"Every Happily Ever After begins with a darker ‘Once Upon A Time',"begins the narrator and dead King, as he sets the tone and introduces the audience to Fairest: The Black Tale of Snow White. The Rage of the Stage Players, performing in the Studio Theatre at the Cathedral of Learning, strip the "pretty princess" from Snow White, and get back to the (Brothers) Grimm roots of the tale. 

Incest, cannibalism, murder: what more could you ask for in one dark perspective on an old classic? In Fairest, the audience is introduced to the twisted world of the Vain Queen's mind with a fantastic set, dynamic characters and well-placed comic relief.  Don't be fooled - Snow White may be the title character, but once you walk into Rage of the Stage Players' theatre, it is all about The Queen. Allison Scarlet-Jaye's powerful stage presence dominates show as she infuses sarcasm and wit within a decidedly dark show. 

Apart from the sadistic and dynamic Queen, another standout performance is the Mirror. Rob Henry, with the help of special effects, lighting, and a Sci-Fiesque costume, creates an omniscient being that is intriguingly terrifying and charismatic simultaneously. My hat goes off to the dedication and accuracy of Skylar Walton and David Wooddell, who play moving, book-ending marble statues that creak to life when the Mirror is called upon. Although innovative, the combination of the moving statues, lighting effects and blackout is slightly too tedious for as many times as the Mirror is called upon by the Queen. 

Even though Snow White is a story with which everyone is familiar, there are unexpected surprises that add new light to an old tale. The Seven Dwarves are a highlight of Fairest, playing off of one another and always remaining mindful of their audience. I particularly applaud Charsley Bickett, for the endearing portrayal of dwarf Bernd, for the depth and richness brought to a supporting character. When you are one of seven, it is challenging to standout. Bickett truly found the light of the stage and the script, as her characterization provided interest and comedy at pivotal moments.  Liz Roberts, as the Queen's Guise of the Gypsy, and Lori Howsare as the Queen's Guise of the Hag, are equally talented at maintaining the Queen's air and persona, with wonderful physicality and strong presence. 

Although the role of Snow White isn't as intriguingly dark and complex as other characters, Jenna Lanz brings a spot-on naiveté to the role, so much that I began wondering if Snow White was The Original Valley Girl. Supporting characters Elke (Danielle Jackson Thorn) and Prince Stephan (Elliot Gardner) gave a performance that left something to be desired: namely sincerity and an awareness of timing and audience. Behind-the-curtain make up artist Carrie Shoberg does a fantastic and thorough job on each character; especially important when the front row of the audience is mere inches away from the actors.
Overall, the cohesion between the cast and crew put together a comically dark perspective to Grimm's Snow White. As a first-time audience. Fairest continues on weekend to August 28. Call 412.851.0922 or click here for more information. 

Look up "white trash" in the dictionary and you're sure to find a family portrait of the Smiths: the beer-drinkin', pot-smokin' mother-killin' family whose members captivate audience's er--hearts in Barebones' newest production, Killer Joe. It opens with twenty-something Chris trying to convince his step-mother Sharla (Lissa Brennan), and father Ansel (John Gresh) to hire a dirty detective to murder his mother in order to collect the insurance money.

Killer Joe, written by Pulitzer-prize winner Tracey Letts and directed by Kim Martin, remains bare to the bone when it comes to the characters, even though the set and special effects are more elaborate than the norm from Barebones. The "crass and dissolute" family is stripped of almost every moral fiber in their being, reduced to the primitive core of man: bloodthirsty, power hungry and selfish. The Smiths learn that hiring Joe is an expensive business indeed. Since they have no money to pay him up front, they agree upon "giving" Joe Chris' younger, barely out of her teens, sister Dotty (Hayley Nielsen). Apart from the Smiths, the dirty detective they hire for his assassin services is just as bad, if not worse than them. Killer Joe(Patrick Jordan) is introduced to the audience in the most dramatic of fashions: in the midst of a thunderstorm, lights flickering, Joe throws the door open and in he walks: black trench coat, black cowboy hat, black boots; tall, dark and dangerous.

The plot moves intriguingly and at a perfect pace; dark plotlines interlaced with bits and pieces of humor that actor and founder Patrick Jordan is clever enough to capture and bring to light. The scenes are punctuated with elements that enhance and foreshadow the storyline. Pittsburgh music legend Joe Grushecky plays his acoustic guitar during scene changes, performing both covers and originals; all perfectly meshed with Killer Joe's disposition. Thunderstorms and the barks of an unseen but menacing sounding canine punctuate the dark tones and give the audience a sense that something very, very bad is going to happen.

The five cast members have developed a captivating and intricate chemistry amongst themselves, pulling the audience into their problems, choosing them to take sides, guess what's going to happen next, and sitting on the edge of their seats. Each character is just as strong and fully fleshed out as the next, complementing each other flawlessly. Nielsen's portrayal of Dotty manages to be eerie and sadly humorous simultaneously, with an overwhelming air of naiveté.

The set is wonderfully detailed to create a decidedly redneck, shabby-shit ambience complete with tuna casserole served as a delicacy, plastic lawn chair as living room furniture, and beer as the morning beverage of choice -oh, and did I mention the fried chicken?

The Best Thing: Killer Joe is sure to have you laughing at one moment and then dropping your jaw in shock at the next.
The Worst Thing: X-rated and certainly not acceptable for all audiences (read: children, closed-minded individuals who do not enjoy full frontal nudity)

For tickets, times, and more information: Barebones Website

Salem: home to judgment, no second chances, innocent victims burned for being different, and scandal. No, I'm not talking about Salem, Massachusetts circa 1692, known for their infamous witch trials. I'm talking about the setting of Bricolage Theatre's new production, Speech and Debate: North Salem High School. Forget about being picked last in gym class and sweaty palms.

Three teenage pariahs in Salem, Oregon find their worlds turned upside down by a sex scandal that's sweeping their community. The three teens find their lives intertwined with the sex scandal at the center. As more and more secrets are exposed and truths are set free, the stakes get higher for teen outcasts Diwata, Howie and Solomon.
Speech and Debate boasts many strong points: the set is phenomenal, utilized swiftly to allow for short break periods in between scenes. A chalkboard becomes a girl's poster-adorned bedroom wall, a school calendar serves as a boy's bedside window. A projection acts as a chalkboard as well as introduces scenes, and lets the audiences get a sneak peak at some raunchy chat-room talk. However, the best thing about Bricolage's new show is the incredible depth that each of the three main actors brings to their characters.

Solomon, played by Seton Hill University Senior Matt Henderson is the exact depiction of every nerd who kept your class late after the bell because of his annoying questions. Solomon is inquisitive as all hell, and isn't afraid to get answers, no matter who he has to annoy, or for how long he has to annoy them. Asking question after question, Henderson's portrayal of Solomon is spot-on, making the audience roll our eyes but sympathize with him simultaneously.

Out and proud Howie, played by Point Park University Sophomore Paul Victor provides a cynical touchstone with a hint of sarcasm and dash of reality to the odd threesome. From his dance moves to George Michael's "Freedom," to his touching characterization of a confused youth, Victor is perfection as a new high school transplant just in time for senior year.

And then there's Diwata. No words I can type could accurately portray all I want to tell you about this character, and how fantastic Point Park University Freshman, Laura Melchiorre is in this role. The character of Diwata first charms the audience through her drunken video podcast, as she sings" Casio Keyboard," an original song where she proclaims undying hatred for Mr. Healey, the high school theatre teacher who refused her a lead role in the school show. Although Diwata's obsession with The Crucible, Idina Menzel, and relentless passion for the Speech and Debate Club may seem silly, she, like Howie and Solomon, holds her own serious secrets. Don't let the nude stocking body suit and spontaneous rapping fool you, Melchiorre's Diwata is a heartfelt character that every theatre geek in high school (myself included) could easily relate.
Speech and Debate is really all about getting people talking; the teens in the show, their community, the audience, and the world at large. And isn't that the point of any great performance - to get people talking, and establish an open dialogue with one another? That is exactly what Bricolage does with their new play. The intermissionless 90 minute show has an innovative set, a strong cast and crew, and still manages to address hot topics that are both relevant and controversial: homosexuality, abortion, religion, sex chat rooms, and of course, "bathing suit areas."

The theatre options in Pittsburgh are growing by the minute. There are as many full-length, Broadway-scale productions as there are smaller and ingenius shows. Pittsburghers have grown to love this diversity, but they have also shaped their specific tastes, and the shows that come to Pittsburgh have mirrored that.

For example, Pittsburghers LOVE The Phantom of the Opera (hello, who doesn't?!), so the Pittsburgh Cultural District brings it back every other year. This theme occurs again and again, with great shows like Wicked (love!), Miss Saigon, Oliver!, and Jesus Christ Superstar. I love them, but I want more! Let's put a little hold on Joseph, and bring back more Jekyll & Hyde!

Like I said, these shows are all great. Unfortunately, it leaves very little space to bring in new full-length productions that we haven't been exposed to.

At Point Park's Playhouse, they give us great variety that we don't see on main-stream stages like the Byham, Benedum and Heinz Hall. In the past 10 years, I've seen Sweeney Todd & Reefer Madness there- 2 amazing shows  I doubt have ever been performed on the stages of Heinz, Benedum or Byham.

You know what I would absolutely love to see on one of those three beautiful stages?

Little Shop Of Horrors

City of Angels

The Scarlet Pimpernel

Sweeney Todd

Chess

Spamalot (I know it came a few years ago, but that was ONE time, and I was out of town)

The Secret Garden

Reefer Madness

DO you agree? Disagree? What shows would you prefer to see in Pittsburgh? 

Are you satisfied with the same (although very nice) rotation we get, or would you like a "wild card" thrown in their every once in awhile?

Let me know!

SO, you might have seen in my Recommendations posting some recommended shows of mine. If you saw them, chances are you saw CATS on the list. Cats was on the list for 2 reasons: 1) because my mom loves that musical, and 2) most theatre-lovers love Cats. It was, after all the longest running musical until Phantom of the Opera beat it out (woot!). Not that I'm biased.

Speaking of which, THE PHANTOM OF THE OPERA is coming to Pittsburgh August 29-September 20 of 2010!! Pre-sale tickets start in April, and I am SO SO excited because that it my favorite favorite favorite musical in the whole.wide.WORLD. (it is way better than Cats)

When I saw Cats this Friday with my mom, I was expecting about a 20 minute nap session during the "Gus the Theatre Cat" portion of the program - which, by the way, if you haven't seen the show, is the most RANDOM and BORING thing ever on stage. That is all I'm going to say about that. However, I did enjoy the show a little more than I did the first time around. Probably because I knew what to expect, maybe a little because I am now the co-owner of two kittens, and also because the dancing was truly phenomenal. 

Not as phenomenal was the singing, minus Grizabella ("Memory"). With a show like Cats, it is hard to find such an ensemble cast that are ALL triple threats:can dance, act and sing at an excelling level.  The felines on stage Friday night could certainly act and dance, but very few possessed the vocal capabilities to maintain an on-key note. Most of the meowers were way too busy dancing their butts off to pay attention to the fact that the vocals were failing.

The one exception was, of course, Grizabella, who rocked the song "Memory" so much that I LITERALLY got chills in my seat. It was the most amazing rendition of that song I've ever heard, and it made it worth sitting through the 20 minute snore-fest that was "Gus the Theatre Cat." For reals.

Coming soon to this blog: Spring show recommendations and Theatre Arts in the schools.