Author: VivantAdmin

by Michael Buzzelli

In a super-souped-up DeLorean, Marty McFly (Lucas Hallauer) travels back in time and accidentally prevents his parents from meeting in “Back to the Future – the Musical.”

For some inexplicable reason, Marty McFly is besties with a mad genius, Doc Brown (David Josefsberg), who is decades older than the high schooler. The mad doctor has invented the eponymous time machine, using the chassis of a tricked-out DeLorean.  He’s stolen some weapons-grade plutonium to power his vehicle.

Note: In the updated version of the script, the Libyan terrorists have been excised, but Doc Brown’s life is still in danger. He could be dying of radiation poisoning when he mishandles the plutonium (with a half-life of 24,100 years, it’s some pretty toxic exotic material).

Marty and Doc test the time machine by revving her up to 88 mph. In Doc Brown’s own words, “If my calculations are correct, when this baby hits 88 miles per hour, You’re gonna see some serious sh–[this version shifts away from the original quote].”

Bang! Zoom. It’s back to frolicking 50s.

Marty finds himself stuck in the past. While wandering around Hill Valley, he notices his nerdy father, George McFly (Mike Bindeman), peeping into  Lorraine (Zan Berube) Baines’s bedroom window.  When he falls out of the tree in his father’s place, Lorraine, his biological mother, swoons for him instead. Now (or rather then), Lorraine, a horned-up poodle-skirt-wearing Bobby-Soxer, is crushing on Marty (under the guise of Calvin Klein because she thinks his name is sewn into his skivvies). Her attraction creates a time paradox, preventing his own birth.

That’s some Wibbly-Wobbly, Timey Wimey stuff!

Heavy!

Marty must reunite his parents at the Enchantment Under the Sea Dance, or he’ll and his siblings will be erased from the timeline.

Great Scott! It’s the Roger Zemeckis classic film with music!

Screenwriter Bob Gale returns to Hill Valley to rewrite the adaptation with music and lyrics by Alan Silvestri and Glen Ballard. Yes, there are some corny jokes…dad jokes! But the cheesy material doesn’t take away from the rollicking fun. It’s a literal and figurative blast from the past!

Hallauer is delightful as Marty. Squint and you’ll swear it’s Michael J. Fox up on the stage. His impression is uncanny, especially when he’s in the life preserver…er…red ski vest.

In the opening number, “It’s Only a Matter of Time,” McFly tells you his going to break the fourth wall, and when he does, it’s hilarious, poking fun at the ensemble when they appear out of nowhere during the chorus. 

Josefsberg’s Doc Brown is kooky and fun. His character is more of a departure from the original, but that’s a good thing.  Several lines come off as spur-of-the-moment adlibs.

The cast is spectacular, including the cartoonish bully, Biff Tannen (Nathaniel Hackman),  the crotchety Principal Strickland (Luke Anthony Neville), and Marty’s siblings, disappearing Dave (Fisher Lane Stewart) and vanishing Linda  (Katie Laduca).

The best voice in the show goes to Cartreze Tucker who shows up as Goldie Wilson and Chuck Berry’s fictional cousin, Marvin Berry. He steals the show with incredibly high notes.

The visual design of the “Back to the Future – the Musical” is pure magic. Illusion designer Chris Fisher and Video Designer Finn Ross create a visual feast.  It’s spectacular.

While the exposition at the top of the show gets things off to a slow start, it ramps up the second the DeLorean appears (out of seemingly nowhere).

John Rando expertly directs the show with some fantastic choreography from Chris Bailey.

“Back to the Future – the Musical” dazzles.  This show is pure joy.

– MB

“Back to the Future” runs until July 6th at the Benedum, 237 Seventh Street, Pittsburgh, PA 15222. For tickets and more information, click here. 

Reviewed by Dr. Tiffany Knight Raymond, PhD

The only other time I’ve seen How to Succeed in Business Without Really Trying was a theatre-department production when I was an undergraduate at the University of Arkansas. Back then, I was as naive as the play’s central character, young window washer J. Pierrepont Finch (compellingly portrayed by Ben Nadler and no doubt inspired by J. Pierpont Morgan). Finch reads and executes on the advice in How to Succeed in Business Without Really Trying (an actual book from 1952 with the musical adaptation in 1961). Like Finch, I’ve always sought answers and expertise from books. His ambitious path feels natural.

Seeing this at South Park Theatre a couple of decades into my own career in business reminds me how theatre is enriched by your own experiences. Any seasoned working professional will have witnessed (or perhaps participated in) office romances, experienced the collective horrors of an empty coffee pot, and worked with versions of play-it-safe employee Trimble (Eric Thomas) and nepotistic hires like executive president J.B. Biggley’s nephew, Bud Frump (the excellent Johnny Terreri).

In his South Park debut, director and choreographer Ashton Guthrie infuses the production with vivacious energy. Even though the play is long, it never drags. Guthrie wisely keeps Sabrina Hykes-Davis’ mid-century set upstage. It’s dominated by an almost cartoonish backdrop that’s as appropriately oversized as the musical’s office stereotypes. This keeps the action flowing and also maximizes the small stage for Guthrie’s spirited and well-choreographed dance numbers.

Carina Iannarelli is a stand-out as Hedy LaRue. As Biggley’s mistress, she channels a vapid and coquettish red-headed Betty Boop energy. She’s transparent about the fact corporate life is not as good as her former job as a cigarette girl, calling into question the very corporate ladder Finch is trying to climb.

As Finch, Nadler is an energetic chameleon who follows the book and plays the game. In Nadler’s most memorable scene, Guthrie nearly transforms him into a rhythmic gymnast. As Finch, he artfully unfurls receipt tape and gleefully strews papers around the office. He makes it look like he’s just pulled an all-nighter right before J.B Biggley (Joe Joyce) comes in on a Saturday morning to grab his golf clubs.

As president of World Wide Wicket, Joyce exudes the archetype of a distinguished, silver-haired executive. He’s patriarchal towards Finch, who pretends to have attended Biggley’s alma mater. Nadler hilariously fumbles his way through the university fight song as he lags behind Joyce’s crisp arm motions. In both Groundhog school spirit and business acumen, Finch is the earnest but struggling manifestation of “fake it til you make it.” Mr. Biggley is so caught up in  his own nostalgia and the delight of a shared experience that he fails to notice Finch’s obvious foibles.

Frank Loesser composed the music and lyrics. In his song “Cinderella, Darling,” an ensemble of female employees serenade Rosemary Pilkington (Rachel Parsons). Parsons captures a gilded age edge – outwardly sweet, but cunning behind the scenes. They implore her not to leave Finch and “mess up a major miracle” as she’s their inspiration having risen from secretary to Finch’s fiancee. This marrying up song was actually swapped in the 1995 revival. However, this week’s wedding of billionaire Jeff Bezos and Lauren Sanchez (who met via work) suggests “don’t turn down the prince” and the trophy wife trope is still just as relevant 60 years later. Some chapters in how to succeed remain evergreen.

-TKR, Ph.D.

South Park Theatre’s production of How to Succeed in Business Without Really Trying (book by Abe Burrows, Jack Weinstock, and Willie Gilbert) runs through July 13, 2025 at South Park Theatre, South Park Township, PA, 15129. Purchase tickets online here.

by Claire DeMarco

Rob Zabrecky began his career as the lead singer for Possum Dixon, a post-punk style rock band.  He has diversified into author, actor, songwriter and now is primarily a magician.  He has received six awards by the Academy of Magical Arts at the Magic Castle (a Hollywood performance venue).

Tricks, deceptions, illusions, sleight of hand – call it what you will.  It is magical and Zabrecky is the master.  Formally dressed in black, he engages the audience in a somewhat serious way. But his dry sense of humor soon surfaces.

Zabrecky executes both traditional magic (card tricks, sleight of hand maneuvers) and mentalist acts.

One particular sleight of hand involved three very small balls that were placed in a cup.  When removed, only two balls appeared.  To ensure that the audience visualized the action, two close-up screens on either side of Zabrecky as he maneuvered the balls on a small table reinforced the effect of this illusion.

Zabrecky’s specialty revolves around his actions as a mentalist.  A mentalist uses the appearance of mind reading, telepathy, psychology in a theatrical way to suggest certain outcomes.  Making his actions work requires a participating audience.

Note: Since this was my first magic show, I waited for the rabbit in the hat trick. There wasn’t any!

How does Zabrecky do all these tricks and illusions?   I guess it’s just magic after all!

Interacting is key to the rapport a magician has with his audience and Zabrecky didn’t have to coax anyone to be a part of his actions.  Participants in the mind games were enthusiastic and both they and the general audience in awe of the spot on outcomes.

-CED

“Zabrecky in the Zabrecky Hour” runs June 27th to July 6th at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA 15222.  For tickets and additional information, click here. 

by Michael Buzzelli

Kwame Kwei-Armah and Shaina Taub dust off William Shakespeare’s “Twelfth Night” and transform it into a joyous musical, setting Illyria in New Orleans’ French Quarter with a sizable cast of extras guaranteed to make Dino De Laurentiis proud.

The story stays the same:

A shipwrecked Viola (Chelse Zeno) lands on the shores of Illyria, fearing her brother Sebastian (Ethan Davis Butler) has been drowned. To survive the foreign city, she disguises herself as a boy, Cesario, and goes to work for the lovesick Duke Orsino (Michael Campayno), who pines for the Countess Olivia (Housso Sémon).

Things are chaotic at Olivia’s palace.  She has a large household with a major domo, Malvolio (Connor McCanlus), Maria (Georgia Taylor) and a court jester, Feste (Caro Dubberly). Her drunk uncle, Sir Toby Belch (Garbie Dukes) invites his best pal, Sir Andrew Aguecheek (Brenden Peifer) to woo his niece.

P.S. Sebastian didn’t drown. He’s on his way to Illyria with his faithful servant, Antonio (Victor M. Aponte).

The story has all of the excitement of the original with outrageous songs, daring dances and even silk performers, included in that aforementioned cast of thousands.

Sidenote: The opening number plays out like a “Where’s Waldo” of local talent. You will find Mike McBurney, John Feightner, Parker Stephens and more!

The cast is nearly flawless.

Sémon is magnificent as Olivia. Beautiful with a mellifluous voice, and the right amount of stage presence to believe that she is a countess.

Zeno is adorable as Viola.  Her performance is riveting. She’s just a little too pretty to pull off being a boy, but it doesn’t matter. She’s wonderful.

Side note: Zeno doesn’t go full drag king. She’s more like Lucille Ball when she disguised herself as man on “I Love Lucy,” and still wore lipstick.

It’s a joy to watch Dukes fumble around on stage as the drunken uncle. He revels in the part. Equally matched by Piefer’s foppish Aguecheek. Their chemistry together is hilarious. They are a dynamic duo.

Dubberly gets some of the best lines as Feste and delivers them with aplomb. She also has a fantastic singing voice.

McCanlus pulls a star turn as Malvolio. He puffs out his chest, struts on the stage and thrusts himself into greatness. A sizzle reel from the show could catapult him to Broadway.

Campayno returns to the Pittsburgh stage with the gravitas to play the Shakespearean duke. The only shame of the production is that his character is sidelined for much of the show. There’s an important moment missing from this reimagined version; The streamlined script cuts down the part where the duke realizes that he might be falling for Cesario.

Try to hold in an “Aww,” when the tiny Rhea Briggs shows up as the Illyrian Taekwondo kid. It’s impossible.

The expansive cast is directed by Marya Sea Kaminski and choreographed by Gustavo Zajac (I would imagine it to be similar to herding cats). The third part of the trifecta is Tiffany Underwood Holmes, the musical director, leading an amazing orchestra hiding under the floorboards.

Shakespearean scholars might wince at a big tent, musical version of “Twelfth Night,” but it is gloriously fun. You might find yourself humming on the way home.

The only criticism is that the run is far too short. Catch it while you can.

-MB

“Twelfth Night” runs from June 26 to the 20 at the O’Reilly Theater, inside the Pittsburgh Public Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For tickets and more information, click here. 

by Michael Buzzelli

In the last act, Poirot delivers the dramatic line, “The murderer is in this very room!”

Dunt. Dunt. Da!

Heather Ruppert masterfully directs a fun little murder mystery with a delightful cast.

Shurter carries the bulk of the narrative. In a meta moment, he mentions he is playing Watson to Hercule’s Sherlock. But Dr. Sheppard is no Dr. Watson. He doesn’t just stand around and wait for Hercule to give him all the answers. He’s much more clever.

Syciarz is a wonderful Poirot. Columbo and Charlie Chan under a gigantic moustache. He enlivens the drawing room whenever he appears, especially when he is outwitting Inspector Raglan (Natalie Weicht).

Weicht is marvelous in her role as the bumbling inspector. Weicht gets some of the best comedic moments in the play and delivers each bit with panache. She also has an impeccable English accent in her toolbox.

Rugh’s Gertrude is fun and flirty, continually embarrassing her daughter, Flora. Watching Lewandowski’s face as Flora reacts to Gertrude’s shenanigans is priceless.

Another standout is Hess, as the gossipy Caroline. Pouring the tea and spilling it to anyone within earshot.

Like all the best murder mysteries, most of the action takes place in the drawing room. A smart, cozy nook crafted by scenic and technical designer Nathan Zema.

Lewandowski, who played Flora in the show, also was credited as costume designer. She did excellent work there as well, especially on Raglan’s police uniform.

Even the best amateur sleuths are going to have a bit of difficulty solving “The Murder of Roger Ackroyd,” but it’s a guaranteed good time.

-MB

“The Murder of Roger Ackroyd” plays until June 28 at the Genesius Theater on Duquesne University’s campus, for tickets click here.

by Michael Buzzelli

Sir Arthur Pendragon (Adam Kantor) believes that for one brief shining moment, he can create a beautiful, democratic hub in his tiny hamlet of Camelot in Lerner & Lowe’s “Camelot.”

The timeless tale is based on T.H. White’s “The Once and Future King,” which is based on Sir Thomas Mallory’s “La Morte D’Arthur” spiraling even further down into the Arthurian legends, spoken word stories over campfires in England before it was the United Kingdom.

Arthur meets his betrothed, Guenevere (Kyla Stone), under false pretenses. She’s running from her fate; unaware she’s run smack dab into her future. The two fall in love.

Over the years, the king and queen create a paradise in Camelot. Knights from far and wide seek out their tiny kingdom to join in them on their quest for peace. One impossibly brave knight, Sir Lancelot du Lac (Ben Jacoby) of Joyous Gard.

When Lance meets Jenny, sparks fly. It’s only a matter of time before the king’s wife and his best friend give into their temptation.

Things get even more complicated when Arthur’s bastard son, Modred (Alexander Podolinski), shows up to stir the pot. He’s a spoiled brat who wants his father’s throne.

The musical is filled with iconic songs filled with humor and beauty, including the titular “Camelot,” alongside “The Lusty Month of May,” and “IF Ever I Would Leave You” and “What Do the Simple Folk Do?”

There’s a lot to like about this production.

Kantor is a fantastic Arthur, oozing with charm. He manages to sparkle when doing the comedic bits, but he also has the gravitas to do the deep dramatic parts. His defining speech, which closes the first act, was pitch perfect.

Stone was a spectacular Guenevere. She has an amazing vocal range. Guenevere is a complex character with an unsettling thirst for blood and a wandering eye.  Stone gets all the nuances of Jenny.

Jacoby is a darling Lance. He is everything a Lancelot should be. Strong, charismatic and slightly terrifying in his righteousness. His fall from grace is tragic in every production.

While Modred doesn’t show up until the second act, Podolinski steals every scene he’s with his wicked guile.

The cast was backed by an incredible orchestra.

Mara Newbery Greer created some fantastic choreography, especially the dance during “The Lusty Month of May.” There was also some great fight choreography from Randy Kovitz.

Strong scenic and video design by Bryce Cutler. The snowfall on stage looked beautiful during a dramatic turn of events.

There were some odd choices in the show. John Grimsley played his characters, Merlyn and King Pellinore. He plays both roles too big and too doddering. It’s hard to tell them apart. There should have been a bigger distinction between the characters. He’s only forgiven when he’s Pellinore because he gets to show off Horrid (played by Gus, the dog), Pellinore’s faithful companion.

Past productions paint Morgan Le Fay (Andrea Weinzierl) as evil. Here, she’s a bit of a buffoon, filled with lust and gluttony. It’s not Weinzierl’s fault, but a diversion from an earlier draft of the play (I may be thinking of an insidious version of the character in John Boorman’s “Excalibur,” an imaginative retelling of the legend of King Arthur).

Director Mark Fleisher picked an important time to mount this classic. The story lulls you into thinking it’s a happy-ever-after fun times kinda musical, but it goes dark in the second half.

King Arthur tries to create a just and free society governed by rules and not barbarism. As our democracy disintegrates under authoritarian rule, you have to wonder if America has had its elusive, bright and shining moment.

“Camelot” proves that some big ideas are worth fighting for, worth dying for.

-MB

“Camelot” runs until June 22 at the Benedum, 237 Seventh Avenue, Pittsburgh, PA 15222. For tickets and additional information please visit here.

by Claire DeMarco

In Neil Simon’s “Barefoot in the Park,” Corie (Amanda Weber) has been married for six days.  She is a vibrant soul, a free spirit. She is enthusiastic about her new walk-up flat apartment in New York.  It’s small, but she loves it.  Always smiling and full of energy, she waits patiently for furniture delivery.  The apartment at this point only has a stove, sink and refrigerator.

Her lawyer husband Paul (Ryan Warsing) didn’t see this apartment but was able to inspect the one on the 3^rd floor.  He arrives at his new home, totally out of breath and speechless.  This flat is on the 5^th floor much to his chagrin and sorrow.

Note:  The steps become an exhausting exercise for most folks who survive the climb.

Paul is much more composed than his wife, a bit straight-laced.

They now begin their lives as a married couple.  But reality begins to settle in rather quickly.  Corie wants every day to be a honeymoon while Paul, a new attorney has to complete work for a court case the next day.   This is the seventh day after their marriage.  Corie wants the honeymoon to continue.

Corie’s Mother (Christy Rodibaugh) is also affected by her daughter’s marriage.  She’s on her own now, infringing on the couples’ privacy on their first day in the new flat.  Subtly hinting that she lives far away from the couple (in New Jersey), Mother frets that she’s needs something to do now with her time.

New neighbor, Victor Velasco (David Bailey) seems to have easy access to the apartment from the ledge outside their window to the front door.  He is well known throughout the apartment complex, harmless but engaging.

Corie and Paul soon have their first argument as a married couple. As with most relationships it takes time in adjusting to a life shared with someone else.

Note:  This play was written in the 1960’s and the usual path for a couple was to date, then marry.  No intermediate time for developing a relationship.  Today couples often take a slower step by living together before marrying.

Does their argument lead to a more serious outcome?  Do Mother and Velasco continue to interfere in the young couples’ lives?

And…Oh, those stairs! Five floors – the bane of everyone’s existence.

“Barefoot in the Park” is a delightful romantic comedy full of laugh-out-loud humor.  Little Lake’s production is superb!

Weber plays the newly wed with gusto.  She is quirky, optimistic and a bit self-centered. Her happiness at this new phase of her life radiates from her constant smile and upbeat enthusiasm for life in general.  Even her clothes in all their bold and bright colors reaffirm her nature.  Weber skillfully changes her facial expression, cadence and mannerisms when arguing with Paul.

Warsings evolves from the staid, logical lawyer in business attire to a husband coping with his wife’s perspective on life.   Warsings is excellent as he develops Paul into a more nuanced personality.  His use of physical gymnastics and clever facial expressions adds to this transition.

Rodibaugh’s comedic skills are superb!  She conveys an occasional air-head quality as the supportive mother/mother in-law, unsure of herself.  At other times she can be somewhat manipulative, looking for sympathy now that her daughter is married.  When inebriated, her physical comedy shines.

Bailey fits the part as the bohemian neighbor.  He’s a scamp who takes advantage of his new neighbors, but in a loving way.  Bailey creates a believable flamboyant eccentric.

As the Telephone Repair Man Gallagher (breathless from the 5-step climb) finds himself involved unintentionally with the newlyweds’ antics.  His facial expressions along with his verbal delivery as he’s caught literally in the middle of their heated arguments is priceless.

Costume Designer Sylvia Sims-Linkish’s selection of costumes, texture and color reinforces each character’s persona.

Art DeConcillis adds another top notch to his director’s belt.

-CED

“Barefoot in the Park” runs June 12th to June 29th at Little Lake Theatre Company, 500 Lakeside Drive South, Canonsburg, PA. 15317.  For more information, click here.

by Michael Buzzelli

Glamour is often associated with romantic attractiveness, but it can also be used to describe an illusion or a magic spell.  In “Indulgence,” Lucy Darling (Carisa Hendrix) is glamour personified in both meanings of the word.

The magician has become an Internet sensation, best known for her crowd work, riffing with her audience, improvising. In a petite venue like Liberty Magic, nearly half the audience gets a moment in the spotlight with well-coifed. elegantly dressed meteoric media star.

Her crowd work ensures that every night is different when mixing it up with her fans. The comedy is hilarious. There were several laugh out loud moments, especially a bit where she answers hand-written notes written by the audience. In Thursday night’s show, there were several moments of serendipity, a man asking a personal problem in his downstairs area happened to be sitting near a gynecologist. While his organ was not her area of expertise, it made for some riotous laughter.

Side note: In an effort to remain impartial, I had to reveal that I was reviewing her show for ‘Burgh Vivant, which acted as a “Get Out of Jail Free” card, excluding me from participating. She did, however, manage to jibe and sling barbs in my direction.

The magic tricks are scattered throughout the show, between the comedy bits, but they are utterly astonishing. Darling made objects appear from seemingly nowhere. Since she was wearing a sleeveless ensemble, there were no sleeves to hide any objects.

Consider dropping the extra dough for the Skeleton Key, its a VIP experience with Darling, where she lets her hair down (metaphorically). Lucy Darling reverts to Carisa Hendrix, detailing her life in Saskatchewan, while doing some closeup magic. Skeleton Key holders also get a photo op with the magician.

Indulge in a night of guilty pleasure and see some amazing feats of magic in “Indulgence.”

-MB

Lucy Darling’s show, Indulgence, plays until June 22 at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA 15222. For tickets and more information, go here. 

By: Joseph Szalinski

One of the things I don’t miss about school is group projects. Either you don’t feel like you’re pulling your weight, or you get saddled with all of the responsibilities. Add in the awkward dynamics of being an adolescent, and said situation becomes more difficult to navigate. This is the framework for Vigilance Theater Group’s latest production, Mac Beth, directed by Ingrid Sonnichsen and Brooke Echnat, now running at Washington’s Landing.

First staged in 2020, playwright Erica Schmidt’s adaptation of Shakespeare’s Scottish classic adds a few extra elements to the mix. A gaggle of classmates decide to put on a production of the tragedy that should not be said aloud in theatrical spaces, with the assistance of smartphones, snacks, and some intoxicating beverages. While the plot points of The Bard’s script play out normally, barring some mumbled frustration and the like, extra drama plays out offstage. Eagle-eyed audience members are able to peer into the complexities of this friend group by watching what certain members are up to when they aren’t in the middle of a scene.

Unlike a typical reimaging of MacBeth, this cast plays two parts simultaneously, a testament to their skills onstage. Dynamic physicality and incredible delivery of difficult dialogue are behind every stellar performance.

MacBeth and Lady MacBeth are as crazed and desperate as ever, courtesy of Mal MacKenzie and Sarah Dugan. The dastardly duo is imbued with renewed humanity that renders them far more tragic than they once were.

Witches are as integral to the story as the titular character, and Bradleigh Bell, Lulu James, and Marisa Postava brilliantly bring them to life. Calculating, cackling, and a slightly comedic, this trio serves as entertaining bookends to a riveting show.

Kendall Mason and Veta Piscitella fantastically finish off the cast as Banquo and MacDuff, fulfilling the prophecy that they’ll amaze audiences. The famous squabble at the end, masterminded by fight choreographer, Marisa Postava, is wonderfully executed.

Being that the show is set and performed outdoors, technical elements are a bit limited but are used ingeniously. Costuming by Allie Lampman-Sims honors the source material while staying true to what a student would wear. Props by Zev Woskoff and Allie Lampman-Sims are effective yet humorous, for instance, a Ring Pop one of the girls is enjoying is used in their show-within-a-show. Music is another technical element at the mercy of the performers. One of the things the students have with them is a speaker, which they make use of at various moments throughout the play. In regard to the stage itself, the production excellently utilizes the space, sectioning off the “cul-de-sac” at the end of the trail for performers to orbit around. A few cast members are even daring enough to scamper across some nearby rocks, which isn’t just a commitment to their respective roles, but to the unique venue as well.

Vigilance is the Pittsburgh area’s premiere immersive theatre company. While the immersive nature of each production varies, every show they helm is unforgettable and sure to prompt discussion and thought for some time to come. Quite an astounding addition to the annals of “Shakespeare in the Park.”

-JS

“Mac Beth” continues its run June 6-15^th at Washington’s Landing. For tickets and additional information, click here.

Reviewed by Dr. Tiffany Knight Raymond, Ph.D.

South Park Theatre revives Donald L. Coburn’s 1976 play, The Gin Game. (The card game, not a drinking game, in case, like me, you were thinking the latter.) Coburn’s play won the 1978 Pulitzer Prize for drama, but it has never sustained long production runs.

Director Joe Eberle brings Coburn’s two-person show to South Park Theatre. The cozy South Park stage is the perfect venue for this intimate play. It takes place at a nursing home over a series of gin games between new residents Weller Martin (Mark Yochum) and Fonsia Dorsey (Marianne Shaffer).

The mid-1970s The Gin Game falls far short in comparison, but it seems inspired by Edward Albee’s 1962 landmark play Who’s Afraid of Virginia Woolf?. Weller and Fonsia are older versions of Albee’s middle-aged George and Martha as they descend from get-to-know-you nursing home niceties into full-fledged psychological warfare.

The play gets progressively darker, and Eberle wavers a bit in embracing the vitriol. Yochum’s crisp hand movements and frequent situational cursing authentically punctuate the production. However, when it comes to doling out verbal abuse, Yochum is a bit restrained. It’s a testimony to his character that it’s hard for him to tap into the dark side, but it does muddy the waters and leaves the play a bit tepid. Weller uses a cane, but Eberle doesn’t have Yochum consistently lean into it.

In terms of casting, Eberle nails it. Yochum and Shaffer are well-matched equals with effortless chemistry. This isn’t surprising given the program reveals they were not only in the same high school graduating class, but they acted together in a play back then.

Shaffer brings a quiet power to Fonsia’s character. Fonsia shares she divorced her husband when her son was a toddler and suggests it was because Walter was abusive. Given divorce was uncommon in the period of her youth, she was clearly ahead of her time. This makes it all the more perplexing when she tolerates Weller’s erratically cruel behavior.

Weller is proud he’s a seasoned gin player. In fact, he recounts air travel in terms of the number of gin games it took between destinations from his days as a businessman. Weller tutors novice Fonsia on the basics so she can play. However, the frequency with which she wins irks, then infuriates, Weller. Coburn’s writing leaves a number of unanswered questions in the plot, which is perhaps why the play never attained major success. Given the supposed mismatch in their game skills, once her winning streak starts, we’re never certain Fonsia is just pretending to be a beginner – or what her motivations would be to lie at the outset.

Amy Farber’s set design is genius. She creates a clapboard cute nursing home patio where the play takes place. It’s also a little worn and fringed with pockets of forgotten clutter that symbolize the ways in which the home’s residents have “lived too long” as Weller refers to the two of them at one point.

In fact, Weller and Fonsia are brought together by absence. They meet on visitation day when neither of them have any visitors, making the patio a refuge. The buzz of voices from inside the center stage French doors bleed out, reminding them they are just outside the action. Weller and Fonsia never utilize the French doors, but a door on stage right, visually reinforcing the ways in which they are sidelined.

Darien O’Neal’s costume design advances the plot and the relationship between Weller and Fonsia. When they first meet, they’re both in dismal housewear. Weller is wrapped in a plaid bathrobe, and Fonsia is in a pink house dress. In perfect attention to detail, Fonsia’s slippers aren’t even fully on her feet. Her downtrodden state is made visual with the backs of her slippers folded and crushed beneath her heels. In the next scene, hope springs as Weller sports a suit and tie, and Fonsia’s floral dress is topped with a dusty rose cardigan.

The play’s most memorable moments are when Weller and Fonsia banter and poke fun at nursing home life. They elicit easy laughter from the audience as they ponder small injustices, such as the frequent serving of stewed tomatoes, which no one likes them. Fonsia sing songs, “I don’t take my medication; I take our medication.” One easily envisions nursing home staff members in scrubs speaking in hushed, child-like tones as they administer tiny paper cups of pills.

The play covers a spectrum of emotions and reminds us of the delicate intricacies of human relationships, regardless of one’s age.

-TR, Ph.D.

South Park Theatre’s production of The Gin Game runs through June 14, 2025 at South Park Theatre, South Park Township, PA, 15129. Purchase tickets online here.