'Burgh Vivant

By Michael Buzzelli

Robin Williams once said, “You’re only given a little spark of madness. You mustn’t lose it.”  Dave Droxler finds his spark and lets it take over in “Robin & Me: My Little Spark of Madness.”

This one-man (with multiple personalities) show is about a coping mechanism Droxler uses when life goes sideways. Instead of making up an imaginary friend, Droxler relies on the wit – and sometimes wisdom – of the late comedian, Robin Williams.

The impressionist takes on other identities as well including Jim Carrey, Jack Nicholson, Eddie Izzard. There are even “cameos” by Spongebob Squarepants, Patrick the Starfish, Christian Slater and Harvey Fierstein.

The jokes come full throttle while we learn about Droxler’s early life, including some cringe-worthy moments surrounding his puberty.

“Robin & Me: My Little Spark of Madness” is a perfect showcase for Droxler’s talent. His impression of Robin Williams is spot on.

There is a moment, early in the show, when Droxler as Robin snakes his way through the audience, riffing on the theater goers. The adlibs are hilarious.

Droxler embodies the late comedian in every way, the wit, the mannerisms. Squint your eyes and you’ll see Robin on the stage..  If imitation is the sincerest form of flattery, then Mork is smiling down from Ork.

The show is frenetic and madcap, you’ll never doubt his fire, or his passion  playing the comedic genie. There are even some heartwarming moments. Droxler chokes up when reminiscing about his late father.

Director Chad Austin lets Droxler run wild on the stage, much to the audience’s benefit. Since Droxler uses every inch of the stage, there is no bad seat in the house.

Stella Frazer’s set, like Robin Williams himself, seems a bit much, especially for a traveling show. It’s a lot of tchotchkes to box up and take on the road, but it is bright and colorful and seems to capture the late comedian’s personality.

If Robin’s seemingly inimitable style of zaniness is not your thing, you might want to avoid this show, but if you’re a fan of the famous comedian, you don’t want miss this brisk (80 minute, no intermission) show.

MB

“Robin & Me: My Little Spark of Madness” runs from from January 22 to January 26 at Point Park University’s Highmark Theatre, 350 Forbes Avenue, Pittsburgh, PA 15222. For more information, click here.

 

By Michael Buzzelli

Pittsburgh was granted a rare Martin Luther King, Jr. Day treat,  Wali Jamal reprised his role as August Wilson  in August Wilson’s autobiographical play, “How I Learned What I Learned.”

The play was  originally written and performed by August Wilson himself in 2003. It is the autobiographical story of the young black artist’s journey through the hardships of growing up in the Hill District in the 1960s.  Wilson describes the denizens of the Hill with wit and reverence. He takes a long look back at his childhood and offers up poignant memories.

Jamal is the only actor in the world who has been in all of the ten of August Wilson’s Century-Cycle plays. He was also named Pittsburgh Post-Gazette’s Performer of the Year in 2018. He is a treasured performer here.

Note: His King Hedley in “Seven Guitars” was menacing.

Jamal managed to capture the the essence of the poet/playwright and make the “character” uniquely his own.  Jamal, alongside director Jason Kmetic, adds a Yinzer flair to Wilson’s characters, providing a little extra hometown humor.

Jamal is a grand storyteller.  His performance was distinctive and extremely entertaining.

The play itself, however, is very anecdotal and a little long, but it is filled with the poetry of language that is awe-inspiring.  They are literally and figuratively pieces of August Wilson’s heart laid bare told grandly by Jamal.

Hearing Jamal as Wilson describe micro and macro aggressions of racism was heartbreaking, especially since the play took place on the same day an Executive Order was signed to revoke the federal Diversity, Equity and Inclusion guidelines (among a series of other heinous Executive Orders).

Jamal, through the soul of August Wilson, reminds us that racism and hatred must be fought continuously at all times.

-MB

“How I Learned What I Learned” was a production of Prime Stage Theatre’s Monday Specials. For more information about Prime Stage, click here. 

 

By Claire DeMarco

Ruby Bridges (Saniya Lavelle), a very bright six-year-old is encouraged to attend the William Frantz Public School.  What’s so special about that?  A lot of talented kids have opportunities to excel.

The difference is that this is 1960 in New Orleans, the William Frantz Public School is all white and Ruby is black.  This is the first time that the school will be integrated.

An NAACP Representative (DeVaugh Robinson) entreats Ruby’s parents Lucille Bridges (Joylette Portlock) and Abon Bridges (Richard McBride) to consider this opportunity.  Although both are concerned yet interested, Abon is more reluctant than Lucille, fearing for her physical safety even though Federal Marshalls would escort Ruby to school each day.

Lucille’s religious faith convinces Abon to give Ruby a chance that would normally be out of her reach.  Abon agrees.

Entering the school on the first day, Ruby is met with angry crowds and ugly words.

Note:  This greeting occurred every day of the first year she attended William Frantz Public School.

Her first-grade teacher, Mrs. Henry (Stacia Paglieri) is white and comes from New England.  On the first day Ruby is the only student in the class as the other students have either been assigned to another teacher or their parents have pulled them out of Mrs. Henry’s class.

A strong bond develops between Mrs. Henry and Ruby.  Ruby wants to learn and Mrs. Henry wants to teach her.  Mrs. Henry’s classroom was a secure world for Ruby against the turmoil within and outside the school.

Ruby is the only student in Mrs. Henry’s class for the entire first grade year.

Lavelle plays Ruby as a six-year-old but also shows the courageous side of a child faced with unrelenting discrimination from racial mobs outside her school.   She displays a mature aspect that projects confidence and resilience.  There are times, though, when her youthfulness pops to the surface as she dances about, holding a much-loved and well-worn doll.

Portlock’s strength comes through as the mother whose love of God and the belief in the equality of all people transfers those strong beliefs to Ruby.

As the supporting but fearful father, McBride’s anguish about whether to allow Ruby to attend school is often emphasized by the tortured look on his face.

Paglieri displays unwavering support for her only student.  She radiates a gentleness that builds a bond between her and Ruby.  They become more than teacher and student but ultimately friends during that unique first grade experience.

The entire cast is outstanding! Excellent direction by Linda Haston.

Ruby Bridges is a real person and this is her story.  Many of us remember or have heard about the 1960’s as a time when many well-known organizations, associations, and people focused on eliminating legalized racial discrimination, in all its forms.  Ruby Bridges made an amazing contribution in that effort.

-CED

“Looking Forward:  The Ruby Bridges Story” is a production of Prime Stage Theatre.  Performances run from January 17^th to January 26th at the New Hazlett Center for Performing Arts, 6 Allegheny Square E, Pittsburgh, PA. For more information, click here. 

Reviewed by Dr. Tiffany Knight Raymond, PhD

The Pittsburgh Cultural Trust and Liberty Magic kick off 2025 with magician Francis Menotti in Sisyphus and Siri. If Menotti’s show is a leading indicator, 2025 is set to be epic.

Magic is not often enough considered an art form. A well-performed magic show creates moments of awe, and this emotional response makes magic an art. Menotti elevates magic with a show that’s studded with moments of wow and wonder but also layers on a cyclical, meta performance. The show opens with him sprawled dead on the stage floor. Rows of audience seating rise up from the stage, looming above him. The show works back Memento-style to his death.

The Greek gods punished Sisyphus by cursing him to an eternal fate of rolling a boulder up a hill only to have it roll back down again. Futility is a relatable human experience. Menotti pairs Sisyphus with the modern all-knowing tech goddess, Siri. For anyone who’s tried to use this voice agent, it can feel Sisyphean to get “her” to understand what you’re saying as you enunciate and then overenunciate. Menotti’s Siri works flawlessly, which is perhaps the only flaw in his show.

Siri is most successful when she takes over the show during Menotti’s union-mandated break during the show. She engages with a volunteer audience member called to the stage. While Siri’s role is obviously pre-recorded, what’s striking is how well it works. Situational human behavior is so predictable that a pre-recorded electronic communication works, regardless of the individual human onstage. That being said, it is the humans in partnership with technology that create the wow factor, so Siri isn’t quite ready to own center stage.

One of Menotti’s key themes is about creating coincidences. He relies heavily on audience participation, making it a very interactive show. Menotti has a lively, agile presence. He uses an array of props and pulls in a diverse range of audience members and has impressive name recall. As an attendee, chances are high you may get to interact with the show, and Menotti ensures everyone has fun and feels safe.

The onstage presence of audience members who are “checking” Menotti’s work and participating in the show heightens authenticity. Making connections among strangers becomes part of the magic of creating coincidences that remind us that the world is full of awe, and part of the magic of magic is letting yourself be immersed and experiencing it fully.

-TKR, Ph. D.

The magic of Francis Menotti in Sisyphus and Siri runs through February 2, 2025 at Liberty Magic (811 Liberty Avenue, Pittsburgh, PA). Purchase tickets online at https://trustarts.org/production/95908/francis-menotti-in-sisyphus-and-siri.

By Michael Buzzelli

Prime Stage Theatre held it’s fifth annual High School Drama Awards on January 11 in Shady Side Academy’s Hillman Center for Performing Arts.

Emcee Monteze Freeland welcomed local luminaries to present the awards such as Matt Henderson, Wali Jamal, Daina Griffith and Dan Krell, alongside area educators from Point Park, Carnegie Mellon University and more.

Pine-Richard High School won Best Overall Production for “The Holiday Channel Christmas Movie Wonderthon,” a tongue-in-cheek show about Hallmark Christmas movies.

The top awards went to Jillian Uzelac ( Pine-Richland High School) for Best Actress and Connor Hart (Carlyton High School)  for Best Actor.

Callie Dailey (Thomas Jefferson High School) garnered Best Supporting Actress with Jake Pazin (Pine-Richland High School) for Best Supporting Actor.

The Best Student Director was handed out to Jake Miller for Quaker Valley High School’s production of “Almost, Maine.”

Best Student Stage Manager went to the team at Pine-Richland High School for their production of “The Holiday Channel Christmas Movie Wonderthon.”

Additional awards were handed out for the productions.

Nicole Short won Best Student Program/Poster Design and/or Fabrication (Pine-Richland High School). The team at Carlyton High School won Best Student Sound Design and/or Operation. Chartiers Valley High School won Best Student Onstage Run Crew.

Best Student Scenic Design and/or Fabrication went to Wesley Wright (Pine-Richland High School). Best Student Lighting Design and/or Operation went to Theo Walsh and Tyler Debski (Chartiers Valley High School). Debski also won for Best Student Use of Creative Special Effects.

April Kanai (Carlyton High School) was handed the statuette for Best Prop Design and/or Fabrication.

Lilith Bohin (Fox Chapel High School) won for Best Costume Design and/or Fabrication and Brianna Zoller (Thomas Jefferson High School) won for Best Student Makeup Design and/or Application.

Students performed scenes from their shows which included “12 Angry Jurors” from Avonworth High School, “Sorry, Wrong Show,” from Carlyton High School, “Harry Potter and the Cursed Child” from Chartiers Valley High School,  “The Holiday Channel Christmas Movie Wonderthon,” and “Almost, Maine” from Quaker Valley High School.

Director John Dolphin said, “As leaders in the Pittsburgh theatre community, we feel it is our duty to bring guidance and recognition to the young people who will soon take our place. They are the future of our community, both theatre and otherwise, and without them, Pittsburgh theatre would not be prospering in the amazing ways we see today.”

-MB

For more information about Prime Stage Theatre and their upcoming events, click here. 

By Michael Buzzelli

Fania Borach AKA Fanny Brice (Leah Platt on opening night), star of stage, radio and film, doesn’t let anyone rain on her parade in “Funny Girl.”

Eddie Ryan (Izaiah Montaque Harris) and her mother Mrs. Brice (Melissa Manchester) believe in Fanny’s star power.  After her first big break, in a show produced by Tom Keeney (David Foley, Jr.), Fanny skyrockets to fame, drawing the watchful eye of notorious gambler, Nick Arnstein (Stephen Mark Lukas).

Though Fanny plays hard-to-get on their first date, she gives in to Nick’s charms. The two are delightfully playful in “You Are Woman, and I Am Man.”

Fanny falls head over heels  for this no-good Nick faster than you can say, “Baby Snooks.” Even though her friends in the theater see Nick’s brightly waving red flags, Fanny is entranced.

Mrs. Brice, her friends Mrs. Strakosh (Cheryl Stern), and Mrs. Meeker (Christine Bunuan) act as the Greek chorus, filling in the exposition over Pinochle (or some other card game).  The accents are very familiar, and purposely grating. Think: Renée Taylor in every episode of “The Nanny,” or the unseen but very heard Carol Ann Susi as Howard Wolowitz’s mom on “The Big Bang Theory.”

Harvey Fierstein (“Torch Song Trilogy,” “La Cage aux Folles” etc.) revised the book by Isobel Lennart (and her original story), grafting on some fun moments, updating it and excising some flab.

Platt (who replaced Hannah Shankman on opening night) does an amazing job as Fanny Brice.

It’s hard not to compare any performance to Barbra Joan Streisand, and there does seem to be a lot of influence in her performance. Platt is a belter and she hits some incredible high, sustained notes. Her version of “Don’t Rain On My Parade” is flawless.

Lukas is a charmer. He’s charismatic and bold. Everything an Nicky Arnstein should be. Hunk alert: There was an audible  collective gasp from the audience when he showed up shirtless in the second act.

Harris’s tap-dancing Eddie Ryan is a thrill to watch. He’s another great reason to see this revival. There is some excellent tap choreography by Ayodele Casel.

There are glorious costumes by Susan Hilferty and some lovely sets by David Zinn.

Director Michael Mayer keeps the action swift and the story tight. The show clips along and the dance scenes choreographed by Ellenore Scott are fun and fast-paced.

The story, which takes place during and shortly-after World War I (i.e. the Great War), may strike some audiences members as old-fashioned, quaint or nostalgic, but at it’s heart, “Funny Girl” is about love: wanting it, getting it, and losing it. What is more relevant than love?

It’s a slice of life, an extraordinary life.

I’m ready for “Funny Lady.”

-MB

“Funny Girl” runs from January 7 to 12 at the Benedum Center, 237 Seventh Avenue, Pittsburgh, PA 15222. For more information, click here.

By: Joseph Szalinski

Put up your decorations and pull down your venetian blinds because a case has just opened like a present on Christmas morning, and everyone’s favorite jolly home invader is at the center of it in Hobnob Theatre CO’s latest original production, “‘Twas the Night Before Christmas: A Musical Noir, ” directed by Ken Smith, now dashing through the snow at Butler County Community College’s Succop Theater, in Butler, PA.

Boasting a familiar, public domain title, this festive detective story subverts the standard holiday fare in favor of something a little different. Featuring book and lyrics by Deanna Sparrow and music by Ken Smith, audiences are treated to a merry mystery that wonderfully balances the fatalistic grittiness of noir narratives with delightful song and dance in a play that’s sure to get even the most cynical PIs in the holiday spirit.

Despite a brief runtime of an hour and some change, Sparrow manages to pack plenty of material into the script. Featuring humorous wordplay, witty references, and a healthy dash of intrigue, this show has something for fans of either The Maltese Falcon or “The Twelve Days of Christmas.”

Sporting a large cast, ‘”Twas the Night Before Christmas” is replete with great performances. Justin Anderson effortlessly embodies Detective Mac O’Brien, a grizzled lawman who may be a little jaded, but hasn’t lost his yuletide cheer. He entertains in his everyday outfit as well as in his clever disguise, which he garnishes with a hilarious voice. Contrasting the good detective is the devious elf, Quigley, played by Luke Frederick, who devilishly demonstrates why he belongs on the naughty list this year. Further fleshing out the main characters are Berg and Irene, a lovesick yeti and elf, respectively, brilliantly brought to life by this duo charms through animated physicality and impressive singing.

What would a North Pole caper be without its most famous residents? Laura Crago (who double duties as choreographer) mystifies as the femme fatale, Carmen Sandi…erm, I mean Claus, while Greg Crawford shines in a role he seems born to play as Nicky Claus. Completing the six of them is a gaggle of elves by a swarm of talented young performers: Ava Beattie, Corryn Borkowski, Willow Calvert, Elin Cloutier, Kaimana Colvin, Carley Cousins, Jenson Dudash, Corbin Federkeil, Hayden Federkeil, Reignah Federkeil, Ava Gerber, Palmer Gifford, Katelyn Hankey, Adeline Hills, Maranda Horstman, Lily Morgan, and Quinn Warheit.

Aside from the cast, the band helps this wintry world become realized. Ken Smith and Jessica Sanzotti (the show’s musical director) handle the keyboards, while Karen O’Donnell ba rumpa bum bums the drum kit as percussionist. Not only do the musicians provide catchy tunes that’ll leave you tapping your toes, but they also soundtrack the onstage antics with some terrific sound effects.

The technical side of things is equally amazing. Danyle Verzinskie has devised a gorgeous set with help from a dedicated construction team and stage crew. Katie Moore ensures costumes bring the characters to life even more so, with the costuming and makeup for Berg being the most exceptional. Danyle and Katie have also concocted ingenuous props that seamlessly add to the comedic elements of the production. Playwright Deanna Sparrow lends a hand with lighting and Mike Beck handles sound, rounding off the behind-the-scenes contributions.

Succop Theater is a marvelous venue. Not only is the auditorium sprawling, but the building is beautiful and leaves audiences in awe as they enter and exit the space. Situated on sleepy streets a little way from town, BC3’s campus is an oasis of art and culture. Even though Hobnob does have a home of its own, it’s nice to see them work in concert with another local institution.

Hobnob, yet again, offers a magical evening (or matinee) during the holiday season. They continue to dazzle attendees and engage the community by putting on unparalleled productions. Their commitment to fostering the love of theatre in an area that benefits from its presence is a noble pursuit. By showcasing tenured talent and encouraging burgeoning thespians, they’ve established themselves as an indispensable cultural resource. Whether it be comedy, a new musical, or a classic drama, Hobnob puts in work that deserves to be noticed by more people. And by continuing to host shows at their studio or bringing their excellence to some other stage, they’ll certainly get the recognition they deserve. It’s exciting to think about what they have coming up in the near future.

-JS

‘Twas the Night Before Christmas: A Musical Noir continues its run at Succop Theatre on the Butler County Community College campus in Butler, PA on Saturday December 21^st at 7:30 PM and Sunday December 22^nd at 2:30 PM. For more information, click here. 

 

By Michael Buzzelli

David Whalen returns to the role of Sherlock Holmes for the eighth time (Editor’s note: technically seventh because of a  shocking twist in “Sherlock’s Last Case”) in “A Sherlock Carol.”

Plagued by the death of his archnemesis, Professor James Moriarty, Sherlock Holmes (a spot on Whalen) returns from Reichenbach Falls a despondent, inconsolable shell of his former self, unable to find the joy of Christmas. He spurns his only friend, Dr. John Watson (Simon Bradbury, in multiple roles), and refuses to take any new cases for Scotland Yard.

Emma Wiggins (Carolyn Jerz in various roles) begs Holmes to investigate a robbery, but he refuses. Then, he meets Dr. Timothy Cratchit (Joseph McGranaghan) who asks him to investigate a murder. Don’t worry, if you don’t remember the name from “A Christmas Carol,” he almost immediately mentions his childhood nickname, Tiny Tim.

The point-it-out-to-the-audience-in-the-cheap-seats was a rare misstep in Mark Shanahan’s sparkling script.  The comedy rule is “the joke isn’t funny if you explain it.”

If you guessed, Sherlock Holmes must solve the locked-room mystery of the death of Ebeneezer Scrooge (James FitzGerald, also in multiple roles), you win the carbuncle diamond!

His housekeeper, Mrs. Dilber (Helena Routi on opening night, but Susan McGregor-Laine later in the run), takes Sherlock on a tour of Scrooge’s study.  Reluctantly, our stalwart Sherlock takes the case.

The mystery leads him in a circuitous path where he encounters strangers and friends, and a woman from his past (Caroline Nicolian).

Note: We’re keeping Nicolian’s identity under wraps, but she’s using the alias of the Countess of Morcar.

“A Sherlock Carol” is a strange hybrid, Holmesian “A Christmas Carol” and a short story “The Adventure of the Blue Carbuncle.”  A hybrid, warped thing that imagines the super hero team-up of Charles Dickens and Sir Arthur Conan Doyle, but written by Mark Shanahan.

Whalen is Pittsburgh’s Sherlock Holmes. This reviewer can’t imagine anyone else in the role. He excels as Sherlock. He has the magnetism, the boldness, the arrogance, the intelligence. Whalen is able to create a fully-realized version of the character.

Simon Bradbury plays Watson, Inspector Lestrade (the bumbling Scotland Yard detective), and Joe Brackenridge. He makes each character distinct and unique.

McGranahan, who also starred in “A Life in the Theatre,” returns to the Kinetic stage in various roles. His Dr. Timothy Cratchit is more of a tall Tim than a tiny one, but he was superb.

Nicolian shines in her roles, particularly as the Countess, who sings “The Twelve Days of Christmas.” While she has some help from the audience, she hits the high notes herself.

FitzGerald is always welcome on any Pittsburgh stage. He brings charm to his various roles. His performance as candlemaker Henry Burke is hilarious. A million actors have played Scrooge. FitzGerald captures his Ebeneezer-y essence.

Jerz is delightful as Emma Wiggins.

Last-minute-replacement actor, Ruoti, had to work with her script in hand, still managed to impress.

Douglass Levine handled the music as effortlessly as he always does.

The sketchy set by Johnmichael Bohach looked an Aha video.  Christopher Popowich’s lighting design perfectly illuminated the set with a multitude of electric candles.

There are excellent costume designs by Kimberly Brown. The dapper detective’s final scene is iconic.

Andrew Paul directed a literal kinetic production as the actors raced around the stage.

There are a lot of versions of “A Christmas Carol” throughout Pittsburgh right now. They are popping up like children pouring out of Mother Ginger’s skirt in “The Nutcracker,” but  twisted mystery in “A Sherlock Carol” is a gas.

-MB

“A Sherlock Carol” runs from December 13 to December 22 at the Henry Heymann Theatre, University of Pittsburgh, 4301 Forbes Avenue, Pittsburgh, PA 15213. For more information, click here. 

By Claire DeMarco

If it’s close to Christmas, it’s time for old Ebenezer Scrooge to make his annual appearance!

Charles Dickens’ “A Christmas Carol” was first published as a novella in 1843 and later adapted for stage and screen and then a musical. This is Pittsburgh CLO’s 32^nd year presenting this classic which includes music and a bit of comedy.

Ebenezer Scrooge (Charles Shaughnessy) is a miserly, spiteful, greedy old man whose love of money means more to him than the people around him.  Even Christmas doesn’t open his heart or his pocket.

He annually rejects his nephew Fred’s (Justin Fortunato) Christmas dinner invitation, refuses to contribute to helping those less fortunate and expects his long-time employee, Bob Cratchit (Aaron Galligan-Stierle) to work a few hours on the holiday.

On Christmas Eve his former business partner, Marley (Daniel Krell), dead for several years, appears as a ghost, a frightening green, chained version of his former self.  He warns Scrooge that if he doesn’t turn his life around, he’ll end up like him.

Ghosts of Christmas past, present and future are revealed to Scrooge.  Each time snapshot enables Scrooge to capture and remember what he was like in his youth, what he should strive to be and what will happen to him if he doesn’t change.  Only he can determine which direction he takes.

Shaughnessy is so believable as Scrooge.  His mean nature and dour outlook on life spill out from his voice and his facial features support that impression.  As he revisits his early life (as an onlooker), he captures the sense of wonder at that life.  He moves easily into the present as he seeks redemption.

Theo Allyn as Mrs. Dilber is exceptional.  Her comedy encompasses both physical gymnastics and exceptional use of facial contortions.  Imbibing a little too much drink with a cockney accent is comedy at its best.

A master of doubletakes and asides, Tim Hartman’s Mr. Fezziwig is outstanding.  His timing is superb and he easily transitions from quasi-serious to funny with ease.  When Allyn (as dual character Mrs. Fezziwig) joins Hartman it’s double trouble and double fun.

Alexander Podolinski shines as Young Ebenezer Scrooge.  He is kind and outgoing.  His nature completely changes from this young caring youth once exposed to Marley.  His hardened facial expressions define his new persona.

Krell has no problem changing from the soul tortured ghost into the evil business partner who initially turns Scrooge from a compassionate young man into his own likeness.

The ensemble singers ranging from very young to older are excellent.

Mariann Verheyen’s costume designs are diverse and exceptional, most notable with creations for the “Ghosts.”

A shining light on Andrew David Ostrowski, Lighting Designer and a shout out to Scenic Designer D. Martin Bookwalter for special effects.

-CED

“A Musical Christmas Carol” is a production of Pittsburgh CLO.  Performances run from December 13t^h to December 22nd at the Byham Theater, 101 6^th Street, Pittsburgh, PA.  For more information, click here. 

By Lonnie the Theater Lady

Everyone knows how Dicken’s “A Christmas Carol”  ends. Scrooge, frightened by ghosts, blossoms into decency and generosity. Tiny Tim miraculously is restored to good health. Marley is still dead. Award winning actor, director and playwright Tom Mula looks deeper into the story from Jacob Marley’s imaginative point of view. “Jacob Marley’s Christmas Carol” not only provides Marley’s backstory but also serves as a prequel to the Dicken’s classic.

The play opens with the repeated refrain, “Marley was dead: to begin with.” Jacob Marley (Travis Myers-Arrigoni) is wandering through the circles of hell, where he is shocked to learn that he is dead. Apparently, the long, heavy chains draped over his body aren’t enough of a clue for him to realize that he is no longer endowed with life!

Marley desperately wants to transfer out of the underworld so he begs the “Record Keeper” (Elizabeth Glyptis) to provide him with a way out. She assigns him the task of converting the “covetous, old sinner,” Ebeneezer Scrooge (Keith Zagorski) into a kind, generous person. Marley fears this is an impossibility. Fortunately, a devilish aide, Bogle (Noah Kendall) is provided to help him frighten Scrooge into transforming himself. They conspire and rehearse several ways to haunt Scrooge and scare him straight. These spooky practice scenes are extremely funny- -invoking a strong Beetlejuice vibe, including the eerie green lights.

Although Marley is a despicable person, Myers-Arrigoni manages to make him sympathetic and relatable. We find ourselves rooting for his success. His strong emotional reactions all ring true.

Kendall’s Bogle, although devilish, has a childlike innocence and likability. His quirky demeanor and expressive countenances earn him several laughs.

Zagorski is well cast as Scrooge. His physical movements clearly telegraph his metamorphosis, and make his dramatic transformation from miserable curmudgeon to joyous benefactor robust and believable.

Glyptis, a businesslike, efficient “Record Keeper” makes the most of her role. (and sometimes acts as narrator)

This  slant on “A Christmas Carol” is a welcome change of perspective. It’s a unique, fresh story of redemption and the much needed hope for which we currently and desperately yearn.  Happy holidays!

-LTL

“Jacob Marley’s Christmas Carol”  runs through December 21 at Little Lake Theatre, 500 Lakeside Drive, Canonsburg, PA 15317.  For more information, click here.