'Burgh Vivant

By Lonnie the Theater Lady

The award-winning musical “In Clay,” based on French ceramicist Marie-Berthe Cazin, opens in her Parisian studio in 1938. As she anticipates the arrival of Henrietta, her estranged childhood friend (now a successful painter), she reflects on her full life journey. She remembers first meeting Henrietta when they both studied art under Jean-Charles Cazin, whose son, Michel, became Marie’s husband. She lived in a time when female artists were overshadowed by their male counterparts. Marie was infuriated upon learning that Michel signed many of her works and claimed them as her own. She felt ambivalence when Michel went off to fight in World War 1. Because of his betrayal, she isn’t having the success with her art she hoped for and feels discouraged. In one immensely powerful scene, Finke gains insight into her situation. She’s struck by the extraordinary beauty of a once broken ceramic piece that is even more beautiful after being repaired using the Japanese art of Kintsugi. Its durable beauty in its new form reminded her of her own resilience and beauty.

Finke is splendid in this one-woman musical. She’s fragile yet strong, charming, and very funny. She plays all the characters in the show and transitions smoothly from one to the other with crisp, distinctly different voices and physicality — often with humorous results. Her spellbinding storytelling is evident in both her speaking and pitch-perfect vocals. Her flawless French accent never wavers even when singing the jazzy, upbeat songs whose clever lyrics advance the story in every number. The range of emotion she conveys in her vocal numbers is truly remarkable. She belts, purrs, entices, growls, grieves, celebrates, and contemplates. Remarkable talent!

And, on top of all that, she expertly throws a pot from a clay ball on a potter’s wheel located at center stage. Drops of water fly, the wheel spins, and small, wet sponges caress the clay as she casually continues her story. It’s fascinating to see the piece metamorphose from a simple ball of clay.

**To avoid any confusion, please note: Alex Finke, the actor, is very pregnant. Her character, Marie, is absolutely not. 

Fun fact: One hundred fifty pounds of clay are lying in wait to be used during the show’s run.

The band sits on the side of the stage in full view yet unobtrusive. The talented musicians’  tight instrumentals beautifully complement Finke’s dynamic voice and energize the story. (Matt Herbert, music director)

The artsy, cluttered set overflows with shelves of pottery, books, a potter’s wheel, a kiln, lumps of clay, and assorted artist’s tools strewn around the floor. It suggests an artist’s frenzied desire to create in the perfect space. (Tony Cisek, designer)

This captivating, poignant production brings the complex Marie-Berthe to life while exploring the struggles and victories of her creative journey. “In Clay” is an exceptional, enthralling, inspiring must-see show.

-LtTL

City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. The show runs through October 11

 

 

 

 

 

by Claire DeMarco 

Sibling rivalry has been around since Cain and Abel.  “True West” continues that tradition with the two main characters, Austin (Marc Palombo) and Lee (Braxton McCollum).

Both brothers, who have always had a troubling relationship, find themselves together at their mother’s house in Southern California in the early 1980’s while she is vacationing in Alaska. Austin is house-sitting. Lee, who normally hangs out in the desert, just pops in unannounced.

Austin is the younger brother embracing a traditional life. He is college-educated, married with children, and enjoying a successful screenwriting career. Lee is a loner, an excessive drinker, and always confrontational. He is also a petty thief (with a penchant for stealing appliances).

Tensions build between the brothers when Hollywood producer, Saul (John McManus) visits to discuss potential opportunities for Austin. Through sheer nagging and persistence, Lee ingratiates himself into convincing Saul that, he too, can write a screenplay.

Conflict grows between the brothers as Lee threatens to break into Austin’s settled, controlled world.  When Lee successfully entices Saul to have his screenplay produced and Lee’s is tabled, the brothers engage in verbal assaults as each one engages in role reversal.

The more Austin drinks the more aggressive and argumentative he becomes. Although he continues to verbally lash out at his brother, Lee attempts to supply some reasoning to his arguments with Austin.

And just wait until their mom (Nancy Julian) shows up!

Palombo delivers as the younger brother who is normally structured, controlled and serious. He brilliantly changes from that world, gradually taking on the annoying characteristics of his older brother.

McCollum pulls out all the stops as the older brother.  He is believable as the irritating, sarcastic and braggard older brother, but he successfully also shows us his insecurity.

Both Palombo and McCollum’s roles transition into a frantic physical free-for-all confrontation that requires a controlled delivery and great timing. They succeed.

McManus plays Saul as the typical Hollywood producer – a flashy dresser with a slick delivery. His main concern is financial, and he is a convincing manipulator toying with both brothers.

Nancy Julian has a small role, but she plays Mom as a woman a bit out of touch with reality, marginally concerned with her sons’ fighting but more upset about her houseplants neglected during her absence.

Special recognition to:

Director Samuel G. C. Muñoz

Scenic Designer Noah Glaister

Fight Captain Katie Marks

Congratulations, Playbox Productions on a well-done production!

-CED

“True West” is a production of Playbox Productions.  Performances run from September 24th to October 4th at Three Stories, 937 Liberty Avenue, Pittsburgh, PA 15222. For more information, click here.

 

 

 

By Joseph Szalinski

Back in the day, folks used to host parties that featured seances, which were sessions where a psychic or medium conversed with the dead. There’d be food, drinks, and merriment. A much-loved pastime. So why is there an issue when I go on benders in local graveyards and scream at headstones? Same thing in my eyes. But if you prefer the more socially acceptable approach, do yourself a favor and check out.

The Red Barn Players’ production of Blithe Spirit, the last show of their 71st season, is now running at The Red Barn Theatre in Fombell, PA, directed by Shelly Cary and produced by Bonnie Nolan.

The brainchild of celebrated playwright Noël Coward, Blithe Spirit has been staged for decades, both in its original form and as a musical on Broadway, as well as in a couple of film adaptations. Charles Condomine is a novelist whose upcoming work explores the occult. To better understand these matters, Charles enlists the services of Madame Arcati, a medium. Things go as planned until a song is played that summons the ghost of Charles’ deceased first wife, an arrangement that doesn’t really please his current spouse.

This classic comedy sports quite the cast. Travis Myers-Arrigoni is fantastic as the wily wordsmith, Charles Condomine. He effortlessly effuses charm, making audience members slightly sympathetic toward a character gunning for Henry the VIII’s spot in the dead-wife department. Ruth, his occasional foil and current wife, is given a humorous portrayal thanks to Andrea Cary-Spaziani. Armed with a rationality that stands in stark contrast to the ridiculous antics afoot, Cary-Spaziani still manages to make her character as amusing as her more nonsensical counterparts. Elvira, not the TV show host, but rather the aforementioned dead wife, is wonderfully brought to life, err…, death, by Danielle Sanchez. Combining an undeniable presence with a cultivated chemistry with castmates, she excels by herself and in more ensemble scenes. Elizabeth Danko splits sides as Madame Arcati, the evening’s major attraction. Every time she takes the stage, the audience howls with laughter. With funny physicality and a silly giggle, she lends hilarity to every exchange. Lana Holcomb is delightful as Edith, Charles, and Ruth’s maid. Frank Baker adds mirthful layers to the methodical Dr. Bradman, a friend of Charles and Ruth. Director Shelly Cary stepped in for Ellen Kalik as Mrs. Bradman for opening night. Despite the last-minute change-up, it didn’t affect the show’s energy or engagement. Rounding out the cast is the talented Lily Sanchez as Daphne, a spirit who helps Madame Arcati contact other entities.

The show’s technical elements also support the strong performances. Most notable are the efforts of the set design and construction team consisting of Steven Burnworth, Kim Smolka, John Brenner, Paul Brenner, Robert S. Hazen, Tom Bickert, and Gary Patterson. While impressive from beginning to end, the team shows off their ingenuity with standout effects near the end of the story. Stage manager Kathy Patterson does double duty with costumes, helping to create a satisfying look for the characters. Lighting operator Mark Beighey’s lighting design perfectly accentuates scenes. Sarah Campbell expertly manages publicity photos that make up Alena Kucan’s awesome photo display board.

The Red Barn Theatre is a terrific venue. Rustic, cozy, and home to entertaining productions, any visit there is sure to be an enjoyable experience. Grab a concession, enter the intermission raffle, and take in stunning views of the sun-dappled property; there are plenty of ways to enrich your visit.

The Red Barn Players are a tremendous troupe located in Beaver County. They curate exceptional seasons and foster a welcoming atmosphere at their venue. Every member is committed to delivering quality art and entertainment, whether behind the scenes or in the spotlight. With their 72nd season beginning next spring, it’ll be curious to see what kind of productions await audiences in a few months.

-JS

Blithe Spirit continues its run September 23rd-26th at Red Barn Theatre in Fombell, PA. For tickets, click here. 

By Lonnie the Theater Lady

Playwright Joanna McClelland Glass’s play “Trying” is based on her experiences working for Judge Frances Biddle as his personal assistant at his Georgetown office in 1967-1968. Biddle served as Attorney General for President Franklin Delano Roosevelt and later as the chief judge of the military tribunal for the Nuremberg Trials.

This two-hander explores the relationship between the exasperating, impatient Judge Biddle (Keith Zagorski) and his young, newly hired employee, Sarah Short. (Samantha Hawk)

Note: Playwright Glass and character Sarah Short are both from Saskatchewan, and both have bullying, alcoholic fathers.

On her first day of employment, the judge lets Sarah know how weak and unworthy his former secretaries were. He insinuates that her young age likely means she won’t be much better than they were. He makes a point of telling her where the bathroom is so she can go there when she needs to cry. He instructs her about his expectations. Including proper thermos placement on the table,  never  touching the gas heaters that heat his chilly office, and other inconsequential instructions. Sarah is interested in her actual job duties and repeatedly asks about them. The judge is more interested in discussing trivialities and intimidating her.

Sarah proves to be a worthy opponent when faced with the judge’s domineering, contradictory behaviors. She calls herself a “prairie populist” who knows when to “lace up her skates and hit the ice!” She’s resilient and doesn’t hesitate to tell the cantankerous, trying judge, “There is some shit I will not eat,” when his bullying crosses the line. (Just one of the very funny one-liners that are sprinkled throughout the show.)

Biddle knows his death is imminent and claims, “The exit light is flashing over the door, and the door is ajar.” This knowledge, along his frustration when he has one of his less lucid days, adds urgency to his wish to finish his memoirs, respond to correspondence, and reconcile his checkbook. All of this makes Sarah’s already difficult job even more difficult. The judge fusses grumpily and incessantly over split infinitives, speedwriting versus the Gregg method of shorthand, and other insignificant things.

Gradually, their relationship shifts, and they begin to trust each other and develop a mutual respect that grows into affection.

Zagorski is extraordinary as the curmudgeonly judge. His physical portrayal of the aging, weakening older man impresses with its unflagging consistency. It is a nuanced performance showing the contradictory traits of his character. His bluster often covers up his fear and frustration while exposing his vulnerability. He connects with the audience because most can relate to a loved one in a similar situation.

Hawk’s depiction of the young yet mature, strong-minded, determined Sarah is pitch-perfect. Her palpable frustration, as she outwardly performs with patience, feels authentic and totally relatable. As strong as she is, there is a scene when we see her very human side, making her even more likable in her momentary frailty. Well done!

Kudos to director Sunny Disney Fitchett, who colors subtle changes in the characters’ tone as their relationship develops. It makes their devotion to each other touchingly authentic. The actors never break character —even during scene changes on the darkened stage.

Every detail in this show is carefully thought out. The intricately designed set is without fault. The cluttered office desks complement the dialogue. When the bathroom door opens, a 1960s-style green tiled bathroom wall with a black tile border is visible. (Mamie Stein, set designer)

The costumes are reminiscent of 1960s fashion, both in their design and in their choice of fabric prints and plaids. (Spoon Handra, designer) The walk down memory lane of retro fashions is nostalgic and enjoyable.

“Trying” is a fascinating glimpse of the last days of a brilliant, important historical figure. The actors’ spellbinding performances are flawless. This exceptionally well-done show is worth “Trying” to see. No, wait —please don’t just “try”—go see it. You’ll be glad you did.

LTL

Playing at South Park Theatre through September 27, 1801 Brownsville Road, South Park, PA 15129. 

 

 

By Joseph Szalinski

Tragedy has an uncanny ability to transcend time and place. Ask anyone over 30 what they consider the most pivotal world events of their lifetime, and almost everyone will include 9/11. While every single American was affected by the senseless violence, the most impacted people were New Yorkers, particularly the FDNY. Butler Little Theatre’s latest production, The Guys, directed by Molly Miller and produced by Katie Moore, celebrates these fearless first responders and is now running at Butler Little Theatre in Butler, Pennsylvania.

Written by playwright and journalist Anne Nelson, The Guys follows Joan and Nick as they try to properly eulogize eight firefighters who lost their lives on September 11th. A frustrating yet fulfilling mission, the duo run the gamut of emotions as they try to chronicle the quirks and idiosyncrasies that made these heroes human.

Being a two-person show makes both roles tireless. Occasional monologues and solo scenes punctuate the show, but the bulk of it rests on chemistry. A simple conversation becomes a profound piece of theatre thanks to the co-stars. They even dance in a dazzling routine practiced under the guidance of movement coach Joan Castillo, another testament to their capabilities as artists. Laura Crago delivers a marvelous portrayal of Joan, the journalist-turned-editor assisting with the eulogies. From the second the show begins to the second it ends, she is on stage, drawing audiences in. Casey Bowser delivers a powerful performance as Nick, an FDNY fire captain whose missing men are presumed dead. Bowser goes all in, adopting an accent, embodying the physicality, and embracing the vulnerability. He brings crowds to tears with his recounting of losses and reverent recollections, and he even elicits laughter with the latter.

Beyond stunning performances, this production excels technically. Joan’s home is full of cozy details courtesy of a set design and construction crew consisting of Sam Thinnes, Molly Miller, and Katie Moore. The trio supplements the set with an array of props they’ve worked on alongside the cast, who handle their own costumes. Philip Ball’s lighting design helps accentuate emotional moments. Cole Myers helped to keep things running smoothly as the stage manager.

Butler Little Theatre is a marvelous venue and company. Located just off Route 8, the space is easily accessible and a focal point of the city’s arts and cultural area. After 85 seasons, they continue to awe audiences of all sorts. From established classics to more obscure titles, BLT’s seasons are sure to delight and inspire.

-JS

The Guys continues its run September 15-19 at Butler Little Theater in Butler, Pennsylvania. For tickets and more information, click here. 

 

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

The Lion King is a show that can travel with you through time. When the animated film came out in 1994, I saw it on a date at a charming one-screen movie house. Julie Taymor brought The Lion King to the stage in 1997, and I attended the musical with my then-roommate at the Pantages Theatre in Hollywood in fall 2002. The “Circle of Life” continues present day seeing The Lion King at the Benedum with Theron, my 14-year-old son and co-reviewer.

Considering the 24-year gap between my first and second viewing of the show, I was astonished and impressed by how well I remembered it and how relatively little it has changed. What was more impressive this time were the large-scale animal puppets. Given its cost-efficiency, digital projection is now highly utilized for visual effects. Digital has its own beauty, but it makes this 20th century show feel almost anachronistic with its delightfully solid physicality. Seeing life-sized puppets of elephants and rhinos lumber down the aisles for the opening number and actors onstage on stilts as giraffes is an unforgettable, multi-dimensional visual feast for the eyes. Colorful birds hypnotically fly on poles from the balconies, aisles, and stage that are expertly navigated by actors who sing as they perform puppetry. The show’s stunning visuals keep you turning in your seat for a full 360 effect that you don’t want to end. This is all made even more immersive by the show’s well-choreographed musical numbers that advance the plot.

Representing the kiddo crowd, Theron was particularly impressed with the actors playing Young Simba (shared by Aaron Chao and Josiah Watson) and Young Nala (shared by Journey Compass and Marley Gomes). They flawlessly project their lines and bring a delightful energy to “I Just Can’t Wait to Be King” as they ride around on huge puppets. Their youthful sense of wonder mirrors that of the kids in the audience.

The king’s major domo, Zazu the hornbill, truly comes alive in the hands of the mesmerizing Nick LaMedica who deftly maneuvers Zazu’s expressive features. This is most apparent when Scar (Peter Hargrave) traps Zazu in a cage of bones reminiscent of the elephant graveyard. LaMedica is obscured by the bones comprising the cage. This scene turns out magically, as it is one of the only times where a puppet is isolated from the hand behind them in such a way, and LeMedica captures the hornbill’s descent into defeat as Zazu’s beak droops.

 

The musical’s Hamlet heritage is most prominent when Scar pushes Mufasa (David D’Lancy Wilson) to his death in order to ascend the throne. The fall is visually stunning and heart-wrenching thanks to the slow-motion made possible by invisible fly lines. Wilson’s face evolves from the horror of his brother’s betrayal to the reality and fear of leaving his son fatherless.

While Mufasa might have worried Simba wouldn’t be able to get along without him, he manages remarkably well thanks to his fortunate and opportunely timed introduction to good friends and laugh-out-loud comedians, Timon (Nick Cordileone) and Pumbaa (Danny Grumich). Timon is a cool-headed meerkat with an attitude who teaches Simba to enjoy a good life. Timon’s cartoonishly exaggerated features lend his scenes to his characteristic sense of good-natured goofiness. Timon is slender and bouncy, making Pumbaa the stocky warthog a perfect foil to his best friend. Grumich gives Pumbaa an unwavering energy and perfect comedic tone, and their pairing on “Hakuna Matata” is irresistible as the audience can’t help but sway along.

The production’s nimble, movable Pride Rock serves as the place where Simba is first thrust into the sky by Rafiki for “Circle of Life.” However, it is also the commanding central throne of Mufasa’s kingdom of “everything the light touches.” Mufasa is the light, but the elephant graveyard beyond the kingdom is the darkness that defines Scar’s reign. Scar is a temper tantrum throwing leader who whines that “nobody loved me” whereas Mufasa teaches Simba to “respect all the creatures” and that “everything is connected.” It’s a reminder of how the leaders shape the nation. Mufasa’s reign of light and community is countered by Scar’s reign of darkness as the elephant graveyard infects the lion’s kingdom. Scar’s hyena henchmen are crass sycophants with shallow loyalty.

The kingdom seems resigned to wait out its fate. Nala (Aja Simone Baitey) goes to Scar for help, but he tries to force her into marriage instead. Scar snarls “one way or another, you will be mine.” Nala affirms control with an echoing “never” and leaves the kingdom to save it. The encounter is particularly empowering as Baitey is the first nonbinary actor to play Nala. Even as it turns thirty, The Lion King reinvents itself and evolves forward.

In the “Circle of Life,” I’ve gone from young Nala to Sarabi, Simba’s mother, but The Lion King remains gripping, relevant and inspiring. Start your journey – or rejoin the safari – but don’t miss the chance to see The Lion King while it’s here in Pittsburgh.

-TKR, Ph.D. & TR

Purchase tickets online for The Lion King through September 27, 2026, at the Benedum Center, 237 7th Street, Pittsburgh, PA, 15222.

by Claire DeMarco

Will Bloom (Timothy Macuski) is about to be married.  He approaches his dad, Edward Bloom (Evan Krug), with a request, a plea, not to inundate his bride, Josephine (Hopi Myers-Arrigoni), with his outrageous tales.  Edward’s tendency to embellish life with fairy tale stories and magical events has plagued Will from his youth.

Edward is a successful salesman, an ambitious man whose life doesn’t exist entirely in this fairy-tale world.  He sees these magical moments as a means to make life a little more interesting and exciting.

Will is a reporter, a realist.  He’s looking only for the facts.  Having been subjected to his father’s tales for years, he is adamant that he wants no more of what he conceives as nonsense as he pursues married life.

To counter Will’s wishes, Edward begins a trip down memory lane, reliving his wonderful fairy tales and exaggerated characters.  He tries to entice Will to remember the stories he told.

Memories and real life intertwine as we relive those stories Edward told his son and travel between the present and the past.  Edward’s magical dreams blend fiction and truth, and many of his creations are composites of friends and family, sprinkled with a dash of fairy dust.

We see magical and real-life characters through Edward’s eyes – The Witch (Maddie Kocur), Karl the Giant (Trenton Antill), antagonist friend, Don Price (Mike Good), and school chum and former girlfriend Jenny Hill (Mairead Roddy).

“Big Fish” dissects the relationship between a father and son whose vastly different outlooks on life reflect their relationship.  As Edward faces serious health issues, his magical memories are especially poignant.

What a stellar performance from Krug.  He weaves comedy between huge emotional swings as his life changes. His transition from one time period to another is smooth, as are the many physical movements that the role requires.  His vocals are excellent, and he and Eveland sing a lovely rendition of “Daffodils”.

Macuski does a great job balancing his frustration and sometimes anger at his father with his never-ending attempts to figure out what makes Edward tick.

Madison Eveland (Sandra Bloom) is the steady, stable, supportive spouse and Ed’s anchor.

Roddy delivers as Jenny Hill, a role that requires a drastic change in character.  She changes from a young girl enamored with Edward to an aging, lonely, sad, and sullen adult.

Andy Coleman plays ringmaster Amos Calloway as a sharp-witted, devious figure, adding a hint of sarcasm to the mix—great comedic timing.

Praise to the entire cast!  Job well done.

Kudos to Choreographer Caroline Connell on the wonderfully done choreography design and dance movements.

A special acknowledgment to Costume Designer Alex Righetti not only for the sheer magnitude of the production’s costumes, but for their detail and creativity as well.

Excellent music provided by Ben Brosche, Gavin Nist, Aldo Diianni and Kamran Mian.

Music and Lyrics for “Big Fish” by Andrew Lippa with Book by John August.

“Big Fish” was based on the novel by Daniel Wallace and the Columbia Pictures motion picture written by John August.

-CED

“Big Fish” is a production of Little Lake Theatre, 500 Lakeside Drive South, Canonsburg, PA 15317.  Performances run from September 10th to September 27^th. For more information, click here.

 

 

By Timothy Ruppert

With their current production of William Shakespeare’s The Merry Wives of Windsor (1599), the redoubtable Pittsburgh Shakespeare in the Parks company presents a must-see mélange of anachronisms, allusions, and non sequiturs delivered with the speed of the USS Enterprise traveling at warp nine. The outstanding creative team misses no opportunity to get the most out of this grand Elizabethan farce, and their joyousness and talent make Merry Wives one of the absolute best comedies that I have seen this year.

Pittsburgh Shakespeare in the Parks has provided much more than pleasant afternoons beneath the canopies of elms and maples in the late-summer sun. Time after time, Artistic Director Jennifer Tober takes intrepid theatrical risks with the Bard’s canon and succeeds brilliantly. I have long admired Tober’s gift for bringing together remarkable, resourceful artists, and this production exemplifies that claim. Cat Aceto—who has very quickly become one of my favorite interpreters of Shakespeare in the city—directs a terrific cast through an expressly inventive take on Merry Wives. We find ourselves in a fascinatingly rendered temporal continuum that encompasses both the era of the Tudors and the age of MTV (as it was in those faraway days when the channel actually played music videos). Songs and dances abound, with the numbers ranging from Donna Summer, Sade, and Cyndi Lauper to Culture Club, Miami Sound Machine, and the Go-Go’s. Moreover, numerous references to Pittsburgh and its environs are peppered throughout, including mentions of Bloomfield, the Liberty Tubes, and the Monongahela River, into which John Falstaff is rather unceremoniously thrown. In lesser hands, such a production could fall victim to its own competing absurdities. This creative team, however, ensures that the revisions are purposeful and that the silliness never overwhelms the story.

Much of the mirth and vibrancy owes to the high-heartedness of the eight performers who comprise the cast. Cassandra Hackbart as Mistress Alice Ford and Christopher Rone as Mistress Margaret Page make hilarious foils to Joanna Getting’s ever-scheming, seldom-victorious Falstaff. Rob Masterson (Mister Ford and Shallow) and Álvaro Muñoz (Mister Page and Simple) are both excellent; note that Muñoz speaks most of his lines in Spanish, adding even more distinctiveness to a keenly original production. Allie Burns (Slender, Fenton, and Doctor Caius), Meredith Kokur (Anne Page and Mistress Quickly), and Ivy Mackinson (Pastor Evans, Pistol, and Maid) enthrall in their inexhaustible vivacity. Matt Calvetti leads the outstanding musical performances; Ricky Lyle provides wonderful costumes; and Samantha Kuchta makes sure that a troll doll and Mr. Potato Head find their way into one of Shakespeare’s happiest works. Lauren Scheller-Wolf (Stage Manager) and Alexandra Hellinger (ASM) see to it that a complex show carries forth flawlessly (including the immensely entertaining scene when the ‘fairies’ attack the luckless Falstaff).

After The Merry Wives of Windsor plays a second weekend at Highland Park, the show will migrate to various green spaces around the city, including Frick Park (September 18-20), Hazelwood Green (September 25-27), Riverview Park (October 2-4), and Westinghouse Park (October 9-11). Don’t allow autumn to arrive without seeing this beautifully illogical, fearlessly innovative farce.

—TR

For more information on Pittsburgh Shakespeare in the Parks’ production of “The Merry Wives of Windsor,” please visit here.