John (Trieu Tran) works for a British master and his daughter, Miss Julie (Shelby Garrett) in a house in Hong Kong. His girlfriend, Christine (Yan Pang) serves as the all-round domestic in that same household.
After World War II Hong Kong is still controlled by the British, although their influence is waning.
Julie loves both John and Christine although she often doesn’t show it. She’s been reared in Hong Kong. Exposed to Chinese culture but as part of the white hierarchy, there are social boundaries that can’t be crossed.
There has always been a reckoning that the upper and lower classes don’t mix. This “upstairs, downstairs” mentality may soon be broken as John has aspirations for independence. His potential wealth and growth would take him outside of his social class.
Christine is content being the obedient servant and is the only moral person in the household. She embraces Chinese traditions but is also a faithful Christian.
Julie has a more selfish outlook on life. She wants to be entertained and satisfied constantly. It is apparent that she never had the parental attention she now seeks in others.
There is a definite distinction and division in the two classes within the household. Not only a division by class, race and culture, but also the rancor of colonialism.
Poster for “Miss Julie.”
When Julie decides to break all social barriers by meandering “downstairs” into John’s world, everything changes.
Note: Playwright Amy Ng’s adaptation of “Miss Julie” incorporates more than differences in social class. By adapting the play as if it occurred in the 20th century it can and does include distinctions in race and culture, along with the concept of colonialism.
Pict’s production of “Miss Julie” is outstanding, beautifully presented and well-acted.
Garrett is excellent as the tormented Miss Julie. She transitions easily from the spoiled young woman who demands attention from John. She is a crazed, confused woman whose emotions and rationale are fluid and easily changed. In spite of her behavior, Garrett conveys a sense of sadness a troubled soul.
Tran is a dynamo. His desire to move and grow out of his current station in life is palpable. He has a wide range of emotions – funny and endearing, at times subservient, angry and combative, physically threatening. He is an equal opponent in his and Julie’s psychological warfare.
As the domestic servant Pang keeps her cool most of the time, capitulating to both John and Miss Julie. When she finally reaches her limit, Pang lets loose, freeing herself from the demure, always acquiescing person to a woman with a mind of her own.
Mimi Jong as Auntie has no vocal lines but her presence as “Auntie’s Ghost” as she gently glides across the stage or plays the Erhu is soothing.
“Miss Julie” was written by August Strindberg with adaptation by Amy Ng.
Scenic Design by Tucker Topel is exquisite and artistically presented. Bob Steineck complements the set as Lighting Designer.
Kudos to Director to Elizabeth Elias Huffman.
-CED
“Miss Julie” runs from April 18th to May 4th at Carnegie Stage, 25 West Main Street, Carnegie, PA. 15106. For tickets and additional information, clickhere.
To view the works by Kara Walker currently on display at The Frick Museum of Pittsburgh until May 25, 2025, can be described as, “Enlightening,” according to KEA, a local Pittsburgh performer, singer-songwriter, and visual artist. “It opened up a whole new horizon for me,” she added. That new horizon included an intimate evening of music at The Frick Museum, a first of its kind experience for KEA, pairing the songs of Sam Cooke, Curtis Mayfield, and Marvin Gaye, among others along with her own personal music and poetry, in conversation with the racial history of America addressed by Walker’s artwork exhibited throughout the museum.
“Kara Walker’s art invites viewers to confront uncomfortable truths and the complex relationship between the past and present,” explained Dawn R Brean, Chief Curator and Director of Collections at The Frick Museum.
Inviting musicians to fill the museum with sounds in response to the art on view is something The Frick Museum has welcomed into its space often during its recent exhibits. It adds elements of collaboration, commentary, and community within the art scene in Pittsburgh that is more refreshing than simply seeing the art or hearing the music separately—though inspiring on their own, together there are more layers and contexts to be explored, much like Walker’s artwork.
KEA and the band.
On March 29, 2025, KEA graced the stage at The Frick Museum alongside Gary K., on the strings, and George C. Jones on the congas. Her powerful performance included an original poem, she titled “Unapologetic Freedom,” describing the struggles of Black Americans from the Civil War, to the Civil Rights Movement, to modern-day, where the line of her poem, “equality and our livelihood was at stake,” dwelled over the audience in deep reflection of the current political climate. KEA also gave voice to one of her top-charting songs, “Holla If You Hear Me” which she impressively wrote in just over 10 minutes, and released in 2020 following the death of George Floyd, hoping to inspire change for Black Americans. In her soul-filled sounds, she sang, “Change is needed now,” and “One thing and one person at a time.”
According to Brean, “The Kara Walker exhibition is a continuation of a larger Frick initiative to reexamine history with a contemporary lens. This is perhaps best seen in our new, reinterpreted tour of Clayton, the historic home of the Fricks. The new tour titled Gilded, Not Golden strives to learn from the Gilded Age and open dialogue on how we still feel the effects of that era in our everyday life today.”
Brean continued, “The Civil War and the Reconstruction Era laid the foundation for the Gilded Age, a time when industrialists, like Henry Clay Frick, amassed immense fortunes. As a Gilded Age historic site,I find it so illuminating to reflect on our nation’s history, how it shaped and continues to shape our present day. The issues central to that time—citizenship, industry, voting rights, power and wealth inequalities—are still relevant today. Sometimes it’s hard to tell if a newspaper headline is from yesterday or 1892. Kara Walker’s work engages with these themes in such profound ways, drawing powerful connections between the past and present. Contemporary artists in particular have the power to humanize complex issues and draw these connections in such engaging ways. Kara Walker’s work is a great example of that power.”
KEA’s vocals in concert with Walker’s work were uniquely powerful and moving. When speaking about the inspirations that have had the power to move her, KEA expressed, “I draw my inspiration, number one, from the community and from the struggle. It’s about the strength within that struggle.” She described her early musical inspirations, which she also found in her parents.
“I grew up in the inner city, a Black neighborhood here in Pittsburgh and my parents were married at the time, and I’d seen my Dad going through so much, working and having to deal with issues at work because of the color of his skin. My parents, both being musical people, my Dad being a guitar player and a singer, introducing my Mom being a violist. They showed me different genres of music.”
Specifically, KEA recalled hearing her mother play Marvin Gaye’s song “What’s Going On” and she did not understand why her mother was crying. Years later, KEA, who balances her career in music while being a single mother, keenly understands her mother’s tears, and is equally inspired by Marvin Gaye and her own children.
Of her own music KEA expressed, “I’ve honed myself as somebody who speaks about struggles, issues, relationship struggles that most people don’t want to talk about, but I tackle it.”
Not shying away from the tough subjects sums up Walker’s works as well. Through the use of strategic artistic silhouettes overlaid atop enlarged renditions of Harper’s Weekly, pictorial drawings depicting scenes from the Civil War across mainly southern territories of the United States, Walker highlights racial inequality and the repugnance of slavery in stark black and white prints. The layered nature of Walker’s prints invites viewers to confront the positive and negative spaces of the artwork and the history. A few of Walker’s pieces also depict layers within layers, like a female silhouette within a male silhouette, and a boy within man, to further the conversation around gender inequality and generational disparities.
“The visual disruption of her black silhouettes silkscreened on the surface of Winslow Homer’s illustrations brings to the surface a silenced history of violence that is absent from the initial narrative. We decided to include a content warning so visitors could prepare themselves to encounter images that might be graphic or emotionally overwhelming,” said Brean.
On of the pages from Harper’s Weekly from the Civil War years.
Brean also explained, “What makes our showing of this exhibition particularly unique is the inclusion of bound copies of Harper’s Weekly from the Civil War years that are typically housed in the Clayton library. These original editions from our collection are presented alongside Walker’s work, inviting further dialogue between historical and contemporary perspectives and how artists serve as a witness to American history—as it unfolds and in its aftermath. We booked this exhibition several years ago (museums are often planning exhibitions years out) so this show became even more timely in a way we never anticipated. But that shows that Walker’s work is more urgent than ever. We will continue to engage in an open and honest exploration of the past, in all its depth and complexity.”
Planned or unplanned, the presence of these pieces at The Frick Museum clearly could not have come at a more poignant time.
KEA’s contribution gave a certain light to the darkness that is much needed in this moment. “Music is hope. Music is support,” the singer stated, “During my darkest days and darkest times that’s all I had, was music to help me through. It’s all about hope, it’s all about ‘Let’s help the people.’”
Giving voice to the people of Pittsburgh is another thing The Frick Museum inherently values. “Over a dozen Pittsburgh community members—artists, professors, and local leaders—accepted our invitation to contribute guest labels to deepen the conversation. We are grateful for their insights and the rich dialogue they’ve helped foster; that isn’t possible when there is only the ‘museum’ voice represented in the labels,” Brean reflected.
Through art and music, The Frick Museum’s Kara Walker: Harper’s Pictorial History of the Civil War (Annotated) exhibition is changing the community—for the better—one viewer at a time.
To hear more of KEA’s music to accompany your own visit to this exhibition, follow her on social media: Instagram @musicbykea, Facebook @Kea; and YouTube @KeaTV.
Musicians Joe/Josephine (Matt Loehr) and buddy Jerry/Daphne (Tavis Kordell) witness a gangster-style murder in 1930’s Chicago. These musicians have two alternatives: contact the police about what they witnessed or run like hell. They choose the latter.
With high heels clicking, lipstick applied generously, dresses flowing and a flair for the dramatic, Joe (AKA Josephine) and Jerry (now Daphne) join a female orchestra led by band leader Sweet Sue (Tarra Conner Jones). They’re headed to California, hoping to escape detection.
Adjusting to this new world is not an easy task as they’re always on edge not to drop their cover.
Joe has always been a womanizer and even in disguise as Josephine he’s enchanted with singer Sugar (Leandra Ellis-Gaston). Joe’s personality as Josephine is to act, speak and react as a prim, churchly-type woman.
Adapting more easily to this environment, Daphne relishes his role as a female. He finds a strength and confidence in this new role that he didn’t have previously as Jerry. He’s more assertive and independent as Daphne than he ever was as Jerry.
When millionaire Osgood (Edward Juvier) enters the picture and meets Daphne, he is immediately smitten.
How will all the players resolve their issues and problems? Do the gangsters ever catch up with Joe and Jerry or will they be forced to live this dual life forever? Is Osgood still in the picture? Does Sugar still sing for Sweet Sue?
“Some Like it Hot” is a sizzling production showcased with hot dancing (and lots of tap), singing and acting by the entire cast.
Note: Based on the movie by the same name, this 2022 Tony Award winner inserts some modern references around gender identity and racism.
A phenomenal performance by Loehr. He easily transitions from an outgoing, in charge guy to a mild, religious woman, to a German. His comedic timing is impeccable, and dancing is on point.
Kordell sashays his way into our hearts as Daphne. He develops his character from the more reticent Jerry to the vivacious and outgoing Daphne. His comedy delivery, both physically and vocally is well done. Great singing of “You Coulda Knocked Me Over With a Feather”.
Ellis-Gaston captures the strength and talent of a singer who is determined to be successful in a time when obstacles often prohibited or slowed that growth. Her vocals on “A Darker Shade of Blue” and “Ride Out the Storm” are powerful.
Brash, loud and opinionated, Jones holds court as the in-charge band leader. She has some sharp comedic lines and great stage presence. Her rendition of “What Are You Thirsty For?” is powerful and opens the show with a big bang.
Juvier stands out as the likeable but naïve and bizarre rich man. He falls in love with Daphne at first sight and is determined to win her affection. Juvier’s comedic and dancing skills come to life as he prods Daphne to “Let’s Be Bad”.
“Some Like it Hot” Book by Matthew Lopez and Amber Ruffin. Music by Marc Shaiman and lyrics by Scott Wittman and Marc Shaiman.
Hats off to Costume Designer Gregg Barnes for exquisite costume designs.
Choreography by Casey Nicholaw was superb, heightened further by the excellent dancing ensemble.
Brilliant lighting design by Natasha Katz and Scenic Design by Scott Pask.
-CED
“Some Like It Hot” runs April 15th to April 20th at the Benedum Center for Performing Arts, 7th and Penn Avenue, Pittsburgh, PA 15222. For tickets and additional information, clickhere.
The much-anticipated world premiere of Mark Souther’s play, “The Art of Wise”, the fifth in his 19th Century Collection, set in the 1820’s on a cotton plantation in Alabama does not disappoint. It explores several themes through the eyes of two families (both having the surname Wise) living on the same plantation under radically different circumstances. The white Wise family are the plantation owners who own the black enslaved Wise family.
Samantha (Maddie Kocur), daughter of plantation owners, Jonathan (Joseph McGranaghan) and Sarah (Jenny Malarkey), is less than enthusiastic about taking the private painting lessons that her parents foist upon her. They’re thrilled about what they believe is her exceptional artistic talent, at such a young age.
Conversely, Amale (Adjoa Opoku-Dakwa), a young house slave, relishes observing the painting lessons. Amale and Samantha develop a tenuous friendship based on keeping each other’s secrets.
L-R – Karla C. Payne, David Minniefield, Joseph McGranaghan*, Adjoa Opoku-Dakwa, Maddie Kocur and Justus Payne.
Photographer: J.L. Martello/18ricco
Bendoo (Sheldon Ingram) the strong, loving patriarch of his enslaved family, wife Oni (Karla C. Payne), son Albert (Justus Payne) and daughter Amale, yearns for his family’s freedom so he can fulfill his dream of returning to his beloved village in Africa with them. It appears that art could be the ticket to their freedom.
Sheldon Ingram and Adjoa Opoku-Dakwa
Photographer: J.L. Martello/18ricco
It would be a spoiler to reveal any of the shocking situations that occur in this intricately written gripping script. Suffice it to say that it addresses many weighty themes—-betrayal, revenge, deception and the immorality and brutality of the slavery system. The serious themes are counterbalanced by the themes of familial love, devotion, friendship and their power to bring light into difficult situations. Several beautiful, dreamlike, lighthearted scenes accompanied by music, depict a perfect existence and lighten the mood.
The entire cast impresses with their unflagging emotional authenticity.
Ingram touchingly portrays Bendoo’s strength, resolve and love for his family.
Karla C. Payne’s poignant portrayal of Oni is genuine and at times heart wrenching. Her love for Bendoo is palpable.
McGranaghan expertly embodies the brutal, smug, self-important, idealogue. He is convinced of his own superiority and makes it easy for the audience to dislike Jonathan.
Malarkey’s Sarah radiates intelligence and an empathy that her husband lacks. She’s convincing as a loving woman who’s somewhat limited by the social mores of the times.
Kocur creates a sympathetic Samantha, boxed in by her own deceptions and youthful indiscretions.
David Minniefield’s remarkable embodying of severely abused Campie is soul crushing.
Adjoa Opoku-Dakwa, a ninth-grade student and Justus Payne, an eighth grader are current and I predict future, stage stars. Their youth in no way limits their accomplished performances. Both delivered their lines perfectly and gave emotionally natural performances.
Kudos to the dynamic team of Mark Southers (playwright), Monteze Freeland (director) and Tony Ferrieri (set designer) for working together to produce this achingly beautiful, exceptional production.
Not only does “Art of Wise” tell a riveting, gripping story but it’s a consequential glimpse into what once was. Don’t miss this brilliant production.
LtTL
“Art of Wise”, a Pittsburgh Playwrights production, runs through May 4 at the Madison Arts Center.
Franklin Hart (Jeff Boles) is the sexist, egotistical, dishonest boss in “9 to 5 The Musical.” He enjoys mistreating and humiliating his female employees–especially Violet (Tonilyn Jackson), his top assistant. She forms a friendship with co-workers Doralee (Alexis Hawk) and Judy (Joyce Hinnebusch). One day, Violet mistakes rat poison for artificial sweetener and adds it to Hart’s coffee. The three friends believe that he died after drinking the coffee. The next day they discover he didn’t drink the coffee and that he’s alive and well. Roz (Stephanie Rodgers), the office snitch overhears their conversation about the poison in the coffee and relays the information to Hart, who tries to use it to blackmail Doralee into having a tryst with him.
To silence him the three women concoct a scheme to kidnap him, trap him in his own home and convince him to forget about the near poisoning. Of course, he refuses to drop the subject and threatens to blackmail the women. They discover some damaging facts about Hart that they threaten to use against him. To gather evidence, they need access to business records at the office which necessitates Hart being held hostage (under wildly comical circumstances) for a longer period of time. When the women return to work, as they’re collecting evidence, they’re also able to make several improvements to the work environment.
Surprising sometimes raucous incidents unfold leading to a satisfying karmic conclusion.
Tonilyn Jackson, Alexis Hawk, Joyce Hinnebusch
Photo Credit: Hawk Photography
Tonilyn Jackson delights with her authentic portrayal of Violet. “Potion Notion” highlights her lovely, expressive vocals and commanding stage presence. Her glam star quality lights up the stage.
Alexis Hawk plays Doralee just right—lovable, sometimes misunderstood and smarter than she looks. Her charming rendition of “Backwoods Barbie” endears her to the audience.
Joyce Hinnebusch not only has a gorgeous voice but she plays Judy with a charming vulnerability. As her character grows stronger, the audience celebrates her transformation right along with her as she sings “Get Out and Stay Out” to her former husband. Powerful!
Jeff Boles is laugh out loud hilarious as the smarmy, obnoxious Hart. His facial expressions, physicality and mannerisms make it impossible not to laugh at his antics. He tries to seduce Doralee with a hysterical delivery of the song “Here for You”.
Stephanie Rodgers (along with the female ensemble) performs a showstopping version of “Heart to Heart.” Uproariously funny!
The large, well costumed (Maison Kairush, designer) ensemble harmonizes beautifully and enriches the show’s high energy.
The numerous scene changes are executed seamlessly and rapidly–never slowing the show’s pace, thanks to the skillful direction of Kathy Hawk.
The talented cast and musicians ensure you’ll experience a totally entertaining evening that will certainly brighten your day and remind you that happy endings are still possible!
LtTL
“9 to 5 The Musical” runs through April 27 at Little Lake Theater.
“Jesus Christ Superstar” is a 2000 plus year old story based on Christ’s life during his final earthly days. It’s a Biblical history with a bit of a twist! Jesus (Brecken Newton Farrell) is the main character, but Judas (Treasure Treasure) and Mary Magdalene (Kamilah Lay) are prominent co-stars in this rock opera (performed without dialogue).
Based loosely on the Gospel and the last days of Jesus, this slightly revised history debuted in 1971 with lyrics by Tim Rice and music by Andrew Lloyd Webber. Nods to costumes and various modern slang reinforce that time frame.
This re-imagining of the Gospel concentrates specifically on Judas and his relationship with Jesus, his concerns, his frustrations and fears.
Mary loves Jesus, is his greatest support but there are subtle suggestions that something more possibly exists (from her perspective).
Judas is concerned that Jesus’s popularity might cause a problem with the Romans who control the country. He is always advising, arguing and lamenting that Jesus is straying from the intent of their mission and what he is doing will only aggravate the Romans.
Judas’s small fractures in his relationship with Jesus finds him reaching out to Caiaphas the Jewish High Priest (Paul Lutty III). Caiaphas and his fellow priests also find Jesus a threat. Judas’ betrayal begins.
Jesus’s supposed crimes come before the Roman governor Pontius Pilate (Paul Binotto) and we all know how this story ends.
Pittsburgh Musical Theater’s production of Jesus Christ Superstar is visually electric and vocally outstanding!
What a talented group of actors who can sing, dance and play musical instruments. Kudos to the entire cast!
Hold on to your seats! The music might just propel you right out of them! If not during the show, then definitely when the highly charged jam finishes off the evening after curtain call.
Treasure Treasure as Judas and Brecken Newton Farrell as Jesus.
As Christ, Farrell is multi-dimensional. He succeeds as the loving Savior, the angry man who kicks the vendors out of the temple, the doubting Son facing a known ending. His performance covers a wide range of emotions. “Poor Jerusalem” and “Gethsemane” highlight his singing skills.
Treasure is a treasure – outstanding as Judas with movements graceful, yet strong. Tense emotion is expressed through Treasure’s strong facial expressions and powerful voice. “Heaven on Their Minds” and “Damned for All Time/Blood Money” are examples of vocal excellence.
“I Don’t Know How to Love Him” is one of the most popular songs of “Jesus Christ Superstar” and Lay’s delivery is excellent. Her interpretation of Mary conveys both strength and gentleness. She is also a gifted violinist.
Lutty’s voice is deep, strong and powerful!
With a strong beautiful voice, Justus Wheatley carries the song “Simon Zealotes” to a new high.
Making a brief but memorable appearance as King Herod in a Liberace-like costume, Taylor Isaac Gray provides comedy relief as the silly, singing and piano playing ruler. His rendition of “King Herod’s Song” hits the mark.
“Jesus Christ Superstar” lyrics by Tim Rice and music by Andrew Lloyd Webber.
Lighting Designer Forrest Trimble and Scenic Designer Todd Nonn compliment one another’s work as the set and lighting work seamlessly together. An impressive two story-high lighted cross showcases their work.
Excellent orchestration under Music Director Dr. Francesca Tortorello.
Impressive direction and choreography by Danny Herman, Rocker Verastique and Lucas Fedele.
-CED
“Jesus Christ Superstar” is a production of Pittsburgh Musical Theater. It runs from April 3rd – April 13th at the Byham Theater, 101 6th Street, Pittsburgh, PA
Take four Hallmark rom-coms, squish them together, add some hummable tunes, a hippie aesthetic, and you have Shaina Taub and Laurie Woolery’s magical musical adaptation of William Shakespeare’s “As You Like It.”
Note: There are two productions of “As You Like It” running concurrently. This is the University of Pittsburgh’s musical production. This production is closer in tone to “Hamlet: the Musical!” in Dee Caruso and Gerald Gardner’s season 3 episode of “Gilligan’s Island,” a brilliant episode of one of the world’s stupidest sitcoms.
We begin with the melancholy Jacques (Shea Sweeney) is working on the famous “All the World’s a stage,” soliloquy, only this time the famous speech is set to music.
After a meet-cute at a wrestling match, Orlando (Kerragan Kurtz) falls head over head over heels, or rather hood over poulaines, for Rosalind (Olivia Tran-Speros).
But Oliver (John Papadimitrou) banishes his benign brother Orlando to the woods. Meanwhile, Duke Senior (Andy Levin) banishes Rosalind to the woods. She dresses up as a boy and takes off with Duke Senior’s daughter Celia (Virginia Keister) and Touchstone (Cade Teribery) the clown.
Being banished to the woods has never been more fun.
In the forest of Arden where we lay or merry scene, things get complicated quickly as love blossoms all over the freaking place!
There’s a love triangle between the disguised Rosalind/Ganymede with a shepherdess Phoebe (Stefania Di Michele) and Silvia (Marie Southall). Touchstone falls for Andy (Evan Knott). The previously banished Duke Frederick (Landon White) doesn’t recognize his daughter in boy drag. Rosalind in her disguise tries to test Orlando’s love for her/him.
Don’t worry. We’re assured of a happy ending early on.
The cast is exuberant, jubilant. It is delightful to see these men and women as they make their entrances and exits on the stage, players with woeful ballads and strange oaths.
Kurtz is tremendous. He has the swagger and the charisma to charm the fair Rosalind.
Tran-Speros is an excellent Rosalind.
Side note: Very little effort is made to disguise her as a boy. It’s evident that while very talented, she would not win a Drag King competition.
White’s banished Duke Frederick and Sweeney’s Jacques are particularly fun, especially when sparring together.
Other standouts include Teribery’s Touchstone, Southall’s lovestruck Silvia, and Keister’s Celia.
There is fantastic work by conductor Ben Brosche and his band, consisting of Victoria Murphy, Aldo Dilanni, Kamran Mian and Samuel Couch.
P.S. This reviewer cackled every single time Duke Senior and his cronies made their musical entrance. Think “Darth Vader’s Imperial March,” but with giggles.
Britton Mauk’s light and airy set matched with Maya Jones’s bohemian wardrobe plopped us right in the center of the Age of Aquarius.
Visiting director Tom Pacio does a marvelous job with this frothy musical adaptation of an already light play.
In a world where Diversity, Equity and Inclusion have become political buzzwords, this musical adaptation of “As You Like It” is filled with queer joy.
The cast is having a ball, and you will too. If you’re in the mood for mindless fun, this production will be just as you like it.
-MB
“As You Like It” runs from April 4 to 13 at the Charity Randall Theatre, 4301 Forbes Avenue, next to the Cathedral of Learning, Pittsburgh, PA 15213. For tickets and additional information, click here.
Much like cities in England, Pittsburgh is a wet and gloomy place where people talk funny, so it makes sense that British comedy has some fans here. While most are familiar with the work of Shakespeare or Monty Python, there are other important works that have shaped the genre. Audiences in the north hills now have a chance to familiarize themselves with an aforementioned hallmark of humor, thanks to Hay Fever, a production from Community Theatre Players, directed by Hannah Dearborn, now running at Community Presbyterian Church of Ben Avon in Ben Avon, PA.
Written by theatrical multihyphenate, Noël Coward, Hay Fever is an uproarious farce riddled with eccentric characters, notably the Bliss family. This comedy of manners manages to satirize the narcissism and other ills of the wealthy and upper class while maintaining a silliness that captivates from beginning to end, especially thanks to the performers involved.
The cast of “Hay Fever.”
The performers in this show are wonderful on their own and with their fellow castmates. Employing whimsical physicality, clever dialogue, plenty of chemistry, and the like, they bring this hilarious world to life. Sorel Bliss is expertly embodied by Carly Chotiner. Calvin Brookins does a wonderful job as Simon Bliss. Mace Porac, Ellen Kalikand Todd Foose entertain as Clara, Judith Bliss, and David Bliss, respectively. Adam Merulli is great as Sandy Tyrell, as is Mary-Cait Cox as Myra Arundel. Eric Rummel and Heather Johnson Smith round out the cast as Richard Greatham and Jackie Coryton.
Assisting the performers in realizing this story are a slew of technically talented folks. Jeff Cieslak’s work with lighting and sound elevates the immersive qualities of the production. Costumes by Amy Sikora Baschnagel, Fran Halley, Alisha Mehlo, and Mace Porac help flesh out the characters. Director Hannah Dearborn crafts sublime sound design. Fran Halley has designed a phenomenal set that has been beautifully constructed by an army of artists.
Community Presbyterian Church is quite the cozy venue. It’s large enough to accommodate a decent-sized stage and ample crowd, but small enough to retain a degree of intimacy that works to its benefit. Having the opportunity to see a show here is something every fan of community theatre should take advantage of.
Community Theatre Players are a group of driven individuals dedicated to putting on tremendous live events. Despite not getting a chance to do too many shows in a season, they are determined to make each show they perform an incredible experience. Invaluable to their community and to community theatre in Pittsburgh as a whole, it’s exciting to think of what they might have in store for their next show. I’m sure it’s bound to be something fun.
-JS
Hay Fever Continues its run April 4th & 5th at Community Presbyterian Church of Ben Avon in Ben Avon, PA. For tickets and additional information, click here.
The Pittsburgh Cultural Trust and Liberty Magic continue their 2025 show series with Swedish magician Malin Nilsson. She’s an award-winning, third-generation magician who brings her show, Magic: Unplugged, to Pittsburgh for a 5-week run.
Malin is a stage name and acronym inspired by her love of magician Max Malini, standing for “Magical Alternative Lavishly Ignoring the Norm.” Interestingly, Malini was not Max’s given name as the Polish immigrant was born in 1875 as Max Katz Breit, so it’s some meta-meta layering.
Like her idol, Malin is also a street magician, which means she performs close-up magic with common objects. Her favored tools of the trade are rings, ropes and cards. In fact, she replicates one of Malini’s famous card tricks, paying homage to his work while bringing it into the 21st century. Malin inculcates the everyday with newfound power, helping us see common objects in transformative ways. She accomplishes this most magnificently and memorably with a simple loose-leaf tea infuser.
Malin is a showwoman. Dressed in a black tulle skirt, she keeps her wand tucked into her boot and dons the quintessential magician’s black top hat, which she often utilizes as a prop. She dramatically enters and exits through a curtain of metallic gold streamers. This lends both a fantastical air to her performance and levity given the audience can see her on the other side of the curtain’s frame. Malin frequently tosses confetti throughout her performance, reminding us of the power and importance of celebrating small moments and joys.
Malin Nilsson tips her top hat.
Street magicians are also hype people who cultivate audience response. Malin fosters interactivity as she brings audience members on stage. However, most of her magic is performed to music, so transitions sometimes feel awkward and forced. This may be due to the fact English is not her native language, so bantering in English while performing may be a Pittsburgh bridge too far. She is self-aware and self-deprecating in this regard, even noting at one point that she is not a “mistress of suspense,” giving the audience the freedom to cheer for her.
The Swedish have a strong connection to animals, and accordingly, have some of the strictest animal welfare legislation globally for both pets and farm animals. Malin translates that love transatlantically. Animals and natural forms are a key theme within her show. Malin demonstrates an authentic, gentle whimsy with animals as she taps into her actual hat and transforms the classic magician/rabbit relationship. The figure of the rabbit becomes a touchstone across the show.
Malin’s show takes viewers on a journey that gains power as it unfolds. Her acts of magic become progressively more impressive, and the audience’s oohs and aahs rise in tandem. At one point, she quotes Max Malini who famously affirmed, “I am the show.” One can sense him nodding across the time-space continuum at his protege as that statement also applies to Malin Nilsson.
-TKR, Ph.D.
Unplug with Malin Nilsson through May 4, 2025 at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA, 15222. Liberty Magic offers a VIP experience to go backstage with Malin after her 70-minute show. Purchase tickets online here.
With a sprinkle of fairy dust and plenty of happy thoughts, we’re off to Neverland in a slightly more modernized version of Sir J. M. Barrie’s iconic classic “Peter Pan.”
Wendy Darling (Aubrey-Mei Rubel) thinks she’s old enough to care for her younger brothers, John (Owen Suarez) and Michael (Zaynn Arora), instead of the blink-and-you-miss-her babysitter, Liza (Hannah Schmidt), her parents (Shefali Deshpande and Cody Garcia) have hired.
The moment Mr. & Mrs. Darling step out of the room, Peter Pan (Kruz Maldonado) flies in [It’s a high-flying spectacular entrance, complete with sparkling fairy dust shimmering over the set].
Soon, after a bit of business with Pan and his ornery shadow, Peter convinces Wendy and her siblings to fly off on an adventure.
Sci-Fi Side note: The journey to Neverland (beautifully rendered with projection design by David Bengali) is a phantasmagorical, reminiscent of Ant-Man’s plunge into the Quantum Realm in the Marvel movies. Neverland even has a time dilation like the Quantum Realm.
Pan and the Darlings arrive in Neverland, which is filled with Lost Boys, a displaced tribe of the 500 nations, fairies, pirates and crocodiles.
Peter battles and then befriends Tiger Lily (Bailey Frankenberg). Then, the Lost Boys team up against Hook (Cody Garcia in a dual role) and his dysfunctional and dimwitted band of pirates.
Side note: This band of pirates is even gayer than the pirates in HBO Max series “This Flag Means Death,” which is quite a rainbow-colored accomplishment.
Captain Hook (Cody Garcia) threatens Peter, Wendy and the Lost Boys in “Peter Pan.”
This production is magical. There’s a double entendre or two, even playful sexual innuendo, but most of those jokes will fly higher over the young audience’s heads higher than Pan himself.
Malonado is a marvelous Pan. He prances, dances and displays exquisite aerial acrobatics. He has a sonorous singing voice and can crow with the best of the Pans.
Hook is the one to watch. Garcia is chewing up Anna Louizos’ beautifully constructed scenery. Every entrance is an instant giggle.
His right-hand man, Smee (Kurt Perry), is delightful. He’s simpering and cowering. A cross between Charles Nelson Reilly’s Claymore Gregg on “The Ghost and Mrs. Muir,” and Jonathan Harris’s Dr. Zachary Smith in “Lost in Space.”
Arora is adorable as Michael.
The aforementioned projection design and the scenery make this a must-see “Peter Pan” production. It’s captivating from Pan’s glorious entrance until the croc swallows Hook (we don’t call Spoiler Alerts on 120-year-old stories).
There’s some terrific fight and dance choreo by Paul Rubin and Lorin Latarro. There’s only one hummable song, “I Won’t Grow Up,” but the other songs are fun, jaunty tunes, wonderfully executed by Jonathan Marro’s orchestra.
Director Lonny Price goes full on tongue-in-cheek, over-the-top spectacle, and its theatrical nirvana.
Larissa Fasthorse revised and updated the story from Barrie’s original. The playwright makes some bold choices in the beginning with some modern updates (Wendy wants to be a TikToker, and tries to go to bed with her iPad at her side), but makes a wise decision to leave out Nana the dog and replace the canine (sometimes a person in a costume) with an actual babysitter.
There’s a weird “Tricks are for Kids” sort of ending, where Wendy, as an adult, is too old to fly off with Pan. Peter takes her daughter Jane (Zanie Love Shaia) instead.
During the entire production, Peter Pan is pulling on your inner child and screaming, “Come out to play!” It’s a magical ride for children and for those of us who refuse to grow up completely.
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“Peter Pan” runs April 1 to April 6 at the Benedum Center for Performing Arts, 7th and Penn Avenue, Pittsburgh, PA 15222. For tickets and additional information, click here.
