'Burgh Vivant

By Michael Buzzelli

Abigail (Kloe Bigelow) and Shaun (Nick Ocampo) Bengson lead a group of band members in song and story in the Bengson’s real-life autobiographical “Hundred Days.” 

The story is based on the  real-life experiences of Abigail and Shaun Bengson wrote the music and lyrics and co-wrote the book with Sarah Gancher.

“Hundred Days” details the couple’s whirlwind courtship, a sudden car crash and a fateful vision that plagues Abigail since she was fifteen years old.

Abigail shares some bits from her mysterious and messy past (mental illness, a tragic fire, and more). Her husband, Shaun, is more of a happy-go-lucky sort. His side of their meeting is more innocent, clearer, cleaner. He is not without fault, however, when he screws over his friend Max.

It’s hard to tell if Abigail is an unreliable narrator of her story, or she’s suffering from her past trauma (probably a bit from column A and a bit from column B).

It is an extremely talented group of performers portraying the Bengson band. The full cast list can be found here.

Bigelow is luminescent as Abigail. She has star potential.

Ocampo plays a more affable character. His likability beams through the production. He is a talented actor and singer as well, but it’s his charm that will win you over.

Reggie (Eden Polito) gets a moment to shine. There’s some great wit coming from Polito’s character. Her line readings are so impeccable, full of whimsy with a soupçon of snark.

Director Cynthia Croot does a great job with the material. She keeps it short and tight. There’s even time to grab dinner or drinks after the show.

Gianna Downs created a marvelous multi-tiered set for the the actors to sing, dance and scurry about on. It looks like the band is playing in a modernized warehouse or loft setting, with exposed brick and twinkling lights. Lighting Designer Saddie Seggerson’s set is light and bright.

The sound quality of the show is also perfectly done, thanks to Howard Patterson’s work as sound designer.

“Hundred Days” is an eclectic mix of songs and song genres, but it’s not a concert and not a musical. It lives in some weird shadowy middle ground.

Because Abigail is nebulous about her past, we never get any specifics which hinders the show. Not everything has to be spelled out, but a little more clarity could have only improved the story.

“Hundred Days” isn’t perfect, but the music is enjoyable and the cast is spectacular.

-MB

“Hundred Days” at the Charity Randall Theater, 4301 Forbes Ave in Pittsburgh, Pennsylvania. For tickets and additional information, click here.

 

By Timothy Ruppert 

We may now find ourselves very near to Thanksgiving, but the Haunted Theatre Company sees to it that every evening is Halloween—or, more precisely, Devil’s Night. Founded by Michael McGovern, an accomplished impresario of ghoulish and uncanny entertainments, the Haunted Theatre Company completes its inaugural season with A Whisper. . .To A Scream, the umbrella title for a quartet of new short-form horror pieces designed to unsettle and surprise.

The Margaret Partee Performing Arts Center transforms into Restless Meadows, a cemetery of stony arches and weeping angels and the domain of the cowled, cryptic figure named Mortis Macabre (billed as ‘Himself’). Macabre acts as a guide, providing frame narration and intercalary commentary—excellently written and directed by James Michael Shoberg—with grim mirth.

The evening opens with “Daughter of Horror,” written by McGovern and directed by Nicole Brady. Amanda (Jocelyn Stoffel), nicknamed “Amanda Undead” for her love of the eerie and morbid, shares the story of her career as a terror novelist whose eventual success gets sabotaged by the double misfortune of a romance with Steve (Jordan Coury) and a fascination with immortality. Brady shows an admirable sense of where to heighten the intensity between Amanda and Steve, and McGovern’s script offers a distinctive take on the irony of the infinite trap into which one walks willingly and only once.

Jordan Coury as Steve, Jocelyn Stoffel as Amanda in “Daughter of Horror” part of A WHISPER TO A SCREAM (Photo Nicole Brady)

The second show of the evening, Shoberg’s “A Sympathetic Ear,” places us late at night on a subway platform in New York City, where Jesse (Anthony Babeaux), attacked just a bit earlier outside a club called the “Artifice,” meets an impatient sophisticate named Arden (Luke Frederick). As the two men learn more of one another, their conversation engages questions of monstrosity, love and hate, and self-identity. Shoberg’s clever script and crisp direction allow Babeaux and Frederick the freedom to fashion exceptionally compelling performances.

Not surprisingly, the evening’s high-quality acting carries forward in Matthew Green’s “Quiet Tonight,” featuring Calvin Brookins and Mary-Cait Cox as Donnie and Lydia, unique caregivers faced with the terrifying problem of what will become of Lydia’s ailing sister, Michelle (Brady, offstage voice). When Brookins and Cox appear on stage together, do not wait for the ‘Burgh Vivant endorsement—get a ticket and go! McGovern directs with a superb understanding of creating suspense.

A second McGovern-authored effort, “Rosemary’s Rabies,” closes out the evening with an expressly imaginative piece that takes us from medical rooms to the otherworld and back again, all while rendering the feel of documentary cinema. Maddie Morgan delivers as Rosemary, a role that demands a performer of myriad talents. Trinity Griffin is categorically terrific (and unnerving) as Legion. Look too for nice turns by Peter J. Cofrancesco, Amara O’Donnell Neligh, and ‘Burgh Vivant contributor Joe Szalinski. And congratulations to the ever-delightful Pamela Cashdollar on her stage debut.

The production team for A Whisper. . .To A Scream merits the sincerest praise. Production Assistant Barb Sawatis and stage managers AB, Rachel Roach, and Gretchen Beck shepherd along an evening memorable for outstanding lighting (designed by Justin Ocepek-Sines) and sound (Britt Pierce, Roach, and Shoberg). Thank AB and Shoberg for their meticulous work on costumes, hair, and makeup. Samantha Lee Sanford and Shoberg deserve acknowledgement for special effects. Christopher Rone’s fight choreography impresses as well.

Halloween may have past, but the ghosts aren’t quite back in their graves, as the perambulatory spectre of Cecily Waugh (Susie Iannitelli) makes plain. To see her and other supernatural presences, visit the Haunted Theatre for a fun and chilling suite of short plays.

“A Whisper. . .To A Scream” plays through November 21 in the tell-tale heart of Bellevue at the Margaret Partee Performing Arts Center, 523 Lincoln Ave, Pittsburgh, PA 15202. For tickets and more information, visit here.

 

By Claire DeMarco

Janey Glenn (Paige Schmella) is accustomed to moving from place to place.  Her father Colonel Glenn’s (Marshall Benton) military career takes his family from one location to another.

This time they land in Chicago and Janey is once again enrolled in a new school. Janey is disciplined and controlled but when she meets classmate Lynne Stone (Caroline O’Neil), they soon become great friends.

Lynne is carefree, outgoing and a character. The girls bond even more closely when they both discover their mutual love for Dance TV, a local television show that features live dancing.

And of course, Lynne being the boldest of the two, entices Janey to participate in Dance TV’s recently announced dance contest.

At Dance TV Janey and Lynne meet the other contestants, specifically Jeff Malene (Alejandro Tinnell) and Natalie Sands (Bee Jade Walker).

When Janey and Jeff pair together as the competitive dance team and prepare for the finals, last minute complications affect this dance duo and the outcome of the competition.

Note:  This is the world premiere of “Girls Just Want to Have Fun The Musical”.  It is based on the 1985 film titled “Girls Just Want to Have Fun”.

The importance of this premiere can be highlighted from some of the information shared in the production’s playbill by Kiesha Lalama, Executive Producer, Pittsburgh Playhouse:

“Through our collaboration with Lively McCabe Entertainment and Primary Wave Music, we are establishing an innovative model for developing new theatrical works, one that places our Conservatory of Performing Arts and the Pittsburgh Playhouse at the very center of the professional creative process.”

“The most extraordinary aspect of this partnership is the groundbreaking opportunity between higher education and the professional entertainment industry.”

“Girls Just Want to Have Fun”.  They did and so did the audience.  Excellent production!

Photo: Caroline O’Neil, Paige Schmella, Alejandro Tinnell

What a gifted group of actors. The dancing, singing and coordination are superb. Many favorite songs from the 1980’s are part of this exciting production.

Schmella excels as the obedient, disciplined daughter who transitions into someone who becomes fully aware of her abilities and pursues her dreams. She has both excellent dancing skills and vocal chops (like “How Will I Know?”).

Equally outstanding as a dancer and singer, Tinnell is a charming, free spirit who only wants to dance but he also has deep concern for his father.  His father’s job hinges on decisions Tinnell must make concerning the dance contest. His vocal of “Somebody’s Baby” is spot on.

O’Neil provides comic relief as Janey’s best friend.  Her physical movements, her facial expressions contribute to her characterization of the zany friend. O’Neil and Schmella sing a lovely rendition of “That’s What Friends Are For”.

Overanxious and sometimes overbearing, Benton inserts some comedy into his delivery as he frets (always) about his daughter.

Sands plays the spoiled brat dancer brilliantly. She sashsays around the stage, attempting to intimidate as many people as she can.

Bianca Dixon as Sister Eileen is delightful and funny as the nun who wants to belong to both worlds – one that includes religion but also as a girl who wants to have fun!

Dickson and Lauren Marcus are Co-Book Writers for “Girls Just Like to Have Fun, The Musical”.

Excellent Direction and Choreography by Jennifer Werner whose technical skills contribute to the flow of the production.

Conductor Camille Villalpando Rolla and the orchestra provide excellent accompaniment to the fine-tuned singers and dancers.

Costume Designer Michael Montgomery’s detail and number of the costumes (including big hair wigs) contributed to the success of this production.

-CED

“Girls Just Want to Have Fun The Musical” is a production of Pittsburgh Playhouse Point Park University.  Performances run from November 11th to November 22nd at Pittsburgh Playhouse Point Park University, 350 Forbes Avenue, Pittsburgh, PA 15222.

For more information, click here

 

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By Michael Buzzelli

A man, Noah (John Rubinstein, playing the oldest iteration of the character), helps a woman,  Allie (Angela Birchett, playing the oldest iteration of the character), struggle to remember their life together by reading a notebook in “The Notebook: The Musical.”

Ingrid Michaelson and Bekah Brunstetter took Nicholas Sparks best-selling romance book (and popular movie)  and turned it into a musical.

In flashbacks, we see the couple during their meet-cute as young adults…just like “Grease,” it all begins with some Summer Lovin’.

The town is never mentioned, but it’s Seabrook Island off the coast of South Carolina,  a popular summer getaway town where Allie and her parents vacation.  Noah (Kyle Mangold) immediately falls for Allie (Makena Jackson), but there’s a complication: She’s a rich girl studying the piano and painting in her spare time,  and he’s a country boy working in a lumber yard. Her Mother (Anne Tolpegin) and Father (Sinclair Mitchell) have a disastrous dinner with Noah and decide to cut their retreat short and head back home.

Ten years later, Allie (Alysha Deslorieux) reads a story in a local newspaper about Noah (Ken Wulf Clark) and decides to go visit him, even though she’s engaged to another man.

The Notebook” flawlesslt weaves in and out of three separate timelines.

Throw in a little  “Romeo & Juliet,” some “Pride & Prejudice” and a handful of schmaltz and you’ll get “The Notebook.”

While the plot is thin, the actors (despite being non-equity) do a fantastic job selling the story.  The young and middle Allie’s and Noah’s hand in some beautiful work.

Wulf-Clark and Mangold are perfectly cast. They look like doppelgängers separated by ten years.

Both of the Allie’s (Deslorieux and Jackson) sparkle.

Birchett has some rage-filled outbursts, some bittersweet recollections and some truly poignant moments.

Johnny,  a physical therapist (delightfully played by Connor Richardson), is the comic relief. He does the most with the material. He’s also the only quirky character in the show. His delivery is impeccable.

Most of the music isn’t very memorable, but in “Kiss Me,” Mangold and Jackson have a pre-coital conversation that is hilarious and adorable.

Not every show is for every one. While some audience members were joyously delighting in the spectacle (the scenic design team, David Zinn  and Brett J. Banakis, created amazing scenery), some found the whole thing maudlin, generic and dull. It depends largely on the source material. If you liked the book and/or film (and you’re not a racist), you should love this version.

If author Nicholas doesn’t spark joy, remove him from your cultural diet.

-MB

“The Notebook” runs until November 15 at the Benedum Center, 237 Seventh Avenue, Pittsburgh, PA 15222. For tickets and more information, click here. 

 

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

Close-up magician Andi Gladwin kicks off Liberty Magic’s 2026-27 season. Unlike most Liberty Magic shows, Gladwin’s show leans into improvisation. In fact, Andi invites audience members to bring their own decks of cards to the show, so he can incorporate them into the performance.

From traditional Bicycle card sets to a deck of cards with cats to one themed from the movie Christmas Vacation, it was fun to see another side of audience participation as well as a glimpse into people’s interests.

So many attendees brought decks that it was clear the audience relished the invite and opportunity to “catch” the magician. Seeing Gladwin immediately perform with so many new (to him) decks enhance the authenticity of his magic while simultaneously removing the possibility of marked cards. Some audience members thought outside of the box (pun intended!) and even brought Uno decks, which were also incorporated.

Gladwin sets a high bar as he shuffles between audience-sourced decks. The encounters may be brief, but Gladwin makes the time to connect with each attendee. His curiosity is authentic as he often inquires about the origin of the deck and what makes it special.

Andi is from the UK. Any Anglophile will be delighted by the Britishisms sprinkled throughout the show. At one point, he shows cards from an Uno deck on the screen. Any regular Uno player immediately notices America’s “skip” card is the UK’s “miss-a-go.” It was also fun watching him try to incorporate Pittsburghese and appropriately use “yinz” after a crowdsourced lesson on usage. Shouts from the audience informed him “yinz” is Pittsburgh’s version of “you all.” His on-stage willingness to learn and stumble while eliciting laughter was immediately highlighted and is in fact foundational to the show.

Gladwin makes frequent use of two on-stage screens. When he added a clip-art cigar and sunglasses to his image, it felt a bit dated and gratuitous – or maybe that was a Britishism!

Gladwin’s screen usage generally enhances the show. Like most magicians, he talks about how he got his start, which was complemented by visual support. His first major break was at 16 when he performed on TV on Lance Burton’s Young Magician Showcase. It was there that he met fellow teenaged magician Joshua Jay, who became a lifelong friend and subsequent business partner – and also had a residency at Liberty Magic. In fact, this T&T Raymond duo reviewed Jay’s magic show back in May 2025.

Gladwin, Jay, and the other young magicians from the Lance Burton Showcase were featured on the cover of the magic magazine, Genii. In his self-effacing style, Gladwin zooms in to show how he’s the one kid on the cover with his eyes closed – a trend that continues in other photographed moments writ large. Repeatedly illustrating when his eyes are closed becomes a through line that humanizes Gladwin. Magicians often cultivate and cast an air of mystery, which can all too often come across as cold or unapproachable. However, Gladwin is the epitome of warmth. He also uses the screens to show the audience local news headlines from his native Gloucestershire, both ones about himself as well as its apparently legendary downhill cheese wheeling competition.

Gladwin is thoroughly committed to his craft. Like any good artist, he works tirelessly to improve his skills. He has a goal each year, and this year’s goal was to improve on improvisation. Every evening is clearly a different show given the improvisational nature of Shuffled, and it would be well worth seeing Gladwin more than once while he’s in Pittsburgh.

On the night we attended, an audience assistant threw off his “Andi’s Poker” trick. As the performer, it’s easy for magicians to villainize someone and make them the enemy. However, Gladwin improvised to facilitate easy laughter that left us impressed by both him and the audience assistant. His choice to prioritize the audience experience over the flawlessness of the trick was admirable. Gladwin has fooled Penn and Teller, so his credentials are rock solid, and Shuffled was developed for his residency at Liberty Magic.

At the post-show Skeleton Key meet-and-greet, Gladwin shared that he takes notes on every show, both what went well and where he could improve. While this year’s goal is improvisation, the previous year was joy – and ensuring the audience senses the joy he feels as a performer and magician. Both keywords are on full display in his show, Shuffled. Bring your cards and join the pack!

-TRK, Ph.D. & TR

Don’t miss Andi Gladwin in Shuffled through November 29, 2026, at Liberty Magic (811 Liberty Avenue, Pittsburgh, PA, 15222). Ages 12+ are welcome. Liberty Magic also offers an incredible after-show Skeleton Key VIP backstage experience to meet Andi, ask questions, and see even more magic. Purchase tickets online here.

 

By Raymond Wayne and Lonnie the Theater Lady

Written, directed, and acted by award-winning playwright Layon Gray, the world premiere of “The NAM: Boys of the Bamboo” transports audiences directly into the reality of the Vietnam War. This gripping drama explores the resilience of five African American prisoners of war held in a bamboo cage.

The play opens with POWs Stu (Thaddeus Daniels), Slick (David Roberts), Calvin (Lamar K. Cheston), and Samuel (Layon Gray) casually discussing whether the man who was just “thrown in” to their cage is dead or alive. The men determine that he is unconscious but breathing. When Ronnie (Jake Moon) eventually regains consciousness, the four long-held prisoners (who have lost total track of time) are shocked to learn that it is 1973 and not 1970 or 1971 as they had believed. Ronnie, who was captured on his first mission in the bush refreshes the men’s spirits with encouragement that the world has not forgotten them. He brings them news of trends in the U.S. The poignant, lighthearted, humorous scene that follows is one of several such scenes that occur throughout the play serving to relieve the tension of the dire situation. The men are both amused and fascinated to hear about bell bottom pants, huge Afro hairstyles, Ali beating Frazier, and the popular “Black is beautiful” catchphrase.

Pictured below Lamar K. Cheston and David Roberts

The grim reality of the miserable conditions of their everyday lives consists of nothing but “rain, heat, mosquitoes, time and more time” is interrupted frequently by the horror of a siren wailing at seemingly random times. Following the siren comes three clangs of a bell, indicating that one unfortunate prisoner is chosen to walk “down the hill”. It is said that once they go down, they never come back.

The ensemble piece shines thanks to the chemistry of the cast. The five-man lineup brings some serious weight to the gritty bamboo cage. They are thoughtfully cast that it seems as though each character might have been written specifically for the actor who plays him.

Daniels gives his character Stu, the peacemaker of the group, the dignity and gravitas required of his character. He sternly admonishes the men and demands that, “We don’t fight against each other,” and “One thing is for damn sure; we got to believe in each other.” No one would dare to disagree with him based on his air of authority.

Cheston embodies the wiry, energetic Motown loving Calvin with a mischievous impishness. His funny lines are delivered with good comedic timing. His enthusiastic dance moves are a treat to see. His layered performance shows a more serious side that telegraphs his deep suffering at being separated from his wife and daughter.

Roberts’ Slick emotes a palpable pain as he worries about his much-loved mother’s health. His character has a humorous side, and he frequently mugs for the audience. Hilarious facial expressions.

Moon plays Ronnie with an endearing sweetness, sincerity, and innocence. These qualities are surprisingly counterbalanced with a quiet courage and steely strength. His gentle, reserved delivery makes him a truly likable character.

Gray’s Samuel is convincing as the handsome pilot who considers himself to be a lady’s man. His deeply felt monologue reenacting the death of his Tuskegee Airman father is one example of the many memorable, beautifully written monologues in the show.

It’s not often that a playwright directs and acts in their own play. That is remarkable in itself but it’s even more remarkable how well Gray fulfills every one of these positions. A difficult undertaking done with expertise. Kudos!

The intimate space lends itself well to the coarse environment of the prisoner’s cage. The bamboo frame is draped with cloth making it appear tentlike (Herb Newsome, designer).

The set combined with war, weather and jungle-scape sounds reminds the audience they’re not in Lawrenceville anymore. Screeches and chirps of unidentified jungle wildlife can be heard as well as  gunfire, whirling chopper blades, thunder, and sirens (Aiden Cole, sound designer).

To quote Gray, “The play tells a compelling story about survival, sacrifice and brotherhood, It’s a testament to the power of the human spirit overcoming enormous hardships when all seems lost.”

“The NAM: Boys of the Bamboo” packs a powerful punch. The compelling rich dialogue humanizes each of the complex characters in this intricate story. The touching, beautiful ending serves as a tribute to the resilience and altruism of the human spirit. This powerful, inspirational production is not to be missed.

Note: Two special Veteran’s Day shows will be performed on Wednesday, November 11 (1:00 p.m. and 8:00 p.m.)

-RW & LtTL

New Horizons Theater production is performed at Attack Theater, 212 45th Street, Lawrenceville through November 15

For more information, click here.

 

 

 

 

 

 

 

 

By Lonnie the Theater Lady

Pittsburgh native and Broadway veteran Cissy Rebich cast her spell over the audience at her sold-out show in the Lounge at the Greer Cabaret on Wednesday, November fourth. “Cissy Rebich: The Three Barb(a)ras and Me” featured songs popularized by Broadway legends Barbara Cook, Barbara Harris and Barbra Streisand. The songs were written by Irving Berlin, Rodgers and Hart, Meredith Willson, Lennon and McCartney, among others.

Rebich wowed the crowd as she entered the Cabaret looking very starlike in her elegant, floor-length velvet gown. Her warm, welcoming demeanor set the stage for a congenial, friendly show. As she introduced each number, a photo of the Barbara who popularized the song was projected onto an onstage screen.

Chopin’s “Minute Waltz,” a number Streisand made popular, was adroitly performed by Rebich. The staccato lyrics were perfectly sung with humor and perfectly enunciated words. An amusing crowd pleaser, for sure!

Another delightful highlight was Rebich singing the uncut version of “My White Knight.” The shortened version was originally sung by Barbara Cook when she played Marian the Librarian in the original Broadway production of “The Music Man.” The uncut, humorous version focused on several unattractive male traits, adding levity to the piece.

Other memorable numbers highlighted Rebich’s remarkable ability to vocally project a wide range of emotions. One gets the impression that she’s sharing her own very personal, visceral emotions in every number. She sings from her heart with genuine humanity. Her charismatic, sincere delivery is charming. Her rich, clear, expressive vocals are as velvety as her gown. Lovely!

She shares some personal stories throughout the show. She talks about the circumstances that led up to her having dinner in a New York restaurant with Sally Kellerman, Barbra Streisand, Jeff Bridges and Pierce Brosnan.

A special mention goes to George Milosh (tenor, teacher, conductor). His brief cameo provided engaging background for one of Rebich’s numbers.

The very talented Douglas Levine (music director) hits all the right notes to provide musical accompaniment that richly complements Rebich’s strong vocals.

Rebich’s love for musical theater began when she played Hodel in Aliquippa High School’s production of “Fiddler on the Roof.” After graduating from Duquesne University with a degree in voice, she performed with the Pittsburgh Civic Light Opera for a couple of seasons. She then moved to New York City, where she performed for nearly thirty years as an actor/singer/dancer. Among her many Broadway credits is the role of Cosette in the original Broadway production of “Les Misérables.” Since moving back to Pittsburgh in recent years, Rebich has appeared in CLO and PMT productions.

Seeing Rebich perform is a delightful way to spend an evening. One leaves the show feeling as though they’ve met a new friend. Her sincere way of addressing the audience leaves everyone wanting to hear more of her Broadway stories and multifaceted voice. Congratulations, Cissy—well done!

By LTL

One-night-only performance at the Greer Cabaret (November 4)

 

By Michael Buzzelli

The only victory that counts is the one over yourself.” — Lionel Messi, Argentine footballer [Soccer Player]

Imagine being invisible or watching the world in a super-secret spy drone that can zero in on a high school girls’ soccer team and listen in on them. In Sarah DeLappe’s “The Wolves” the audience is eavesdropping on these girls, the Wolves.

The girls curse and bully each other. They misunderstand one another. They hate and love each other. Most importantly, they come together when it really counts.

It takes a minute to get into the play, but once you’re in, you’re hooked. The play is thoroughly engaging.

The team captain, Twenty-Five (Reese Fontanesi), tries to rally her teammates together from one match to the next. While the girls come together on the field, they are contentious off the field.

The girls are only known by their jerseys, but their personalities emerge.

Seven (Ayden Fichte) and Fourteen (Vivian McGregor) are besties…until they aren’t. The goalie, Zero Zero (Aftyn Tomaceski) throws up before every game. Eleven (Lily Gough) is obsessed the genocidal Pol Pot. Two (Hazel McGregor) is forced to wear a dorky looking helmet because of her last concussion. Forty-Six (Adrien-Sophia Curry) has a travel writer mom who has taken her all over the world. Eight (Francesca Pietroforte) wants her team to get along. Thirteen (Ella Marks) may or may not be high as a kite.

Secrets are revealed over a rousing game of Spider Web (“Zip, Zap, Zop” with a soccer ball).

DeLappe’s dialogue is naturalistic. Characters talk at the same time. Sentences overlap like an Altman film. Not everyone is telling the truth. Each girl is unique and interesting without being a stereotype. DeLappe made the audience care about characters without revealing their names. All wearing the same vibrant purple uniforms (by Costume Designer Sylvia Sims-Linkish, even if they were a little too clean to be believable).

Side Note: There is a lot of talk about characters we never see, and it can be a bit distracting, but “The Wolves” demands your full attention.

Every single girl in the show is fantastic. The casting is superb.

Fontanesi plays the team captain with such determination and drive. There’s a scene before a championship game where she’s trying so hard to rev her players up that her face goes red.

Marks is hilarious in the final scene where she shows up high (or possibly sleep-deprived if you believe her story).

Meighan Lloyd Harding shows up in the final scene playing a player’s mom. While her time on the field (the stage) is brief, it is a riveting, dynamic performance.

Director Britt Dorazio does a marvelous job unearthing all the rawness of the actors and tees them up for a successful run.

Scenic Designer Nina Stumpf turns the center stage into a soccer pitch, replete with several soccer balls, orange cones and such.

There’s some excellent work by Sound Designer Adam Davy.

My advice to the members of the audience who thought “Dracula: Comedy of Terrors” was too vulgar and too gay: Seek enlightenment. Not every show is for insecure straight white people.

There is a visceral emotional charge to every scene, but it slowly ramps up to a shocking finale. If you are a person who needs “Trigger Warnings,” please note the content advisory in the program before the show. Be a big brave girl, and go out and see it.

“The Wolves” is a tragic, funny, utterly engrossing work. Get some balls and go see it.

-MB

“The Wolves” runs until November 22 at Little Lake Theatre, 500 Lakeside Drive, Canonsburg, PA 15317. For more information and tickets, click here. 

By Michael Buzzelli

The ultimate stage mother, Rose (Becki Toth), pressures her two daughters into show business, even though she wants to be the star in “Gypsy: A Musical Fable.”

Note: The term “gypsy” is a derogatory slur against the Romani people. The Romani (Romany ) colloquially known as the Roma, are an Indo-Aryan ethnic group who traditionally led a nomadic, itinerant lifestyle. It is used in this review because it is the title of the show and the name of the character.

Rose is desperate to do anything for money (but work for a living). She begs her father, Pop (Patrick Palamara) for cash, and, when he doesn’t give her more, pilers his precious retirement plaque to get the dough.

She takes her daughters, Baby June (Adele Fejes, alternating with Jordan Leheny) and Baby Louise (Meira Molinero, alternating with Antoinette Bauer) on the road. Along the way, she spots some talent and grabs (kidnaps?) some additional kids to add to the act.

Rose and company meets Herbie (Carl Hunt) and the family stays on the road, striving to get to the Orpheum circuit (the biggest slice of the Vaudeville pie). Rose puts Baby June front and center, and relegates Louise to the background.

The kids grow up chasing their dreams. June (Ivy Ferris) and Louise (Laura Barletta) are aging out of their kiddie act.

Louise falls for Tulsa (Nicolas Sperandeo), but sister June runs away with him. Rose tries to make Louise the star, but she doesn’t have seem to have the It Factor her sister did. Its not until the traveling performers end up at rock bottom when they’re booked at a burlesque club that Louise finds her true talent and she becomes an adult entertainer, Gypsy Rose Lee.

While the material is dated, and the story has some old-fashioned elements, director Rob James and his team – music director Steve Baldanzi and choreographer Alex Manalo – get everything right.

Toth is brilliantly cast here, playing to all of her strengths. The part was designed for a belter of the best pedigree and that’s exactly what Toth brings to the role.

The kids are fun. They do a fantastic job. There are some hats that go flying off during their dance numbers, but it only adds cuteness to the chaos (the act isn’t supposed to be perfect).

Sperandeo has a few great moments, even if his time on stage is limited to the role, but he and the other “boys” do a stellar job.

There are some fun bits with the strippers from the burlesque show. Tessie Tura (Jenna Kantor) is a particular standout. Electra (Lisa Cavlovich) puts her gimmickry to work during the song, “You’ve Gotta Get a Gimmick,” and it’s hilarious. Laura Riviere’s costumes make the scene even more enjoyable.

Barletta is the hidden gem. It’s hard to play awkward and untalented and get away with it, especially when she has talent to spare.  Her character transforms from mousy nerd to sophisticated strip tease artist over the course of show and she makes it work splendidly.

The music hall inside the Andrew Carnegie Free Library and Music Hall has undergone a recent renovation. It’s hard to pinpoint if the sound has improved, or if it was the work of the sound designer, Jay Weaver. Let’s give him the credit for this show.

Set designer Keith Osbourne constructed some terrific sets. The stage crew worked tirelessly moving props and stages around on the darkened sets between scenes. The show probably didn’t need as much dressing as it was given, but they were all gorgeously created.

Baldanzi’s band was amazing. They rarely overpowered the singers -credit again to Weaver (and maybe the reno).  The mics never blew out during the 11/6 show. In too many past productions at the venue the mics would punish the audience with reverb or the orchestra would drown out the singers, but it did not happen here.

It took a village of people to produce this show and they all did the work marvelously. Community theater gets a bad rap and that’s a shame, especially when it can be this good.

Note: While there is some mention of sexual inuendo and some scantily-clad ladies in the second act, there is enough wholesome charm to consider bringing the entire family.

-MB

“Gypsy” runs until November 15 at the Andrew Carnegie Free Library and Music Hall, 300 Beechwood Avenue, Carnegie, PA 15106. For tickets and additional information, click here.