'Burgh Vivant

Reviewed by Dr. Tiffany Knight Raymond, PhD and Theron Raymond (7th grader)

When Frozen was released in 2013, Theron was a toddler. Like so many families, the siren song of “Let it Go” became a mainstay earworm in our home. Disney subsequently swept this instant cinematic sensation to the stage as a musical in 2017.

The musical opens with a Greek chorus of dancers who introduce the royal family. Ryan J. Moller’s exquisite costume design enrobes the ensemble in mosses and plants that unite the dancers as creatures of the forest and foreshadow the role of the elements in this world. Robbie Roby’s expert choreography harmonizes nature and makes it flow.

While young Elsa (Laurel S. Denk) may be the future queen of Arendelle, young Anna (Hallie Camacho) instantly steals the stage with her delightful and precocious demeanor. Camacho elicits easy laughter from the audience as she deftly navigates her parents, shooing them out of her bedroom so she can beg Elsa to create snow. The two girls bring vocal power to “A Little Bit of You.” Elsa crafts Olaf out of their shared song vision, which includes Anna’s request that the snowman have a “big bouncy butt.” Kyle Kemph brings everyone’s favorite hug-loving snowman to life. Olaf is attached to Kemph who makes it easy to forget there’s a human behind the life-sized plush Olaf (a puppet triumph by Scott Molampy).

King Agnarr (Kai Sachon) demands Elsa wear gloves and mandates the sisters isolate after Elsa’s ice magic almost kills Anna. Sachon goes from caring father to controlling force as he commands Elsa to “conceal it, don’t feel it” in order to try to manage her magic. This phrase remains her guiding mantra, even after the untimely demise of her parents. It’s a potent reminder of the power parents have over their children and to be selective with our words to ensure those that linger with our kids are the ones we would choose.

The adult Elsa’s (Cate Hayman) transformation from restrained to unchained in “Let It Go” is visually amplified by her wardrobe. As Hayman beautifully belts out and “feels” the song, Moller has her costume transform from a stiff dress to a flowing, diaphanous gown.

The show exchanges bulky sets for high-resolution video-designed imagery. Director Michael Heitzman orchestrates the video design to perfectly synchronize with the dialogue and events on stage. As adult Anna (Daisy Wright) and Kristoff (Matthew Hydzik) dash whitherward through the snow in his sleigh, escaping wolves, Bryce Cutler’s exquisite video design raises the stakes. Cutler has snow blowing, and the sleigh’s path through the forest cuts from side to side.

Hydzik is irresistible as Kristoff, especially when he clamors into his sleigh and leans back to sing “Reindeer(s) Are Better Than People.” As the song ends, he gives an affectionate “boop” on the nose to Sven the reindeer. If not better, reindeer(s) are certainly less emotionally complicated than people. Kristoff voices Sven’s point of view in the song, making the reindeer an anthropomorphic vessel.

Ultimately, King Agnarr is wrong. It is feeling, not concealing, that triumphs. As AI relationships flourish and politics threaten to divide us, Frozen’s message to lean into love is perhaps more relevant than ever.

-TKR, Ph. D. & TR

Disney’s “Frozen” runs until July 27 at the Benedum Center, 237 Seventh Street, Pittsburgh, PA 15222. For tickets and additional information, click here.

By Michael Buzzelli

When a series of bad reviews pummel a group of narcissistic actors, they decide to champion a cause to garner good publicity in “The Prom.”

After an internet search, they find Emma Nolan (KB Bradley), who wants to take her girlfriend to the high school prom. The local PTA, headed by the homophobic Mrs. Greene (Nikki Young), rallies the parents together to cancel the prom. Her classmates blame Emma for the cancellation of the prom.

That’s when Dee Dee Allen (Jess Whittington), Barry Glickman (Dixie Surewood), Trent Oliver (Chad Elder), Angie Dickinson (Tonilynn Jackson), with their agent Sheldon Sapperstein (Randy Dicks) in tow, invade the small Indiana town to “help” Emma.

The unwanted attention is freaking out Emma and her secret girlfriend, cheerleader Alyssa Greene (Alawna Mallory), daughter to the town’s biggest bigot.

Meanwhile, Dee Dee strikes up a fast friendship with the high school principal, Tom Hawkins (Steve Bruno).

The actors continue to meddle with disastrous results, however, each of the actors finding newfound empathy and compassion along the way.

Director Nik Nemec fills this version of “The Prom” with Zazz with a capital Z! His cast is tremendous, and he squeezes every ounce of humor out of every performer.

Bradley’s Emma was a joy, playing the role with unvarnished sincerity.

Whittington sparkles as Dee Dee Allen in every scene. She plays the character as bigger than Broadway and it works. She’s better than Meryl Streep in the movie version (Whittington can sing).

Surewood’s Barry Glickman steals every scene, even amongst a repertoire of scenery chewers. He’s big, bold and audacious, the quintessential Glickman. Its also a rare treat to see Dixie Surewood in boy drag.

Elder crushes his songs, especially the divinely-inspired, but deeply comical, “Love the Neighbor,” where he scolds a group of teens for their biblical hypocrisy in the most joyful way.

Jackson channels Bob Fosse with “Zazz,” a number she performs with Bradley. It pops.

Every actor in the show has their moment to shine, including some of the background characters. The cast is so committed.

Chelsea Fredrickson’s jazzy choreography is exuberant.

Frendt Projections provides magnificent projection design. It leveled up Jeff Way’s set in amazing ways. Everything was bright and beautiful, even the rundown motel and local Apples and Bees.

It’s the queerest, most joyful show, bursting at the seams with faith, hope and love. Trent Oliver would, most likely, quote Corinthians 13:13, “the greatest of these is love.”

“The Prom” is a triumph for Stage 62, the director, cast and crew.

-MB

“The Prom” runs until July 27 at the Greer Cabaret Theater, 655 Penn Avenue, Pittsburgh, PA 15222. For tickets and additional information, click here. 

By: Joseph Szalinski

Summertime typically finds Bronx Field littered with dogs, softball teams, unbalanced cyclists, kids playing release, and the ivy-choked ruins of a playground you spent your childhood at that hauntingly loom over the outfield from its garden of decay. Every so often, one might find suburban space cadets, carnivals with two-headed goats, and, strangest of all, thespians. Steel City Shakespeare Center brings the funniest thing seen in Bronx since your friend hurt themselves while sledding, with their production of The Comedy of Errors, directed by Bob Colbert and Alexandra Hellinger.

Everyone makes mistakes. I have made thousands. For instance, I considered writing this article with intentional typos and various technical flaws. Ultimately, I decided against it. Every mistake you might catch is unintended. Speaking of, screwing up is at the heart of the Bard’s classic gut-buster. The error-prone characters “accidentally” their way through instances of demonic possession, mistaken identity, romance, and violence. Complementing the chaos are wordplay, slapstick, and a handful of musical numbers.

Tasked with interpreting the script’s insanity and multiple roles is a qualified cast that sings, dances, and tumbles their way through the story. Leading the charge is director Bob Colbert. When not cranking out sick tunes on his accordion, he delights as his characters, having lots of fun with Dr. Pinch, particularly. Alexandra Hellinger and Allie Burns both do amazing jobs as separated siblings Antipholus of Syracuse/Antipholus of Ephesus and Dromio of Syracuse/Dromio of Ephesus, respectively. Combining dynamic physicality and terrific delivery, this duo is incredibly entertaining, especially with their scuffles, orchestrated by fight captain Lauren Scheller-Wolf and fight and intimacy choreographer Ella Mizera.

Jillian Thomas wonderfully juggles her Rolodex of characters, leaning into their respective absurdity with absolute commitment, clad in crazy costumes or otherwise. Catherine Hayashi showcases her skills as Adriana and the Courtesan, utilizing her voice to differentiate between her roles. Clara Lord and Mina Aksak round out the cast as merchants and officers, interjecting humorous lines and indulging in the play’s pervasive silliness.

Despite being outside, this production effectively incorporates numerous clever technical choices, most notably in its costuming. Production designer Hannah Ruth Moss and design assistant Siena Forschein dress the cast and the set impeccably. Puppets, designed by Cat Aceto, help make the pentameter more palatable, hilariously enacting passages earlier on. Props are simple yet effective, eliciting laughs and advancing the plot.

Theatre is a beautiful thing, and it is even lovelier when soundtracked by birdsong and lit by a bashful sun. Teeming with greenery and ample room for staging plays, Bronx Field is a wonderful space for Shakespeare in the Park. It is refreshing to see a small-town staple being used to bring art and culture to the community. While the Steel City Shakespeare Center utilizes various venues for its productions and other shows, it would be great to see more live entertainment at Bronx Field.

Driven, talented, and unlike anyone else, the Steel City Shakespeare Center again demonstrates its resilience, having weathered seasons for over a decade. Their talented casts and crews, in concert with a marvelous selection of shows, make them a must-see for any Pittsburgh-based theatre nerd. Paired with The West View Hub on Perry Highway, SCSC helps foster a community that is so vital to community theatre.

 -JS

Steel City Shakespeare Center continues its run of The Comedy of Errors Friday, July 18^th at Bruno Sammartino Park in Ross Township and July 19^th-20^th at Bronx Field in West View.  For tickets or additional information, click here. 

by Claire DeMarco

What could be better than a Victorian mystery!

The Pittsburgh Savoyards open their 88^th season with this adaptation of Wilkie Collins’ classic favorite.

There is enough deception, mistaken identify and suspense to satisfy mystery lovers everywhere.

Walter Hartwright (Jaron Carlson) meets a woman in white late at night who obviously needs help but rejects it from Hartwright when it is offered.  She appears sporadically throughout the play to various characters.

Artist Hartwright is hired by Frederick Fairlie (Phillip Hayes) to educate Marian Halcombe (Carly Chotiner) and Laura Fairlie (Nicole Brady), Frederick’s niece.

After a short period of time at the Fairlie’s, Hartwright falls for Laura and she for him.  However, Laura is engaged to Sir Percival Glyde (Todd Foose).  Hartwright sadly leaves his employment, heading for parts unknown and Laura reluctantly accepts her fate.

Note:  This novel was written in the Victorian era where women did not have the freedom concerning marriage nor their financial independence.

Glyde and Laura marry but before they do, the woman in white appears again, indicating that she has a secret concerning Glyde.

After the marriage the seemingly placid Glyde becomes a dominating bully intent on securing Laura’s money.

Enter Count and Countess Fosco (Elliott O’Brien and Kathryn Morosky).  Under the guise of supporting Laura, it soon becomes apparent that they are aligned with Glyde.  They aid in his control of his wife’s finances.

Another leg to this mystery is introduced.  It’s thought that Jane Catherick (Tamara Marlise Manzetti) knows the secret behind Glyde.  One thing that we do know is her disdain for her daughter Anne Catherick (Kira Varela).

Note:  Throughout the play pre-recorded voice-overs by some of the characters relay narratives from their perspective.  All the different narratives appear disjointed, but they all blend together successfully at the end.

How is the mystery resolved?  How do all the pieces finally fit together?

And who is the woman in white?  Do we find out if there are any secrets about Glyde?

You’ll just have to see the play to find out!

Note:  Act One pre-recordings were hard to hear but in Act Two and Three, the audio was magnified.

Chotiner is outstanding as the supportive sister.  With a flawless English accent, she radiates strength for a woman in that time period, determined to speak her mind at the risk of censure.

Quiet but determined describes Carlson as the lovestruck art instructor.

Chotiner along with Carlson work well together as the two characters out for justice for Laura against the evil doings of Glyde and Count Fosco.

Portraying his character initially as a sweet talker and seemingly tranquil, Foose dramatically transforms into an angry, belligerent, evil man.

As Marian’s half-sister, Brady develops her character from a quiet, subordinate woman to one who finally rises to the occasion and speaks her mind.

Smooth talking O’Brien entices as Laura’s supporter.  When the mask is removed, he exposes his real persona through facial expressions and angry discourse.

Hayes delights as the always complaining Uncle who is exhausted without doing anything.

Tamara Marlise Manzetti’s performance as Jane Catherick scores as the epitome of a sharp, mean and utterly horrible human being.

First published in 1860, “The Woman in White” by Wilkie Collins is considered a classic.  It was cleverly adapted and directed for this production by Robert Hockenberry.

It’s always amazing how much detail and thoughtfulness the Pittsburgh Savoyards put into their sets considering the limited space at the Margaret Partee Performing Arts Center.  Bravo!

-CED

“The Woman in White” runs from July 11th to July 26th at the Margaret Partee Performing Arts Center, Carnegie Stage, 523 Lincoln Avenue, Bellevue, PA. 15202.  For tickets and additional information, click here. 

by Michael Buzzelli

In a super-souped-up DeLorean, Marty McFly (Lucas Hallauer) travels back in time and accidentally prevents his parents from meeting in “Back to the Future – the Musical.”

For some inexplicable reason, Marty McFly is besties with a mad genius, Doc Brown (David Josefsberg), who is decades older than the high schooler. The mad doctor has invented the eponymous time machine, using the chassis of a tricked-out DeLorean.  He’s stolen some weapons-grade plutonium to power his vehicle.

Note: In the updated version of the script, the Libyan terrorists have been excised, but Doc Brown’s life is still in danger. He could be dying of radiation poisoning when he mishandles the plutonium (with a half-life of 24,100 years, it’s some pretty toxic exotic material).

Marty and Doc test the time machine by revving her up to 88 mph. In Doc Brown’s own words, “If my calculations are correct, when this baby hits 88 miles per hour, You’re gonna see some serious sh–[this version shifts away from the original quote].”

Bang! Zoom. It’s back to frolicking 50s.

Marty finds himself stuck in the past. While wandering around Hill Valley, he notices his nerdy father, George McFly (Mike Bindeman), peeping into  Lorraine (Zan Berube) Baines’s bedroom window.  When he falls out of the tree in his father’s place, Lorraine, his biological mother, swoons for him instead. Now (or rather then), Lorraine, a horned-up poodle-skirt-wearing Bobby-Soxer, is crushing on Marty (under the guise of Calvin Klein because she thinks his name is sewn into his skivvies). Her attraction creates a time paradox, preventing his own birth.

That’s some Wibbly-Wobbly, Timey Wimey stuff!

Heavy!

Marty must reunite his parents at the Enchantment Under the Sea Dance, or he’ll and his siblings will be erased from the timeline.

Great Scott! It’s the Roger Zemeckis classic film with music!

Screenwriter Bob Gale returns to Hill Valley to rewrite the adaptation with music and lyrics by Alan Silvestri and Glen Ballard. Yes, there are some corny jokes…dad jokes! But the cheesy material doesn’t take away from the rollicking fun. It’s a literal and figurative blast from the past!

Hallauer is delightful as Marty. Squint and you’ll swear it’s Michael J. Fox up on the stage. His impression is uncanny, especially when he’s in the life preserver…er…red ski vest.

In the opening number, “It’s Only a Matter of Time,” McFly tells you his going to break the fourth wall, and when he does, it’s hilarious, poking fun at the ensemble when they appear out of nowhere during the chorus. 

Josefsberg’s Doc Brown is kooky and fun. His character is more of a departure from the original, but that’s a good thing.  Several lines come off as spur-of-the-moment adlibs.

The cast is spectacular, including the cartoonish bully, Biff Tannen (Nathaniel Hackman),  the crotchety Principal Strickland (Luke Anthony Neville), and Marty’s siblings, disappearing Dave (Fisher Lane Stewart) and vanishing Linda  (Katie Laduca).

The best voice in the show goes to Cartreze Tucker who shows up as Goldie Wilson and Chuck Berry’s fictional cousin, Marvin Berry. He steals the show with incredibly high notes.

The visual design of the “Back to the Future – the Musical” is pure magic. Illusion designer Chris Fisher and Video Designer Finn Ross create a visual feast.  It’s spectacular.

While the exposition at the top of the show gets things off to a slow start, it ramps up the second the DeLorean appears (out of seemingly nowhere).

John Rando expertly directs the show with some fantastic choreography from Chris Bailey.

“Back to the Future – the Musical” dazzles.  This show is pure joy.

– MB

“Back to the Future” runs until July 6th at the Benedum, 237 Seventh Street, Pittsburgh, PA 15222. For tickets and more information, click here. 

Reviewed by Dr. Tiffany Knight Raymond, PhD

The only other time I’ve seen How to Succeed in Business Without Really Trying was a theatre-department production when I was an undergraduate at the University of Arkansas. Back then, I was as naive as the play’s central character, young window washer J. Pierrepont Finch (compellingly portrayed by Ben Nadler and no doubt inspired by J. Pierpont Morgan). Finch reads and executes on the advice in How to Succeed in Business Without Really Trying (an actual book from 1952 with the musical adaptation in 1961). Like Finch, I’ve always sought answers and expertise from books. His ambitious path feels natural.

Seeing this at South Park Theatre a couple of decades into my own career in business reminds me how theatre is enriched by your own experiences. Any seasoned working professional will have witnessed (or perhaps participated in) office romances, experienced the collective horrors of an empty coffee pot, and worked with versions of play-it-safe employee Trimble (Eric Thomas) and nepotistic hires like executive president J.B. Biggley’s nephew, Bud Frump (the excellent Johnny Terreri).

In his South Park debut, director and choreographer Ashton Guthrie infuses the production with vivacious energy. Even though the play is long, it never drags. Guthrie wisely keeps Sabrina Hykes-Davis’ mid-century set upstage. It’s dominated by an almost cartoonish backdrop that’s as appropriately oversized as the musical’s office stereotypes. This keeps the action flowing and also maximizes the small stage for Guthrie’s spirited and well-choreographed dance numbers.

Carina Iannarelli is a stand-out as Hedy LaRue. As Biggley’s mistress, she channels a vapid and coquettish red-headed Betty Boop energy. She’s transparent about the fact corporate life is not as good as her former job as a cigarette girl, calling into question the very corporate ladder Finch is trying to climb.

As Finch, Nadler is an energetic chameleon who follows the book and plays the game. In Nadler’s most memorable scene, Guthrie nearly transforms him into a rhythmic gymnast. As Finch, he artfully unfurls receipt tape and gleefully strews papers around the office. He makes it look like he’s just pulled an all-nighter right before J.B Biggley (Joe Joyce) comes in on a Saturday morning to grab his golf clubs.

As president of World Wide Wicket, Joyce exudes the archetype of a distinguished, silver-haired executive. He’s patriarchal towards Finch, who pretends to have attended Biggley’s alma mater. Nadler hilariously fumbles his way through the university fight song as he lags behind Joyce’s crisp arm motions. In both Groundhog school spirit and business acumen, Finch is the earnest but struggling manifestation of “fake it til you make it.” Mr. Biggley is so caught up in  his own nostalgia and the delight of a shared experience that he fails to notice Finch’s obvious foibles.

Frank Loesser composed the music and lyrics. In his song “Cinderella, Darling,” an ensemble of female employees serenade Rosemary Pilkington (Rachel Parsons). Parsons captures a gilded age edge – outwardly sweet, but cunning behind the scenes. They implore her not to leave Finch and “mess up a major miracle” as she’s their inspiration having risen from secretary to Finch’s fiancee. This marrying up song was actually swapped in the 1995 revival. However, this week’s wedding of billionaire Jeff Bezos and Lauren Sanchez (who met via work) suggests “don’t turn down the prince” and the trophy wife trope is still just as relevant 60 years later. Some chapters in how to succeed remain evergreen.

-TKR, Ph.D.

South Park Theatre’s production of How to Succeed in Business Without Really Trying (book by Abe Burrows, Jack Weinstock, and Willie Gilbert) runs through July 13, 2025 at South Park Theatre, South Park Township, PA, 15129. Purchase tickets online here.

by Claire DeMarco

Rob Zabrecky began his career as the lead singer for Possum Dixon, a post-punk style rock band.  He has diversified into author, actor, songwriter and now is primarily a magician.  He has received six awards by the Academy of Magical Arts at the Magic Castle (a Hollywood performance venue).

Tricks, deceptions, illusions, sleight of hand – call it what you will.  It is magical and Zabrecky is the master.  Formally dressed in black, he engages the audience in a somewhat serious way. But his dry sense of humor soon surfaces.

Zabrecky executes both traditional magic (card tricks, sleight of hand maneuvers) and mentalist acts.

One particular sleight of hand involved three very small balls that were placed in a cup.  When removed, only two balls appeared.  To ensure that the audience visualized the action, two close-up screens on either side of Zabrecky as he maneuvered the balls on a small table reinforced the effect of this illusion.

Zabrecky’s specialty revolves around his actions as a mentalist.  A mentalist uses the appearance of mind reading, telepathy, psychology in a theatrical way to suggest certain outcomes.  Making his actions work requires a participating audience.

Note: Since this was my first magic show, I waited for the rabbit in the hat trick. There wasn’t any!

The Pittsburgh Cultural Trust’s Liberty Magic venue is enchanting and intimate.

How does Zabrecky do all these tricks and illusions?   I guess it’s just magic after all!

Interacting is key to the rapport a magician has with his audience and Zabrecky didn’t have to coax anyone to be a part of his actions.  Participants in the mind games were enthusiastic and both they and the general audience in awe of the spot on outcomes.

-CED

“Zabrecky in the Zabrecky Hour” runs June 27th to July 6th at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA 15222.  For tickets and additional information, click here. 

by Michael Buzzelli

Kwame Kwei-Armah and Shaina Taub dust off William Shakespeare’s “Twelfth Night” and transform it into a joyous musical, setting Illyria in New Orleans’ French Quarter with a sizable cast of extras guaranteed to make Dino De Laurentiis proud.

The story stays the same:

A shipwrecked Viola (Chelse Zeno) lands on the shores of Illyria, fearing her brother Sebastian (Ethan Davis Butler) has been drowned. To survive the foreign city, she disguises herself as a boy, Cesario, and goes to work for the lovesick Duke Orsino (Michael Campayno), who pines for the Countess Olivia (Housso Sémon).

Things are chaotic at Olivia’s palace.  She has a large household with a major domo, Malvolio (Connor McCanlus), Maria (Georgia Taylor) and a court jester, Feste (Caro Dubberly). Her drunk uncle, Sir Toby Belch (Garbie Dukes) invites his best pal, Sir Andrew Aguecheek (Brenden Peifer) to woo his niece.

P.S. Sebastian didn’t drown. He’s on his way to Illyria with his faithful servant, Antonio (Victor M. Aponte).

The story has all of the excitement of the original with outrageous songs, daring dances and even silk performers, included in that aforementioned cast of thousands.

Sidenote: The opening number plays out like a “Where’s Waldo” of local talent. You will find Mike McBurney, John Feightner, Parker Stephens and more!

The cast is nearly flawless.

Sémon is magnificent as Olivia. Beautiful with a mellifluous voice, and the right amount of stage presence to believe that she is a countess.

Zeno is adorable as Viola.  Her performance is riveting. She’s just a little too pretty to pull off being a boy, but it doesn’t matter. She’s wonderful.

Side note: Zeno doesn’t go full drag king. She’s more like Lucille Ball when she disguised herself as man on “I Love Lucy,” and still wore lipstick.

It’s a joy to watch Dukes fumble around on stage as the drunken uncle. He revels in the part. Equally matched by Piefer’s foppish Aguecheek. Their chemistry together is hilarious. They are a dynamic duo.

Dubberly gets some of the best lines as Feste and delivers them with aplomb. She also has a fantastic singing voice.

McCanlus pulls a star turn as Malvolio. He puffs out his chest, struts on the stage and thrusts himself into greatness. A sizzle reel from the show could catapult him to Broadway.

Campayno returns to the Pittsburgh stage with the gravitas to play the Shakespearean duke. The only shame of the production is that his character is sidelined for much of the show. There’s an important moment missing from this reimagined version; The streamlined script cuts down the part where the duke realizes that he might be falling for Cesario.

Try to hold in an “Aww,” when the tiny Rhea Briggs shows up as the Illyrian Taekwondo kid. It’s impossible.

The expansive cast is directed by Marya Sea Kaminski and choreographed by Gustavo Zajac (I would imagine it to be similar to herding cats). The third part of the trifecta is Tiffany Underwood Holmes, the musical director, leading an amazing orchestra hiding under the floorboards.

Shakespearean scholars might wince at a big tent, musical version of “Twelfth Night,” but it is gloriously fun. You might find yourself humming on the way home.

The only criticism is that the run is far too short. Catch it while you can.

-MB

“Twelfth Night” runs from June 26 to the 20 at the O’Reilly Theater, inside the Pittsburgh Public Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For tickets and more information, click here. 

by Michael Buzzelli

In the last act, Poirot delivers the dramatic line, “The murderer is in this very room!”

Dunt. Dunt. Da!

Heather Ruppert masterfully directs a fun little murder mystery with a delightful cast.

Shurter carries the bulk of the narrative. In a meta moment, he mentions he is playing Watson to Hercule’s Sherlock. But Dr. Sheppard is no Dr. Watson. He doesn’t just stand around and wait for Hercule to give him all the answers. He’s much more clever.

Syciarz is a wonderful Poirot. Columbo and Charlie Chan under a gigantic moustache. He enlivens the drawing room whenever he appears, especially when he is outwitting Inspector Raglan (Natalie Weicht).

Weicht is marvelous in her role as the bumbling inspector. Weicht gets some of the best comedic moments in the play and delivers each bit with panache. She also has an impeccable English accent in her toolbox.

Rugh’s Gertrude is fun and flirty, continually embarrassing her daughter, Flora. Watching Lewandowski’s face as Flora reacts to Gertrude’s shenanigans is priceless.

Another standout is Hess, as the gossipy Caroline. Pouring the tea and spilling it to anyone within earshot.

Like all the best murder mysteries, most of the action takes place in the drawing room. A smart, cozy nook crafted by scenic and technical designer Nathan Zema.

Lewandowski, who played Flora in the show, also was credited as costume designer. She did excellent work there as well, especially on Raglan’s police uniform.

Even the best amateur sleuths are going to have a bit of difficulty solving “The Murder of Roger Ackroyd,” but it’s a guaranteed good time.

-MB

“The Murder of Roger Ackroyd” plays until June 28 at the Genesius Theater on Duquesne University’s campus, for tickets click here.

by Michael Buzzelli

Sir Arthur Pendragon (Adam Kantor) believes that for one brief shining moment, he can create a beautiful, democratic hub in his tiny hamlet of Camelot in Lerner & Lowe’s “Camelot.”

The timeless tale is based on T.H. White’s “The Once and Future King,” which is based on Sir Thomas Mallory’s “La Morte D’Arthur” spiraling even further down into the Arthurian legends, spoken word stories over campfires in England before it was the United Kingdom.

Arthur meets his betrothed, Guenevere (Kyla Stone), under false pretenses. She’s running from her fate; unaware she’s run smack dab into her future. The two fall in love.

Over the years, the king and queen create a paradise in Camelot. Knights from far and wide seek out their tiny kingdom to join in them on their quest for peace. One impossibly brave knight, Sir Lancelot du Lac (Ben Jacoby) of Joyous Gard.

When Lance meets Jenny, sparks fly. It’s only a matter of time before the king’s wife and his best friend give into their temptation.

Things get even more complicated when Arthur’s bastard son, Modred (Alexander Podolinski), shows up to stir the pot. He’s a spoiled brat who wants his father’s throne.

The musical is filled with iconic songs filled with humor and beauty, including the titular “Camelot,” alongside “The Lusty Month of May,” and “IF Ever I Would Leave You” and “What Do the Simple Folk Do?”

There’s a lot to like about this production.

Kantor is a fantastic Arthur, oozing with charm. He manages to sparkle when doing the comedic bits, but he also has the gravitas to do the deep dramatic parts. His defining speech, which closes the first act, was pitch perfect.

Stone was a spectacular Guenevere. She has an amazing vocal range. Guenevere is a complex character with an unsettling thirst for blood and a wandering eye.  Stone gets all the nuances of Jenny.

Jacoby is a darling Lance. He is everything a Lancelot should be. Strong, charismatic and slightly terrifying in his righteousness. His fall from grace is tragic in every production.

While Modred doesn’t show up until the second act, Podolinski steals every scene he’s with his wicked guile.

The cast was backed by an incredible orchestra.

Mara Newbery Greer created some fantastic choreography, especially the dance during “The Lusty Month of May.” There was also some great fight choreography from Randy Kovitz.

Strong scenic and video design by Bryce Cutler. The snowfall on stage looked beautiful during a dramatic turn of events.

There were some odd choices in the show. John Grimsley played his characters, Merlyn and King Pellinore. He plays both roles too big and too doddering. It’s hard to tell them apart. There should have been a bigger distinction between the characters. He’s only forgiven when he’s Pellinore because he gets to show off Horrid (played by Gus, the dog), Pellinore’s faithful companion.

Past productions paint Morgan Le Fay (Andrea Weinzierl) as evil. Here, she’s a bit of a buffoon, filled with lust and gluttony. It’s not Weinzierl’s fault, but a diversion from an earlier draft of the play (I may be thinking of an insidious version of the character in John Boorman’s “Excalibur,” an imaginative retelling of the legend of King Arthur).

Director Mark Fleisher picked an important time to mount this classic. The story lulls you into thinking it’s a happy-ever-after fun times kinda musical, but it goes dark in the second half.

King Arthur tries to create a just and free society governed by rules and not barbarism. As our democracy disintegrates under authoritarian rule, you have to wonder if America has had its elusive, bright and shining moment.

“Camelot” proves that some big ideas are worth fighting for, worth dying for.

-MB

“Camelot” runs until June 22 at the Benedum, 237 Seventh Avenue, Pittsburgh, PA 15222. For tickets and additional information please visit here.