A long-time BWW regular, Greg Kerestan is proud to join the staff of his favorite website. Greg is a graduate of Duquesne University and Seton Hill University, where he studied both theatre and English. In his spare time, Greg works as a part-time actor and full-time playwright, lyricist and composer.
There are plenty of ways of describing Jane Austen's Pride and Prejudice. Sophisticated, approachable, elegant, witty. But very few would describe it as wacky... unless those lucky few had seen Kate Hamill's production, as directed by Desdemona Chiang at the Pittsburgh Public Theater. I can't remember the last time I had quite as much fun at a 'classical' period piece, even while realizing that this was certain to be one of the most divisive shows in PPT history. Throughout the evening I heard audiences laughing, clapping, even cheering the production's gleeful ingenuity, while at intermission I heard several people complain that 'it's a wonderful production of a stupid play' and that they 'thought it would be more Masterpiece Theatre.'BWW Review: ALADDIN Is A New Take on an Old-Fashioned Genre at the Benedum August 29, 2018
If you want to discuss mystery, and I think we need to at this point, there are two essential tropes that must be considered. First, we have Chekhov's gun- if a seemingly important thing is brought up, even casually, near the beginning, it will prove to be important by the end. (Case in point: Chekhov introduces a gun early in Hedda Gabler, and somebody gets shot by the end of the evening.) Second, we have the opposite of Chekhov's gun, the red herring- sometimes, a seemingly important thing is brought up, even casually, to divert attention and create misdirection from what is truly important. (Case in point, Sigmund Freud stated that anything longer than it is wide represented a phallic icon, but justified his own smoking by stating 'sometimes, a cigar can be just a cigar,' not emblematic of anything else.)BWW Review: EQUUS Isn't Horsing Around at Pittsburgh Public October 10, 2017
Peter Shaffer's genre-busting psychodrama gets a bracing production, featuring a revelatory change of pace by Daniel Krell.