'Burgh Vivant

By Joseph Szalinski

As the Good Book says, one must not discount the cool stuff happening up north. Especially the events. Even the most unassuming small towns host hordes of hardworking and highly regarded artisans who are more than eager to share their efforts with those looking for a good time. And this is exceptionally evident with The Red Barn Players’ production of Fiddler on the Roof, directed by Jessica Patterson and J. Daniel Craig, now running at The Red Barn Theatre in Fombell, PA.

Based upon stories by Sholem Aleichem, this Tony Award-winning play features a book written by Joseph Stein, lyrics by Sheldon Harnick, and music by Jerry Bock. In addition to being the (former) longest-running show on Broadway for an entire decade, it was also made into an Academy Award-winning film in 1971. All that to say, some of the songs might sound familiar. Set in a fictional town in Eastern Europe, the story is concerned with the people who live there and their experiences being Jewish during a time when the occupying Russians weren’t especially keen on such a way of life. Amidst all the tension and conflict is love, life lessons, and lots of musical numbers.

This cast is stacked and the stage is crowded with a score of talented performers. David A. Cary is a quadruple-threat as Tevye. He can act, sing, dance, and kvetch with the best of them. Shelly Cary is a fantastic complement to him as Tevye’s wife, Golde. Their daughter, Tzeitel, receives a remarkable rendition courtesy of Hopi Myers-Arrigoni. Complementing her is Travis Myers-Arrigoni as her love interest, Motel, a role in which he is “sew” good. Filling out the family is Melissa Patterson as Hodel, Mara Ilko as Chava, Lana Holcomb as Shprintze, and Cosette Rotondo as Bielke, Tevye and Golde’s other daughters. Balancing two roles is Katie Donaldson as both the matchmaker Yente and the haunting Grandma Tzeitel. Perchik, an unorthodox religious scholar, is brought to life by Jon Lowery. Gary Patterson has a lot of fun with his portrayal of Lazar Wolfe. Arguably the character with the coolest name, and the most frightening dead wife, Fruma Sarah, played by Danielle Sanche. Austin Almendarez is the life of the party as Mordcha, while Sean Donaldson keeps things kosher as Rabbi. Frank Baker is another talent with dual roles, his being Nachum and Mendel. Not to gossip, but Joey Bellinger does a swell job as Avram. Matt O’Polka maintains order as Constable, while Jerry Hahn as Fyedka, Heather Giammaria as Shaindel, and Maximus Heitger as Sasha, do the dirty work as his muscle. Featured dancers Chloe Kurtyka, Megan Lutz Morgan Stanton, and Maximus Heitger move masterfully under the direction of choreographer Rebekah Sedwick. Rounding out the cast are the engaging members of the ensemble: Andrea Cary-Spaziani (producer), Jonathan Cermak, Bryn Donaldson, Leyna Donaldson, Alena Kucan, Katie Lowery, Bonnie Nolan, Karl Pamer, Amanda Pinto, Shanna Ridgley, Lily Sanchez.

Not only does this show deliver solid performances, but its technical elements are superb as well. The set design by Jessica Patterson, Kathy Patterson, and Austin Almendarez transports the audience to humble Anatevka. Steven Burnworth, Kim Smolka, John Brenner, Paul Brenner, Robert S. Hazen, Tom Bickert, Gary Patterson, J. Daniel Craig, Matthew Patterson, and Jerry Hahn, who comprise the construction team, did a marvelous job making it a reality. Director J. Daniel Craig double-dips with lighting design, which finds an operator in Matthew Patterson. Sound operator Zach Huang and sound tech assistant Oliver Schneider ensure that everything can be heard the way it should. Costumes by Anne Stanton, Kathy Patterson, Betsy Berenson, Jaina Ilko, and Melissa Patterson add another level of immersion to the world being crafted. Absolutely awesome. Stage managers Kathy Patterson and Jaina Ilko did great work making the chaos more manageable throughout the process. Publicity photos by Sarah Campbell beautifully adorn Alena Kucan’s photo display board that greets people as they find their seats.

Musical director Kevin Newton does wonders with the cast and the orchestra. Constituting the latter are Deanna Jacobs on flute, Fred Persi and Tori Petrella on clarinet, Kate Kesecker on bassoon, Andy Zerance on trumpet, Isaac Miller on horn, Jade Kirkpatrick on trombone, Jeremy Miller on guitar, Kim Zerance on bass, Greg Becker on percussion, and Emmett Moore on piano.

The Red Barn Theatre is a great venue. The creativity it houses is matched only by the gorgeous views one can glimpse on its porch before showtime or during intermission. It has certainly attracted a stable of patrons and fans over the course of its existence, and continues to produce shows that enrapture folks who will go on to spend many more summer evenings being awed by art.

The Red Barn Players are halfway through their 2026 season, their 71^st, with two more productions coming up in August and September, respectively. Whether they choose to put on straight plays or musicals; theatrical classics or more obscure titles, they always manage to dazzle and delight. I hope they have the chance to for another seventy-one seasons.

-JS

Fiddler on the Roof continues its run July 15^th-18^th at Red Barn Theatre in Fombell, PA.

By Michael Buzzelli

“All the human race has something between their legs that can be taken”             

– Gene in “David Mamet’s “Henry Johnson 

Henry (John Steffenauer) careens from one disastrous event after another, unaware that he’s the world’s biggest patsy in David Mamet’s “Henry Johnson.”

The play is structured like four interlocking one-act plays, each with a shocking resolution. The four scenes, like violent pieces of a evil jigsaw puzzle, come together with a dramatic and malignant end.

Henry argues with his boss, Mr. Barnes (Cotter Smith) about hiring an ex-con, who is a college acquaintance of Johnson’s. The discussion mines deep, darker desires and, by the end of the first scene, Johnson is hit with a shocking revelation.

In the next scene, Henry meets Gene (a frightening David Whalen), a prisoner with radical ideas and opinions. He delivers a monologue about Snow White where he recants a weird version of the Snow White story that teaches a prescient lesson about power and surrender.

In the final scene, Henry and Jerry (returning Pittsburgher David Butler), a prison guard, play a deadly cat-and-mouse game, which one is the cat and which one is the mouse is debatable until the final moments of the play.

It’s hard to tell if Henry plagued by dark twists of fates, or is he a gullible dupe who believes in the charismatic, but insidious, men in his life, each of whom furthers their own sinister goals with Henry as the hapless pawn to their White King Energy.

Steffenauer does a great job, believing his deceivers without looking like a gullible, toadyish, or spineless cartoon of a human being (RIP Lindsey Graham).

Smith plays Barnes as a cold, calculating company leader without a shred of compassion, though, with hidden reasons that justify his behavior. Barnes is more of an Vulcan (Star Trek reference) psychologist than corporate boss, who digs at the protagonist with a sharpened scalpel.

Whalen is chewing the scenery as Gene, who seems more like a malevolent tent revival preacher than prisoner. He spits and spews his dark theories, manipulating Henry with every twisted sentence.

Butler’s Jerry seems like an affable prison guard, who only wants to clock out and go home, but there are is much more seething under the surface.

Side note: Butler stepped in to replace the late Matt DeCaro, who passed away in the middle of a production of “Ma Rainey’s Black Bottom” at the Goodman Theatre in Chicago. DeCaro was the impetus for the production, and the performance of the show are dedicated to his memory. That said, on opening night, Butler had to hold onto his script during the final (dialogue heavy) scene.

Kimberly Brown’s costumes add a level of realism to the show. She’s outfitted Whalen with a set of temporary tattoos and specialty designed sleeves that mimic two arms-length of ink.

The set, however, is surreal, a square stage reminiscent of a boxing ring, with simple props garnered from Rachel Ferrari Engel, beautifully lit by Andrew Ostrowski.

Additional side note: It’s a Mamet play. It’s all about cis-gender straight (presumably) males, some the characters carry deep-seated resentment for women. In this play, two women are mentioned, a victim of a heinous crime, and a jail-appointed psychologist, who may or may not be another manipulator in Johnson’s life.

Director Andrew Paul manages to get striking performances from his four actors, everyone is on their “A” Game.

The play is hard and cold. A miasma of negative thoughts and emotions, excellently performed, but the brutal truths are hard to stomach as each reveal brings Henry Johnson (the character not the play) toward his inevitable conclusion.

“Henry Johnson” is a particular world view, one where every action has drastic consequences. It’s darker than “Dateline,” the news program about in-depth, true crime murderers and their victims. Don’t expect to come out of the theater whistling a happy tune. If you want to see a masterclass on acting on a Pittsburgh stage, “Henry Johnson” should be right up your darkened alley.

P.S. The final moments of the play are gasp-inducing.

-MB

“Henry Johnson” runs from July 9 to July 26 at the Carnegie Stage, 25 W. Main Street in Carnegie, PA 15106. For tickets or additional information, click here. 

By: Lonnie the Theater Lady

Pittsburgh native Lee Terbosic describes himself as a “proud Yinzer”, and he certainly has every reason to be proud, although he didn’t utter the word “yinz” even once during his show. He’s a talented escape artist, witty comedian, masterful illusionist, and mind reader. He’s well known as a Houdini historian, and unsurprisingly, his work is heavily influenced by Houdini. Many fascinating, little-known facts about Houdini are sprinkled throughout the show.

Terbosic explains that magic works by exploiting weaknesses in the human brain. Magic’s secrets are right in front of our eyes. We don’t know where to look. This is frequently demonstrated with cards, telekinesis, and other illusions. What we see with our eyes and hear with our ears are often quite different perceptions of actual reality.

Terbosic shares the back story of how he became interested in magic at the age of ten. He devoured every book about magic that he could get his hands on in the Carnegie Library. He would perform magic shows for his parents during Steeler television halftime breaks. He performed some of those amusing childhood tricks to the delight of the audience. And, yes, you can try them at home (I did)!

His admiration for Houdini led Terbosic to reenact Houdini’s famous Pittsburgh straitjacket escape. Exactly one hundred years, to the minute, after Houdini’s November 6, 1916, escape, Terbosic was suspended upside down fifty feet in the air at the corner of Wood Street and Liberty Avenue. (The precise location  Houdini occupied) This tribute to Houdini was named “Houdini 100”. The Liberty Magic audience is treated to background information and visuals of this stupefying strait jacket escape event.

The Discovery Channel series, “Houdini’s Last Secrets,” features Terbosic. He was also seen on “America’s Got Talent” among other television appearances. This recognition is unambiguous evidence of and a tribute to his mastery of all things magic.

How fortunate Pittsburgh is to have an intimate venue (Liberty Magic) to bring us a steady stream of artful virtuosos of magic like Lee Terbosic.

“In Plain Sleight” is a wildly entertaining feast of clever comedy (some very punny), astonishing mind-reading, unimaginable illusions, and implausible card tricks. One leaves feeling a sense of wonder and awe. Don’t miss this astonishing, masterfully performed, creative show.

-LTL

Liberty Magic through August 1st at 811 Liberty Avenue, Pittsburgh, PA 15222. For tickets and information, click here.

 

 

By Michael Buzzelli

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

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

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

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

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

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

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

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

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

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

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

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

It’s a great time to support local theater.

-MB

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

by Michael Buzzelli

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

“She doesn’t even go here!”

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

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

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

And that’s just the first act!

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

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

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

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

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

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

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

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

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

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

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

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

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

-MB

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

By: Lonnie the Theater Lady

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

-LtTL

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

 

by Claire DeMarco

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Special recognition to:

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

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

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

-CED

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

 

 

By: Joseph Szalinski

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

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

 

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

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

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

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

-JS

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

by Lonnie the Theater Lady

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

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

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

“Lucky Stiff” cast.   Photo Credit:  Carina Iannarelli

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LTL

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

For more information, click here.