'Burgh Vivant

By Lonnie the Theater Lady

“Shane Patrick in The Oracle” opens in a darkened theater, where the only sound is the soft tinkling of a small bell Patrick rings for a few brief moments. He then shifts his focus to the audience in the dim, now silent theater. He effectively engages every audience member by making slow, deliberate eye contact with each one. This builds a somewhat uneasy yet thrilling anticipation for what’s to come.

He relates a story about Illiana, an oracle and vaudeville performer in the early 1900’s. Her mind reading and predictions of the future astonished audiences. Her unfortunate, tragic death cut her career short. She was found hanging lifeless from the rafters of a theater. Some speculated that Victor Gonzalez, a man who was desperately in love with her, ended her life after he became distraught when she didn’t return his love. The mystery of her death was never solved.

Patrick’s fascination with Illiana prompts him to conjure up her spirit and recreate her captivating act, “The Oracle.” He gives audience members a cup containing one die. They shake the cup to tumble the die, then look at the number showing on it. They then look at a written list of numbers from one to six. Each number has a topic written beside it—examples: career, love, health, etc. The person holding the die is then told to focus and concentrate on the topic that matches the number on the die. Amazingly, Patrick then accurately identifies the number on the die with 100% accuracy several times with different audience members. Uncanny. It leaves one asking, “How?”

Another part of the act involves psychometry, the word that describes the energy left behind on inanimate objects after having been touched by a person.

Patrick digs into a fishbowl filled with folded papers on which audience members have written their names and other information. (Thus, leaving their energy on the papers) Patrick holds the folded paper in his hands, reads the energy, and identifies an audience member, first by initials and then by name. He answers questions that haven’t been verbalized. One particularly funny exchange happens when Patrick says, “The answer to your question is about four hours.” He continues with, “Does that make sense to you?” The surprised audience member bursts into laughter, answers in the affirmative, and continues laughing.  His question: “How long will it take me to sober up?” So funny!

Other astonishing telepathic feats include telling people their astrological signs and birthdates, identifying what worries them, knowing a person’s favorite color, using Tarot cards to describe one’s personality, and other stupefying, seemingly impossible bits of knowledge Patrick intuits.

Most of this amazing show features soft, piped-in background piano music that creates a soothing yet somewhat mysterious tone. Perfect!

Patrick is a personable, likable performer who engages smoothly and comfortably with the audience throughout this immersive show. His mind-reading ability is truly remarkable and fascinating to behold. He makes it easy to believe the spirit of Illiana is present, and she makes her presence known subtly but without a doubt.

Thoroughly enjoyable best describes this engrossing show, which mesmerizes from the moment the jingling bell opens the show until the jingle of the same little bell closes it! Spellbinding!

LTL

The show runs until October 17 at Liberty Magic, 811 Liberty Avenue, Pittsburgh 15222

 

 

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By Timothy Ruppert

A few years ago, the great Tig Notaro hosted Under a Rock, a talk show designed to foreground her woefully insufficient knowledge of contemporary popular culture and its celebrities. I have long appreciated Notaro’s honesty, given that I too have scandalized many of my colleagues and intimates by my almost total unfamiliarity with many of the best-loved films and television series of my lifetime. Sam Raimi’s 1981 horror classic, Evil Dead, and the franchise that (apparently) evolved from it, provide a case in point. And so, when I was assigned to review Pittsburgh Musical Theater’s presentation of Evil Dead: The Musical, I hadn’t the faintest idea what to expect beyond the impressions of supernaturalism that the title imparts. What I found at PMT’s West End Canopy was one of the most gloriously ridiculous shows that I have ever seen, complete with a stellar cast, a committed audience, and a profoundly crimsoned ‘splatter zone’ (luckily) several rows off.

Evil Dead: The Musical brilliantly parodies the horror-cinema genre to which Raimi’s 1981 film and its myriad descendants belong, leaving no opportunity for humorous metacommentary unexplored. The show succeeds, in fact, by virtue of its shamelessly forthright absurdity, helped along by an incessant torrent of visual non sequiturs, frightful puns, and puerile sex gags. Beyond offering amusing tongue-in-cheek takes on the tropes of the silver-screen nightmare, going so far as to give us a mounted moose head possessed by pernicious spirits, Evil Dead indexes the last forty years of Broadway musical history, alluding freely to The Rocky Horror Show, Little Shop of Horrors, and A Chorus Line, among others. The relentless self-reflexivity of this show makes it a joy throughout, even for those who are new to the joke.

While nobly ludicrous in its own right, PMT’s version of Evil Dead: The Musical benefits terrifically from the buy-in of the cast, crew, and patrons who invest such positive energy into the production. The performers, led by Brett Goodnack as the demon-dispatching Ash, all merit accolades for the immense amount of work that this show asks of them. Kamilah Lay (Linda), Zanny Laird (Chryl), and Michaela Isenberg (Annie) were particularly impressive among a praiseworthy group. Nick Mitchell directs the broad comedy with an admirable dedication to detail (Mitchell also plays Professor Knowby, the historian whose research into ancient texts sparks the hilarity). The music is terrifically entertaining as well, with “Housewares Employee” (Goodnack and Lay), “Look Who’s Evil Now” (Laird, Moose, and House Spirits), “Ode to an Accidental Stabbing” (Isenberg and Ben Sheedy as Jake), “Do the Necronomicon” (Demons), and “It’s Time” (Goodnack and Company) landing especially effectively. Cheers to all the souls comprising the production staff, particularly Gemma Mitchell (choreographer and production stage manager) and the team of Avery Ferrell, Michael Fitzmaurice, and Christopher Patrick for makeup, wigs, and special effects. I respect the work that went into this show—and can scarcely imagine the labor necessary to clean up when the evening’s over.

I reserve a final word to acknowledge the spirited audience. Their affability and passion for this show (now playing its seventh year at PMT) enriches the event for all, including reviewers living under rocks.

—TR

For more information on Pittsburgh Musical Theater’s performance of “Evil Dead: The Musical,” please visit https://pittsburghmusicals.com/evildead/.

    

 

By Michael Buzzelli

Jennifer Simard kicked off the Trust Arts Cabaret Series on Monday, September 28, with a witty, delightful act in which she recounted personal stories from her days on Broadway and on the road.

Simard, currently starring in the meta-masterpiece, “Schmigadoon!,” brought whip-smart wit and a sultry singing voice to the Greer Cabaret Stage (currently staged for “Rent” for BDE Productions).

Simard was accompanied by Steve Marzullo on piano, who provided occasional vocal support when needed. He was a deft pianist, willing to banter with the Broadway star.

She played a variety of her best Broadway songs, including “That Was Then, This Is Now,” from her recent run as Helen Sharp in “Death Becomes Her.”

She also nailed a cabaret standard, “Ladies Who Lunch” from “Company.”

Simard kept the show quick and light. She even did a little bit of immersive theater, selecting women from the audience to be her “ladies in waiting” in a song cut from “Shrek: The Musical.”

The 9:30 show was packed, and the audience delighted in her stories. Even though she dropped some big names, she kept her humility and humor.

At the 9:30 show, she joked, “I was in plane accident with Sutton Foster. The plane lost electrical power, we had an emergency landing in Chicago, and skidded off the runway into the grass. It’s a good thing we didn’t die or the headline would have read; ‘Sutton Foster…and others die in plane crash.'”

It was a triumphant start to the Trust Arts Cabaret 2026-2027 season, which includes heavy-hitters like Christian Borle, Caissie Levy, Lorna Courtney, and (fingers crossed, because he had to cancel last year) Jeremy Jordan.

-MB

The Greer Cabaret, 655 Penn Avenue, Pittsburgh, PA 15222, has a full season of Cabarets. Next up is Christian Borle. For tickets and additional information, click here. 

By Lonnie the Theater Lady

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

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

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

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

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

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

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

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

-LtTL

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

 

 

 

 

 

by Claire DeMarco 

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

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

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

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

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

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

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

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

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

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

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

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

Special recognition to:

Director Samuel G. C. Muñoz

Scenic Designer Noah Glaister

Fight Captain Katie Marks

Congratulations, Playbox Productions on a well-done production!

-CED

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

 

 

 

By Joseph Szalinski

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

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

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

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

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

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

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

-JS

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

By Lonnie the Theater Lady

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

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

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

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

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

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

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

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

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

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

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

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

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

LTL

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