'Burgh Vivant

 

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. 

 

 

by Claire DeMarco 

From the fictional WBRC Studios in Pittsburgh comes “Night of the Living Dead N’at”, the 14th exciting season of Bricolage’s Midnight Radio series.

Radio performers: Adapter; Helen et al (Tami Dixon), Ben et al. (Sam Lothard), Harry et al. (Jason McCune), Barbara et al. (Sheila McKenna) and Johnny et al. (Sam Turich) guide us through a radio-format highlighting George Romero’s “Night of the Living Dead.”

The classic black and white horror film runs on the wall behind the radio studio.  Of course, Bricolage’s version of “Night and the Living Dead N’at” takes on a satirical and comedic turn as our radio performers start to insert commentary into the soundless film. Their dialogue is satirical, hilarious and often outrageous.  What was (and still is) a major horror film becomes a source of absolute comic delight.

Note: Only specific scenes from the full-length film are shown as part of this production.

As with all radio shows, there are commercials and musical interludes before the “Night and the Living Dead N’at” resumes.  A commercial eliciting the pros of cremation fits neatly into this environment. Insert a musical treat by Cello Fury (Cecilia Caughman, Simon Cummings and Nicole Myers), throw in a “dark” version of Family Feud!

After radio intermission, we are back in the world of “Night of the Living Dead N’at”, once again watching our radio performers interact with Romero’s original film.

Don’t miss “Night of the Living Dead N’at”!  It won’t disappoint.  And if you’re not from the ‘Burgh, you won’t need a translator to decipher our at times unique use of the English language.

The brilliance of this ensemble is off the top!  Timing is essential and works wonderfully, both vocal timing and with associated sound effects.  Dixon, Lothard, McCune, McKenna and Turich perform seamlessly, almost effortlessly as they change their characterizations, either through unique facial expressions or accentuating different speech patterns. These changes enhance and exaggerate their comic effect.

They are a well-balanced team with no weak links in the ensemble.

Dixon maneuvers both her comedic delivery many times with associated special effects. Her physical comedy is as effective as her vocal presentation.

Lothard ’s timing is superb as he pinpoints exactly when to deliver one killer line after another. He is a powerhouse.

McCune adroitly manages special effects through hand-held objects and has great comedic presence and awareness.

McKenna figuratively throws some funny and sarcastic punches throughout the show. Her physical expressions are spot on.

As the radio announcer, Turich’s character is fashioned after old time radio announcers.  His performance is more theatrical, mimicking the limitations of early broadcasting.

Cello Fury, known for their unique blend of classical cello and rock music wowed the audience as Musical Guests for the radio show production.

The stage is set as a radio studio with all the paraphernalia one expects in that environment – large radio microphones, props essential for sound effects.  The audience is reminded to participate and applaud when the Applause Sign blinks furiously.

Jeffrey Carpenter’s direction is excellent, ensuring the seamless, smooth movement and pace of the actors and the production.

“Night of the Living Dead N’at” was adapted by Tami Dixon.

 

-CED

“Night of the Living Dead N’at” is a production of Bricolage Production Company.  Performances run from October 29^th to November 15^th at City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203.

For more information, click here.

 

 

By Timothy Ruppert

For well over two millennia, in myriad remakings and retellings, Orpheus has attempted to save Eurydice from Hell. Almost invariably, he fails. The story of this miraculous singer, whose music could charm stones to dance, and his lost beloved has inspired artists for generations: over the last century or so alone, the myth has figured into major works by the poet Rainer Maria Rilke, the composer Igor Stravinsky, the filmmaker Marcel Camus, the novelist Margaret Atwood, and the playwright Sarah Ruhl. More recently, the ever-relevant, ever-heartbreaking narrative has received a further afterlife in Anaïs Mitchell’s Hadestown, a 2019 Tony Award winner now playing at the Benedum Center in a PNC Broadway in Pittsburgh production. The show builds a world of thresholds, suspending lovers and lives between places and fates, thus occasioning a drama in which the stakes and mistakes (a backward glance, say) have the highest consequences and every step occurs on an existential highwire.

The liminality of Hadestown accommodates contrast and synthesis with equivalent ease. The set hovers between Bourbon Street jazz tavern and Metropolis-like infernal factory, a mix of fun and terror accentuated by coppery hues alternating with intense greens and reds (David L. Arsenault’s scenic design and Aja M. Jackson’s lighting design, based on Broadway originals, are superlatively effective). Our concierge is Hermes (Rudy Foster), dapper and charismatic, and our conveyance between realms is a sinisterly whistling train (though a footpath to Hell exists as well). The miseries of a devastated land in which spring and autumn no longer occur are as real as the love between Orpheus (Jose Contreras) and Eurydice (Hawa Kamara), so much so that the latter accompanies Hades (Nickolaus Colón), lord of the underworld, to his wretched kingdom to escape the nightmares of the mortal sphere. Orpheus commits himself to rescuing Eurydice at all costs, applying his lovely voice and remarkable heart to this interdimensional challenge.

While the principals—Contreras especially—make the show special, the performers who play the Fates steal the evening. Gia Keddy, Miriam Navarrete, Jayna Wescoatt, and Julia Schick enthrall as the destiny-weaving sisters (Schick joined the trio for act two on Tuesday night after a mid-show cast change placed Navarrete in the role of Persephone, played powerfully in act one by Namisa Mdlalose Bizana). Standouts on an immensely talented team, these actors help significantly to elevate a particularly good show to a distinctly memorable event.

The show’s musical numbers encompass an impressively diverse selection of genres, and the orchestra proves up to the tasks set by a score that moves from blues to ballad as effortlessly as Hermes darts between the living world and perdition. Not surprisingly, “Wait For Me” and “Why We Build the Wall” linger in the mind, but note to the artistry with which the instrumentalists, under the direction of Arman Wali Mohammad (piano) and Analuna Chahine (violin) and conducted by Keith Levenson, deliver songs such as “Come Home With Me,” “When the Chips Are Down,” “Nothing Changes,” and “Promises.” Keenan Tyler Oliphant demonstrates insight and humaneness in directing Rachel Chavkin’s reimagination of the Broadway original.

Hadestown looks to deep antiquity to tell a moving story of longing, despair, and foolishly beautiful valiance in a new production well worth crossing the threshold to see.

—TR

“Hadestown” runs through November 1, 2026, at the Benedum Center, 7th Street and Penn Avenue, Pittsburgh PA 15222. Please visit www.trustarts.org for information and tickets.

 

 

 

 

 

 

By Michael Buzzelli

A police Dispatcher (Treasure Treasure), known only as the Operator,  summons police officers to a remote, modest home in an unknown neighborhood in Liza Birkenmeier’s “radio island.” Then, the play moves backward from the conclusion to the inciting incident.

Ellen, a hostage negotiator (Siovhan Christensen), returns home to take care of her mother, Paula (Helena Ruoti), after her mom suffers an accident and is temporarily confined to a wheelchair.

The Sheriff (Wali Jamal) is convinced that Paula’s accident is more than it seems, as the neighbors have reported a mysterious car lurking on Paula’s property. The neighbors even reported the sounds of a gunshot to the police. Ellen delves into the mystery. She suspects her estranged father is the culprit.

Meanwhile, Ellen takes a job. An Oil Man (Brett Kennedy, in voice-over) has a tanker that Somali pirates have taken over, and the alleged pirates are demanding a ransom. Ellen reaches out to the Contact Man (Jamal, again, in voice-over) on the boat and tries to cut a deal.

Knowing Ellen will be in her hometown for a while, Rory (Melinda Nanovsky) shows up to help, but she’s more of a hindrance than help as Ellen takes on a handful of stressful situations; hostage negotiation seems less difficult than dealing with her mother and her lover.

A few humorous moments punctuate the dire events of “radio island,” mostly from Jamal and the Reverend (Kennedy in a dual role). The play, however, is a savage and violent treatise on our inability to connect in meaningful ways.

Christensen is sublime. She funnels rage, anger, and grief through a tightly filtered character who seems stoic and reserved. She appears unemotional, but the character’s depths are all there. In reality, Ellen is deeply caring. Her concern for the Contact Man’s fate deepens her multi-leveled characterization.

Ruoti, who was brought in after another actor had to walk away from the project, steps up in a big way. On opening night, Ruoti carried her script around, but it was hardly noticeable. Ruoti dives deep into Paula’s complex character, a woman fighting to keep grief and despair from ruling her final days.

Jamal is distinct in each of his varied roles. As Sheriff, he is affable and pleasant, but nervous around Ellen, who is a much better detective than he is. It’s odd that his Contact Man, a terrorist holding an oil tanker hostage, is the most human character in the play.

Kennedy does a fine job as the Reverend. Still, his Oil Man is a delightfully wicked character, an ornery Southern gentleman corrupted by avarice, and spewing swear words in every sentence.

Nanovsky does a fine job, but she doesn’t get a lot to do. She’s a Vicki Vale. A Gwen Stacy.  She is treated like every cop’s girlfriend in every movie you’ve ever seen.  She’s around to remind the audience that the situation is dangerous, the voice of reason in a cacophonous sea, surrounded by Bad Idea Bears.

Side note: This shouldn’t matter, but it does. Nanovsky towers over Christensen. The height difference adds a lopsidedness to the relationship. Ellen, meant to be intimidating, self-assured, and commanding, looks tiny next to her statuesque partner. The size oddly affects the dynamic. She is a terrific actor, and I hope Nanovsky returns to Pittsburgh in a role more suited for her.

Treasure, however, takes a monotone character and makes it their own. The narration goes from police jargon to poetry. It’s a captivating performance, despite having no chance to interact with the other characters in the play.

Director Katie Brook keeps the action tense, filled with a visceral, palpable uneasiness. It never lets up (forgoing an intermission keeps things in that heightened state).

“radio island” is intentional about the way the seats are all obstructed. Everyone gets a partial view of the proceedings. It is disorienting on purpose. Brook uses the German term, Das Unheimliche (or “unhomey”). She wants you to be uncomfortable. The play is a jagged jigsaw puzzle, and the audience is only given key pieces. However, it’s frustrating when theater-goers pay full ticket prices and get obscured views of the actors.

Scenic Designer Chelsea M. Warren does a fantastic job creating this show’s jigsaw puzzle pieces: a partial kitchen, a hint of a bedroom, and an eerie row of trees representing the forest. Stuart Blackwood’s sound design and C. Todd Brown’s lighting design complement the creepy vibe Warren has dressed.

If you’re geared up for some spooky-season weirdness, “radio island” will take you down a dark, winding path.

-MB

“radio island” runs Tuesday-Sunday, October 23- November 15, 2026, and is indoors at Rockwell Park, 7514 Thomas Blvd., North Point Breeze. For tickets and information, click here. 

By Timothy Ruppert 

Among Shakespeare’s major tragedies of the late-Elizabethan and early-Jacobean periods, Othello is distinctive in several respects, particularly in the fact that it focuses not on a royal family but on the military elite and the aristocrats within their orbit. The New Hazlett Theater and DEMASKUS Theater Collective’s co-production of Othello of the End Zone remakes Shakespeare’s ever-powerful tale of romantic mistrust and psychological manipulation by substituting NFL luminaries for Venetian soldiers and by transferring the story from Venice and Cyprus to contemporary Pittsburgh (the play’s secondary title is The Steel City Tragedy). Franky D. Gonzalez’s script further reconfigures the source material insofar as Othello and Desdemona become Imani (Cynthia Dallas), a woman of color who has ascended to a lead-coaching position, and Desmond (Michael Patrick Trimm), a beloved but aging wide receiver to whom Imani is secretly married. Coach Othello’s principal staff includes the warmhearted Micahela Cassio (Emily King Brown) and the cold-blooded Jacob Iago (Maxwell Medford), whose name and repugnantly skewed ethics recall the arch-dissembler of the Bard’s canon (and, incidentally, the character voted “Evillest Villain” by my Slippery Rock University students in our Spring 2026 Introduction to Shakespeare end-of-semester awards ceremony).

Cynthia Dallas

The notion of replacing old Mediterranean warriors with contemporary American athletes proves of interest as a commentary on the brutalities inherent in today’s sports culture. Moreover, the script’s many references to Pittsburgh and its prevailing traditions (including a pronounced disdain for rival teams in Ohio) succeed consistently, if predictably, with a hometown audience. That said, the real appeal of this show lies in its spectacle, manifested in different ways by both the performers and the technical staff. Shaunda Miles McDill directs a perfectly cast group. From her first entrance, Dallas effortlessly convinces the audience that she is indeed the first woman head coach in NFL history. Trimm charms as Desmond, exhibiting star-player charisma tempered with end-of-career sagacity. Brown delivers a superb interpretation of Micahela, negotiating between ambition and altruism with remarkable facility. Medford’s understated Jacob captures the ineluctable malice of his late-Elizabethan predecessor without even once resorting to a sneer. Kevin McGuire elicits hisses as Mr. Mitchell, Desmond’s unsavory father, while Richard McBride contributes spiritedly in multiple roles. On the technical side, Adalgisa (Ada) Bosonetto and Lisa Harshbarger co-create a scenic design ideally fitted to the New Hazlett stage. Broughton Ganaway’s lighting design reflects significant talent. Shannon Knapp’s projection work shepherds the story along nicely, always underscoring the show’s themes and ideas to authentically good effect. Wayne Gaines’s sound design achieves an exceptional level of quality, particularly in a space that often poses problems with audibility. To borrow some phrasing from act three, scene three of Othello, this show certainly gives attendees the ocular proof of a meticulously planned, intelligently designed production. Look especially for all the threads to draw together in the outstanding memorial-service scene, in which Dallas and Medford truly surpass expectations.

Shakespeare and football make for a curious cocktail well worth a try, and so I recommend Othello of the End Zone as a destination show for this late-autumn weekend.

I wish to dedicate this review to Scribble Ruppert, one of our wonderful tuxedo cats and seniormost member of the Ruppert family animals, who passed away on Friday 23 October 2026 at the age of twenty. May you rest serenely, my beautiful friend.

—TR

“Othello of the End Zone, or The Steel City Tragedy” runs through October 25 at the New Hazlett Theater. For tickets, please visit here.  

 

 

 

 

By Timothy Ruppert

Pittsburgh Playwrights Theatre Company specializes in bringing exceptional new work to life, and its current production of Monteze Freeland’s Halloween-themed comedy Fishy Woo Woo Part 2 embodies that commitment, delivering an evening of winning silliness, festive disguises, and a multi-tiered lesson in the value of honesty.

While the play amplifies stories introduced in a piece that premiered two years ago, you don’t need to have seen the 2024 show to appreciate this continuation. Freeland deftly provides the platform information both familiar and new viewers need to enjoy this laugh-out-loud sequel. Credit also goes to the cast, led by Ethan Davis Butler as Shawn and Mils “MJ” James as Cordero, for revivifying the Fishy Woo Woos with delightful facility. Indeed, the smoothness with which this new chapter in the lives of the Fishy Woo Woos unfolds reminds me of BBC shows that televise their individual series over years without missing a step.

Recapping the plot would risk spoiling the fun of seeing how a Halloween party in Wilmington, Delaware, sparks revelations, discoveries, and confrontations, all unveiling the interwovenness of the characters’ lives and fates. Suffice it to say that Freeland writes with a keen sense of design, not simply by observing traditional Aristotelian unities of time, place, and action, but by placing the right detail at the right moment, rendering the outrageous so believable that we have cause to think as well as to chuckle.

Fishy Woo Woo Part 2 benefits from a wonderful cast, each of whom embraces the nonsense with authentic spirit. Butler’s astonishment as Shawn comes as little surprise, given that his talents merit entertainer-of-the-year acclaim (for example, his recent performance at the Pittsburgh New Works Festival was a tour de force of Broadway-level quality). No fainter praise belongs to James, whose portrayal of Cordero resonates with humanity from the first joke to the closing song. David Minniefield brings warmth and authority to the elder figure, Darnell, and demonstrates first-rate comedic timing. His claim that “I’m so straight, I once dissatisfied two women at the same time” is my vote for the second-most hilarious line in the play, outshone only by Cordero’s final recommendation of a name for the daughter the irrepressible Char (Cheryl Bates-White) carries. Emmanuel Elliot Key gives the put-upon Kaden, Darnell’s son, the self-assurance naïveté often engenders. Manny Walker adds to the absurdity as a menacing presence whose plan to expose secrets and deceptions leaves him a fish out of water amid this group of nutters.

Lovell McFadden ably directs this joyful show, with highlights including Willa Catherine Cotton’s brilliant costuming (particularly Bates-White’s jade-green Statue of Liberty gown) and DeVoughn “DeVo” Spratt and Teri(ana) Turner’s inspired sound work. Also look for what Tony Ferrieri (scenic design), Cheryl El-Walker (special effects, hair, and make-up), Marcus Southers (technical director), and Madeleine Steineck (lighting design) achieve. Reneé Sorrell stage manages with help from Faith Stephens. And, if you’re lucky, you may meet Producing Artistic Director Mark Clayton Southers’s dog when Southers introduces the performance.

With even more luck, Freeland will soon address his keyboard to Fishy Woo Woo Part 3. For now, though, make sure to see Fishy Woo Woo Part 2 before November arrives.

—TR

Pittsburgh Playwrights Theatre Company presents “Fishy Woo Woo Part 2” through November 1, 2026, at the Carter Woodson Redwood Theater, in the Madison Arts and Entertainment Center, 3401 Milwaukee Street, Pittsburgh, PA 15219. For more information, please visit here.

 

 

 

 

 

By: Lonnie the Theater Lady

Examples of literary “bed tricks” date back to the Bible. In the book of Genesis, Jacob is deceived by his uncle Laban into consummating a marriage with Leah instead of his intended bride Rachel. Over the centuries, “bed tricks” have appeared in Shakespeare plays such as “All’s Well That Ends Well” and in recent movies like “Revenge of the Nerds.”

In a prologue to “The Bed Trick,” college freshman, theater nerd Harriet (Amalea Krill) ironically explains that she doesn’t like prologues to a play, including Shakespeare’s prologues, because she believes they’re a way for a playwright to cheat by planting ideas in the minds of the audience before the play begins. She makes it known that the upcoming play is about sex and cautions, “So, I don’t want to get any emails after the show.” She then explains how the literary plot device, the “bed trick,” works. One character believes they’re climbing into bed with person A, but through deception or mistaken identity, they’re actually bedding person B.

Harriet rehearses “All’s Well That Ends Well.” A play in which Shakespeare employs a “bed trick.” Scenes of her rehearsing frequently interrupt the play’s main action—the story of three college freshmen roommates. Harriet’s rehearsal scenes closely parallel events in the roommates’ lives as Lulu (Chloe Sohne), Marianne (Quinn Starrett), and Harriet get to know each other and develop fluid, tentative friendships.

When Lulu learns that her longtime boyfriend, Willis (Caleb Clemons), has a profile on a dating app, her insecurity kicks into high gear. She sets up a fake dating profile using a photo of Harriet without her consent. She’s hoping to catfish Willis to find out his intentions. Lulu convinces Marianne to pose as the fake Harriet by texting Willis and talking to him on the phone. Marianne is fast approaching her 18th birthday– the perfect time to lose her virginity.

After many long intimate phone calls, Willis and Marianne develop romantic feelings for each other and decide to meet face to face in the girls’ dorm room. That is when things go seriously awry! One surprise and plot twist after another proliferate. (No spoilers)

Adding to and complicating the unexpected happenings, Marianne’s recently divorced mother travels from Florida to surprise Marianne on her birthday. She hopes to celebrate the birthday with her daughter and Benny, her ex-husband. (Griffin Sommers)

Casting college students as college students makes their characters relatable, sympathetic, and genuine.

Krill is likable as the gentle, kind, idealistic Helen. Her enthusiasm for Shakespeare and theater in general is endearing.

Sohngen plays Lulu with the right mix of ambivalence, fluctuating between confidence and arrogance. She can be charming, cunning, and manipulative enough to convince Marianne to do her bidding.

Starrett perfectly embodies Marianne’s confusion over circumstances surrounding her parents’ first meeting and the concept of consent. One cannot help but be moved by her need to feel loved and her guilt at hiding her relationship with Willis. Her discomfort with the deception is touching.

One’s heart goes out to Clemon’s confused Willis. He clearly shows his uneasiness about his disloyalty to Lulu while still wanting the fake Harriet. He plays his role with sweetness, innocence, and naivete.

Sommer’s Benny is a loving, patient father to Marianne. He’s clearly doing his best to support Marianne and find happiness after his divorce. His warmth and kindness ring true.

Collins does an excellent job as Flamboyant Anna. Her showy affectations clearly mask her unhappiness. She’s comical yet tragic. Her pain over the divorce is palpable.

Director Anya Hilpert directs the actors to make the best of every laugh line while giving the serious themes of consent, deception, friendship, and identity the gravitas they deserve.

The cluttered dorm room, with sloppily made beds covered in mismatched blankets, mimics a typical dorm room. (Barret Lage, designer)

Costume designer Jaime Ericson’s cleverly designed Elizabethan costumes are stunningly ornate, colorful, and beautiful.

This very funny, entertaining, well-acted show examines some weighty issues in a thought-provoking way. It offers a window into the confusing time period young adults navigate as they move through life.

LtTL

 

“The Bed Trick” runs through October 25 at the Rauh Theater, Pittsburgh Playhouse, 350 Forbes Avenue, Pittsburgh 15222.