of Broadway" Sunday 10th July 2011

2011-07-10T17:32:00.000-07:00

Andrew Lloyd Webber: music & Glenn Slater: lyrics-"Love Never Dies" (original London cast) Decca Broadway 001-4035-02-excerpts w/Ramin Karimloo, Sierra Boggess, Charlie Manton, Summer Strallen, Niamh Perry, Adam Jones, Adam Pierce, Joseph Millson-Simon Lee, conductor
Andrew Lloyd Webber: music & David Zippel:lyrics-"The Woman in White" (original London cast) EMI 7243 5 57938 2 9-excerpts w Maria Friedman, Jill Paice, Martin Crewes-Simon Lee, conductor

Playlist: "Classics" Sunday 10th July 2011

2011-07-10T17:25:00.000-07:00

Kyle Gann: composer "The Minimalists: works of Reich, Riley, Adams, Andreissen,Lang,Gann, Madge,Orkest De Volharding, Jaatinen" mode 214/15 "Sunken City(In Menoriam New Orleans): "After" w/Geoffrey Douglas Madge, piano-Orkest De Volharding-Jussi Jaatinen, conductor
Eve Beglarian:composer "Sequiter: To Have and To Hold" Koch KIC-CD-7593 "Not Worth" w/Kristen Norderval, soprano-Sequiter-Paul Hostetter, conductor-
David Del Tredici: composer "Sequiter: To Have and To Hold" Koch KIC-CD-7593 "Honey Money Loves" Dora Ohrenstein, soprano w/same
Richard Adams: composer "Sequiter: To Have and To Hold" Koch KIC-CD-7593 "Under Oath" w/Norderval etc
Lewis Spratlan: composer "Sequiter: To Have and To Hold" Koch KIC-CD-7593 "Vocalise with Duck" w/Ohrenstein etc
Jerod Impichchaachaaha Tate"San Francisco Symphony and Chorus-worls by Jerod Impichchaacchaaha Tate" Azica ACD "Tracing Mississippi" (Concerto for Flute and Orchestra" : "Shilombish Anompoli" ("Talking Spirits") w/Christine Bailey Davis, flute-San Francisco Symphony-Edwin Outwater, conductor
"George Tsontakis: The Saint Paul Chamber Orchestra" Koch KIC-CD-7592 "Clair de Lune": Jeux-Ballet Moon" w/The Saint Paul Chamber Orchestra-Douglas Boyd, conductor
Kieren MacMillan: composer "Drunken Moon/Night Music" pnme 2007 "Drunken Moon" excerpts w/Timothy Jones, baritone-Sharla Nafziger, soprano-Pittsburgh New Music Ensemble-Kebin Noe, conductor
"Samuel Jones: Roundings-Cello Sonata" Naxos 8.559079 Cello Sonata w/Emmanuel Lopez, cello-Denise Parr-Scanlin, piano
Howard Hanson;composer "Hanson: Organ Concerto" Naxos 8.559251 "Nymphs and Satyr Ballet Suite: Prelude and Fantasy for Clarinet and Chamber Orchestra" w/Doris Hall-Gulati, clarinet-Phildelphia Virtuosi Chamber Orchestra-Daniel Spalding, conductor

Theatre review: "Comic Potential" at Little Lake Theatre -Sunday 10th July 2011

2011-07-10T10:15:00.000-07:00

Given that Alan Ayckbourn has written 74 full-length plays, it stands to reason that his work has gone in many directions in the 52 years since his first was produced. He’s become best-known for comic theatrical tricks and gimmicks and for often focusing on dysfunctional marriages, as in 1999’s House and Garden currently visited by Pittsburgh Irish and Classical Theatre. But, at Little Lake Theatre, you’ll experience something quite different, from the year before, a really very good, well-directed version of the play called Comic Potential, with performances equal to the professionalism of PICT.

This work has no special devices and not many deliberately comic lines and situations. Rather Ayckbourn thoroughly explores the potential for satire and philosophical themes, using what could be called science fiction, often a vehicle for comment on contemporary life. Also, he briefly, successfully mimics situation comedies and takes a few convincing turns toward melodrama.

Set in what Ayckbourn calls “the foreseeable future” he also says that that is “when everything has changed except human nature.” Here he follows along the possible permutation of what could develop and what could be inferred if modern science were to develop “actoids,” androids specifically designed to be actors in low-budget soap operas. Already you can see how such a concept can poke fingers at generic actors and generic programs, and at bottom-line producers who are indifferent to talent.

Idealistic young writer Adam Trainsmith visits a set where Chandler Tate, a former director of classic comedies, makes a living directing such soap operas. But some actoids start malfunctioning. One of them, a female, JC-F31-333, unpredictably starts laughing.

Adam, calling her “Jacie,” sees in her the potential for creating a new script evoking long-gone classic comedies. He also finds himself falling in love and they run away together. Here we could see a parallel to the idea of The Stepford Wives, Jacie programmed to be anything anybody else wants her to be. Also being sent-up are such ideas as people trying to contain and control human emotions. But I leave it to you to discover the many other themes Ayckbourn wonderfully satirizes and develops.

This production of Comic Potential features two exceptionally talented actors, Kate Neubert-Lechner as Jacie and Jason Dille as Adam. She, always able to suggest someone not completely human, still finds the many possible dimensions within that role. Dille has a charming sense of youthful vitality along with a great loose-limbed way of moving suggesting Dick Van Dyke. When both of them get into a dance routine, they are a delight to watch together. Neubert-Lechner, by the way, choreographed that.

In multiple supporting roles John McGovern, Bill Bennett and Charles Grant Carey also contribute to the polish and substance of this production. Given that this is an Ayckbourn script, director Sunny Disney Fitchett seems to have required English accents. She needn’t have done so; nothing in the story or its developments need accents, and, unfortunately, a couple of other supporting cast members sometimes make their words unintelligible. Disney Fitchett does do very well keeping the pace lively and the acting convincing. However, on the second night of the production, Dale Irvin’s playing of Chandler often seemed to be floundering for his lines, leaving clumsy, empty verbal spaces. The role could be played in several inventive ways, none of which he’d found yet. But, given that the character is more marginal than central to the story and to Ayckbourn’s many clever ideas, this in no way diminishes neither the admirable accomplishments of the playwright nor those of most of the cast and the company.

Comic Potential continues through July 23rd at Little Lake Theatre Company-500 Lakeside Drive, Canonsburg. 724/745-6300 www.littlelake.org

Theatre review: "House" of "House and Garden" at PICT. Not yet broadcast.

2011-06-29T11:40:00.000-07:00

Were you to visit people for the first time, initially you’d be most likely to get to know them where they live, not on the way in through the garden. As for Alan Ayckbourn’s House and Garden, going inside looks like the best way to orient yourself. As you can see from my review of Garden(below),it may have been difficult for Pittsburgh Irish and Classical Theatre audience members on its opening night to easily grasp relationships. So, despite advance publicity claiming that you can start with either play, begin with House. Relationships are the core of the whole thing, clearly revealed in House, which can stand alone, rather than only as part of something divided. Meaning that this feels like one play separated into two unequal parts, Garden a supplement. House could be less decorated and Garden could be pruned.

Ayckbourn certainly wrote interesting, imaginative, clever and sometimes amusing scenes, but the combination looks as if he didn’t want to try to fit everything into a longer- than- usual script. Collectively, the total equals more than five hours of material worth about three and half.

House has substance, good exposition, perceptive and inventive parallels in personalities and developments as well as truly funny moments. And the performances in this basically serious material seem more solid and admirable than those fleetingly seen in Garden.

Here Teddy Platt explores the potential of standing for Parliament and cannot understand nor deal with his wife Trish’s acting as if he doesn’t exist. Their daughter Sally is making an effort to mature beyond her 17 years, including making a pass at Gavin Ryng-Mayne, a successful novelist with government connections; he could help Teddy become an MP. Meanwhile Jake Mace tries his earnest utmost to get closer to Sally. This part of the story also makes clear the long-time close friendship of Teddy and Giles, Jake’s father and the husband of Joanna whom Teddy has been screwing. And Teddy more clearly looks like a buffoon.

The most intentionally comic aspect is Trish’s constantly treating Teddy as if he were invisible, which actually suggests that she’s nearly as dotty as Joanna. It becomes most comic when a roomful of people ignore him, hilariously talking French to visiting movie star Lucille Cadeau, leaving Teddy on the damp other side of the English Channel.

Yet, for too long, the first act consists of long, setting-up serious but unsubstantial talk where very little actually happens. The second, more meaningful act moves better, and includes telling, insightful dialogue from Trish, Gavin and Jake.

David Bryan Jackson, whose performance as Giles is one of the highlights of Garden again brightens up the stage every moment he’s on it. Sean Mellott’s Jake perfectly comes across full of teen-age excess, quite a contrast to Anwen Darcy’s Sally, who, at times, seems much too old to be so young. The suave Gavin is played by Leo Marks, who gives a model performance of subtlety; his reactions say as much as do his words. Meanwhile Martin Giles and Helena Ruoti as Teddy and Trish do everything right and Nike Doukas makes Lucille a genuinely charming delight.

Knowing Ayckbourn’s much-publicized device behind all this can make you admire what he tries to do. That by itself can become fascinating, making you aware of Ayckbourn’s cleverness. Certainly getting to know what’s behind the intricate workings can be entertaining. In fact that may even compensate for what’s missing as the hands of the clock keeping ticking away. i.e You can have a good time, even getting a few things to think about in this occasionally meaningful entertainment. The intricacies within House move well, with such memorable performances and solid direction by Andrew S. Paul.

House continues at the Charity Randall Theatre and Garden at the Henry Heymann simultaneously through July 17th at the Stephen Foster Memorial, Forbes Avenue in Oakland. Tickets at ProArtsTickets at 412/394.3353 or online at www.proartstickets.org. More info at www.picttheatre.org

Playlist: "Classics" Sunday 26th June 2011

2011-06-26T17:32:00.000-07:00

"Django Reinhardt" RCA LP LPM 1100-"Stardust"/"After You've Gone"/"Improvisation" w/Coleman Hawkins-Stephane Grappelli, p, vn-
"The Best of Django Reinhardt" Capitol TBO 10226-"Paramount Stomp" /"Japanese Sandman"/"Finesse" w/Quintet of Hot Club of France/ Bill Coleman, tpt-ex Stewart, cnt-Dicky Wells, tb-Barney Bigard,cl
"Django Reinhardt: Nuages" Arkadia Jazz71431:"Swing Guitars" w/Hot Club
Django Reinhardt "Djangologie 1940-1941" Pathe LP C 054-16012-"Oiseaux Des Iles" w/Hubert Rostaing, cl-Alix Combelle
"Django Reinhardt-The Versatile Giant" Inner City LP IC 7004-"Blues Riff" w/Duke Ellington Orchestra
"Django Reinhardt & Stephane Grappelli" GNP Crescendo GNPD 9053"R 26"/"Black Night"/ "C-Jam Blues" w/Grappelli, vn-Andre Ekyan,cl & as-Francois Vermeille, p
Schnuckenack Reinhardt Quintet-"Music of the German Gypsies" Musical Heritage LP MHS 1058-"Muri wachesella..."/"Darumadar utnak...." "Gai djais kann..." w/Schnuckenack Reinhardt, vn-Dawali Reinhardt, etc.g
"Ole! Manitas de Plata" Vanguard LP VSD 79224-"Flamenco Fantasy"/ "Song of Sara" w/Jose Reyes & Manero Ballardo,singers
"Viva Manitas de Plata!": Connoisseur Society LP CS 2013-"Rumba Gitana"/ "Rumba" w/Reyes, Ballardo
"Manitas de Plata-Live" Connoisseuer Society LP CS 2013-"Serranas”
"Viva Manitas de Plata!": Connoisseur Society LP CS 2013
"Fandangos" w/Reyes, Ballardo

Playlist: "The Best of Broadway" Sunday 26th June 2011

2011-06-26T17:20:00.000-07:00

Stephen Sondheim: music & lyrics "Sunday In the Park With George" (original Broadway cast) RCA RCD1-5042 excerpts w/Bernadette Peters, Mandy Patinkin, Barbara Byrne etc, Paul Gemignani, music director

Theatre review: "Garden" of "House and Garden" presented by PICT. Sunday 26th June 2011

2011-06-26T17:09:00.000-07:00

England’s Alan Ayckbourn has become admired and renowned for writing clever, amusing plays using inventive, original concepts often dealing with marriages in trouble. One of those is House and Garden which occurs simultaneously in two places, hence, in effect, depicting separate moments with the same characters, events which relate to each other but cannot be seen together. These two experiences opened together but physically apart presented by Pittsburgh Irish and Classical Theatre.

I’ve only seen Garden so far. But with so many interesting, incompletely understood developments taking place, inevitably, like most people, I look forward to experiencing the rest, intrigued and curious. Good trick A.A. Get em asking for more.

The question is, though, can either play stand alone? At first, I wasn’t sure about Garden.The first act looks like fragments rather than something going somewhere specific. But ultimately a lot comes together with some good character development and truly funny situations. Plus the fine PICT cast plays both the subtleties and the comedy exceptionally well, guided expertly by director Melissa Hill Grande. Hence, although, some pieces are missing, intentionally, Garden grows on one.

It helps to prepare yourself about the characters and how they relate. At opening night I saw people in the audience examining program books during the performance. My guess is that they were trying to sort out everyone on stage. Well, there are four couples, (1) Teddy and Trish Platt plus their daughter Sally (2) Giles and Joanna Mace plus their son Jake (3) Warn Coucher married to Izzie Truce who has a 30 year old daughter Pearl and (4) childless Barry and Lindy Love. This takes place during May at the Platt’s country estate to which there are also three visitors Gavin Ryng-Mayne, Lucille Cadeau and Fran Briggs. Notice the names: some seem rather patent, like something out of Restoration comedy. Maybe intentionally, come to think of it, given that those classics also dealt with morals among the upper classes.

The fulcrum of Garden concerns Teddy’s breaking off his extra-marital affair with Joanna. When Joanna’s husband, innocent Giles, learns of the liaison he has serious trouble dealing with it. That brings him closer to his son Jake who has a crush on Teddy and Trish’s daughter Sally. Meanwhile, Barry and Lindy set up a garden party during which their relationship gets clearly revealed. Along the way, Teddy gets briefly, sensuously involved with visiting movie star Lucille Cadeau, even though neither speaks the other’s language. i.e. A lot of this is about developments and characters rather than just a playful romp through flowering, deliberately funny lines. Among the best parts is a scene between the bereft Giles and his son Jake where each unburdens his insecurities and doubts, making it clear how much alike they are. David Bryan Jackson becomes a marvel to watch as Giles in a standout performance at every turn.

As the self-involved Barry Love, Michael Fuller gives a superb,subtle performance in which he and director Grande have chosen not to show him deliberately and harshly pushy, but rather as if Barry is unaware of his effect on his wife Lindy. As for other portrayals I found Beth Hylton’s take as the newly- jilted Joanna, too much over the top on opening night.

The cast includes Pittsburgh’s Helena Routi, seen only briefly in Garden, Martin Giles as Teddy, Tressa Glover as Lindy Love and Mary Rawson as the housekeeper Izzie. Plus there’s a wonderful bunch of little local kids romping through and about.

Other visiting artists include the excellent Nike Doukas as Lucille and Leo Marks as Gavin. Both of them often appear in PICT productions.

You may want to know that several varieties of English accents are used and that Lucille speaks only French which is almost never translated. Nonetheless, everything that is happening and why is it happening remains completely clear. Considering how well this is all done, I recommend you drop in. I think you’ll look forward to the entire visit, even if it takes you more time, cumulatively, than it takes the actors to do the whole thing.

House continues at the Charity Randall Theatre and Garden at the Henry Heymann simultaneously through July 17th at the Stephen Foster Memorial, Forbes Avenue in Oakland. Tickets at ProArtsTickets at 412/394.3353 or online at www.proartstickets.org. More info at www.picttheatre.org.

Theatre review: "Into the Woods" from Carnivale Theatrics-Sunday, 26th June 2011

2011-06-26T07:36:00.000-07:00

There’s a new, wonderful sounding, great-looking production of Stephen Sondheim and James Lapine’s Into the Woods briefly offered by the still- new local theatre company Carnivale Theatrics which, in 2009, started producing one show per year. This proves that young founders Justin Fortunato and Robert Neumeyer know how to do what they’re doing. They’ve assembled a cast of superb singers, most of whom are still students at Point Park U. That connection, by the way, assures much singing talent; Point Park Conservatory musicals always sound first class. In addition, a 13 piece orchestra led by Neumeyer plays expertly. Plus there’s a great set by inevitably inventive Tony Ferrieri and Rich Preffer created fine costumes.

But don’t forget the choice of material. Into the Woods clearly remains a marvelous show with Stephen Sondheim’s gorgeous,bright,imaginative music coupled with his consistently significant and clever lyrics. All of that thrives appealingly and charmingly.

Just in case you’ve forgotten, James Lapine created a script about story-book legends combining many of them in one place. A community. Pointedly. Familiar tales come into play. They include those about Cinderella, Jack of Beanstalk fame, Little Red Riding Hood, Rapunzel. There’s also witch and a giant as well as the more generic Baker and his Wife. All of them connect. Lapine and Sondheim also infer well-known psychological interpretations of symbolisms during a mostly amusing, somewhat satirical first act. In the second act, Lapine and Sondheim get into the darker parts of the woods and developments, offering further, more deliberately substantial insights. Together what they created ,and how well they’ve done it, has its own rewards and, of course, as in many fairy tales, offers morals to ponder.

I was particularly impressed by Jaclyn McSpadden’s sweet, innocent version of Cinderella, often played as more goofy than this, but working equally well. And, as the story progresses, Andrea Weinzierl’s performance as the Baker’s Wife keeps on, amusingly, getting better and better. Playing the Witch, Caroline Nicolian comes across with appealing elegance after being transformed out of her rags, grungy hair and crooked nose. Each of them and many other people in the cast do extremely well getting the most out of the lyrics. Credit director Fortunato for making sure that that happens

On opening night a few members of the cast went a little overboard trying to be funny or dramatic. And, unfortunately, some dialogue thudded to halts when the performers didn’t pick up their cues, leaving clumps of silence between lines where vigorous pace is needed. Director Fortunato needs to work on that. He did come up with a few clever physical bits; but some others clunked like rusty armor.

So, despite this being a production by a fledgling company featuring performers still studying and learning their craft, this keeps the justly famed musical’s best qualities alive happily ever after.

Carnivale Theatrics production of Into the Woods continues through July 3rd at New Hazlett Theater, 6 Allegheny Square, North Side. 412/320 4810 www.newhazletttheater.org

Playlist: "Classics" Sunday 19th June 2011

2011-06-19T19:41:00.000-07:00

"Angele Dubeau & La Pieta'-John Adams, Portrait" Analetka AN 2 8732-"John's Book of Alleged Dances":"Standchen: The Little Serenade, Judah to Ocean, Rag the Bone" w/Angele Dubeau & La Pieta'
"Karl Berger-"Strangely Familiar" Tzadik TZ 8075-"17 Miniatures for Piano" #1,2,3 5, 9 w/Berger, piano
"Joseph Achron-Violin Concerto no 1; The Golem" Naxos 8.559408-Violin Concerto no. 1: 1st movement w/Elmar Oliveira, violin-Radio Symphony Orchestra of Berlin-Joseph Silverstein, conductor
Gerald Strang-"Restless, Endless,Tactless" New World Records 80711-2-"Percussion Music" (title) w/The Baylor Percussion Group
"Nancy Galbraith: Other Sun-Stephen Schultz & Cello Fury" Centaur CRC 3106-"Traverso Mistico" w/Schultz, electric Baroque flute-Barney Culver, cello-Carnegie Mellon Contemporary Ensemble-Walter Morales, conductor
Kenneth Fuchs-"Fuchs: Canticle to the Sun-United Artists" Naxos 8.559335-"Autumn Rhythm" (Idyll for woodwind quintet after a painting by Jackson Pollock" w/Timothy Jones, French horn-London Symphony Orchestra-JoAnn Falletta, conductor
"Joseph Schwantner: Chamber Music" Naxos 8.559206-"Music of Amber: Wind Willow Whisper" w/Holst Sinfonietta-Klaus Simon, director and pianist

Playlist: "The Best of Broadway" Sunday 19th June 2011

2011-06-19T19:35:00.001-07:00

George Gershwin: music & Ira Gershwin: lyrics-"Strike Up the Band' (1990, 91, 2011 studio cast) ps classics PS 1100-excerpts w/Juliet Lambert, Jason Graae, Brent Barrett, Rebecca Luker, Beth Fowler, Charles Goff-John Mauceri, conductor,
Harold Arlen: music & Ira Gershwin, Yip Harburg: lyrics-"Life Begins at 8:40" (2010 studio cast) ps classics PS 1090-excerpts w/ Kate Baldwin, Philip Chaffin, Graham Rowat, Jessica Stone. Christopher Fitzgerald, Faith Prince-Aaron Gandy, conductor

Theatre review: "The Book of Liz" from No Name Players. Sunday 19th June 2011

2011-06-19T08:57:00.000-07:00

David Sedaris has developed a considerable following for writing and reading his own wry, quirky, off-center observations about seemingly ordinary connections and events in his own life. And his sister Amy has made a name for herself as a performer. Together they’ve written several short plays bound to attract attention given their names and reputations. Included is The Book of Liz which premiered off-Broadway in 2001 to good reviews and which is now being performed in Pittsburgh by No Name Players.

I found the play, clearly resembling David’s perspective and choice of material, quite juvenile. Several performers do as well as can be expected with the script and with director Don DiGiulio’s idea of how to direct it. That’s not a criticism of his direction; there may be a way to improve on the material, but not easily.

You could see the title as a reference to the Old Testament’s Book of Ruth which concerns that woman’s wanderings around the Holy Land in that Sister Elizabeth Donderstock wanders away from a tightly-knit, Amish-like religious community. However there is no attempt to replicate scriptural language or style, which could have been quite clever, but might have meant the Sedaris would have had to work hard, instead of seeming to have dashed this off over Eight O’Clock coffee and Dunkin’ doughnuts.

A major source of income for the group is handmade cheese balls which are sold to outsiders. Pristine hands of course. Perhaps. Somewhat unconventional Liz makes them. When she is replaced by Brother Brightbee at the insistence of patriarch Reverend Tollhouse, she goes out into the world, stands in for a Mr. Peanut life-size puppet, hangs out with a Ukrainian refugee couple and then gets a job at a Pilgrim-themed restaurant staffed by recovering alcoholics. She also frets about sweating too much. Meanwhile Liz never loses her innocence, despite working with gay flamers and ex-drunks and hearing profanity everywhere she turns. She never seems to notice. Or comment.

Note the names of characters including Sister Constance Butterworth. Such imagination!

This kind of stuff could be the basis for something wild but it looks pretty tame to me, especially decorated with lame lines rather than wit. It’s as if the Sedaris s felt observing or replicating such rather marginal situations are inherently funny.

DiGiuglio has everyone but Gayle Pazerski as Elizabeth playing the whole thing broadly. Pazerski does very well keeping the performance straight and simple. But shouldn’t she be funny somehow and fit into the style? Meanwhile Jody O’Donnell gives very able character performances in several roles. On the other hand, Kelly Marie McKenna amateurishly shouts rather than projects many of her lines.

Considering the good reviews the play has gotten elsewhere, it must have worked better there. I just don’t get it. FYI: I did not hear much laughter from several people sitting near me on Friday night. But there were others clearly having a good time. Different strokes.

The Book of Liz continues through June 25th at Pittsburgh Playwrights Theatre 542 Penn Avenue, downtown. Tickets: ShowClix - 1-888-71-TICKETS 1-888-718-4253
www.nonameplayers.org

Review: "Midnight Radio 3-Superhero Edition" at Bricolage. -Sunday 19th June 2011

2011-06-17T13:25:00.000-07:00

Bricolage Production Company keeps on coming up with original theatre ideas. Now, returning to the air waves and eyefuls, comes Midnight Radio 3, tuning up the tubes and tunes with Episode 1-Superhero Edition!

This boisterous experience stays right in keeping with Bricolage’s explorations of the edgy reaches of theatre space, which certainly have developed regular followings.

Clearly, the aim is for everyone to have fun with an emphasis on quirky, off-center comedy, rather than endeavoring to literally recreate the essence of bygone styles and sounds of radio when it featured live performances of soap operas, plays, serials, situation comedies and revues. Nonetheless much resembles how things were produced in the old days. A small cast takes on many roles. A remarkable array of imaginatively conceived sound effect equipment punches up everything. A multi-instrumentalist plays themes and stingers. Moreover, turning this into a variety show, interludes feature musicians.

Newer twists among the mostly original material are Bricolage script writers’ commercials for far-out fictional products and services along with a few for actual underwriters. Other items include “Fake Breaking News” in this case not a radio newscast as it might have been long ago but rather a spin on personality- driven TV newscasts of today. The performers also sing embellishments and there's an audience quiz. A grab bag punched up with gags, bits and shtick.

Elena Alexandratos, Tami Dixon, James Fitgerald, Patrick Jordan and Jason McCune, as directed by Jeffrey Carpenter, play this at high intensity, the locally well-known, talented stage actors using stage vocal technique instead of making subtle use of what microphones can do. Volume and speed of delivery take over. But, since everyone has to keep moving from microphone to microphone and shifting into different character voices while manipulating sound effect equipment, concentrating on reading the lines with useful, meaningful intonation gets lost in the ether. As if to say, the words can do the job on their own. I don' think they need to move around that much. It looks as if Carpenter did it for visual variety.

Among the more clever elements, stage manager Andrew J. Paul projects visuals, most especially clips from comic books used to point up the stories being performed.

The Ben Opie and Josh Wulf Duo takes center stage twice. Multi-reed player Opie, who’s performed with Anthony Braxton, does some remarkable things with alto sax, clarinet and contrabass clarinet while Wulf explores all kinds of possibilities with an electronically enhanced guitar. Their original conceptions, less deliberately intense than the comedy material, sound worth further hearing.

There will be further installments in the series through November. This feature, Superhero Edition! runs through June 25th at Bricolage, 937 Liberty Avenue. 412/471-0999 plus info at www.webbricolage.org

Theatre review: "Jekyll & Hyde" from Pittsburgh CLO. Airing: Sunday June 19, 2011

2011-06-17T10:33:00.000-07:00

The musical Jekyll & Hyde has had quite an interesting, enduring life. Frank Wildhorn and Steve Cuden wrote the score and lyrics in the late 1980s, but that version never got off the ground. A re-write with book and lyrics by Leslie Bricusse opened at Houston’s Alley Theatre in 1990 and went on to performances elsewhere including a national tour plus a CD in the mid-90s. It didn’t get to Broadway until 1997 where it ran for over 3 and half years, despite mixed reviews.

Certainly the famed story remains fascinating, even if incarnations in movies and plays, while keeping the original, fundamental premise, bear little resemblance to Robert Louis Stevenson’s novella Strange Case of Dr. Jekyll and Mr.Hyde. The musical, locally produced by Pittsburgh CLO, tells Bricusse’s version well, performed with fast-moving, believable sincerity and, in most cases, sung in fine voice. Credit director Robert Cuccioli for the result. He originated the performances of both characters on Broadway.

Kevin Gray has the title roles. His Hyde surges with dark intensity. His Jekyll begins totally without character but, later, emerges more convincingly intense when the good doctor becomes less good. Gray’s voice on opening night didn’t seem up to the demands of Wildhorn’s many sustained notes. That’s quite a contrast to first-rate singing by Brynn O’Malley as Jekyll’s fiancé Emma, and Elizabeth Stanley portraying Hyde’s doomed lover Lucy. Both women also superbly tune the acting dimensions.

As for Wildhorn’s music, it much resembles the pop opera sounds of Sir Andrew Lloyd Webber’s melodramas or Schönberg and Boublil products. Every so often good melodic lines appear among the 25 songs, but too many get stretched out into down and center pushy big sells. Plus, a café scene starring Lucy features an anachronistic bluesy number which has nothing to do with the period suggested by the rest of the score. Meanwhile Bricusse’s utilitarian lyrics come across as totally obvious and unimaginative. So, despite a touch of Sweeney Todd in the night, concept-wise, neither lyrics nor music get near Sondheim’s class.

Cuccioli’s staging makes many scenes thoroughly dramatic. Especially telling, he has Jekyll’s first connection with the dreadful, transformative formula an injection in the arm rather than, as traditional, drinking it down. This graphically reminds us of the personal destructions of drug addiction. Cuccioli also gets good lighting and scenic effects, even though simple rather than spectacular, from John McLain and James Noone.

The cast, by the way, includes Pittsburghers Tim Hartman, Daniel Krell, Jeff Howell, Michael Campayno and Joe Jackson with Hartman playing a supporting role, the others being less visible.

Characteristically CLO has no background information about the creators of the material it offers, despite a full page devoted to executive producer Van Kaplan. i.e There is enough space to have included a couple of paragraphs about Leslie Bricusse and Frank Wildhorn.

London-born Bricusse is probably best known for creating songs with Anthony Newley in Stop the World - I Want to Get Off , The Roar of the Greasepaint—the Smell of the Crowd, and the movie Willy Wonka and the Chocolate Factory. Other credits include Victor Victoria, movie and Broadway versions, plus much more. Bricusse also wrote the music in the movie Doctor Dolittle, a stage version of which became a musical that CLO produced here in 2005. It briefly, unsuccessfully toured.

In 1999 Frank Wildhorn became the first American composer in 22 years to have three shows running simultaneously on Broadway: Jekyll & Hyde, The Scarlet Pimpernel and The Civil War. His Dracula, The Musical ran five months there starting in 2004. This year Wonderland: Alice's New Musical Adventure, with his music, book by Jack Murphy and Gregory Boyd, Murphy’s lyrics, also played on Broadway, closing in a month. Other shows produced elsewhere include musical versions of The Count of Monte Cristo, Bonnie and Clyde and a re-working of a Bizet-less Carmen.

After many years of knowing much about various takes of the story of Jekyll and Hyde, it only just occurred to me the perfect choice in the name of “Hyde.” Surely other people have also noticed this before, that is, that Hyde represents a hidden character within a seemingly virtuous person. Plus that some fierce animals have coarse hides.

I don’t think you will get emotionally involved in this tale or how it’s told, but, to CLO’s credit, you certainly can find it looking and sounding substantial.

Jekyll & Hyde continues through June 26th at Benedum Center, Downtown. 412/456-6666 or pittsburghCLO.org.

Playlist: "Classics" Sunday 12th June 2011

2011-06-15T14:34:00.000-07:00

Roberto Sierra: composer-"James Carter-Caribbean Rhapsody" EmArcy B0015472-02-Concerto for Saxophones and Orchestra: "Tender" w/Carter, soprano sax-Sinfonia Varsovia Orchestra-Ginacarlo Guerrero, conductor
John Lewis: composer/pianist-"A Milanese Story" Atlantic LP 1388-"Valeria" w/Bobby Jasper, flute-Rene Thomas, guitar-Quartetto di Milano
Harold Shapero: composer-"Modern Jazz Concert-Orchestra conducted by Gunther Schuller and George Russell" Columbia LP WL 127-"On Green Mountain" w/Art Farmer, tpt-Hal McKusick, as-John LaPorta, ts-Jimmy Knepper, tb-Barry Galbraith,g
Wayne Shorter: composer-"Imani Winds-Terra Incognita" E1Music E1E 78782-"Terra Incognita" w/Imani Winds
Donald Shirley: pianist-"Don Shirley Piano Perspectives” Cadence LP CLP 1004- "Lullaby of Birdland" w/Richard Davis, bass
"Quartet San Franciso-Q S F Plays Brubeck" ViolinJazz JCDD 106-"Strange Meadowlark"
"Prism Quartet-Dedication" Innova 800-3 pieces: 1)"Inkling" by Roshanne Etezady-2)"Howler Back" by Zack Browning 3)"Just a Minute, Chopin" by Adam B. Silverman
Bill Russo: composer-"The World of Alcina" Atlantic LP 1241-(ballet) orchestra conducted by Russo
Sir Roland Hanna, pianist-"A Gift From the Magi" West 54 LP WLW 80003-"Campanile" (by him)
Eddie Sauter: composer & Stan Getz, tenor sax-"Stan Getz-Focus" Verve 314 521 419-2-"I'm Late, I'm Late"/"I Remember When"/"Night Rider" w/ Roy Haynes, drums

Playlist: "The Best of Broadway" Sunday 12th June 2011

2011-06-14T20:35:00.000-07:00

John Kander: music & Fred Ebb: lyrics-"The Scottsboro Boys" (original Broadway cast) Jay 1421-excerpts w/ Brandon Victor Dixon, Cody Ryan Wise, Christian Dante White, Sean Bradford, John Cullum-David Loud, music director
Marc Shaiman: music & lyrics with Scott Wittman: lyrics-"Catch Me If You Can" (original Broadway cast) Ghostlight 8 4449-excerpts w/Tom Wopat, Aaron Tviet, Norbert Leo Butz-John McDaniel, conductor
Frank Loesser: music & lyrics-"How to Succeed In Business Without Really Trying" (1995 Broadway cast) RCA 09026-68197-2-excerpts w/Gerry Vinchi, Matthew Broderick-Ted Sperling, music director

Theatre review: "Violet Sharp" from Terra Nova. Sunday 12th June 2010

2011-06-12T06:59:00.000-07:00

Terra Nova Theatre Group is breaking new ground. It’s offering a play as well as play readings in Pittsburgh, starting with a script, Violet Sharp by founder/artistic director Washington & Jefferson College theatre professor William Cameron. Since 2007 productions had always been in Washington County while this play actually premiered in Los Angeles in 2009. It also won the 2007 Julie Harris Playwriting Prize.

I’d call it a significant docu-drama, one with, in this instance, thoroughly skilled, truthful acting by a mostly Pittsburgh cast.

This goes into the story of a real woman, Violet Sharp, who worked as a serving maid for the Morrow family where Anne Morrow Lindbergh was living there with her husband Charles when their baby was kidnapped and murdered in 1932. In this shocking and world-famous crime Sharp became one the suspects, especially given that her alibis were questionable. The play, much of it based on original statements, letters, police and news reports, follows Violet in and out of intense interrogations as well as in and out of fragments of her life within the household before and after the crime. A newspaper reporter named Adela provides background narration.

Cleary Cameron has done extensive research to create this script telling Violet’s story in a way to show how the confused woman became a kind of victim herself. For many of us, most of what he portrays will be a revelation; probably few people these days have even heard of Violet Sharp. Cameron as writer and director tells the story well in frequent, fast-paced intense scenes. He and actress Theo Allyn succeed in clearly conveying Violet’s several kinds of innocence along with her self assertiveness and bewilderment. A sympathetic, totally convincing portrayal.

The other characters, by comparison, look more like sketches from a dramatized TV documentary. Yet, the actors all bring something to the roles to give them personality, even if the writing gives them little. Among them, Sam Turich makes police captain Harry Walsh believably relentlessly harsh while, as Charles Lindbergh, Tyler Scherer gives him a fine sense of patrician dignity. And John Michnya makes Morrow household butler Septimus Banks convincingly snotty. Narrator/newspaper reporter Adela is played by Allison Cahill, portrayed to suggest satire, which distracts from the other more straightforward, not stylized interpretations.

This polished production does credit to everyone in it while telling us some American history most of us may have overlooked. It reminds us that innocent people accused of crimes may be exonerated but their lives can be forever damaged by those who exploit and degrade them.

Terra Nova Theatre Group’s production of Violet Sharp continues through June 25th at the Grey Box Theatre in Lawrenceville, 3595 Butler Street. There are also free play readings there June 13th to 15th and June 20th to 22nd. Tickets through Pro Arts: 412/394.3353 or proartstickets.org and more information at terranovatheatre@comcast.net

Theatre review: "God Of Carnage" at Pittsburgh Public Theater-Sunday June 5th 2011

2011-06-05T18:29:00.001-07:00

Pittsburgh Public Theater offers its third production of a play by Yasmina Reza, having presented Art last year and Life X 3 in 2007. This one is God of Carnage which certainly resembles those other two, concerning affluent, articulate people trying to be civilized while confronting issues and feelings which surface surprisingly and unexpectedly. As before, in edgy satire, Reza sends up and makes funny how these people end up doing and saying irrational things, taking themselves too seriously.

The superb cast vibrates with believable energy and personality, especially well-paced by director Ted Pappas.

Unlike those previous plays, these characters don’t know each other at the outset but get to know themselves in ways which they could not have anticipated. Anger and accusations surface and spill. This is not like Albee’s Who’s Afraid of Virginia Woolf, likewise fueled by too much alcohol, because, as we stand outside, we see the foolishness of such people. They’re not really in deep pain, even if they think they are. Perhaps Reza wants to make us think we are superior, when, of course, we are not, even if we may have less sophisticated lifestyles.

Alan and Annette Raleigh have been invited into the home of Michael and Veronica Novak. The couples are concerned parents of young boys who have just had a violent after-school fight and the adults want to work things out. But, as conversations develop into arguments, producing accusations within as well as between the couples, tempers get out of hand, making it clear that, even as boys will be boys, men are still that aggressive within their well-tailored clothes and the women, equal in significant careers, are equally prone to aggression.

Reza makes good points about people like Alan and Veronica. He has an almost umbilical connection to his cell-phone, tying him to his high-powered position as a corporate lawyer and is one of those people who can’t help emphasizing his significance by making sure that people nearby overhear his importance. He also represents a pharmaceutical company which is casual about dangerous side-effects in its products. Veronica is, on the other hand, never casual about what can happen to the lives of innocent people. She is deeply committed to activities against genocide and other violence, yet becomes clearly violent herself when the issues get too close to home and her commitments there are shaken.

David Whalen and Deirdre Madigan play those roles to the hilt perceptively keeping both characters superbly, delightfully reasonable, unreasonable, predictable and unpredictable. As their mates, Annette and Michael, Susan Angelo and Ted Koch bring equal believability to all their permutations.

Pappas finds clever ways to subtly point up Alan’s self-involvement when away from the phone, yet, regarding that phone, something doesn’t work right. I don’t know if it’s in the script or if it’s a Pappas invention but every time that Alan picks up his communication device he starts talking immediately without any indication of having heard anyone on the other end. He never appears to be listening to anything being said to him. Sure, that may be a point about his character, but the way it’s done seems surreal and out of place in what otherwise looks like real people going haywire. Also Pappas’ costume design for Annette looks too tacky for such an affluent woman and it says nothing meaningful about her.

Given the main premise and theme, developed about as far as it can go, the 75 minute running time seems a little longer than necessary. And, several days after experiencing this, it seemed more clever and funny at the time than it does now.

God of Carnage continues through June 26 at Pittsburgh Public Theater, downtown. 412/ 316.1600 or ppt.org.

Theatre review: "King Hedley II" from Pittsburgh Playwrights Theater-Sunday June 5th 2011

2011-06-05T17:58:00.001-07:00

Pittsburgh Playwrights Theatre Producing Artistic Director Mark Clayton Southers has long shown an affinity for making the most and best of the work of August Wilson. And now, finally, his company is offering a new production of a Wilson play at the August Wilson Center. Southers didn’t direct this version of King Hedley II. Instead it is guided by Eileen J. Morris who has major credits staging Wilson’s work elsewhere.

Morris and her cast make it vivid, dynamic, colorful and perilously dramatic. As Christopher Rawson points out in his superior program notes, this is Wilson’s darkest play and that the layered plot may be hard going for some audiences. I briefly studied the story line before attending and that gave me a sense of the essence of the major developments. However, given that Wilson regularly evokes what he calls “black street vernacular” I did not find the dialogue easy to understand. I especially had trouble with nearly every word said by one leading performer who seemed to be constantly swallowing her words and emphases

Wilson is always trying to say more than to just depict actions, behavior and results. He’s known for writing about how and why the African-American people he represents do what they do. Those characters deeply ponder the details of their own lives. Such background is also at the heart of his writing, concerning daily struggles with love, death, spirituality and making ends meet in a culture where race relations frame and lie behind what happens or can’t happen to them.

King Hedley II is Wilson’s next to last play and is set in the 1985 Hill District. Although the title suggests some kind of long-ago classic and it could be considered a tragedy, Hedley is no king. King is his first name. Yet, trying to rule his life, produce an heir and maintain his honor, Wilson’s choice of a name has resonance. Hedley and a buddy named Mister eke out existence selling stolen refrigerators and plot a robbery to finance a new business. King spent years in prison for having killed a man who severely cut his face. Back home he lives with his mother Ruby and his wife Tonya. Ruby’s one-time lover Elmore returns to the neighborhood, intent on getting back together with Ruby. Like King, he too spent time in prison for having killed a man. Always present is a neighbor called Stool Pigeon, a half-crazy, sometimes chronicler of life and death on the streets.

Clearly violence and vengeance lurk within the grimy, trash-cluttered framework, personified by several loaded guns. Much of what is said, meanwhile, in the three hours this runs, is about what these people have done and will do next, detailed in many extended monologues. Tellingly, Wilson has both King and Elmore find empathy for the men they killed. Yet, had I not done background reading, I’m not sure how much I could have followed.

Solidly truthful performances by three leading actors always make those characters clear and memorable. Benjamin Cain’s impressive version of King seethes with believable rebellion against a society which keeps him down. As Elmore, Kevin Brown vibrates with personality and panache. Plus Tyla Abercrumbie brings sweet, genuine maturity to the role of Tonya, King’s wife. Yet I found Chrystal Bates’ as Ruby, an equally important role, constantly unintelligible, a case of style over substance. Director Morris probably knows the script so well that she may have forgotten that some of us white folks aren't all that familiar with the kind of language Wilson writes. Often, on opening night, when Ruby spoke, the only people laughing where those sitting near Morris. They got it, even if the rest of us didn't seem to. Meanwhile, Jonas Chaney never overdoes the idiosyncrasies of Stool Pigeon but he raced through too many lines which could have been more interesting and clear.

During the performance parts of recordings by Miles Davis and John Coltrane faded in and out, a distracting, pointless, embellishment, sometimes annoying when competing with dialogue.

Mark Clayton Southers also designed the set, a thing he always does superbly and which, as always, gives substance to such productions. Even though he did not stage this, the cast and director bring their own substance and truth to the urgent tale.

King Hedley II continues through Sunday, June 12th at the August Wilson Center, 980 Liberty Avenue downtown. Pro Arts Tickets the source :412/ 394 3353. Info at www.pghplaywrights.com

Playlist: "The Best of Broadway" Sunday 5th June 2011

2011-06-05T17:55:00.000-07:00

Alan Menken: music & Glenn Slater: lyrics-"Sister Act" (2009 London cast) excerptsGhostlight 8-4446-w/Patina Miller, Claire Greenway, Julia Sutton, Kate Rowley Jones, Chris Jarman, Thomas Goodridge, Ivan de Frietas, Nicholas Coucos, Ako Mitchell-Nicholas Skilbeck, conductor,
various writers: music & lyrics-"Priscilla, Queen of the Desert" (original Broadway cast) Rhino R2 527371-excerpts w/Nick Adams, Tony Sheldon, Will Swenson, James Brown III-Jeffrey Klitz, conductor
David Yazbek: music & lyrics-"Women on the Verge of a Nervous Breakdown" (original Broadway cast) Ghostlight 8 4447-excerpts w/Danny Burstein, Brian Stokes Mitchell-Jim Abbot, music director
Frank Wildhorn: music & Jack Murphy: lyrics-"Wonderland" (original Broadway cast) Sony Masterworks Broadway 88697 88669 2-excerpts w/Carly Rose Sonenclar, Kate Shindle, Danny Stiles, Darren Ritchie, Janet Dacal-Jason Howland, conductor

Playlist: "Classics" Sunday 5th June 2011

2011-06-05T17:48:00.000-07:00

William Grant Still:"Still: Afro-American Symphony-Africa" Naxos 8.559174-"Africa (Symphonic Poem)" Fort Smith Symphony-John Jeter,conductor
"Piano Music of Ricky Ian Gordon-John Nauman" Blue Griffin BGR223
"Five Dances: Waltz" w/John Nauman, piano-"And Flowers Pick Themselves-Songs of Ricky Ian Gordon" Blue Grifin BGR 187-"Thy Fingers Make Early Flowers..." /anyone lived in a pretty how town" w/Melanie Hilton, soprano-Michigan State University Symphony Orchestra-Raphael Jimenez, conductor
"Jeremy Beck-IonSound Project" innova 797-"In Flight Until Mysterious Night" w/IonSound Project
Pierre Jalbert-"PNME against the emptiness" NCU dynamic-"Visual Abstract" w/Pittsburgh New Music Ensemble
"Paul Paccione-Our Beauties Are Not Our" New World Records 80706-2
"Five Songs from Christina Rossetti" 4 of them w/Terry Chasteen, tenor-Molly Paccione, clarinet-Moises Molina, cello-Andrea Molina,piano
Michael Torke-"Torke: Rapture-An American Abroad-Jasper" Naxos 8.559167-"Jasper" w/Royal Scottish National Orchestra-Marin Alsop, conductor
"Sebastian Currier-Cassatt Quartet" New World Records 80634-2
"Quiet Time: Time Flow" w/Cassatt Quartet

Theatre review: "9 to 5, the Musical" presented by Pittsburgh CLO

2011-06-03T07:36:00.000-07:00

Pittsburgh CLO has opened its new season with something somebody else produced, the national tour of 9 to 5 The Musical. That there would be a tour is surprising; the show was not a hit on Broadway in 2009, running for just four months and collecting mostly negative reviews, although the stars got praise and a few Tony nominations.

Clearly the script with its sitcom-like obviousness doesn’t have much to offer, despite a potentially meaningful premise. The cast displays a lot of energetic, sincere talent, making the most of the material. You can admire the singing and dancing skills of everyone, the sturdy playing of the score by a small orchestra led by Martyn Axe and Kenneth Foy’s clever sets. Meanwhile Dolly Parton’s songs have a lively country and/or pop feel, more simple than complex, appropriate to the show, agreeable enough, if not memorable.

This is based on the 1980 hit movie, which certainly could have resonated those 30 years ago. A new take could be a cute trip down memory lane. This version skims that, as it skims everything else. Patricia Resnick’s book looks like a paste-up with no point of view. Too bad. The underlying isues are about women in the work force being exploited, undervalued and underpaid, premises which,if well-developed, could go to interesting, creative places. Moreover the three central women have lives with potential for development. The first act keeps re-stating these themes decorated with numerous, gratuitous production numbers. The second act has a little more substance. But the whole thing relies on superficial, not particularly funny nor imaginative situations, peppered with primitive laugh lines. Certainly some of this derives from Resnick’s original screenplay, yet you’d think she, or the producers or director Jeff Calhoun would have found ways to come up with something fresh.

40-something Violet is a widow who’s been working for a long time without hope of advancement within a very large corporation. Blonde, noticeably breasted Texan Doralee Rhodes is a secretary for big boss Franklin Hart Jr. who lusts after her. And newcomer to the office naïve Judy is recently divorced. The three plot against sleazy, chauvinist Hart and eventually kidnap him and take over the office in his name, improving the working conditions for the women working there.

Doralee is evidently modeled on Dolly Parton; she had that role in the film. In this case Resnick seems to be trying to make a case that being blonde and shapely doesn’t mean Dorelee is a ditz. But, since there are several pointed references to her superstructure, milking that for all it’s worth, and Doralee never expounds on any profundities, you just have to take it on faith that inside she’s got a mind just bubbling with ideas. In this role Diana DeGarmo, one time runner-up in “American Idol,” proves she can sing and dance with professional polish equal to anybody in the cast, but doesn’t come across with any specific personality.

Like the other leads she is called upon to belt out numbers which could double as calling in livestock from across the valley. Dee Hoty as Violet also gets her turn, knocking out the notes to the back rows, countering Violet’s potential for maturity. Hoty actually conveys substance much of the time, even though the role calls for her to get stuck in shtick. Mamie Parris gets Judy’s equal shot in the spotlight but, like DeGarmo, nobody seems home inside that body. There’s another entry into the all- stops -out stuff. This is assigned to Kristine Zbornik as Roz Keith, some kind of not clearly defined special secretary to Hart. She’s an older woman with a crush on Hart, setting up another potential for patent humor.

There’s also a falling -down-drunk woman in the office staff, more juvenalia. How she’s kept her job never gets explained. Plus, unexplained,Hart never fires or puts down back-talking Violet. More, among Resnick’s other sloppy writing, it’s revealed that Hart has been cooking the books, information on the verge of being spilled to CEO Russell Tinsworthy when something else develops and the subject is dropped unexplained. By the way, I don’t know if “CEO,” back in 1980 was a term in common usage, but since anachronisms keep turning up in the dialogue, sometimes acknowledged, laugh, laugh, sometimes ignored, it can serve as another more example of why, justifiably, this show failed to wow New York critics.

Director Calhoun had major work cut out for him. He didn’t succeed. Don’t blame the performers. They earn their salaries. When you’re an actor and you want to stay in the business, sometimes you need to take what you can get.

9 to 5 The Musical continues through 2 p.m. Sunday June 5th at Benedum Center. 412-456-6666 or the Box Office at Theater Square or www.pittsburghCLO.org. ,

Playlist: "Classics" Sunday 29th May 2011

2011-05-29T17:17:00.000-07:00

Stephen Vincent Benet: poet-"John Brown's Body" (original Broadway cast) Columbia LP )SL 181-complete-w/Tyrone Power, Judith Anderson, Raymond Massey-The Walter Schumann Voices, Richard White, choral director-Betty Benson, soprano-Roger Miller, bass

Playlist: "The Best of Broadway" Sunday 29th May 2011

2011-05-29T17:15:00.000-07:00

Kurt Weill: music & Paul Green: lyrics-"Johnny Johnson" (1996 studio cast) Erato 0630-17870-2-excerpts w/Donald Wilkinson, Lynn Torgave, Ellen Santaniello, Renè de la Garza-The Otarè Pit Band-Joel Cohen, music director
Irving Berlin: lyrics and music-"This is the Army/Call Me Mister/Winged Victory" Decca Broadway B0000831-02-"This is the Army" : "I Left My Heart at the Stage Door Canteen/" What the Well Dressed Man in Harlem Will Wear" w/Corporal Earl Oxford, Corporal James "Stump" Cross-"All-Soldier Swing Band" -Corporal Milton Rosenstock, music director
Harold Rome: lyrics and music-"This is the Army/Call Me Mister/Winged Victory" Decca Broadway B0000831-02-"Call me Mister" :"Going Home Train/"Call Me Mister" w/Lawrence Winters, Bill Callaghan-Lehman Engel, conductor

Playlist: "Classics" Sunday 22nd May 2011

2011-05-23T12:05:00.001-07:00

Featuring Artie Shaw (born May 23rd 1910) and Miles Davis (born May 25th 1926)
"Artie Shaw Self Portrait" Bluebird 0902663808-2-Artie Shaw and His Gramercy 5 "The Grabtown Grapple" /"The Sad Sack" w/Shaw,cl-Roy Eldridge,tp-Dodo Marmarosa-Barney Kessel,g
Artie Shaw and His Orchestra-"Artie Shaw Self Portrait" Bluebird 0902663808-2-"Summertime" w/Shaw, Roy, Dodo, Jon Walton,ts
"Artie Shaw and His Orchestra 1949" Musicmasters CIJD6 0234M-"Innuendo"/"Similau"/"Mucho de Nada" (by Johnny Mandel, George Russell, John Bartee) w/Shaw,cl-Al Cohn, ts-Don Fagerquist, tp-Gil Barrios,p
"Artie Shaw Self Portrait" Bluebird 0902663808-2-"These Foolish Things" (arr: AS) Shaw, clar
Artie Shaw and His Gramercy 5-"Artie Shaw Self Portrait" Bluebird 0902663808-2-"Star Dust"/"Scuttlebutt" w/Joe Roland, vibes, Hank Jones,p-Tal Farlow,g-Tommy Potter, bass-Irv Kluger,dms
"Miles Davis-Volume 1" Blue Note LP BST 81501
"Kelo" /"How Deep Is the Ocean" w/Miles, tp-Jimmy Heath,ts-J J Johnson, tb-Gil Coggins,p
"'Round About Midnight" Columbia LP CL 949-"All Of You" w/Miles,tp-John Coltrane, ts-Red Garland,p-Paul Chambers, b-Philly Joe Jones,dms
"Milestones" Columbia LP CL 1193-"Milestones" w/ same plus Julian Cannonball Adderley, as
"Sketches of Spain" Columbia CS 8271-"Solea" (by Gil Evans)
"Tutu" Warner Brothers LP 91-25490-"Full Nelson" (by Marcus Miller w/Miller all other instruments
"Miles Davis-Amandla" Warner Brothers 9 25873-2
"Amandla" (by Marcus Miller/ "Jilli" (by Miller & John Bigham) w/Miller, kybds-Joe Sample.p-Kenny Garrett, as-Steve Khan and Foley, g
"Miles Davis In Person-Friday and Saturday Nights" Columbia LP C2S820-"If I Were a Bell" w/Wynton Kelly, p-Paul Chambers, b-Jimmy Cobb, dms

Playlist: "The Best of Broadway" Sunday 22nd May 2011

2011-05-23T11:59:00.000-07:00

Leonard Bernstein: music-Betty Comden and Adolph Green: lyrics-"On the Town" (1960 studio cast ) Columbia CK 2038-excerpts w/Adolph Green, John Reardon, Cris Alexander, Nancy Walker, Betty Comden-Leonard Bernstein, conductor
"Wonderful Town" (2003 Broadway cast) DRG 12999-excerpts w/Ken Barnett, David Margulies, Timothy Shew, Raymond Jaramillo McLeod, Nancy Anderson, Linda Mugelston, Stanley Wayne Mathis, Donna Murphy-Rob Fisher, music director

Theatre review: "West Side Story" national tour.

2011-05-18T20:11:00.000-07:00

A somewhat revised version of West Side Story is here for a few days. It’s a national tour of the 2009 much-praised Broadway production which ran for 22 months. Recently- departed Arthur Laurents directed his modification of his original 1957 script.If you haven’t seen any performance recently, you may be surprised by some of its intentionally darker moments. Whether or not they’ve always been there, I’m not certain. Still the essence of original concept remains intact.

Leonard Bernstein’s exciting, dramatic, stirring and beautiful music surges and soars throughout the experience, the best reason to be there. The superb playing comes from 14 local musicians plus three touring artists conducted by John O’Neill in new arrangements created by, among others, Stephen Sondheim. Most of the singing does it justice, despite a lack of any truly memorable voices.

Sondheim’s own 1957 often brilliant lyrics sparkle with clarity as sung by the capable cast. The dancing and the action look impressive in Joey McKneely’s sturdy choreography and tour director David Saint’s vigorous staging.

I found more solid drama in this than I expected, personified in the believable nastiness of two adult policemen. One is Lieutenant Schrank whom Laurents gave some depth, including compassion. Christopher Patrick Mullen plays both sides convincingly. Mike Boland equally makes Officer Krupke another memorable example of the oppressive adult world leaning on the confused young kids of the story. And you certainly get a sense from this cast of youth and vulnerability beneath the bravado. Moreover Laurents’ tale of juvenile gangs has as much resonance today as it did 54 years ago.

To add to the sense of reality, Laurents also got Lin- Manuel Miranda (he wrote In The Heights) to transform the Puerto Ricans’ dialogue and some lyrics into Spanish. This has become somewhat controversial, given that there are many audiences with limited or non-existent knowledge of Spanish and no subtitles or supertitles are used. But this is the U.S.’s second language now and the characters who speak would naturally do so, effectively, validly, making them look like a separate culture. But here it seems most like an unnecessary embellishment diminishing the story, being meaningful only to Spanish speakers.

Laurents and Saint have also made sure that tender moments between Tony and Maria have touching truth and they get a lot out of the humor in the only non-serious part, “Officer Krupke.”

Ali Ewolt’s acting as Maria constantly conveys believable, innocent sweetness but Kyle Harris’ Tony seems less well-defined. Her singing feels wrong, as if too operatic, even though parts of Bernstein’s score resemble opera, while he sings in a voice without enough personality.

The entire experience comes across as a fine team effort, with a meaningful sense of ensemble. It needn’t be some kind of star showcase. Plus, given Bernstein’s music, Sondheim’s words and Laurents’ script, this remarkable musical theatre lives on.

West Side Story continues through 6:30 pm Sunday May 22nd at Benedum Center, downtown. 412/ 456-6666 or pgharts.org

Theatre review: "Louder Faster" at City Theatre

2011-05-17T11:47:00.000-07:00

What is Louder Faster louder and faster than? And what the hell kind of a name is that for a play anyway? Who cares? Writers Eric Simonson and Jeffrey Hatcher have come up with a comic classic. The spirit of 1930s farcical stage and movie comedies lives on. Sort of like Room Service, the movie version of which starred the Marx Brothers. Sort of like The Cocoanuts and Animal Crackers in which they also starred on the silver screen and under the bright lights of Broadway. Hey! Hold the phone. Weren’t those last two by that bright light of Broadway, East Liberty’s,George S Kaufman? Uh, sort of. He actually wrote that stuff with some other guys. But give him credit where credit is due.

And guess who’s the star of this whole new shebang. Good old GSK. He’s not in it; he’s dead. But he lives on as the most significant character. Although this is fiction. With a Kaufman-like plot.

True, some of the acting goes a little overboard at times, as if director Tracy Brigden allowed a couple of cast members to milk it too hard, squeezing instead of letting it flow naturally. But since zippy lines keep on coming, no matter who delivers them or how, we’ve got a gem on our palm red hands in this world premiere. I'll bet my bottom dollar that this baby’ll go places.

Get this: No nudity, No profanity. No sensitive gays. An actual intermission. Way out of its time. And way into another one.

It’s 1937 and George has come back to where his family used to be…used-to-be, as you recall, is Pittsburgh to a fare-thee-well. Kaufman’s got a masterpiece in mind. Written all by himself. About his family, hence hanging around the roots to dig into the family tree. More recently the place was a hideout for a Communist cell. And one of those reds is still lurking, looking for an incriminating list. Also looking for it: G man Vic Zimmer. Standing by is distant relative young Morris Kaufman, whom George quickly wishes would get more distant. In the mix too are George’s agent, Max, and two girls Max hired by phone. One’s a secretary, the other a babe who mostly works in the dark, prone to be prone.

Confusions and misunderstandings cascade and tumble with snappy sentences flowing like the Mon flooding The Bathtub.

Brigden gets the vigorous pace nailed. And visiting artist Brian Sgambati plays George S. with winning charm and solid substance. Martin Giles and Patrick Jordan as Max and Vic expertly carry off the roles as funny extensions of their regularly recognizable personas. Meanwhile Robyn Parrish as a Betty Davis look-alike does well with the style that works best, a Veronica who comes across more like a real person than Marina Squerciati’s Betty cartoon, or Tony Bingham’s proximity to Jughead. Tony Ferrieri’s wonderfully crusty set does the trick as does the brassy, pre and post act sound of classic swing which Brad Peterson has disc-jockeyed swell.

Don’t forget to glom City Theatre’s program notes from Carlyn Aquiline. This gang knows how to do what it’s doing.

Louder Faster runs through May 29th at City Theatre at Bingham Street on Pittsburgh’s South Side. 412/431 CITY (2489) or www.citytheatrecompany.org

Playlist: "The Best of Broadway" Sunday 15th May 2011

2011-05-15T17:15:00.000-07:00

Richard Rodgers: music & Stephen Sondheim: lyrics-"Do I Hear a Waltz"? (original Broadway cast) Sony Broadway SK 48206-excerpts-w/Elizabeth Allen, Sergio Franchi, Carol Bruce, Madeleine Sherwood, Jack Manning, Julienne Marie, Stuart Damon-Frederick Dvonch, music director
Jule Styne: music & Stephen Sondheim:lyrics-"Gypsy" (2008 Broadway cast) Time/Life M19659-excerpts w/Patti LuPone, Boyd Gaines, Leigh Ann Larkin-Patrick Vaccariello. music director

Playlist: "Classics" Sunday 15th May 2011

2011-05-15T17:11:00.000-07:00

David Ott: "The American Piano Concerto-Bond/Ott/Tower"
Koch 3 1333-2-Piano Concerto No.2 w/Paul Barnes,piano- Philharmony Bohuslav Martinu-Kirk Trevor, conductor
Sean Hickey: Left at the Fork in the Road" Naxos 8.559279-"Sagesse for Soprano, Tenor & Chamber Orchestra -w/Jennifer Greene,soprano-Doug McCormick, tenor-New Prospect Chamber Players-Sungjin Hong, conductor
Harold Shapero-“Carter/Shapero: Sonata for Flute, Oboe, Cello and Harpsichord-String Quartet No. 1” Columbia LP ML 5576-String Quartet No.1 w/ Robert Koff, Paul Bellam, violins-Walter Trampler, viola-Charles McCracken, cello
"Romeo Cascarino:Orchestral Works" Naxos 8.559266-"Pygmalion" w/Philadelphia Philharmonia-JoAnn Falletta, conductor
Paul Moravec-"Moravec: Tempest Fantasy" Naxos 8. 559323-"Tempest Fantasy: “Prospero,” "Caliban," "Fantasia" w/David Krakauer, clarinet-Maria Bachmann, violin-Alexis Pia Gerlach, cello-Jon Klibonoff, piano

Theatre review: "Shining City" at Off The Wall Theatre-Sunday 15th May 2011

2011-05-15T14:43:00.000-07:00

Washington PA’s Off the Wall Theatre offers another well-acted, provocative play, Shining City by Ireland’s Conor McPherson. Locally two of his plays were seen here recently, The Seafarer at City Theatre in 2009 and The Dublin Carol produced by PICT in 2008. Similar to both, this largely remains a loquacious character study with thorough insights into conflicted lives. In this case parallels in behavior become revealed, creating a clever intellectual exercise to ponder once you’ve re-inserted yourself in your own city lights. An extraordinary, virtuosic performance by F. J. Hartland carries the day, making constantly interesting and clear page after page of nearly uninterrupted self-revealing monologues. Hartland never overdoes it; the result looks effortless rather than showy, perfectly suiting what McPherson wants to say about ordinary people struggling to make sense of uncertain existence.

Recently widowed John has been haunted by the ghost of his dead wife, Mari, and seeks help from Ian, a former priest turned therapist. Gradually it becomes clear that the relationship between John and Mari was increasingly strained, mostly due to John. It also turns out that Ian has serious problems in his relationship with his fiancée Neasa, where he seems most to blame. Both men search ways to be more complete than they are while McPherson’s fine perceptions show how realities keep teaching them lessons they hadn’t imagined. By contrast, a less ordinary man, streetwalker Laurence, has come to terms with who he is, another good McPherson conception.

I see potential for seriously touching moments, but the convincing portraits by Hartland and Dennis Schebetta as Ian stay inside the frame rather than grabbing you by the hand where you can feel the warmth, the sweaty palms. For me the only emotionally moving point comes when John describes getting violently angry with innocent Mari, making her a helpless victim. Odd, isn’t it? that an off-stage person could become more sympathetic than anyone onstage. Yet Hartland thoroughly conveyed that sorrowful moment even though not ever generating much sympathy for John.

He gets most of McPherson’s well-known penchant for Pinter-like fractured dialogue in rambling, always original, unpredictable stories. Alas there is constant repetition of “you know?” There may be some kind of point in having that phrase repeated so maddening excessively, but I can’t help wondering if Hartland was throwing in extra helpings. Too bad director John Shepard didn’t trim that somehow.

Shepard has kept the pacing genuine, never pushing too hard, making everything realistic, adding a few subtle touches in staging. Something else, though, puzzles me, a studied emphasis on Ian increasingly adding home-like touches to his office, bringing new pictures, lamps, flowers, plus pillows and a blanket which, oddly, never get used and just sit there on the floor. This seems rather close to Ionesco’s The New Tenant, perhaps with a similar point. I’m sure there’s a point in there somewhere.

As for the title, although the play is set in Dublin, nothing in the text talks about the city and, since it is outside the confines of these walls, the neither dark nor bright interior could be any place, making the events universal, rather than specific. So what does the title mean? Another puzzle.

Here we have thought over feeling in a well-done production which gives lots of interesting things to consider, including a surprise ending.

Shining City remains through May 21st at Off The Wall Theater, 147 N. Main Street Washington, PA. 724/ 873-3576 or www.insideoffthewall.com

Review: Cirque du Soleil's "Totem"

2011-05-13T11:44:00.000-07:00

Another phenomenal Cirque Du Soleil production unfolds in Pittsburgh. This time it’s called Totem but the title and the underlying conception matter less than how everything comes off looking impressive on so many levels, i.e above the heads of the audience, balancing on poles, soaring and gyrating high in the air, walking on perilously thin boards, or surging forth on a vast shell-like stage, leaping, jumping, wheeling, spinning, juggling, balancing in one remarkable act after another. Meanwhile entertaining, physically virtuosic amusing clown acts pop on and off. The other artists come dressed in superb looking costumes as, all over their performance areas, platforms and spaces open close, raise and lower, ensembles colorfully parade or dance, boats and canoes float in and out and vivid images of flowing water or swirling sands of the desert, or crystal white snow cascade before your eyes. And a small percussion-based orchestra thunders, throbs and pulses as if to an accelerated heartbeat reminding us of the anxiety within the dangers these performers face should they lose their footing, stumble and fall.

The underlying visual concept suggests enduring tribal myths reaching back into pre-history, often evoking native North American people, but also stretching forward into space and into present time. You needn’t bother trying to analyze this or even think about it, since it remains more wonderfully and colorfully decorative than profoundly intellectual into which you need to read all kinds of meaning. The concept seems most pointed when a group described as business men try to reach the top of a pole and maintain their balance. But, by the time they start their climb they’ve divested themselves of business suits and briefcases dressed more like you’d expect for circus performers. One act also seems visually odd when a man and a woman dressed like North American natives twirl and gyrate on roller skates, although I’ve no doubt some real contemporary native people would skate, but not in traditional clothing. Overall then, thinking about how well the concept works, or even about what the word Totem means, is something you should leave outside the tent and allow yourself to marvel at what you see, the brilliant spectacle.

I saw the last production here in 2009, called Alegria. I find this one much more dynamic and compelling than that overly clown-dominated show which ran for only one week in the Peterson Center. There too, wretched balcony sight lines significantly diminished the experience for many people. Here, under the big tent, with no doubt fewer seats than at Peterson, it looks as if everyone gets closer to the action. And isn’t that what a circus should be, not confined within the cement walls of a sweaty sports arena?

Some info about parking. This production takes place in the Strip District, close to the Allegheny River, directly behind the Produce Terminal where there is a lot of parking space. However, the evening I was there, an attendant was bunching up cars closest to the lot entrance while the actual entrance to Cirque is about three blocks closer to downtown. So, for $10, you might have an unnecessary walk coming to and to leaving the performance and I saw many empty spaces quite close one half hour before the show started.

The program book, which is not free with admission, gives lots of information about what the acts intend, about the logistics of how the show is produced and much more, but,oddly, my copy does not name any of the performers. But I have what’s called a “Press Kit” which may have less in it than what paying customers get.

Most important, though, everyone gets a magnificent experience.

Cirque du Soleil's Totem continues through Sunday, June 5 , in the Strip District at 20th Street where Railroad Street ends

Tickets online at www.cirquedusoleil.com/totem or by phone at 1-800-450-1480 or at the Cirque du Soleil box office located at the front of site 2 hours prior to show time.