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Stage Review: 'Orange' juicy with emotion

Saturday, January 27, 2001

By John Hayes, Post-Gazette Staff Writer

In his previous works, "The Day Leo Durocher Died" and "Cornish Game Hen," Squirrel Hill playwright James McManus proved he is a master of character development. His latest, "The Night They Drugged the Orange," follows his pattern of articulating portraits of dysfunction and watching them collide.

 
 
"The Night They Drugged the Orange"

Pittsburgh
New Play Festival


WHERE: Gemini Theater, The Factory, Point Breeze.

WHEN: Tonight at 8. The festival continues Thursdays through Saturdays through Feb. 10.

TICKETS: $8. 412-243-6464.

   
 

"Orange," a finalist in last year's National Playwright's Conference, is a disturbing family drama that will seem all too familiar to many Pittsburghers. It's set in Pittsburgh in 1976, when a steel worker's family is locked in a generational cycle of interpersonal destruction. Larry Kozlowski delivers a powerful performance as a gruff shop steward who blew his one chance to make it out of the mills. To bolster his self-esteem, he belittles and bullies the people around him, particularly his youngest son. It's a breakthrough performance for Kozlowski that should lead to meatier roles.

Connie Culbertson, a theater teacher at La Roche, counters Kozlowski's dramatic blast furnace with an acerbic portrayal of a bitter steel worker's wife who has spent a lifetime strapped to an emotional whipping post.

As a less-than-fortunate son forced into the mills, Pittsburgh newcomer Aaron Keith Haggin awkwardly holds it in until he explodes in confrontations with Koz-lowski. Paul Stockhausen plays a sidekick in a supporting role, and Ray Schafer provides much-needed wisdom and comic relief as the family patriarch, who's old enough to see the negative cycle he imposed on his family replayed in subsequent generations.

Dennis Palko directs like a referee, keeping his fighters nose to nose until the final TKO. With such well-drawn characters in place, McManus seems poised to provide the kind of twist that made Tammy Ryan's "Pig" such a bizarre marvel of blue-collar dysfunction. Instead, the family cycle simply continues, and the lights drop after a dramatic final line, robbing the audience of one passionate moment for it all to sink in.



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