By Carol Waterloo Frazier
CLO executive producer Van Kaplan is to be commended for presenting one of the best shows done on the Benedum Stage.
By Carol Waterloo Frazier
CLO executive producer Van Kaplan is to be commended for presenting one of the best shows done on the Benedum Stage.
By CAROL WATERLOO FRAZIER
When December rolls around, musical theater fans know it’s time for a Pittsburgh Civic Light Opera tradition — “A Musical Christmas Carol.”
This timeless Charles Dickens story of redemption takes theater-goers on a whirlwind tour of the past and future of the bah humbug himself, Ebenezer Scrooge. But the story takes place in the present (well, the present for Dickens when the story was first published in 1843.
The show continues weekends through Dec. 21 at the Byham Theater in Pittsburgh.
Since 1992, “Christmas Carol” has become a holiday tradition for folks of all ages. Whether you’ve seen it a few times or have never missed a year, the show never loses its appeal. Maybe it’s because main cast members have been involved since the beginning (with a missed season here and there). Or maybe the message of hope keeps people coming back. Or it could be because the CLO production remains amazingly fresh and new every year.
The main characters are the same “friends” fans of the show have come to associate with their various rolls. Tom Atkins returns for his seventh year as Scrooge, the miserly accountant whose life revolves around numbers instead of people. Through a series of visits by three spirits and the ghost of his former partner, he begins to have regrets about things he’s done — and in some cases, not done.
Atkins does a convincing job taking his character on the bumpy road to redemption. He delivers one-liners with just the right blend of wit and sarcasm and his rebirth results in a child-like giddiness on Christmas morning.
The journey begins when Scrooge encounters the ghost of his dead partner, Jacob Marley. Daniel Krell creates an eerie walking-dead character that’s forced to wear the chains he forged in life, link by link, as he wonders the earth. He warns his partner of the pending visits by the spirits — the Ghost of Christmas Past (Amanda Serra), the Ghost of Christmas Present (Tim Hartman) and the Ghost of Christmas Yet to Come (Patrick Cannon). As the young Marley, Krell depicts him as an all-business, cold-hearted person who is more concerned with the bottom line than people.
Most performers have multiple roles, including Hartman who steals the show as the happy-go-lucky Mr. Fezziwig. He gives the show its comic relief while Fezziwig and his wife, played to the hilt by Terry Wickline (she shines in this role but is even more comical as Scrooge’s housekeeper Mrs. Dilber). Their on-screen chemistry is wonderful. They both show a glimpse of their more dramatic side when they are forced out of their home because of foreclosure — by Marley and Scrooge.
Cannon’s main role is that of Younge Scrooge. Making his “Christmas Carol” debut, he does a good job transitioning from the young and in love (Erika Strasburg does a nice job as his fiancée Belle) apprentice to the ruthless, cold-hearted accountant. His character runs a gamut of emotions and he does a good job in bringing the audience with him on the journey.
Jeffrey Howell reprises his role of Bob Cratchit, who works for Scrooge and copes with his miserly ways in a gracious almost pleasant way. He’s convincing when telling his family never to forget Tiny Tim in an emotional plea. It’s a scene guaranteed to result in you shedding a tear or two.
Tiny Tim, the youngest of the Cratchit children who is crippled and must walk with a cane, is played by first-grader Matei Zivanov. Seemingly unaffected by the audience, he turns in a nice performance and does a good job when singing grace (“Away in A Manger”) before the family delves into “the veritable feast.”
Others turning in notable performances are Justin Fortunato as Scrooge’s nephew Fred, who won’t give up trying to pour out a little Christmas cheer on his crotchety uncle, and Lisa Ann Goldsmith as Mrs. Cratchit, who shines in an emotional scene after Tim’s death (as foreseen through one of the spirits).
If you have some free time during the next two weekends, CLO’s “A Musical Christmas Carol” is well worth the trip into Pittsburgh. Not only will you enjoy a wonderful show but you’ll be making memories that will last a lifetime.
For more information or for tickets, call 412-456-6666.
By CAROL WATERLOO FRAZIER
By CAROL WATERLOO FRAZIER
By Carol Waterloo Frazier
The story of Maria Eva Duarte de Peron is a rags to riches story of a woman who appealed to the masses and died as hero to the people of Argentina.
“Evita” is based the story of Argentina’s First Lady, who was born into a poor family in Los Toldos and moved to Buenos Aires in the 1930s to pursue her dream of becoming an actress. Thanks to her popularity as a radio star and actress, she met Juan Peron. They married in 1945 and the following year he was elected as Argentina’s president.
In her new role, she fought for women’s suffrage and to improve the lives of the poor. But while she had her throng of supporters, the legendary political figure had her share of naysayers.
The national tour of the Tim Rice/Andrew Lloyd Webber’s Tony Award-winning musical “Evita” brilliantly tells this iconic woman’s story. The first new Broadway production of the show that debuted on Broadway in 1979, this version is directed by Tony and Olivier Award-winner Michael Grandage and choreographed by Tony Award-winner Rob Ashford — and they do a marvelous job digging into the character’s lives to tell their story.
The show continues through Sunday at Pittsburgh’s Benedum Center.
The spotlight is on Caroline Bowman as Eva (Desi Oakley plays Eva at the Saturday matinee and Sunday evening performances) and she shines. She draws the audience into her iconic rise to influence in Argentinian politics and does so showing not only Eva’s strengths but also her weaknesses.
Bowman does a stellar job on the show’s most famous song, “Don’t Cry for Me Argentina,” and on the reprise as her health is ebbing away. She does a nice job showing in a gradual way the impact of the illness that would prove too much for her to beat, taking her life at age 33.
Her scenes with Sean MacLaughlin as Juan Peron are good. From “I’d Be Surprisingly Good for You” to the poignant “Dice Are Rolling” when she collapses in her husband’s arms. He is believable as the country’s leader and in his dealings with his officers.
Josh Young turns in a remarkable performance as Che, who tells the story of Eva through his experience as a worker in Argentina. His cynicism comes through loud and clear as the show opens with “Requieum” as the country mourns the First Lady’s death. His vocal talents are evident throughout the production including “Oh, What A Circus” and “And the Money Kept Rolling In.” Representing the working class, the angst many were beginning to feel comes through on “Waltz for Eva and Che.” Young injects just the right amount of subtle yet to-the-point sarcastic humor to help bring a tad bit of levity to a drama-filled show.
Christopher Johnstone as Magaldi does a wonderful job with “On This Night of a Thousand Stars” and Krystina Alabado turns in a strong albeit brief performance as Peron’s mistress, whose uncertainty for the future is felt is “Another Suitcase in Another Hall.”
The sets and costumes draw the audience into the lives of the Peron’s. The dancing is sharp and high-energy, especially on “Buenos Aires.”
This production of “Evita” delves more into the lives of Eva and Che, giving them more emotion and offering a glimpse into how they evolved into the people they were in 1952 — and Bowman and Young do that beautifully. This is a show worth seeing and one that just might prompt some further reading into the life of Eva “Evita” Peron.
By CAROL WATERLOO FRAZIER
For those old enough to remember the 1980s, chances are you were among those caught up in the frenzy of “Footloose.”
The 1984 film starring Kevin Bacon, Lori Singer and John Lithgow comes to life on the Benedum Center stage as the third show in the Pittsburgh Civic Light Opera season. The show continues through June 29.
The story is simple — dancing and other fun stuff was deemed illegal by a small-town council. That doesn’t sit well with Chicago transplant Ren McCormick who, along with his new friends, set out to change the minds of the town’s leaders. In the process, he falls for Ariel whose pastor father is the driving force behind the ban. After council rejects his attempts to overturn the dancing ban, Ren has a heart-to-heart with Rev. Moore who does some soul-searching and reveals his discovery to his congregation.
Movie purists will see some differences from the original film, but the musical shouldn’t disappoint. PCLO executive producer Van Kaplan produced the show and does an outstanding job with a standout cast that makes you want to “kick off the Sunday shoes” and, well, cut footloose.
Manuel Stark and Kristen Martin are wonderful as Ren and Ariel. Whether alone or together, each brings a high-energy performance to a receptive audience. They are great together on “Almost Paradise.”
A newcomer to PCLO, Stark has a wide vocal range and his agility is evident with his dancing skills. Whether he’s expressing his need to dance in “I Can’t Stand Still” or rallying his classmates in “I’m Free” he definitely knows how to cut footloose.
Martin is amazing as the preacher’s kid tired of the oppression at home and in town. Her rebellion shines through on “The Girl Gets Around” with biker boyfriend Chuck (played by Brandon Espinoza). She’s good vocally but when it’s dance time she shines — and really seems to have a good time.
Rev. Moore is played by Patrick Cassidy, who does a good job convincing Moore’s congregation — and himself — that what he’s doing is the right thing. When he’s forced to let go of the past and seek forgiveness (the reprise of “Heaven Help Me” and “Can You Find It In Your Heart?”). A moving scene involves Cassidy and and Stark.
Three-time Tony nominee and PCLO veteran Dee Hoty portrays Vi, the pastor’s wife who struggles to keep quiet while she watches the chasm widen between her husband and their daughter. “Learning To Be Silent” (with Martin and Sally Wilfert as Ethel, Ren’s mother) and “Can You Find It In Your Heart” are very nice.
Alex Fine as Wendy Jo, Amy Hillner Larsen as Urleen and Jessie Hooker as Rusty are Ariel’s best friends and do a great job with Martin on “Holding Out For A Hero.” The threesome do a nice, almost eerie job with “Somebody’s Eyes.”
Hooker and Greg Kamp as Willard are fun together. “Let’s Hear It For the Boy” is good. Kamp turns in a good performance as the innocent high schooler who lives according to what “Mama Says.”
“Footloose’ ends how it starts — on a high note with the show’s namesake tune. It’s a pretty good indication the show was a hit when folks are humming and singing as they leave the theater.
The high-energy production offers amazing dancing, strong vocals and good acting. If you’re a little stressed or down, venture to the Benedum in the next few days and chances are you’ll “lose your blues” quickly.
By CAROL WATERLOO FRAZIER
Ever find yourself wanting something for the wrong reason — and discovering something about yourself along the way?
That’s the scenario that unfolds on the Benedum Center stage with the second show in the Pittsburgh Civic Light Opera season, “Legally Blonde — The Musical.” The show continues through June 22.
The cast — many of whom are in or are recent college graduates, which is fitting considering the show centers around that age group — is wonderful. Even the two canine stars, Chico and Nellie, bark right on cue.
Not familiar with the story? It’s pretty simple — boy breaks up with girl and she wants to prove that he made a huge mistake. In the process she learns some things about herself and finds real love.
Reprising her national tour role, Kathleen Elizabeth Monteleone turns in a stellar performance as Elle Woods. She quickly draws the audience into her plight, taking them on her evolving journey that starts as a fun-loving college senior to one of four select first-year Harvard law students on the fast tract to a promising career. Monteleone is an amazing performer and vocally is a powerhouse on tunes like “So Much Better.”
Her scenes with Matthew Scott have spark that appears genuine. The Carnegie Mellon University grad does a wonderful job as third-year law student Emmett Forrest who encourages Elle to get a “Chip on My Shoulder” so she is driven to excell. They take center stage on his metamorphic change from elbow-patched corduroy jacket to dark-suited attorney in “Take It Like A Man.” What’s a love story without a touching scene, which they beautifully create in “Legally Blonde.”
Returning to the PCLO stage, Mamie Parris is outstanding as hairstylist Paulette who finally finds love (UPS man Kyle isn’t on stage much but when he is Michael Milton steals the scene). She’s a vocal dynamo on “Ireland” (the Riverdance-like segment later in the show is great!).
PCLO Academy alumni Courtney Markowitz is great as the uppity, stuffy Vivienne who admits she was wrong for judging the blonde law student. Markowitz and Jeff McLean as Warner Huntingdon III (a role he played in the first National Tour of the musical) make a great Ivy League couple; he’s surprised to discover his former girlfriend, Elle, is in his law classes and still has a burning ember for her. His self-centeredness shines clearly on “Serious” and his expressions when he’s taken down a few notches are great.
Another PCLO veteran, Ken Land is brilliant as the tough-as-nails Professor Callahan. “Blood in the Water” sets the stage for what he expects of his students and he wonderfully conceals what his underlying plan is for Elle, which backfires and adds to her drive leading to her self-discovery.
Pittsburgh native Lara Hayhurst as Margot, PCLO veteran Isabelle McCalla as Pilar and making her PCLO debut Brinie Wallace as Serena are great as Elle’s ever-supportive friends. They (and the ensemble) are great in the production number “What You Want” (Pittsburgh’s own Jeffrey Howell as Winthrop is fun as the overwhelmed law school admissions person shocked by Elle’s unique personal essay).
This is a great show that also happens to have a message, actually a couple messages that just might make theater-goers think about what drives them. Although the vast majority of audience members were women of all ages, the musical is more than a girly show. It’s something that anyone can find something or someone to relate to, which makes for an outstanding story. If you have a couple hours with nothing to do the next several days, make your way to the Benedum Center for a very enjoyable production.
By CAROL WATERLOO FRAZIER
Gene Kelly is not only a legend in the world of dance, he is a Pittsburgh native. His legacy continues each year when high schools vie for a Gene Kelly Award recognizing excellence in musicals.
It’s only fitting that Pittsburgh’s Civic Light Opera opens its 68th season with the show synonymous with Gene Kelly — “Singin’ in the Rain,” the 1952 MGM film musical starring Kelly, Donald O’Connor, Debbie Reynolds and Jean Hagen.
For those familiar with the show, it’s takes place when silent films were becoming a thing of the past with the introduction of “talkies.” The two stars of the silent era are Don Lockwood and ditsy partner Lina Lamont. Kathy Snelden enters the scene as a young studio singer who captures Lockwood’s heart — much to the dismay of Lamont. Audiences are not very receptive to Lamont’s shrill voice so Snelden becomes her voice and saves the day.
Living up to the expectations of such a well-known show can be a challenge. CLO executive producer Van Kaplan and director/choreographer Linda Goodrich were up to that challenge and met or exceeded what theater-goers were expecting — a show filled with top-notch singing, dancing and acting.
Reprising the iconic roles are David Elder as Don Lockwood, Cary Tedder as Cosmo Brown, Ashley Spencer as Lina Lamont and Mary Michael Patterson as Kathy Selden.
Elder is suburb as Lockwood. He effortlessly sings and dances his way through the show — and his acting is not too shabby, either. He does a stellar job on the show’s namesake dance number, “Singin’ in the Rain” — where the stage is drenched from the rain and Elder, soaking wet, dances and splashes his way through one of the most famous bits of choreography in musical theater history. There’s so much water that even the orchestra opens umbrellas to stay dry.
Last seen in CLO’s 2010 production of “Curtains,” Elder’s crooner-like voice is showcased on solo tunes like “You Stepped Out of A Dream” and is equally strong when teamed with Patterson and Tedder on the fun “Good Mornin’.” And yes, the threesome does tip the couch during the dance.
Patterson pulls off the starry-eyed young singer Snelden who’s hoping to make it big. Her character’s chance encounter with Lockwood paves the way for “You Are My Lucky Star.” She’s taking a break from playing Christine in “The Phantom of the Opera” on Broadway.
When it comes to landing a fun role, Tedder did just that with Cosmo, the piano-playing sidekick of Lockwood. Not everyone can pull off that character but he does so with ease. Starting with “Make ‘Em Laugh,” he has mastered the art of physical humor. He and Elder — who was last graced the CLO stage during the 2008 season — team up for “Moses Supposes” for a fun time as they good-naturedly mock the process of learning proper enunciation with the diction coach (played by Pittsburgh native James Stellos).
Perhaps one of the most vocally annoying characters in musical theater, Lina Lamont is amazingly played by Spencer. A veteran of the 2008 CLO season, she portrays the screetchy-voiced silent screen star who is not the brightest bulb in the chandelier. It’s nothing shy of amazing that she never wavers for even a word in that irritating voice, which she thinks is normal — and is adamant about in “What’s Wrong With Me?”
Pittsburgh native Jeffrey Howell adds to his list of CLO appearances as director Roscoe Dexter and Ken Land returns to the CLO stage as movie studio owner R.F. Simpson. Kristine Bendul makes her CLO debut as Olga, beautifully recreating the dance segment of “Tango” and the lengthy “Broadway Ballet” which also showcases Elder. Two CLO Academy members — Jacob Epstein as Young Cosmo and Mathew Fedorek as Young Don — do a nice do a nice little tap number in the opening scene.
Any fan of classic movies, especially classic musical films, won’t want to miss this production of “Singin’ In the Rain.” The show continues through Sunday, June 8, at the Benedum Center.