'Burgh Vivant

By Michael Buzzelli

In a dive bar in the Bronx, two broken humans, Roberta (Shannon Donovan) and Danny (Michael Patrick Trimm), share a passionate night that may mean more to both of them in John Patrick Shanley’s “Danny and the Deep Blue Sea.”

Roberta is filled with coal-black shame, and Danny is so full of rage he could be the poster child for Toxic Masculinity. They are a volatile match; volcanoes of acrimony, but underneath the hate and anger, there might be love – if they can get over the obsidian walls between them.

Roberta coaxes Danny into her bed. Then, things flip, and Danny falls hard for her. At some points, watching “Danny and the Deep Blue Sea” is like a car wreck in slow motion at the Indy 500. You see when they’re going to connect, and you know it’s going to be bad, but you can’t look away.

There’s an ersatz moon, and lots of talk about birds and bees.

Side Note: When the characters mention bees, you might get “Outside Mullingar”/ “Wild Mountain Thyme” post-traumatic stress. John Patrick Shanley has a bumblebee fetish.

After recently relocating back to the ‘Burgh, Donovan bursts onto the Pittsburgh stage with a triumphant performance as Roberta, a mess in a dress. She is magnificent as the broken doll of a person.

Donovan is also the fight choreographer, and the fight between the two characters gets brutal. The hits look very real. It’s gasp-inducing.

Trimm is brilliant as Danny. He has levels of ferocity, layers upon layers like interlocking Matryoshka dolls. When his walls break down, he reveals a heartbreaking childlike innocence.

Alex Keplar’s sets are simple but effective. The broken window in the bedroom radiates with simulated moonlight, a delicious treat from lighting designer Annmarie Duggan.

Director Kelly Trumbull elicits raw, visceral performances from both actors. The tension between her actors is palpable.

“Danny and the Deep Blue Sea” is a dangerous dance between two fractured people, with a heart underneath, and it’s so brilliantly done.

While the Pittsburgh theater scene is changing with closings and rearranging venues, new production companies are popping up with amazing new shows with great actors (the Richard E. Rauh Studio Theatre has hosted this production and recently Jeremy Seghers’ “Hamlet: The Bad Quarto”).

It’s a great time to support local theater.

-MB

“Danny and the Deep Blue Sea” runs until July 19th at the Richard E. Rauh Studio Theatre, Cathedral of Learning, 4200 Fifth Avenue, Pittsburgh, PA 15260. For tickets, please click here. 

by Michael Buzzelli

“I wish I could bake a cake filled with rainbows and smiles and everyone would eat and be happy. “

“She doesn’t even go here!”

When Cady Heron (Abigail Isom) moves away from Kenya, Africa, to a small, suburban town in the middle of America, she has to learn the behavioral patterns of a whole new species, teenagers, in Tina Fey’s hilarious movie-to-musical, “Mean Girls.”

It’s Survival of the Fittest, or, rather, Survival of the Fetchiest at North Shore High. The Queen Bee, Regina George (Landry Champlin), scares students and teachers alike. The prettiest girl decides to bring Cady into her posse, which consists of the completely self-conscious Gretchen (Sydni Moon) and dim-bulb Karen (Kaley Bender), much to the chagrin of Cady’s first friends, Damian (Jack Haroutunian) and Janis (Lyda Jade Harlan). The fledgling nerds, Damian and Janis, hatch a devious plan. Cady is going to be their “Man on the Inside,” and learn Regina’s deep darks.

When Cady meets Aaron (Quincy Hampton) in Calc, she’s suddenly interested in local mating rituals, which include “Acting dumb to get a boy’s attention.” When Regina kisses Aaron at a Halloween party, Cady’s inner Mean Girl rises to the surface, and she wants to take Regina down, lock, stock, and both barrels.

And that’s just the first act!

Before intermission, “Mean Girls” goes a bit long (hit that restroom before the curtain rises). There is a big payoff of laughs in the second act.

The cast, which features college juniors (Pace University’s Brett Barthelemy), seniors (University of Cincinnati’s Haroutunian), recent graduates (Point Park’s Ben Allen Carter), and Pittsburgh natives (Maile Oravitz), among others, is delightful.

Isom does a superb job, acting, singing, and dancing her way through the musical as the lead. She’s even got the comedy chops, though she’s more of the straight man, especially (literally and figuratively) around Haroutunian and Harlan’s characters.

Haroutunian and Harlan are a fantastic comedic duo. They get some of the best lines in the show. Both of them can sing and dance as well.

Bender is laugh-out-loud funny in every line and mannerism; her strut across the stage is guffaw-inducing.

Hampton does a marvelous job as the romantic interest. He has a magnetic stage presence.

CLO Academy Faculty member Jennifer Lybarger is cast in multiple roles. She is spot-on as Mrs. Norbury (Tina Fey’s role in the original movie) and hilarious as Regina’s mom.

Even though he only has a handful of lines, Brady Patsy, another CLO Staff member, delivers his punchlines with precision.

Director Mara Newberry Greer sticks close to the source material, creating an enjoyable evening at the theater.

Side Note: In 2024, a movie version of the musical debuted. Maybe because it’s live and in-person, or the movie was miscast, but this version is better.

Not every song in “Mean Girls” is memorable. Still, Robert Neumeyer, the conductor, and George Hoydich, the musical coordinator, do a great job with the music, and the Pittsburgh CLO orchestra always comes through.

The audience was mostly comprised of teenage girls, and that’s a good thing. It’s great to see a theater filled with young people (and not just on stage). The show, at its heart, reminds everyone to be who they really are and not be caught up with their social status, likes on their Insta, and follower numbers.

Bake a cake with rainbows and smiles and make the whole world happy.

-MB

“Mean Girls” runs until July 12th at the Benedum Center,  Seventh Street & Penn Avenue, Pittsburgh, PA 15222. For tickets or additional information please click here. 

By: Lonnie the Theater Lady

Playwright Aaron Sorkin came up with the idea for “A Few Good Men” after his sister, a JAG attorney, told him about a real-life case she handled. She was assigned to defend a group of military men who followed an order, issued by a superior officer at Guantanamo, to perform a “Code Red” (disciplinary action) on a fellow soldier. This off-the-record hazing nearly killed the soldier. At the time, Sorkin was working as a bartender at the Palace Theater on Broadway. He jotted down most of the story on cocktail napkins during Act I of “La Cage aux Folles.”

“A Few Good Men” is set in 1986 at Guantanamo. Two very young, dedicated Marines, Pfc. Louden Downey (Maddox Cannon) and Lance Cpl. Harold Dawson (Andrew Hughes) are being charged with the murder of a fellow Marine who died after they performed a “Code Red” on him.

Harvard Law graduate Lt. Daniel Kafee (Brian Ferris) is assigned to defend them. He’s known for avoiding trials and agreeing to plea deals. He’s more interested in playing baseball than going to trial. He’s partnered with Navy JAG lawyer, Lt. Cmdr. Joanne Galloway. (Elizabeth Glyptis) Initially, she’s totally unimpressed with Kafee and believes he will not serve their clients well. The disagreements and pervasive tension between the two provide interesting interactions.

They travel to Guantanamo, where they meet the brash, abrasive, insulting base commander, Colonel Jessep. (Art DiConciliis) He insults Galloway’s ability to do the job simply because she’s a woman. He makes fun of Kafee’s Harvard education. He’s instantaneously unlikable.

Kafee and Galloway get to work interviewing the accused murderers and other potential witnesses. Their investigation and quest for evidence leave them with little confidence in an acquittal —if the case goes to trial.

Downey and Dawson, the young defendants, demand to go to trial to prove their innocence: the shrewd prosecuting attorney, Capt. Jack Ross (Arjun Kumar) proves to be a formidable adversary.

The riveting, tense courtroom scene builds to a highly emotional climax.

DiConciliis is brilliant in his portrayal of the volatile, obnoxious good-old-boy Jessep. He’s gruff and odious, and he believes he’s always right. His passionate delivery of the “You can’t handle the truth,” monologue is beyond stunning.

Glyptis brings Galloway to life with a nuanced, layered performance. She highlights Galloway’s intelligence, professionalism, grit, and, conversely, her vulnerability.

Ferris is  captivating as the emerging Kafee. His authentic metamorphosis from an arrogant frat boy to a creative, committed defense attorney is well performed. He exudes a kind of refreshing charm.

Kumar portrays the circumspect prosecutor with a cunning, smooth confidence. Well done.

Cannon and Hughes have little stage time. Yet, it’s enough time for the audience to care about their youth, inexperience, dedication to the military, and bravery. They are convincing in their plight.

To the credit of director   J. Cody Spellman, the entire cast conveys the gravitas of military regulations and discipline. Even their physical stances and postures are ramrod straight as militarily required.

Costume designer Alex Righetti dresses the cast in what appears to be regulation military uniforms. Or, maybe they aren’t regulation. ( Not sure about the shoes and boots.) Either way, the costumes are very official-looking and convincing.

The original music and sound design are notable. The frequent drum cadences and eerie background sounds contribute to both the military feel and the overall suspense of the play (Steve Shapiro, designer).

“A Few Good Men” delves into the theme of duty versus morality. It provides fodder for stimulating discussions. This well-acted, thoughtful view of weighty ethical issues delivers a powerful punch with a thrilling, dramatic climax. Bravo to all involved with producing this impressive, impactful show!

-LtTL

Runs through July 12 at Little Lake Theater, 500 Lakeside Drive, Canonsburg, PA 15317. For more information, click here.

 

by Claire DeMarco

Carol Joan Klein was musically gifted from a very early age. After her first song was picked up by a music publisher, this young teenaged songwriter declared that she would now be known as Carole King.

This musical biography takes us from Carole’s younger days to her growth as a songwriter to an independent songwriter/performer.

Carole King (Kyra Kennedy) knows exactly what she wants to do.  Her goal is to write music and have it published.

Her mother, Genie Klein (Christine Laitta) has other plans, but Carole prevails. Don Kirshner (J. Alex Noble) is the music publisher King is originally associated with and stayed with for many years.

King meets Gerry Goffin (Dylan S. Wallach) at college, and they immediately form a partnership with King composing the music and Goffin writing the lyrics.  Their partnership quickly turns into a love relationship, and they marry at a very early age.

Surprisingly and collectively King and Goffin wrote a number of songs for other performers.  Carole King at this point in her career is strictly writing songs for other artists – hit songs like “Take Good Care of My Baby’ (Bobby Vee), “Chains” (The Beatles), “Up on the Roof” (The Drifters).

Two other songwriter/lyricists join the agency also associated with King and Goffin.  This talented pair, song writer Barry Mann (Barrett Riggins) and lyricist Cynthia Weil (Lee Harrington) provide an ongoing competition between the two factions.  Surprisingly, the competition proves to be congenial, and the ultimate and true outcome is the ongoing, everlasting friendship between the two couples.

Goffin’s mental issues and philandering are the main thrust for King’s final break away from her marriage.  This freedom now convinces her to not only continue to write new compositions but also to perform them herself.

Her breakout came with the Tapestry album release that contained notable songs like “It’s Too Late” and “Beautiful”, among others.  All her songs have a special emotional bent, often expressing what has or is going on in her personal life.

A new chapter evolves as King also takes the performing route.  The pinnacle of her success centers around the album, Tapestry.  That album catapulted her to the height of her career, winning King Album of the Year, Record of the Year (“It’s Too Late”), Song of the Year (“You’ve Got a Friend”) and Best Pop Vocal Performance, Female).

“Beautiful:  The Carole King Musical” knocks it out of the park. There are so many wonderful songs by Carole King and Gerry Goffin, Barry Mann and Cynthia Weil and the memories they recall.

Kennedy is superb as the multi-talented King.  Her voice is spectacular.  She presents a side of the great songwriter/composer as a woman who always wants to create music but also yearns for a more traditional life as a wife and mother.  Her renditions of “(You Make Me Free Like) A Natural Woman” and “It’s Too Late” are excellent.  She shows the support side of King as she puts up with endless misbehavior on Goffin’s part.

Wallach’s performance is believable as he wavers between rational behavior and mental illness.  His ultimate goal is to become a playwright, but he fails miserably at that.  At times he is extremely likable.  He easily transitions to the moody, selfish philanderer whose ultimate behavior leads to King’s ultimate success as a solo composer/performer.

A bit of a character and a semi-hypochondriac, Riggins provides comic relief.  His comedy chops are often balanced by his portrayal of Mann’s ambition and talent in composing multiple top hits.

Harrington’s character is strong, independent and competitive.  She portrays Weil as Riggins’ confident, high-energy partner.  Committed to her craft, she is less inclined to commit to marriage with Mann but eventually softens on the idea.

Alex Noble plays Don Kirschner as the music publisher, demanding non-stop that his composers continually produce the next hits. He also has a kindly streak and at times a bit of sarcastic humor.

Laitta’s role as Carole’s mother is small but she has some great lines and forcefully delivers them, Brooklyn accent and all. Quite bossy when Carole was younger, she grows into a more mellow, caring parent.

Charles Curry II, J’Quay Gibbs, Kai Sachon and Justus Wheatley wow with the Drifters’ hit “On Broadway”, a song written by Barry Mann and Cynthia Weil.

As the Shirelles – Cadence Gates, Samantha Allison Nelson, Avery Ramsey and Bree S. Taylor ‘s version of “Will You Love Me Tomorrow” is terrific.

Special recognition to:

• Dan Knechtges, Director, Choreographer
• Catie Brown, Music Director, Conductor
• Paul Miller and Jonathan Spencer, Lighting Designers

Book for “Beautiful:  The Carole King Musical” by Douglas McGrath.,

Words and Music by Gerry Goffin and Carole King, Barry Mann and Cynthia Weil

-CED

“Beautiful:  The Carole King Musical” is a production of Pittsburgh CLO.  Performances run from June 23^rd to June 28^th at the Benedum Center, 237 7^th Street, Pittsburgh, PA. 15222. For more information, click here.

 

 

By: Joseph Szalinski

Decades before Midwesterners made viral videos advertising their cities, featuring flammable rivers and diseased fish, they wrote plays about fake northeastern towns because few cared about the real ones. One such town, Grover’s Corners, which, sadly, has nothing to do with Sesame Street, is the setting of The Summer Company’s latest production, Our Town, directed by Heather Ruppert, now running at Duquesne University’s Genesius Theater.

Thornton Wilder’s Pulitzer Prize-winning play-within-a-play has returned to the stages of the Steel City after a decade-long absence. I mean, the guy’s other most famous work is about a bridge disaster, so I’m surprised he isn’t some local pariah. Audiences are treated to a show about life in Grover’s Corners between 1901 and 1913. This rendition, however, is subtly set in the 1930’s, the decade in which the play was written, without altering the script, as if a subsequent generation of townsfolk is reenacting the trials and triumphs of their predecessors. We meet all sorts of people, from families to more distinct individuals, and see how time treats them. The town changes as well, with the introduction of automobiles and shifting demographics, such as the Polish diaspora. Gotta watch out for the Poles. One of them might grow up to write a review of the town’s meta-play.

 

A hallmark of this production is its sprawling cast, and the actors who comprise it ensure there’s no shortage of talent. Shepherding spectators is Mark Yochum as the Stage Manager, the world’s best tour guide. Leah Klocko and John E. Lane Jr. are marvelous as Mrs. Gibbs and Doc Gibbs, respectively. Ryan Graves is fantastic as George Gibbs, a role that allows him to showcase his emotional range. His younger sibling, Rebecca Gibbs, is portrayed by Ellie Troiani. Bob Hartley does a tremendous job as Mr. Webb, the editor of the town newspaper, while Shannon Galligan-Stierle is a formidable force as Mrs. Webb. Madeline Zabela delights as the bright and brilliant Emily Webb. CJ Gatsby is another actor adept at portraying a younger relative, in this case, Wally Webb. Rachel Potts does double duty as the doomed Joe Crowell Jr./Baseball Player, along with Annalyssa Pace as Si Crowell/Baseball Player. Frank Schurter displays wonderful physicality as Howie Newsome/Heckler. Tim Ruppert is a lot of fun as Professor Willard, a role he seems more than fit to play. Travis Barkefelt can balance the comic and tragic elements of his character, Simon Stimpson, the choir director. Lisa Rugh laughably loves a good wedding with her portrayal of Ms. Soams. Rounding out the engaging ensemble are Nancy Batko as Constable, Lorrie Lykins as Samantha Craig/Heckler, Deborah Geary as Heckler/Cemetery Resident, Ashley Caldwell as Josephine Stoddard, and Jay Keenan as Cemetery Resident.

Technical elements are present despite the minimal props and simple set, which are staples of Wilder’s vision. Aubrey Posluzny helps bring order to the chaos as the production stage manager, assisted by Ashley Caldwell and Rachel Pott. Set designer Joe Hartnett, who also serves as technical director, does his part in fabricating a fleshed-out world that doesn’t rely on as many bells and whistles as a typical production. Justin Ocepek-Sines and Antonia Gelorme work their magic as lighting designers, with the latter serving as lightboard technician alongside Erin Fulton. Arii Metz crafts a superb sonic supplement as sound designer, expertly executed by Darius Pollnac as soundboard technician. Ashley Caldwell creatively clads castmates as a costume designer. Ashley C. Brown masterfully handles marketing and social media. Finally, Jill Jeffrey wraps things up as producer.

The Summer Company has graced the boards since 1993. Primarily focusing on shows from 1850 to 1950, they have expanded to include more recent productions and even an original musical. Returning to their wheelhouse for this classic, they take advantage of the opportunity to show folks why they’ve managed to stick around for over three decades.

Genesius Theater is a beautiful venue in the city. While a part of Duquesne University’s campus, it can exist by hosting a variety of troupes and companies. Shows are small enough to retain a degree of intimacy, but seating space is large enough to accommodate fairly sized crowds. I’ve seen a handful of productions there already and look forward to seeing more.

-JS

Our Town continues its run June 25-27, with two performances on Sunday, at Duquesne University’s Genesius Theater in Downtown Pittsburgh. For tickets or additional information, click here. 

by Lonnie the Theater Lady

The Ahrens and Flaherty musical farce “Lucky Stiff” opens with hapless British shoe salesman Harry Witherspoon (Ryan Hadbavny) learning his American Uncle Tony (who he has never met) has passed away and willed him six million dollars. However, there is a catch. The will stipulates that Harry must fulfill his uncle’s lifelong dream and take his corpse on a dream vacation to Monte Carlo. Harry eagerly jumps at the chance to escape his dull, mundane life. It would be difficult enough to travel with a corpse in a wheelchair, but the trip is further complicated.

His uncle’s floozy girlfriend Rita LaPorta (Krista Strosnider) and Anabel Glick, (Riley Tate) an employee of the Universal Dog Home, show up in Monte Carlo believing they both have the right to claim the fortune for themselves. They use any means possible to procure the millions. There is no limit to their chicanery. Ridiculous events ensue—things get crazy.

The entire cast does a fantastic job with their sight jokes and physical comedy. Their high-octane energy is nonstop—they never run out of gas as they run in and out of doors while changing costumes in record breaking time.

“Lucky Stiff” cast.   Photo Credit:  Carina Iannarelli

Hadbavny is convincing as the slightly nerdy, awkward Harry. He’s likable and earnest, making it nearly impossible not to root for his success. He’s an example of meticulous comedic timing.

Tate’s Anabel’s passion for dogs rings true. Her transition from tough stalker to sweet, innocent woman endears her to the audience.

Strosnider’s delightful portrayal of the brash, somewhat clueless hussy, Rita never fails to amuse. Her lovely vocals delight in all of her musical numbers.

Rita’s brother Vincent DiRuzzio (Travis Miller) is reluctantly pulled into Rita’s pursuit of the money. His uneasy discomfort with her escapade elicits sympathy from the audience while simultaneously being laugh worthy.

Sean Michael Barret is a riot as Luigi —the overly friendly, somewhat mysterious man who frequently pops up unexpectedly. His obsequious exuberance is reminiscent of that neighbor one always tries to avoid.

Dead Uncle in Wheelchair, (Sean Nagle) performs flawlessly. He’s perfectly motionless unless one of the actors moves one part or another of his lifeless body. It’s amazing that he’s able to keep his face expressionless in the midst of all the hi jinx and frenzy surrounding him! Terrific!

Without exception every member of the ensemble brilliantly embodies each and every one of the many characters they play.

Adrien-Sophie Curry is hysterical as the drunken hotel maid. They kill that role.

Joel Ambrose is beyond hilarious playing his wacky, spirited characters–French waiter, tourist with a baby, night club singer, lawyer— He hams it up in every role and is truly a joy to watch. His accents and physical comedy are a total crack up!

Compliments to director Cameron Nickel. The numerous scene changes are seamless and very quick. There is never a moments lapse in the action. He precisely choreographs all the sight gags to get the most humor out of them. He clearly encourages the cast to lean into their crazy— to the delight of the audience.

The ingenious set (April Beiswenger, designer), has the abundance of doors necessary on the set of a musical farce. The additional sliding platforms and large rolling set pieces cleverly provide a myriad of set locations!

Costume designer Rob Hockenberry must have worked overtime to come up with such a great number of first-rate costumes. Ranging from tuxedos and gowns to maids and waiters—and so many more! Nicely done!

This remarkably funny show is full of surprises and unforgettable scenes –no spoilers here.

“Lucky Stiff” is a delightful, wild, frenzied bit of comedy mayhem chock full of surprises, frivolity and twists. It’s “Weekend at Bernie’s” on steroids. In these tumultuous times, everyone desperately needs a laugh. This loco show provides much more than a laugh or two. Its nonstop hilarity is guaranteed to brighten and lighten everyone’s mood!

LTL

“Lucky Stiff” is a production of South Park Theatre.  Performances run from June 18th through July 5^th.

For more information, click here.

 

By Michael Buzzelli

“The Play is the thing, wherein I’ll catch the conscience of the king.”

After Hamlet (Ayden Freed) is visited by the Ghost of his father (David Nackman), he is tasked to avenge his father’s death in William Shakespeare’s “Hamlet: The Bad Quarto.”

This isn’t your father’s “Hamlet.” It’s your great-great-great-great-great-great-granddaddy’s version.  “The Bad Quarto” was written 20 years before the famous First Folio. While some of the names have changed (to protect the not-so-innocent), the plot remains the same. It’s still a tale of regicide and Hamlet’s indecision, but it’s streamlined in many ways. This is a leaner slice of Ham.

Note: A preview piece about the differences can be found here.

The nuts and bolts remain. Just as it is in the more famous Folio, Claudius (Johnny Patalano), Hamlet’s uncle, murdered his father and married his mother, Gertred (Joanna Lowe), AKA Gertrude (in the famous First Folio).

Claudius’s top advisor, Corambis (Brett Sullivan Santry), AKA Polonius (in the First Folio), is the father of Hamlet’s friend, Laertes (Ryan Rattley), and of his girlfriend, Ofelia (Ailka Samora).

The names Rossencraft (Jordan Coury) and Gilderstone (Lorna Lominac) are slightly altered, but they still plan to betray their friend from college, Hamlet, for a price set by the dastardly King Claudius.

While there are entire passages that differ, including the famous “To Be or Not To Be” speech, it still ends badly for Hamlet and his relations.

P.S. Shakespeare is meant to move. When delivering dialogue, think more Lorelai Gilmore and less Lawrence Olivier. Most actors can reach the end of the soliloquy before Olivier reaches the second “to be.”

The famous speech is in a rough draft here, but its placement makes more sense. He delivers the soliloquy in front of Ofelia rather than alone in a room. It gives the speech more urgency, more meaning.

Jeremy Seghers directs a kinetic version of the play, with a talented cast of hand-picked actors. The show moves at a breakneck pace (it’s hard to believe the runtime is 2 hours and 30 minutes, including a 15-minute intermission).

Side note: Seghers is a director, set designer, costumer, and more. He handles every job but the acting, which he’s left to a stalwart crew of near-perfect professionals.

Freed is a charismatic lead. He embraces the role with zest, playing the Danish prince with zeal. It’s a star turn for the recent Point Park grad. At one point, Freed’s Hamlet melts through the negative spaces of a strategically placed ladder, bending and contorting in his melancholia.

Patalano’s diabolical Claudius is magnificent. Shakespeare even gives the murderous king a moment of anguish and doubt as he begs God for forgiveness, but turns around and plots more villainy.

Lowe’s Gertred is equally brilliant. The scene between Hamlet and his mother is breathtaking. The characters writhe around on the floor in a tumult of feverish emotions. Lowe gets another devastating scene when she carries Ofelia’s corpse into the royal chambers.

Spoiler alert: Gertred’s death is particularly gruesome, when the poisoned wine causes her to foam at the mouth.

Ofelia’s death is heartbreaking because Samora plays her with such a spirited kindness and joy…until her lover’s sword kills her father.

Rattley’s rage as Laertes is palpable. He explodes with fury over the death of his father, and then he collapses in utter grief when his sister dies. It’s another fine performance in a show of flawless performances.

Sullivan Santry’s Corambis is a delightful fool. Normally, this reviewer cheers when Hamlet dispatches Polonius with his sword, but this time, it seemed more bittersweet. Sullivan Santry imbues the fool with enough humanity to make his quick demise sadder than usual.

Even the side characters, Nackman’s wise fool of a Gravedigger, Steven Gallagher’s Jersey Boy Braggart Gentleman, and Mike Psenick’s Player One each get a moment to shine, and they all shine brightly. Lominac doesn’t have many lines as Gilderstone (and fewer as Cornelia), but she delivers them with panache.

The costumes are elegant and tasteful, if understated. The set is simple but ethereal and spooky, with long diaphanous drapes illuminated by candlelight (artificial candlelight… but candlelight nonetheless).

If you’ve seen “Hamlet,” you can marvel at the variations. If you haven’t, you can let the play wash over you anew. “Hamlet: The Bad Quarto” is a chance to see the Danish Prince in a new light.

Mark you well, Pittsburgh theater-goers will be talking about this production for years to come. You don’t want to miss it.

-MB

“Hamlet: The Bad Quarto” runs from June 19 to June 28  at the Richard E. Rauh Studio Theatre, 4200 Fifth Avenue, Pittsburgh, PA 15213. For tickets and more information, click here. 

 

By: Joseph Szalinski

June is a busy month for the Steel City. Pittsburgh Pride takes to the streets, baseball games are in full swing, and the Three Rivers Arts Festival features plenty of artisans, vendors, and rain. This translates into no viable parking, particularly at my beloved Smithfield-Liberty Garage. It’s during all this beautiful chaos that Vigilance Theatre Group opens its latest immersive production, Closing Time at the Moonside Cafe, written by Sean Collier and Renee Rabenold, and directed by Connor McCanlus (with assistance from Brooke Echnat), now running at Three Stories in Downtown Pittsburgh.

As with any immersive piece of theatre, there’s a frame to the production, and then numerous opportunities for audiences to become involved. Think of it like the Hot Pot equivalent of live entertainment. This time around, those intrigued enough to buy a ticket are treated to an evening of music. Things quickly get a little weird, prompting patrons to scatter throughout the sculpture-littered space as they attempt to ascertain exactly what is going on. People are encouraged to talk to other humans and visit the bar, where they can exchange light labor and divulge secrets in exchange for exclusive non-alcoholic beverages. They’re tasty and a fun detail of the show. Not feeling especially sociable? No worries. Sit back and watch the drama unfold before your eyes.

Actors brilliantly demonstrate their abilities to sing, improvise, and simultaneously stick to a script. Bradleigh Bell leads the charge as Knox, the cafe’s mysterious owner. Lyco, the host of the evening, is delightfully played by Noah Kendall. Working magic on the microphone are Marisa Postava as Merida, the story’s starlet, and Jess Uhler as Luna, her curious complement. Isaac Miller and Megha Pai provide plenty of laughs as Gus and Justina, one a bumbling busboy and the other a sheepish newer hire. Cap, the intimidating bouncer-type dude, is powerfully portrayed by Max Petrunya. Gwen Arbuckle and Harper York hold down the fort as bartenders, Vera and Mercury, respectively, the most sought-after cast members. Rounding out the talented cast/employees of the cafe are Laina Stanek as Kyrie, Hannah Brizzi as Vesper, Allie Burns as Livy, and John Feightner as Frank.

Technical Elements are equally marvelous as the performances. Music director/keyboardist Travis Rigby and drummer Brayden Ball provide a superb soundtrack to the staged strangeness, aided by Janus Young’s top-notch sound design. Remy Porter’s lighting design impeccably illuminates the insanity, highlighting the creative costuming courtesy of Allie Lampman-Sims. The discerning taste of set designer Heather Heitzenrater furnishes this wacky world. And, of course, none of this would be possible without the tireless efforts of stage managers Sun Marshall and Sarah Dugan.

The Three Stories venue is a cool space and a cooler concept. Owned and operated by the Pittsburgh Cultural Trust, it hosts free rentals for artists and companies in a black box theater, along with a downstairs space with dressing rooms and the like. Don’t worry, fellow Yinzers, there’s also a bar area.

Vigilance Theater Group is a unique organization that has been staging immersive shows since 2018. Comprised of folks who have incredibly interesting backgrounds from the cast to those behind the scenes, their productions are guaranteed to be supremely spellbinding. Even when faced with a sweaty sprint from West General Robinson Street Garage on the North Shore to Liberty Avenue in under 10 minutes, as someone who detests running, outside the scope of playing with my dog, I accepted the challenge because I knew they have something special in store.

-JS

Closing Time at the Moonside Cafe continues its run June 14, 18-21 & 25-27^th at Three Stories in Downtown Pittsburgh

By: Joseph Szalinski

It was the best of times; it was the slightly less-than-best of times. It was 1994. A bygone age when airport security was fairly lax and those in the tech industry were still partying instead of advocating for surveillance states. A year when the U.S. found its way out of a recession, and people had the luxury to deliberate over taking a job. Good for them. This era marks the start of Red Barn Players’ production of Over the River and Through the Woods, directed by Johnny Gallagher, now running at Red Barn Theatre in Fombell, PA.

Taking its name from a referenced poem/song that evokes memories of Christmas and Thanksgiving, Joe DiPietro’s play explores Italian American heritage, family dynamics, love, and uprooting oneself for a career. Despite the company of his four grandparents in New Jersey, Nick wants to make a break for it, like his parents and sister, and move to Seattle for a marketing promotion. His family has other plans, hatching a scheme to make sure he doesn’t leave them behind on the East Coast.

This impassioned family is brought to life by quite a cast. Actors, in addition to providing their own costumes, deliver tremendous turns in their respective roles. Luke Carter is fantastic as the fretful, fawned-over grandson, Nick Cristano. His employment of physicality and line delivery allows him to assume the character with entertaining ease. John Brenner is a lot of fun as Frank Gianelli, Nick’s mandolin-playing grandfather. Lani Cerveris-Cataldi is a perfect complement as Aida Gianelli, Nick’s maternal grandmother, who loves to cook extraordinary meals. Tom Bickert, the show’s producer, is a delight as Nunzio Cristano, Nick’s paternal grandfather. He channels Nunzio’s penchant for storytelling perfectly, doing so with ample humor and charm. His wife, Emma Cristano, is brilliantly portrayed by Lauranne Ferrara. Rounding out the cast is Sarah Campbell, who also took the publicity photos, and is marvelous as Caitlin O’Hare, the woman whom Nick’s grandparents connive to set him up with.

Shows are often more than the sum of impassioned performances. This production features technical elements that have been laboriously crafted by folks who also have a desire to bring imagined worlds to life. Steven Burnsworth, Kim Smolka, John Brenner, Paul Brenner, Robert S. Hazen, and Tom Bickert handle the intricate set design and construction. Set decoration is managed brilliantly by Lauranne Ferrara. Robert S. Hazen’s sound and lighting design finds a competent operator in director Johnny Gallagher.

The Red Barn Players are a terrific company composed of many hardworking and talented artists who typically do double duty, with responsibilities both on stage and behind the scenes. Usually boasting familiar faces, the group is also more than welcoming to actors looking to join the fold or a production. Just like the summers of the past, Red Barn Players have a fantastic season planned.

Hosting events since 1955, Red Barn Theatre is a wonderful venue that’s surrounded by natural beauty. While the auditorium is rustic and old-fashioned, the rest of the facility is a little more modern. The perfect place to catch a summertime performance, Red Barn Theatre is a regional staple that more people should check out.

-JS

Over the River and Through the Woods continues its run June 10-13 at Red Barn Theatre in Fombell, PA. For tickets or more information, click here.

Reviewed by Dr. Tiffany Knight Raymond, PhD, and Theron Raymond (seventh grade)

Little Lake Theatre continues its Home Is Where the Heart Is themed season with actor (turned playwright) Jeff Daniels’ play, Pickleball.

As you guessed, the show capitalizes on the popularity of this racquet sport that was invented by three dads in 1965. That also makes pickleball 6 years younger than Little Lake Theatre Company, which is celebrating its 77th season.

Pickleball exploded during COVID as an age-inclusive, socially distanced outdoor activity. Daniels’ post-pandemic 2022 play brings the Little Lake line-up to the present day. You can easily envision future trivia questions inquiring about “What racquet sport spiked in popularity in the 2020s?”

This co-reviewing team will volley that answer. We’re regulars on the pickleball court. Our knowledge of the sport augmented the experience, but being a player, or even knowing the game, is not a prerequisite to enjoying this banger from Little Lake.

Like any sport, pickleball has its devotees. The play follows a quartet of competitors that includes the widow, Billie (Amanda Weber); bumbling womanizer, Larry (Cole Vecchio); recently divorced Spike (Darrin Mosley Jr); and retiree Sheldon (Ted Froats).

Thanks to director Michael Patrick Trimm, this foursome has an effortless chemistry. While they may have come together via pickleball, they are embedded in each other’s lives. Mosley Jr. captures Spike’s tension as a freshly minted divorcé trying to follow his ex-wife’s admonishment to “turn over a new leaf.” Froats counters with comic relief. He reminds his team he “blew out my butt muscles” and navigates the effects with some extraordinary feats of physical comedy.

The quartet’s bonds are tested with the introduction of the aptly named star pickleball player, Perfect (Maddie Kocur). Perfect also looks flawless, dressed in a dazzling white skin-skimming pickleball dress with a saucy sashay to match. Perfect consistently misremembers each character’s name, calling Billie “Barbie” and Larry “Lenny.” It’s as if she can’t be bothered with such details, but it’s all part of her manipulations.

While the performance capitalizes on the dedicated foursome, one character stands out for his distinctive headgear. Ralph’s (Gordon Robertson) forehead is, throughout the play, adorned with a pickleball splattered with (thankfully fake) blood. This innovative costume design is all the work of Little Lake’s clever prop and costume designer, Sylvia Sims-Linkish.

Not surprisingly, the show is set on a pickleball court where almost all the events take place. The court, while not regulation-sized, is depicted on the stage floor to give the audience a well-ordered visualization of the game. Scenic designer Alex Keplar skillfully extends the court into a third dimension by adding four sections of chain-link fencing hanging above the stage, each covered with a smattering of pickleballs.

Jeff Daniels light-heartedly capitalizes on the popularity of pickleball. This high-energy show has perfect seasonal timing. It’s a fun kickoff to summer that makes you eager to get outside and swing a pickleball racquet – or enjoy the outdoor summer activity of your choice, be it porch-sitting or parkour. Pickleball reminds us that whatever it is, it’s always better with friends.

-TKR, Ph.D. & TR

Little Lake Theatre’s production of Pickleball (recommended for 13+) runs through June 14, 2026, at 500 Lakeside Drive, Canonsburg, PA 15317. Purchase tickets online here.