Nothing Says Holiday Cheer Like A Family Feud

Alright. I feel like this happened last year at the Pittsburgh Public Theater as well. A booming season with so of the most inspired works I've ever seen and then a let down with the last show. I feel bad saying this, because Good People, 1776 and Clybourne Park were SO GOOD, but I'm kind of ambivalent about Other Desert Cities, which is going on now until June 30th. But, as always, make your own decisions about whether or not you want to go, and once there, make your own review of it. This is the kind of show that will resonate deeply with some people but will totally flop with others. And I'm that weirdo in the middle.

Other Desert Cities at the Public Theater until June 30

Other Desert Cities takes place during "the most wonderful time of the year" in the home of Lyman (James DeMarse) and Polly Wyeth (Helena Ruoti) in Palm Springs. Lyman a former actor-politician and Polly are high in their class ranking, rubbing elbows with the Reagan's is one of their favorite hobbies, along with playing tennis at the country club and attending and hosting various fundraiser benefits. All fine and well, except for the deep secrets of this family including Polly's alcoholic sister, Silda (Susan Cella), their adult children, Trip (John Patrick Hayden), a reality TV producer, and Brooke (Pilar Witherspoon), a New York author, and the death of their eldest son, Henry.

While Lyman and Polly are strong Republicans, relying on traditions and expected manners, Silda and Brooke are the "crazy liberal type" meaning that they have a different opinion then Lyman and Polly on just about everything, while Trip tries his best to maintain a sense neutral. The family is brought together, for no other reason than to celebrate the holidays, and fret about what Brooke's new book is about. Brooke has been battling depression for the last few years after the death of Henry, even staying for extended periods of time in the hospital, has finally come out with a long awaited second novel. Only, it's not until now that the family finds out the book is not actually a novel, but a memoir, detailing the truth, as Brooke remembers, of all the family secrets, specifically, Henry's death.

The audience easily finds out that the villains in Brooke's story are her parents, the hero is her big brother, Henry and Trip, who was just a little kid at the time, cannot pick a side considering he doesn't know what happened back then. This plot is thick and rich, it's got juicy inside family secrets and details and it really does leave you hanging until the end with what really happened during the that time and how the family sorts it all out. My problem with the show, is that I feel it's over acted. Everyone in this cast is clearly talented and they know what kind of directions their characters would take in certain situations, but the over emphasis of minor lines and then of course the way over dramatic display of emotion is just too much for me. I understand the need to be big on stage, but yes, there is a such thing as too big. And in this particular production, a couple characters are just too big, which makes me not like them or connect to them and in the end made me only care for the character of Trip. Because he was neutral in the fights, had some fantastic one-liners and reminded me of one of my guy friends who always seems to have the best grasp of any situation.

The set design, as always, was amazing!

I'll admit that at one point during the first act, I thought 'am I really going to sit through the rest of this' because I just couldn't stand the inappropriate emphasis of characters and the annoying accent of another, but I knew if I walked out I wouldn't be giving the play the chance it deserved and it would just be plain rude, so I sat through to the end, and I will be the first to say, I did not see the ending coming the way it did. The writing of this show was planned out much better than I gave it credit for (shout out to Jon Robin Baitz) and I have to say that the final scene truly makes up for anything I didn't like. When you see it for yourself, I'm sure you'll understand what I mean.

Race "Issues" Take Center Stage in Clybourne Park

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Issues surrounding race are typically slumped into a list of "things not to talk about" in most circles. Also on that list tend to be religion and politics, and other subjects that might make you uneasy around people who you do not know too well, or who you know have the opposite opinion than you about the "issue." Well. I think that great phenomenal theater is the kind that just puts it out there. And that is exactly what Clybourne Park, going on now through May 19th at the Pittsburgh Public Theater, is doing.

Clybourne Park, which was written by Bruce Norris, is the 2012 Tony Award winner for Best Play and was awarded a Pulitzer Prize. If you see it, which I am highly encouraging you to do so, you will instantly understand why it has claimed these two prestigious awards, as well as various others. Clybourne Park takes place in one house in a suburb of Chicago, Act 1 is set in 1959 and Act 2 in 2009. This show could be put on a total black stage and be flawless, but of course that's not the Public's style and the interior of the house fills the stage and is pretty elaborate. Every actor/actress is perfect for their roles (you'll see, they play multiple parts) and during intermission, the music playing guides you through the decades, which I think is a clever touch, especially since Michael Jackson plays during that time.

Act I, when Karl is trying to prove a point (or twenty) to Russ and Bev. Photos from Post-Gazette.

Let's get right into this. The first Act is centered around a middle-aged couple, suffering the loss of their son, preparing to move out of the house on the 100% white, nose-in-the-air, Clybourne Street. This couple, Russ (Brad Bellamy) and Bev (Lynne Wintersteller), have two very different views on how to deal with the death of their only child, Kenneth (Jared McGuire). As you learn more about Kenneth's death, you see the guts of Clybourne Street, the seemingly happy and perfect neighborhood, actually houses a lot of betrayal and judgement. And as Bev and Russ get closer and closer to moving, their neighborhood makes it easier for them to leave without any qualms. Although Karl (Tim McGeever), Jim (Jared McGuire), and Betsy (Megan Hill), all mean well, they make the transition easy by indirectly insulting Russ and Bev about their son's death, the way they are mourning, and the family they sold the house to. Mostly, the family they sold the house to, because that family is black and as Karl so eloquently puts it, "they'll bring down the property values of the neighborhood and it's just one house at a time from there." Obviously these statements upset Bev and begin a huge fight between her and Russ against Karl, all while their maid, Francine (Chandra Thomas) and her husband, Albert (Bjorn DuPaty) are basically forced to sit there silently as their race is discriminated by Karl and not so gracefully saved by Bev.

Act 2 picks up in the house fifty years later. Where Steve (Tim McGeever) and Lindsey (Megan Hill) are trying to get their renovation plans approved by the neighborhood's planning committee. These two new comers tip-toe around issues, trying to make friends with everyone. While Tom (Jared McGuire) tries, unsuccessfully, to run the meeting and Lena (Chandra Thomas), Kevin (Bjorn DuPaty), and Kathy (Lynne Wintersteller) all recount their memories of the neighborhood "back in the day" and their memories within and around that very house. Again, race becomes an issue because of those memories, Steve's inability to be a rational human being, Lindsey's obvious tip-toeing and Lena's will to pick a fight. Basically, everyone has something to prove and defend about their own race, gender, beliefs and sexual orientation and everyone offends everyone else at some point.

The whole cast in Act II, right after contractor, Dan (Brad Bellamy) finds an old Army trunk in the backyard.

Although I just made this show sound like the most serious business of all, trust me, I laughed the entire time. Bruce Norris has created the piece needed in every life in today's culture. It is presented in a serious context, has multiple undertones that develop a passionate piece, but it is the humor that gives this show life. Clybourne Park is a must see on any stage, but it just happens to be on the Public's stage right now. It brings to light the issues of differences, mostly race related, and how we think those differences change our surroundings for the good or the bad. Thank you, Public Theater, for bringing these issues to center stage. Thank you, Bruce Norris, for having the guts to even write this.

To me, race is only a big thing, because we make it out to be this huge barrier between us. I'm also in a long-term biracial relationship and living with roommates from different countries, so I might be biased in saying that race is not a big deal. And at this present time, I feel like only MJ and Bruce Norris understand my humor around this "issue" because they share it. Everyone always looks at MJ and I awkwardly when we blantantly point out and joke about the ridiculousness in separating us by race. This is also coming from a man who hates being called African-American and would rather you call him black because he "ain't never been to Africa."

I love him. I love this show. And I'd love you if you went to go see it and thought that it was more than just thought provoking. I'd love you the most if you're a white girl and you belly laugh the loudest in the theater, during the show, when the joke about "what's similar about white girls and tampons" comes up....you know, like I did. Not because you think it's particularly funny but because you know it's true for about 70% of the white women you know. This show is crude. This show is relevant. This show is needed. It is a necessity for today's stuck up society. We are not different races, we are one. Human. The quicker we learn that, the better. Maybe Clybourne Park can help us do so just a bit little quicker and help use to laugh about it along the way.

The Chief: Bridging Theater & Sports in Pittsburgh

You know what is the worst way to start the new year? Being sick. Yuck. (I'm so over having the flu.) You know what is a pretty good way to start 2013? Seeing The Chief at the Pittsburgh Public Theater. Until Saturday only, the Public welcomes back Tom Atkins as Art Rooney Sr. in this one man show sensation for it's tenth season.

The Chief runs from January 3-12 at PPT.

The Chief, which was written by Rob Zellers and Gene Collier and directed by Ted Pappas, is set in Art Rooney Sr's office in the old Three Rivers Stadium in 1976. As always, the set design is flawless and inviting, which creates sort of an unspoken second character, since with this one man show you are bound to be looking around the set at all the pictures on the wall, not just the actor. While Atkins does a tremendous job talking at length about Rooney's experiences in Pittsburgh, the people he knew and eventually the creation of the Steelers and their first winning season, you need to go into this show knowing a guy is going to just stand on stage and talk at the audience. You also need to know that if you're not a fan of the Steelers or Pittsburgh in general, you probably will not like anything about this show.

Me hanging out with Mr. Rooney after a game in 2011.

However, if you are a Steelers fan or just like this town in general, than The Chief will more than likely entertain you in some way. Atkins does a great job of using the entire stage, by looking at different members of the audience and facing in new directions really uses the space of the Public's thrust stage properly and keeps this show interesting. This performance is what I would imagine listening to your grandpa tell  stories of his friends "back in the day" would be like. The script gives little insights, mostly unknown to me, of Rooney and his memories of the old steel town of Pittsburgh. Though some of the places he mentions actually still are the same, for those of you who are in the younger segment of the crowd, you won't be totally lost.

Overall, after a not so exciting season, seeing The Chief might help Steelers fans remember what our team has fought through before to become the great franchise they are now. Thanks to this "Rooney-approved" show, the great delivery from Atkins, this story line of the former football greats (like Terry Bradshaw and Franco Harris) will certainly lift some leftover woes from this past season and give some hope for the next, naturally giving Steelers fans another reason to believe in this team, as Art Rooney Sr. would have always wanted us to.

Some Good People in the 'burgh

Currently going on until December 9th at the Pittsburgh Public Theater is the fresh, 2011 Tony-nominated play, Good People, by David Lindsay-Abaire. Good People is about Margie, a resident of Southie, a Boston-area neighborhood. The play begins as Margie's career as a cashier ends, leaving her and her handicapped, adult daughter, Joyce, in a huge financial struggle.

Good People runs from November 8th to December 9th at the Public Theater. Photo Credit.

Struggle, that many Americans today can relate to. The idea that these characters are in a position so familiar to the average American today is what makes this play so real, but the way it is being performed is what makes seeing it at the Public so rare. I feel like theater's intention is to bring people together and make them see something in a new light or to create interesting conversations. However, because of our selfish human nature, we seem to have changed that intent to go to theater to solely be entertained instead. Good People, though highly entertaining with it's sarcastic humor and adult language, is also raw and seriously makes you think. Or at least it did for me.

At the Public, you are always guaranteed a fabulous set and lighting design, so I shouldn't even have to go into detail about how perfect the minimalistic, color-blocked stage looked. Or how interesting and artistic the main set wall worked with the lighting and how cool the moving stage worked to easily move set pieces around and give depth to the theater's space. I also shouldn't have to tell you how perfect the music of the play was and how each selected piece was like a mini-soundtrack to my high school days, which, with the vibe of this show, is a masterpiece.Oh, I also shouldn't have to tell you that answering your phone during the middle of a show is highly inappropriate and should never, ever be done. But since some girl did that during the performance I saw, I guess that some people still need to be told. So, do not be that girl.

Dotti, Jean, Margie and Margie's former boss, Stevie (Paul Terzenbach) at bingo. Credit.

Moving on, Good People at the Public was perfectly cast. David Whalen, a Public Theater regular, is yet again fantastic. He portrays Mike, who was once a "Southie kid" and former boyfriend of Margie, and is now a well respected fertility doctor, living in the luxurious Chestnut Hill, and married to a much younger (and darker) woman named Kate (January LaVoy). There are only a few biracial couple jokes in this show but I found them all to be hysterical because you know, I'm in one of those and nothing is better than laughing at yourself. Margie, who is flawlessly portrayed by Kelly McAndrew, being in a financial struggle is talked into meeting with Mike after 30 years apart, by her landlord, Dotti (Glynis Bell) and her friend Jean (Helen Coxe), in hopes that he will be able to help her find a job. (The dynamic between Glynis and Helen just about steals the show every time they're together.) Margie finds herself at Mike's office and eventually in a verbal "fight" that ends with her inviting herself to the birthday party Kate is planning for him which is being held in their home, which Margie is obviously dying to see. This scene is like one of those fabulously awkward run-ins with an ex or estranged friend...only fun to watch, not to actually be in.

In Act II, Margie, who has already been told that the party was canceled is again talked into going anyway because she, Dotti and Jean think she was just uninvited because Mike is probably just too embarrassed to have her at his home, rubbing elbows with his swanky doctor friends and their wives. When she arrives, she finds out that the party actually was canceled which starts to infuriate Mike, but gives Kate the perfect reason to invite her in for wine in hopes of hearing some endearing childhood stories of Mike. Instead, the conversation becomes the raw theater I was talking about. The topic of Margie's inability to find a job and not struggle with money, come to the forefront. This made for a hard scene to watch, but probably harder to perform. These three actors shined in this rough dialog about love, money, luck, parenting, grace and giving unselfishly. They fight, they yell, they almost get violent and Mike breaks the present Margie brings him. Although all three of the actors in this scene are so real and awesome, Kelly McAndrew brings it hard. Get it girl. 

This is the scene that brings up the conversation pieces. Margie tries to explain to Mike how she thinks he got lucky and was just fortunate to have parents who cared and a scholarship to get him through school, while she had to drop out of high school to have her baby and raise her without help. Mike chalks his success up to hard work, and blames Margie's fate on her poor choices. While Margie accepts that she's made some bad choices, she never lets up on Mike for not giving credit for his successes to anyone else, including his father...and her. But of course Mike, doesn't see it her way and Kate is shocked by the little truths that slip out about her husband's past. This is where the idea of being able to "get out" of Southie comes into play. Where the idea of being able to "get out" of any small town that holds people back comes to mind.

As someone in the state between the "stuck" and the "out" - this play is a must see. And if I know you, dear reader, you should see it regardless of which state you're in, because not only are the actors spot on throughout, not only is the set, lighting and music beautiful but this story is real. If you aren't in a situation similar to what plays out on stage, you know someone who is or who was. And let's be real, as selfish humans, if the play isn't just going to be the most entertaining thing we've ever seen, it damn well better relate to us. Good People does both. So you should see it.

Others Out in the City!

This weekend, while MJ and I were very "yinzer" and ate our fill at Primanti's and walked across the Smithfield Street Bridge to Station Square so he could buy his first Steelers jersey, I realized that nothing we were doing was really worth blogging about. Everything we were doing was worth savoring, chowing down on greasy food, strolling across the bridge with the greatest love I've ever known, you know that couple stuff that no one really likes to read about. (So I'll spare you.) But I knew other people were out in the city and their escapades were fresh and worth some blog space, so here are two of those people, with reviews of their events for you...
 

Chicago going on now at Heinz Hall. Photo from Cultural Trust.

Julia
-This was what you can say classy with a touch of yinzer. The Broadway musical Chicago was in town and my boyfriend had bought us tickets for our anniversary. Chicago is one of my absolute favorite musicals. I mean let's be real here, where can you go wrong with a musical about sex, murder, and jazz? It was at Heinz Hall which, I feel, is the most gorgeous building in the city. When you walk in you feel as if you are royalty with the way the concert hall is designed. The music was fantastic and the live band was on the stage with the actors. They were constantly making the audience and myself laugh with little jokes thrown into the dialogue here and there. Of course the hot boys on stage with the actors was a plus. The yinzer part of my weekend was taking a trip to the Strip District with my boyfriend. I started my Christmas shopping for my brother on the West Coast and my other brother in Virginia. We got some great Steeler Nation t-shirts and I bought myself a few gorgeous scarves from street vendors.

Isaac
-Friday night I went to the 9th Annual Theatre Festival in Black and White, presented by the Pittsburgh Playwrights Theatre Company. It's a really neat event where they have 10 short plays split into two separate programs. The "hook" of the event is that black directors direct plays written by white playwrights, and white directors do plays by black playwrights. I only saw Program A Friday night, but the program features a wide variety of genres and tones. Plays range from the bizarre to the realistic to the supernatural, and all provide something different. I would recommend anyone interested to go see one of these programs (playing the last few shows next Thurs-Sat) to see some good local theater. (And you can read Isaac's full review of this event here.)


So what did you do this weekend? Anything worth, blogging about? Tonight I have been invited to attend an exclusive blogger event with Maniac Magazine. I'm pretty excited about it, but I need to knock out this fever and headache before then! I will be blogging more about this event later tonight and tomorrow so be sure to come back and check out what comes from this event!

The Producers Take Over The Playhouse

Oh. My. Goodness. I have been raving about this production since I saw it on Saturday night. I cannot believe how fabulous it was. Honestly, if you have the time to do so, you must go see The Producers at Point Park University's Playhouse. These students should be very proud of their performance and you should really take the time to check out the talent of Pittsburgh's up-and-coming.

The Producers runs until Sunday the 28th at the Playhouse.

The Producers, is a musical adapted by Mel Brooks and Thomas Meehan, based on the film by the same name by Brooks from 1968. The lyrics and music were also written by Brooks and arranged by Glen Kelly and Doug Besterman. The story, which was also made into a musical movie in 2005 as well, is about Max Bialystock, a renown Broadway producer and his new partner, former accountant, Leo Bloom. Max (portrayed by senior, Tom Driscoll) and Leo (sophomore, Carter Ellis, who was made for this part) figure out a way to earn much more money on a Broadway musical flop, than a hit and scheme together to create the worst show possible. They bring together an awful show, a horrible director and actors who just don't have it and hope for the best worst.

This show relies on many show business jokes, ridiculous accents, and poking fun of Nazi's and homosexuals and to be quite honest, I never really liked it before. While anyone can go into this show and laugh at certain parts, as a whole, I never found it to be the great musical it is said to be. Now, obviously the twelve Tony Awards that it won would disagree with me. But, simple as that, I never really liked it before. Until now.

Driscoll, Mandie Russak (a senior, as Ulla) & Ellis. Photo credit.

 

 

The Point Park Conservatory Theater Company has changed my mind. Each student in this show brought everything they had and left it all on the stage. They brought these outrageous characters to life and made The Rockwell Theater swell with talent. I do not think a single student lacked any bit of character and each one brought the performance to the next level with each scene. All of them should be making their director, Point Park alumnus, Tome' Cousin, and the entire Point Park community proud with the obvious hit they brought to this stage. This is the biggest show that Point Park has done and these students have proven that they can handle the challenge of doing even bigger and better and I applaud them.

This was the first Point Park show that I was actually able to attend and I was floored by the talent that this school is holding. Call me biased, but I don't know any of the students in this show very well. Keep in mind I'm a grad student at Point Park and have few opportunities to interact with undergrads, especially the super busy COPA students. I sincerely look forward to future shows and suggest that you make seeing The Producers a part of your plans this weekend since it's final show is Sunday night, you will not be disappointed.

Private Lives at the Public Theater

As most of you know by now, I work at the Public Theater, also known as the O'Reilly Theater, in downtown Pittsburgh and one of its perks is to be able to see all of their shows for free. Currently, Noel Coward's Private Lives is wrapping up this season at the theater and it is quite the show to see. (And if you keep reading, you can win the chance to see this one for free...just like I did!)

Private Lives runs at the Public until June 24th.

Private Lives, which takes place in France, happens while two couples are honeymooning. Imagine a romantic evening on a beautiful terrace, overlooking a gorgeous view of the beach. Now imagine that moment while your terrace is connected to your ex-wife/husband's terrace. That's where this show begins...so I'm sure you can also imagine the hilariousness that happens from there. While Sibyl and Elyot Chase have just wed, so have Amanda and Victor Prynne. However, it hasn't been too long since Elyot and Amanda were once married to each other and in an unfortunate chain of events, end up honeymooning with their new spouses, right next to each other.

To bring this "RED HOT" season to an end, Ted Pappas, the Public's Producing Artistic Director, has taken on the role of director for the third time this season and has truly brought this show to life. And I'm sure you know by now that I cannot talk about a Public Theater show without raving about how fabulous I think the set is. I feel like the Scenic Designers at the theater keep trying to one-up each other with each show, because they are always so gorgeous, but James Noone will remain the winner in that category since it's the last show of the season. Also, there's a revolving stage included in this show, so that's pretty much the trump card. However, I'm sure you all also know that I'm obsessed with clothing so of course the costumes are always the most interesting part of a show to me and this one is no different. Andrew B. Marlay did a beautiful job with this show and has mimicked the time period of the '30's flawlessly.

Amanda and Elyot first realizing the other is there. CityPaper photo.

Now to be honest, the show itself is not what I would consider my style of theater because there are a lot of easy jokes that keep the tone light hearted and upbeat, but seems too obvious for me to find too much excitement in. Also, there is a good bit of domestic violence that to me wasn't really funny, but was played off decently well in the script to keep it from getting too serious. There is also one point during the second act when I got bored simply because Amanda and Elyot are the only two on stage and it feels like you're the third wheel on their date. I'm sure you know how it is when you're out with a couple who have clearly been together for so long that they have too many inside jokes, but haven't been together long enough to realize that they're being obnoxiously cutesy. That's how Act II felt to me. However, that's a beef I have with Noel Coward and not the actors on stage and considering how infamous Coward is in the theater world, I think that's one battle I'll just admit to lose.

Overall, the five actors cast in this show were each the perfect pick for their roles. Their acting was clean and easy and felt like they didn't even have to try. Victoria Mack (Amanda) and Michael Brusasco (Elyot) were fabulous as two people who are very use to getting everything they want and who will stop at nothing to win a fight and Laird Mackintosh (Victor) and Amanda Leigh Cobb (Sibyl) were flawless as two lonesome lovers, who whine their way out of fights, while Elena Alexandratos (Louise, Amanda's housekeeper) does amazing work as someone who doesn't speak a word of English and refuses to put up with any one's shit. Great cast!

Of course, like I always say, no matter what my opinion is, you should check out this show for yourself.  And I'd like to give you a great opportunity to do so! This is the first ever contest on Chels & the City, so we'll see how it goes - but I have TWO TICKETS to see Private Lives at the Public Theater so you can judge the show for yourself! All you have to do is successfully be the first one to answer the question below and you and your guest can see the show for free next week - on whichever date works best for you. For. Free.

CONTEST QUESTION: Chels & the City is a play on words for one of my favorite TV shows, Sex and the City...SO...Which Sex and the City star once portrayed the role of Amanda in Private Lives?

Leave your response of the actress' real name, not who she portrays in Sex and the City, as a comment! Good luck, readers!

Traveling around the world...while staying in one seat!

Last night was the official opening night of the Pittsburgh Public Theater's production of Around the World in 80 Days. MJ and I had a grand ol' time traveling along to the different countries and didn't even have to move out of our seats. Theater and travel are just becoming so convenient!

At the Pittsburgh Public Theater until May 13th!

The show is directed by Marcia Milgrom Dodge and is lined up with a phenomenal cast of Tom Beckett, Ron Bohmer, Jeffrey Kuhn, Meera Rohit Kumbhani and Richard B. Watson. While everyone was amazing at their parts, I have to say that Tom Beckett and Jeffrey Kuhn stole this one for me. Any show that allows the actors to talk in ridiculous accents always is a winner in my book, but Jeffrey portraying Frenchman, Passepartout and Tom portraying just about every other character, just took this show to the next level. Mostly Tom Beckett, because his ability to switch from one costume to the next and one accent to the next, killed me. I loved every facial expression and every bit of effort he was putting into this performance. Even though he made it look seamless, I'm sure it was a workout and I very much appreciated watching! I also very much enjoyed Meera, because while her bio notes a small background in theater, I thought she was fabulous, she's also the only woman in the show, so of course I'll side with her any day. But, from each actor, I cannot talk about how much I loved every time they were on a train, boat or other form of transportation and were able to remain in character and really deliver, while acting out the movement of the type of transportation. For the audience, a few times this just looked silly, which I'm sure was the point, but oh, my gosh, the movements just made the scenes come to life and at times had me and MJ in tears of laughter.

Ron Bohmer as Phileas Fogg. (Keith Hodan: Tribune-Review Photo.)

As always, the set was gorgeous. If you read my last Public Theater review, then you know that I was so impressed by the set of Freud's Last Session. But the scenic designer of Around the World, Michael Schweikardt, might have out done that set with this one. Now granted, this set is a lot less grand than Freud's Last Session, there is no massive bookshelf that I feel in love with, but there were more beautiful large pieces to look at on the stage this time. I especially loved that from where we were sitting, the stair case was almost directly across from us, so from time to time it felt like we were right in the action of the show. My favorite piece though was the elephant, I thought it was so cleverly done and loved how the actors interacted with it. Along with the set, the sound and lighting crew was on point with this show. I especially loved a certain scene about a haywire train that perfectly played out and showed how every single person involved in this show worked together harmoniously. But I'll leave that scene and the elephant to your imagination to entice you to go see this performance a little more.

Above all, I loved that this stage was used how it's supposed to be. Since it's a thrust stage, there are bits of audience members on three sides. Of course most of them are sitting where the audience would normally sit in the front center, however, there are still a good bit of them sitting on the sides. And since MJ and I were on the sides for this show, I especially took notice to the direction of where the actors were.  I love the Marcia took the time to notice that the audience is also on the sides, because not every director does that even when using a thrust stage. I very much appreciated that no matter where you were seated in the audience, at some point in this show you saw the actors from every angle. That might seem like such a small detail to some, but when you're actually sitting on the side, it's nice to see a face. Try going through an entire show without getting a good look at the actors faces, that would not be a fun time. So, thank you Marcia for your direction and using every bit of the Public's stage and thank you Public Theater for another quality show!

Be Our Guest...in Pittsburgh!

Over the course of last week, the national tour of Beauty and the Beast made its way to Pittsburgh via Heinz Hall. And since I'll assume that everyone has seen either the movie, in the past 21 years that it's been out, the musical or the modern day adaption of the story (aka: Beastly) then I'll skip past the part of how the plot goes and go right to what was onstage.

"Be our guest, be our guest, put our service to the test!"

I was accompanied to the show with friend and fellow blogger, Isaac and both of us went into seeing this show in a pretty biased light. He did it more recently in a community theater experience and I did it back in my sophomore year of high school which was "the first high school in Pennsylvania" to do it, not that I can find any information about that online since I guess 2004 was too early to post everything on the Internet. But I think I was a little more biased than he was.

Lets start with some basics that I didn't really like - which, when you think about the overall production, were not really a big deal. First, the costumes were a pet peeve of mine, simply because I thought they were too humanized. And although I'm not a fan of making any one's job harder than it already is, some of these characters are larger than life and should have been portrayed that way. I remember when I was in this show, some of my fellow cast-mates struggled getting on and off stage, especially Cogsworth, Madame de la Grande Bouche and Mrs. Potts, so it was a little disappointing to see them not really looking like the object they portrayed. And I'm sure that if kids found a way to do to in Lincoln High School, they certainly could do it with the size of the wings I'm sure Heinz Hall has. Also, the scenery, because it is a touring show and nothing can really remain on a specific stage, nothing was stationary and it was all a lot less grand then expected. However, despite these two things, the costumes and scenery served their purposes as they were meant to and I only questioned for a split second what Madame de la Grande Bouche was since her drawers were not obvious, besides that, everything worked well for its intended use.

However, two things that were kind of upsetting that were less easy to get over were the lack of the battle scene and the Beast's change back into a human. The battle scene, which is between the Mob Song, where Gaston rallies the villagers to find the Beast and the fight between the Beast and Gaston was cut out of this production. While I'm not sure why it was cut, I can imagine that it was a timing issue or just a blocking fiasco. As I said I was in this show before so I understand that it's not always an ideal scene to work with, since it has to look like mass chaos, but at the same time must be very well choreographed so no one gets hurt. I just would have liked to see another group's battle scene considering it was one of my favorite scenes to actually perform. Also, the changing of the Beast, started fabulous with him being lifted and spun (just like the movie!) but ended with a bright strobe light that left me blinded for a minute, which left me feeling kinda cheated. Like was blinding the audience they only way you could change him from Beast to human? I'm still not sure of all of the specific details of how our Beast changed into a human. I know it involved a swig actor, a fog machine and a baby strobe light, but even from watching that scene from the wings, it looked fantastic and I give major props to our directors because I know we did it without blinding the audience to switch actors.

Now, since I do not want to be labeled that girl who bashed Beauty and the Beast and it was not in my agenda to simply hate the production, lets seriously talk about what I did love. I adored this cast. They each were so well versed in the personalities of their characters and nothing seemed forced, which sometimes is hard for a cast to avoid when doing a Disney show, since the characters just seem too nice sometimes. This cast was fluid and made everything else that looked like a flaw to me disappear. Emily Behny was gorgeous in this role as Belle. At first I was unsure whether or not I would like her because her voice is very musical theater, which isn't my style, but she won me over time and time again. During "A Change In Me" she really let her voice belt and absolutely killed it, she was fabulous. Also, always fan favorites, Cogsworth (James May), Lumiere (Michael Haller), Madame de la Grande Bouche (Jen Bechter) and Mrs. Potts (Julia Louise Hosack) all made fabulous objects come to life on stage. These characters are easily pointed to as some people's favorites since they have the great little punch-lines and over-the-top character personalities. These actors and actresses were a phenomenal supporting cast.

"...now that I'm grown I eat five dozen eggs, so I'm roughly the size of a barge."

However, the greatest one in my eyes was that dreamy hunk, Gaston, played by Logan Denninghoff. He was absolutely fabulous and reminded me of a young John Travolta, which is the best compliment I can give to an actor. I love John Travolta...SO. MUCH. Anyway, I loved Gaston and his little, always hilarious sidekick, LeFou (Jimmy Larkin). This combo was unbelievable and every time they came on stage, I knew the scene would be great. One of my favorite scenes to perform was a dance section to Gaston's song in the tavern and I was so thrilled to see that this cast also performed it. The "mug dance" as many have named it, is a showstopper and the really only other big dance scene besides "Be Our Guest" and was just as entertaining. Considering I still have the counts of when the mugs are supposed to click together stuck in my head since 2004, it was great to see the exact timing on stage at Heinz Hall.

"Tale as old as time, song as old as rhyme..."

Now, on to the two greatest parts of the show. First being, THE DRESS. You know, the big, beautiful, yellow ballgown that Belle wears to dance with the Beast in, in the formal dinner scene. Basically the most iconic article of clothing I think a character has ever worn. When Emily Behny first appeared in the dress, I, like probably every other girl in the theater, was astonished. It glowed. She glowed in it. Perfect moment. I felt like it was a Say Yes to the Dress moment and thank God, Belle said yes. It was perfect. And I'm sure you can guess the one last thing that made this show top my charts, considering he's the only one I haven't mentioned yet, the Beast (Dane Agostinis) was flawless. I loved the little socially-awkward quirks that he brought out of his character that would be true to someone who was locked up as a hideous beast in a castle for his whole life. I don't think many actors think to bring out those attributes as much as he did and he was able to, in an instant, switch from awkward boy to ferocious beast perfectly. And of course, like a true girl that I am, he made me cry while singing "If I Can't Have Her." Sigh.

So, as you see overall, it was a great production. What really brought it to life though, was this cast. They were fabulous and regardless of what I thought of the stage they were performing on or the costumes they were in, overall they made it and enchanted evening for everyone there. And obviously I thought it was a great show since I bought a Belle t-shirt for myself on the way out! While the show is no longer in Pittsburgh, if you can catch it in another city, this cast is worth the travel. Or wait until the show comes back into the city...but that might be quite awhile from now.

Chatting it up with Freud and Lewis

One of the many perks of working at the Pittsburgh Public Theater is the ability to be able to "sneak in" to see the show once in awhile and I was very thankful to be able to do so tonight, to see the performance of Freud's Last Session. The play, which was written by Mark St. German, is based on the novel, The Question of God by Dr. Armand M. Nicholi, Jr. Both of which imagine what it would've been like if Sigmund Freud and C.S. Lewis ever met in person.

Until April 1st at the PPT.

The play takes place on September 3, 1939 in Freud's study in London. During that time, Freud would have been 83 and nearing the end of his career, and life (he died 20 days later), while C.S. Lewis was still in the beginning stages of his career at the age of 40. Prior to tonight's performance I read the script to be able to get a better grasp on what to talk to patron's about if they would ask me about the play before seeing it (which they always do). But before reading the script, I have studied Freud in college and have read some of Lewis' work so I knew what the play would basically be about already. For those of you who don't know, Freud was a neurologist who founded psychoanalysis and was an atheist and Lewis was a writer, literary critic and a Christian apologist. So you might see where this play is going.

As a whole, the production was fabulous. Each actor was more than believable as their characters and they were passionate about their lines, which makes me wonder what they personally believe to be the truth. The set is gorgeous and when there was little or no talking going on I caught myself staring at the vast bookshelf and wondering what each of them are. Every little detail down to the lighting showing a faint window outline on the floor (since the play is set during the day and the sun would be shining through these large imaginary windows) to the specific artifacts scattered about the study were all perfectly represented. But I was glad that I read the script prior to seeing the show because certain parts were hard to understand because of the accents each character has and the fact that Freud's character is supposed to be in his final stages of oral cancer, which although makes some of what he says hard to understand, it makes his character more real.

Aside from the play, as you should be able to know from either knowing me personally, or by reading the "Bio" section of my blog, I'm on team Lewis. I am a Christian and believe that Jesus died on a cross for me and everyone else in the world, even those who don't believe He did. But going into the show, I tried to put those beliefs aside to be able to get a full grasp of the ideas each character presented. And I must say, they both (of course) made some great points. They were both brilliant men, how could they not? It would've been unfair to let one of the character's "win" or "outsmart" the other in the play, considering we as the human race, don't really know who is right. Though I personally don't believe that, I cannot speak for our species as a whole. The conversation between the two men in real life probably would have played out very much like the performance does with each one getting an edge and a set back in their arguments over and over until they finished their conversation...with no real winner at the end, and probably neither of them a changed man.

Jonathan Crombie as C.S. Lewis and David Wohl as Freud

Even though I tried to put my bias aside to watch the show, I still agreed with Lewis' character at the end of the play. Many times throughout the performance I found myself wanting to add to the discussion...that's good acting. A fictitious conversation is happening in front of me - yet I want to join in? Well done, Public Theater! However, Freud's character makes a great point during the early moments of the play, the dialog goes like this...
Lewis - What if it isn't a lie? Have you considered how terrifying it might be to realize that you were wrong?
Freud - No more terrifying than it would be for you.
This interaction is so striking to me because I feel that it is the most basic question that everyone, no matter what their beliefs, must face at some point in the journey...what if it isn't true? One of my roommates who is a devout Christian always likes to say "I'd rather be safe than sorry when it all comes to an end." Which, I'm cool with thinking too on my more questionable days; even though usually I know, that I know, that I know, Jesus is not a lie.

The greatest line I think in the whole play is one of Lewis' last lines, and basically sums up what I think many Christians actually feel everyday.
Lewis - My idea of God; it constantly changes. He shatters it, time and time again. Still, I feel the world is crowed with Him. He is everywhere. Incognito. And His incognito - it's so hard to penetrate. The real struggle is to keep trying. To come awake. Then stay awake.
This line is so poetic to me because of it's massive truth. Once you think you've figured God out, He does something to mess up all your thoughts completely. There will never be a full grasp on Him, never a complete understanding and anyone who says they can do so is the biggest liar of them all. The constant chase after Him is tiring sometimes, but worth it in the end I'm sure. I like that this line says that the world is crowded with Him, because I think that people have a tendency to ask where God is in the everyday or in the problems of the world. But I think that's part of the struggle, part of the humbling, like you become closer to Him when you really realize He is everywhere and in everyone, even the people who don't want Him there.

To come awake. Then stay awake. No one said the journey would be easy, but it will be worth it.