Roving Pittsburgher Report - Quest for the Woman He Never Knew: A Review of All the Names, Quantum Theatre's April 12th 2015 Performance

Quest for the Woman He Never Knew
Review of All the Names, Quantum Theatre's April 12th 2015 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  April 14, 2015

With the sound of every eerie gong, the Quantum Theatre’s world premiere of All the Names kept the audience moving towards the light, falling deeper and deeper into the life and mind of Senhor Jose. In this adaptation of Jose Saramago’s Nobel Prize winning book All the Names, translated by Margaret Jull Costa, we are reminded that everyone has a story. Small objective parts of that story are kept in official records and the rest is in the hearts and minds of those we interact with over time.

He said he must know what happened to her. But it seemed more an obsession. And why her? Of “All the Names?” As a clerk at the National Registry, he had seen millions of names pass by, including celebrity names and information that he personally documented for hobby. But her file with discrepant and missing information, led Senhor Jose, played by James Fitzgerald, on a tangled investigation. It was a quest that would challenge the square introvert’s inner sense of purpose and place in the vast world we live in. Answers led to more questions, and more questions started to cut deep and personal. The line between right and wrong became blurred as he justified abusing his access to official documents and avoided being caught by the stoic Registrar, played by CMU Assistant Professor Cameron Night.

As Senhore Jose’s every decision and indecision is weighed out, his conscience is brought to life by actor and writer Mark Conway Thompson. Senhore Jose’s conscience is always with him, like a shadow. As his quest grows more complicated and he becomes more emotionally entangled, it becomes hard to tell whether it is he or his conscience that is at the helm. Along his journey he meets two women, both played by Point Park Instructor Bridget Connors. In the course of providing leads for his investigation both women ruffle his square demeanor and challenge his emotional frailness. We see into one of the women’s mind by her conscience also being personified, not mistakenly played by the same actor as the Registrar.

Actors playing multiple characters, omnipotent narration, and exaggerated sets that were almost like installation art, skewed the hierarchy of exactly which character’s course we were seeing play out. At times the audience spied down on the characters from second floor balcony. We sat across an oversized desk from the Registrar staring down on us, feeling small, inconsequent, and judged, just as Sehore Jose. Other times we were amidst the journey in a huge dark room transformed into a dreary abandoned school, where a cachophony of ghostly whispers chilled the air and walls were covered with names in chalk of those who had been there before – including mine now.

We walked amongst file boxes and documents seemingly suspended in midair. It transported the audience to a dream state where the line between reality and imagination blurred. The vastness and somewhat disorganization of the national registry poured over into the turmoil and chaos of the characters consciousness and the boundless ether of Senhor Jose’s mind –or even one’s own. A trippy talking ceiling really brought the threshold of sanity into question. Becoming Senhore Jose, some audience members were instructed to sit, sit in his place to hear investigation testimonies. This world premiere adaptation of Jose Saramago’s novel All The Names could not have been so exquisitely brought to life without artistic contributions of several talented people. Quantum’s Artistic Director Karla Boos, and Dramaturge Megan Monaghan Rivas, were committed to bringing this complex story to life. Each member of the small cast was intense and commanding. The masterful scenic design in the original Carnegie Free Library by Barbara Luderowski and Narelle Sissons was technically enhanced with lighting effects by Cindy Limauro; fantastic and engaging multimedia projections by Joe Seamans and enriching sound production by Chris Evans and Sarah Pickett.

After staying for the post performance discussion, some audience members shared that they found the work to be akin to Kafka’s works, filled with loneliness, inner turmoil, and the repressive confinement of societal convention. Artistic Director Karla Boos shared the inspiration and evolution of bringing this story to stage and it was clear that this project was an original and creative passion. And one that paid off. My friend Sandra, who went to the performance with me, said the real life little lambs were a nice touch. It is not your conventional play, it is absolutely excellent. The show is mesmerizing!

Additional Performances:

April 15th - May 2nd  |  8 PM  |  Heinz Hall
For more information and tickets visit quantumtheatre.com

By:  Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2015

Roving Pittsburgher Report, If It Ain't Broke, Don't Fix It, Slapstick Rule Boeing Boeing

Roving Pittsburgher Report, If It Ain't Broke, Don't Fix It, Slapstick Rule Boeing Boeing

Most people don't realize when they attend Boeing Boeing at the Cabaret Theater presented by the CLO that there was a movie.

Boeing Boeing) is a 1965 American bedroom farce comedy film, based on the 1960 French play Boeing-Boeing, and starring Jerry Lewis and Tony Curtis. It was released on December 22, 1965, and was the last film Paramount Pictures made with Lewis, who had made films exclusively with the studio since My Friend Irma (1949).

You could see the comic antics of Jerry Lewis and the physical comedy and body language translate into the CLO presentation as Jerry Lewis and Tony Curtis roles are recreated by Connor McCanlus (Robert) and Tony Bingham (Bernard.)

Cast of Pittsburgh CLO's BOEING BOEING

Bernard Lawrence (Tony Bingham) is a philandering three timing American journalist stationed in Paris, France. A serious womanizer, he has invented a devious system for juggling three different girlfriends: by dating stewardesses who are assigned to international routes on non-intersecting flight schedules.  For some time only one woman has been in the country at any given time! Bernard's romanced are run by a timetable of their landings and departures.

Tony Bingham and Connor McCanlus in Pittsburgh CLO's BOEING BOEING

Much of the real comedy is developed by the machinations his long-suffering, straight laced housekeeper Bertha (Elizabeth Ruelas). She swaps the appropriate photos and food in and out of the apartment to match the incoming girlfriend—none of the ladies is aware of each other's presence in the apartment. They regard Lawrence's flat as their "home" during their Paris layovers.

Connor McCanlus in Pittsburgh CLO's BOEING BOEING

But for those like Bernard operating on the edge of morality, all good things must come to an end.  His foolproof agenda is interrupted when his girlfriends' airlines begin using the Boeing aircraft. These faster flights change all of the existing route schedules and allow the stewardesses to spend more time in Paris. Without warning his three girlfriends will now all be in Paris at the same time. Fair warning at that time and now that it's important to pay attention to the news.  Although with a profession and three fiancés the audience is left to wonder how he had much time for anything especially the news.

Robert Reed (Connor), a fellow journalist and an old acquaintance, arrives in town and is unable to find a hotel room. He insists on

Connor McCanlus and Amanda Pulcini in
Pittsburgh CLO's BOEING BOEING

staying in Bernard's apartment for a few days. When he sees Bernard's living situation, he clumsily begins to take over Bernard's apartment, causing even more chaos.

The comedy except for Berthe's adept one liners is slow until the arrival of Gretchen, the German stewardess played by Lisa Ann Goldsmith.  Her lusty, brash German antics seem to challenge all other players to come up to her level of both slapstick and verbal comedy.  But the broad antics that characterized 1950's comedy reins throughout Boeing, Boeing.

Director Van Kaplan managed to get perfect humorous timing, great body language, facial expression and sheer audience delight out of his actors.

The on stage comings and goings remind one of Feydaux's plays which ruled the Theater of the Absurd.

Boeing Boeing has an extended run at the Cabaret Theater through May 10, 2015.  The two gentlemen at my table, my companion and another's husband laughed so hard they had streaming tears.  The wife and I were given to unmitigated belly laughs.  So if mom loves to laugh this would be a great mother's day outing.  It might also be a cautionary tale to individuals who juggle women or men.

Lisa Ann Goldsmith, Tony Bingham and Kelly Trumbull in Pittsburgh CLO's BOEING BOEING

About the Show ONE MAN + THREE STEWARDESSES = NON-STOP COMEDY! This Tony Award®-winning swingin’ ‘60s farce features Bernard, a wannabe-Casanova, with Italian, German, and American fiancées, each a beautiful airline hostess with frequent “layovers.” He keeps “one up, one down and one pending” until unexpected schedule changes bring all three to Paris and Bernard’s apartment at the same time.

Performance Schedule

 Wednesdays 7:30pm Thursdays 1:00pm* & 7:30pm

Fridays 7:30pm Saturdays 2:00pm & 7:30pm Sundays 2:00pm

*With optional buffet at the CLO Cabaret on March 26 and April 23 Tickets Tickets start at $34.75 and are available online at CLOCabaret.com, by calling 412-456-6666 or at the Box Office at Theater Square.

purchase tickets here:

Joanne Quinn-Smith, Award winning internet radio broadcaster,

blogger, author and internet radio and TV network editor and publisher. Joanne is the owner and CEO, Creative Energy Officer, of Dreamweaver Marketing Associates, a successful Pittsburgh-based marketing company. She is a grandmother and great grandmother, an unlikely trendsetter for online journalism and broadcasting. Joanne is internationally known as the “Get Your Google On” Gal. But better known as Techno Granny™ to over one million accumulated online listeners worldwide. Joanne has created a revolutionary online NEW MEDIA platform in Internet broadcasting, blogging and other social media participation that represents the new second generation of World Wide Web interactions, known in technology circles as Web 2.0. JQS is the online publisher of PositivelyPittsburghLiveMagazine.com, an online community magazine to disseminate the Positive News for Positive Pittsburghers. PPL Mag is Pittsburgh’s First Internet radio and TV network with syndicated channels and online radio and TV capabilities. 

Roving Pittsburgher Report, TOO BIZET TO LOVE CARMEN?

TOO BIZET TO LOVE CARMEN? PITTSBURGH OPERA CHANGES THIS ROVING CRITIC’S MIND

By Tamar Cerafici

I live in rural New Hampshire. It’s a hike to get to anything “artsy.” So when my friend Bunbury said, “When you come to Pittsburgh, we’ll go to Carmen,” I sort of jumped at the chance.

To be frank, I’m not a fan of Carmen. My mother was a coloratura soprano with a specialty in the Bel Canto style, so I was raised on the works of Donitzetti and Puccini, where the mezzo soprano provides nice support in quartets, and the melodrama is all focused on the woman with tuberculosis. And I can never listen to Carmen without thinking of the Gilligan’s Island “Hamlet” episode. But I was starved for culture – so of course I went.

The Pittsburgh Opera’s production changed my mind about Carmen. Here is a heroine full of fire and determination, played with dark fervor by Rinat Shaham. Not a hint of a cough in site. Not one asthmatic wheeze. She is a gypsy, used to the company of thieves. This is a character that lives right up to the moment she doesn't.

I guess this production is just different from the many others I’ve seen, or perhaps I was paying attention. Maybe the deft casting of an intense mezzo and fine actress (Ms. Shaham is both) against a rather aggressive (as opposed to lovesick) Don José underscored the violence that most productions hide.

Michaela fends off Morales
David Bachman Photography

Rinat Shaham +
Carmen

And this is a violent opera. Don José (AJ Glueckert) is violent man. He tells his lieutenant, Zuniga (sung superbly by Philip Gay), that he joined the army because he got in a fight with a man in his village – given his jealous proclivities throughout, one assumes it was over a girl – and he was forced to leave. José kills Zuniga to join Carmen and a band of thieves. But I wonder: did he kill Zuniga primarily because the officer had a rendezvous with Carmen? Then I wonder, what if he had to leave his village because he killed his victim in a jealous rage? Little acts of violence permeate Marc Astafan’s bleak production, and they all lead to the ultimate act of violence. Carmen’s world itself is violent; Carmen’s murder seems a fait accompli. José is drawn to her like a moth to the flame: we know somebody’s going to get hurt.

While Carmen is all fire and blood, Glueckert’s Don José seemed a little pale. Glueckert’s tenor is light and seemed out of proportion to Shaham’s rich and vibrant vocals. On the other hand, this seems intentional, a result of Astafan’s direction and not the lack of vocal skill or quality. His French diction could have been a little crisper, and he could have been more ardent in his more important arias. I applaud his effort to draw sharp contrasts between Carmen and her lover, though.

Escamillo greets the ladies

David Bachman Photography

Morgan Smith +
Escamillo

Speaking of Carmen’s lovers, Morgan Smith’s Escamillo was the highlight of this production. He is a presence to contend with - the only character that seems to match Shaham’s Carmen. They are perfect together. If the Pittsburgh Opera want to bring him back, I can only say: Yes, please. This was his debut performance with the company, and I wonder why it took Christopher Hahn so long to find him. I would listen to him sing the phone book, or even the editorial page of the Tribune-Review. That’s how good he is.

Carmen Dances for Jose
David Bachman Photography

Jasmine Muhammad *
Micaëla

The supporting cast was marvelous, but artist-in-residence Jasmine Muhammad gets my vote as a standout. Micaela is a thankless part. All she does is try to save Don José and remind the lost sheep of his fold back home. She is the Greek Chorus to the larger tragedy playing out on stage, and she really has no other job except to remind us that José had some worthy characteristics at one time. She – Micaela, not Muhammad – always seems a little co-dependent to me. But Muhammad played her character with clarity of voice and urgency that rose above the part. Her Micaela was a woman of purpose.

Gypsies surround Zuniga
David Bachman Photography

On the whole, this Carmen is a production worth seeing. The orchestra and chorus do solid credit to Bizet’s music. I would have really like to see a flamenco or two (in that regard, Astafan fell short of the mark). I might have wished a more impassioned Don José. But I understood Astafan’s spare style, and appreciated it. Really, this is a spare opera. It is stark and lush at the same time. The Pittsburgh Opera production gets that.

Carmen accepts her fate.
David Bachman Photography

Former Pittsburgher and Environmental Attorney, Tamar Cerafici is author of the book Dominate, How Smart Lawyers Crush the Competition  and the blog Legal Shoe.

Roving Pittsburgher Report, How I Learned What I Learned; An Evening With August Wilson.

How I Learned What I Learned;  

An Evening With August Wilson.

By Megan Grabowski

The Pittsburgh premiere of How I Learned What I Learned introduces today’s generation of theatergoers to 1960’s Black America and pointedly offers Pittsburgher’s an intimate moment with Wilson, listening to him tell the tales of growing up poor in an urban ghetto.  Yes, I claim to heave heard Wilson himself speak- his mannerisms; linguistic style and body language  channeled on stage through a great medium, actor Eugene Lee. 

A satisfying continuation of the commemorative 40^th season, Pittsburgh Public Theater (PPT) has once again stroked the spirt of Pittsburghers.  How I learned What I Learned, August Wilson’s final drama is running for a full month of performances.

The one-man show is an enhancement of Wilson’s stories about growing up and coming of age in Pittsburgh’s Hill District neighborhood.  The stories are reminiscent of the types of stories you hear in the corner bar or at parties and I imagine many anecdotes were often shared with his family and friends - but these biographical accounts were not fully conceived in dramatic form until Wilson requested the assistance of Todd Kreidler.   Collaborating with Kreidler, Wilson created a collection of stories for the stage, which mimic many themes commonly threaded throughout his other works.  He addresses social, economic, racial and familial subjects while simultaneously encompassing an audience with the art of storytelling.  How I Learned What I Learned was intended to be performed by Wilson himself.   After the shows initial run in Seattle, Wilson became ill and passed away before having a chance to tour the country as actor.   PPT’s performance of How I Learned What I Learned is directed by Todd Kreidler, bringing an emotional depth to the stage that carries on a legacy which will move the audiences at their core. 

It appears to me, native Pittsburghers typically maintain a unified essence of their city, claiming ownership to all things Pittsburgh: Andy Warhol, Fred Rogers, Heinz Ketchup.  Wilson too fits in this list of notables, yet his characters and stories are indicative of you and me; the average guy, living day to day, striving to survive.

The great prodigious energy of August Wilson, pours from the lips of actor Eugene Lee, on stage at the O’Reilly Theater behind a backdrop of 8.5x11 sheets of paper.  He sits on a platform, covered in detritus and litter, perhaps a simulation of the stoop outside Wilson’s basement apartment in the mid-1960’s.  As Lee enters, the sounds of a typewriter, tap, tap, tapping, spell out the first chapter of the show, ‘My Ancestors’.   For more than 90 minutes Lee stands sits, paces and dances to the tales of Wilson’s life, his only props being the stoop, a stool, a desk and a glass of water.  The set is simple yet significant; each story is introduced on the sheets of paper and the ambiance enhanced by lighting changes.  Sometimes music is added to complement a particular subject.  Lee speaks Wilson’s stories- his experience with autodidacticism by way of the Carnegie Library, memories of his mentors, recollection of members of the Hill Art Society and frequently his drive to stand toe-to-toe with racism whenever and wherever he is confronted by it. 

The show is racially charged and should it be.  Wilson’s account reflects upon a time in America when blacks were struggling to move past our nation’s verbal and physical brutality against their race.  Wilson, intellectually understood humanity despite all of the injustices and insults, and does not cast blame. The message Wilson conveys to his audience is matter of fact.  These are stories about growing up black in America in the 1960’s.  The way Wilson tells it; that’s just how it was.   How did he cope?  How did his friends survive?  How did they overcome?  How did some, inevitably succumb?  We hear about his first few jobs, his time in jail, his friends, the women he loved the music that healed and moved him and the community where he lived.  It is the culmination of these experiences that shaped his art.  Each chapter title is typed letter by letter onto the sheets of paper hanging above the stage, ‘Jail’, ‘Coltrane’, ‘Hill District 1965’, and in conclusion,  ‘How Do You Know What You Know’. 

How I Learned What I Learned completes what is commonly referred to as “The Century Cycle”.  Wilson penned one play for each decade of the 20^th century, 9 of them set here in Pittsburgh.  As a play, How I Learned What I Learned is different.  Lee, incredible in his interpretation of Wilson, never struggles with a lack of energy, despite his 1.5 hour monologue, nor is there dearth in representation of character.  He appears to have resurrected the playwright, granting Pittsburgh a moment in time with August Wilson.

How I Learned What I Learned runs through April 5, 2015.  Ticket information is available HERE

Reviewed by Megan Grabowski

Income Maintance Caseworker at State of Pennsylvania Department of Human Services

Positively Pittsburgh Good News Reviewer, Professional writer, Social-Media Junkie, Community Fundraiser and Pittsburgh Enthusiast. 

Roving Pittsburgher Report, "Beauty and the Beast" of Smorgasbord of Elegance and Style

Pittsburgh Ballet Theater, Beauty and the Beast of Smorgasbord of Elegance and Style

by Good News Reporters, Joanne Quinn-Smith and
Anaiyah Thomas

A quiet Saturday afternoon, little girls in party dresses, monkeys dancing on stage and a beauty and a BEAST, oh my! Beauty and the Beast had in all, five scenes and 92 costumes designed by Jose Varona.  The costumes alone were a high point of the overall performance adding tremendously to its style, and vibrant sense of whimsy, fantasy and stagecraft.

What a smorgasbord of visual elegance and style.  The beginning of the ballet was ensemble performances by very effective might looking stags complete with horns and beautiful graceful nymphs and other Forrest Creatures.

I am telling this review from my six year old granddaughter Anaiyah's point of view.  When I asked her what she liked best about the ballet, she said, the monkey dance and the bluebirds.

Photos by: Rich Sofranko

 At first she was worried that The Beast was going to be very scary but when she actually saw him come onto stage he had the desired impact of getting her to feel just a little sorry for him.

She was on the edge of her seat most of the time and while other young children were asking why there was no talking and singing, her precocious six year old self, got the sense of the story even without words.

Photos by: Rich Sofranko

For my personal preference I loved the rosebushes co-ordinated to match the scenery and loved the humor brought to the stage by Beauty's sisters, Olivia Kelly and Maris Grywalski.  I found them very under appreciated.

Photos by: Rich Sofranko

Anaiyah's favorite scene was however when the Beast (Prince) and Beauty came out in their long capes and crowns.  And always she loved the pas de deux.

Photos by: Rich Sofranko

Once again the Pittsburgh Ballet Theater stars and corps, costume and set designers have put on another production of grace and style and grandeur.  

Only selfie in existence of grandma Joanne Quinn-Smith and
partner reviewer granddauther Anaiyah Thomas

Joanne Quinn-Smith, publisher PositivelyPittsburghLiveMagazine.com, host of PositivelyPittsburghLive with PPL Kidz Korner partner reviewer granddaughter Anaiyah Thomas known for being six year old fashion police and precocius six year old symphony and ballet reviewer.

Roving Pittsburgher Report, Even Russian Politics in 1866 Can Be Funny, A Review of "Prussia, 1866"

Even Russian Politics in 1866 Can Be Funny, A Review of "Prussia, 1866"

by Megan Grabowski, Good News Reviewer

During the Seven Weeks War, in 1866, a Prussian victory meant many in the Kingdom praised the leaders who paved way for a new state. The Prussian parliamentary influence over the separation of Prussia from Austria and Germany, aided in revolutionizing the principals of the Enlightenment movement.  The social, political, economic and cultural changes encouraged a rapid growth of free thinkers, including women.  These women recognized the occasion to ride the coattails of this Enlightenment, and introduced many of the ideals we identify as fundamentals of feminism.

Prussia: 1866 is written to reflect the primal period of feminism.  

 Playwright Gab Cody vividly captures the essence of the time; the political atmosphere as well as the socio-economic status and religious diversities which commonly gauged the moral compass of females during the depicted time.  Prussia: 1866 offers the audience a twist, telling the story in the manner of comedic farce.

Young Friedrich “Fritz” Nietzsche, played by Drew Palajsa, is studying in the home of his mentor Heinrich Von Klamp, a famous poet, novelist and political force. Fritz is having an affair with Klamp’s wife Mariska, a young seductress played by Laura Lee Brautigam.  Rosemary, played by Cody, is a major influence in the women’s movement and Klamp’s writing assistant. Rosemary exercises her values by interjecting them into Klamp’s popular writing.  Hayley Nielsen stars as the meek, protestant servant, who often draws out laughs from the audience by quoting her father’s interpretation of women, marriage and religion.  Before the end of the play, she too finds herself intertwined in the domestic love triangle. 

 Sam Turich portrays the American Delegate and Rosemary’s secret husband.  The comedic timing between Cody and Turich is noteworthy during the translation scenes.   Another slapstick moment worth mentioning is the hilarious cacophony of absurdity in a final scene; books fly across the stage and the men rapidly undress in the name of Naturalism.  Throughout the performance the characters sexual prowess, interlaced with romanticism, witty dialogue and a mildly bawdy tone had the audience howling in their seats. Furthermore, I would not be submitting an honest review if I failed to mention the brief but instrumental nude scene. Knowing ahead of time there would be nudity in the production, I assumed at some point I would find myself staring at an actor’s breasts.  Without giving any more details away, kudos to Cody for sticking true to the feminist motives that layer this amusing performance. 

Premiering on stage of the Rauh Theater this period piece is enhanced by the talents of Cathleen Crocker- Perry, costume designer, who ensures the cast is dressed in apparel reflecting the time and tone in an authentic style.  Additionally, because the story takes place over the course of just one day, scenic designer Stephanie Mayer- Staley utilizes tall shelves filled with books, long drapes, elegant chaise and pillows as well as multiple doors, for the purpose of burlesque style humor; characters run amuck, wild witticisms frequently soar across stage and characters scheme to manipulate and entrap one another. 

No real background in world history or philosophy is necessary to enjoy Prussia: 1866, just a sound sense of humor and an instrumental respect for funny women and the men who love them.  This is a great show for a date night. 

"Prussia: 1866" runs from February 5 through February 22, 2015.  Information on ticket sales and show times can be found here http://www.pittsburghplayhouse.com/current-season/the-rep.

 Reviewed by Megan Grabowski

Positively Pittsburgh Good News Reviewer, Professional writer, Social-Media Junkie, Community Fundraiser and Pittsburgh Enthusiast.

Roving Pittsburgher Report, ‘Wouldn’t It Be Lovely’ to see Pittsburgh Public Theater’s Production of My Fair Lady?

‘Wouldn’t It Be Lovely’ to see Pittsburgh Public Theater’s Production of My Fair Lady?

By Megan Grabowski

Benjamin Howes as Henry Higgins and Kimberly Doreen Burns as Eliza Doolittle

 Have the winter doldrums set in?  ‘Wouldn’t it be Lovely’ to lose yourself in the transcendence of a classic musical production?  This

can be done by taking a trip to Pittsburgh’s Cultural District and attending a showing of Pittsburgh Public Theaters My Fair Lady. 

The unforgettable musical score by Lerner and Lowe is just what the soul needs as a pick me up during a long dreary Pittsburgh winter.  From the overture through the final number the lightheartedness of the music fills the O’Reilly Theater with instant warmth of familiarity and enduring notes.  Audience members will have no difficulty transcending everyday strife and the drudgery of work and familial obligations to lose themselves in 1912 London.   The captivating cast of characters charms the audience with the carefree musical score and heartwarming rags to riches story.

First row left to right: John Little, Kimberly Doreen Burns, Susan McGregor-Laine, Benjamin Howes

It took a handful of lines before my mind adjusted to the eruption of cockney accents on stage but Eliza Doolittle, played by Kimberly Doreen Burns, easily glides between two worlds; one the disenfranchised flower- girl, the other, a lady who manages to jump beyond the bourgeois class and directly into the upper echelons of society by means of rigorous training provided by linguist Henry Higgins, played by Benjamin Howes and Colonel Pickering, portrayed by John Little. 

 Left to right: Benjamin Howes, Kimberly Doreen Burns, John Little

A bet is made between Higgins and Pickering.  Within six months’ time the professor of phonetics will transform Miss Doolittle from gutter girl into a respectable aristocrat.  The final test will be to pass her off as a duchess at the Embassy Ball.  The compassionate

Colonel and the harsh Higgins get right to work, drilling Miss Doolittle night and day, around the clock, until her phonetics become articulate and proper.  Miss Doolittle, physically and mentally exhausted, finally reaches her turning point when she annunciates, “The rain in Spain stays mainly on the plain” with exaggerated long A’s.  This scene is most memorable as two highly recognized songs, ‘The Rain in Spain’ as well as ‘I Could Have Danced All Night’ follow each other in a succession of musical sweetness.

Center: Bill Nolte

What is so special about My Fair Lady? After all, it’s the classic story retold over and over throughout theater, film and literature,

the underprivileged gets a lucky break and a taste of the good life through some type of alteration.  It’s a feel good story, with some old- fashioned humor which further enhances its’ charm.  If the audience is not familiar with the era or not ready to lose themselves in the manner of the musical, some lyrics could cause a raised eyebrow or two, such as the in the songs, ‘I’m an Ordinary Man’ and ‘A Hymn to Him’.  Not for a moment does this stop me from humming along to the catchy melodies, or admiring the wonderful harmonizing of the ensemble.  Burns voice is delightful, whether

singing as a proper lady or as the poor street peddler. The supporting cast, specifically Joe Jackson as Freddy, Bill Nolte as Alfred P. Doolittle and Terry Wickline as Mrs. Pearce are strong characters who effortlessly carry the show from scene to scene with their seasoned vocal talents and skillful theatrics.  The costumes are stunning; rich hues, parasols and ascots boost the mood of the depicted occasions. It is a fun evening of escapism.

 Directed and choreographed by Ted Pappas, well acquainted with Pittsburgh winters, he chose a cheery musical that will surely seize the spirit and, if for just a few hours, take our minds off the snow and bleakness waiting outdoors.

‘With a Little Bit of Luck’, you will make it to the Pittsburgh Public Theater for a performance of My Fair Lady. The show runs from January 22 through February 22, 2015 at the O’Reilly Theater.

Tickets can be purchased here http://www.ppt.org/

Reviewed by Megan Grabowski

Positively Pittsburgh Good News Reviewer, Professional writer, Social-Media Junkie, Community Fundraiser and Pittsburgh Enthusiast.