By Eva Phillips
The range of emotions and sentiments in the final program of Pittsburgh New Works Festival on display throughout the categorically eclectic array of three plays are profoundly mercurial and, at times, riveting. Revenge plots hatched by Lady Macbeth and Hillary Clinton, a beat-poetry infused, jazzy dive into Hades, and a movie-theater owner’s devastating encounter with his past were all on the docket, challenging audience members to engage with delight and grief in rapid fire.
In J. Thalia Cunningham’s The Scottish Loo, a furious (because what else would she be) Lady Macbeth storms (because how else would she move) into a bathroom that is fortuitously shared by none other than Hillary Clinton. Oscillating between body (and potty) humor and deviously clever turns of phrase, the women discuss revenge, sabotage, payback, and, of course, their legendarily rapscallions of husbands. Cunningham’s dialogue is at its strongest when it examines the precariousness and multifariousness of language–particularly the type of language weaponized by and against women of power and purpose–but it the script too often gets mired in Second Wave feminist rhetoric and humor that renders the characters more stale than they deserve. Kaitlin Cliber is outstanding as usual as Lady M, and her admirably ferocious and exuberant commitment to her character often elevates the, at times, dragging Scottish Loo.
Perhaps the most astonishing short play that I had the pleasure of seeing during this year’s PNWF was Ben Scranton’s Charlotte’s Revival. As a movie theater owner and his son are closing up shop one night, they notice a meager woman, who reveals an encyclopedic memory and knowledge of not just classic cinema, but the comings and goings of the man, his son, and the theatre marquee. Delving further into the conversation, Charlotte divulges, piece by piece, the roots of many of her anxieties, the unimaginably horrific accident that haunts her life, and the complicated relationship she and the man shared in the past. Charlotte’s Revival is tricky to describe fully, as so much of the power of the show lies in the gradual revelations and the horror, anguish, and sympathy that the audience experiences as the characters do. As the man’s son, Dominic Raymond transforms his small role into an utterly enthralling one, and his future in performance is bright. The true standout is unquestionably Kerry McGrath Benson as Charlotte, who channels agony, hopefulness, and grief in a nuanced and sensitive manner that is overwhelming. What I can say, unequivocally and without spoiling the profound impact of the Scranton’s incredible show, is that Charlotte’s Revival was stupendously and impeccably acted, expertly and evocatively written, and absolutely deserves a life and platform outside of PNWF (perhaps on stage at Theatre Factory, the producers of the show).
Program D concluded with the quasi-experimental, quasi-lyrical, occasionally groovy Eternal Hellfire and Damnation: A Love Story . Written by Maury Zeff and produced by R-ACT Theater Productions, Eternal Hellfire focuses on the uniquely charming Dis, lord of Hades, after he captures Proserpina and must battle with the god of harvest, Ceres, who comes, as a mother figure, to the bowels of hell to retrieve the sullen Proserpina. Dave Joseph is delightful as the dark lord of hell, and his performance carries the show. Often clever, particularly in the use of devices like the smooth, beat-poet-inspired narrator and subtle modernizations (Proserpina’s sulky longing to go a music festival, for example), Zeff’s concept is strong and enjoyable, but needs some tightening to truly soar. The story truly comes into its own when the character of Sisyphus is introduced, and more moments with comparable energy would make the story nearly unimpeachable.
PNWF’s 2019 selection of short new plays, epitomized perfectly by Program D’s selection of shows, was an excellent demonstration of the potential of a number of playwrights, and the crucial role festivals such as these play in allowing writers to see what succeeds, what does not, and why. To donate and submit to, or hear all the news about Pittsburgh New Works Festival, visit their homepage.
Categories: Archived Reviews