Author: VivantAdmin

Gina McKlveen

Is there anything more pleasant than the scenic views of the fall season? Perhaps those Pittsburghers prone to leaf peeping ought to visit fdp studio+shop located in Pleasant Unity, a few miles from the Westmoreland County Fairgrounds and local pumpkin patches, for an added adventure exploring the autumnal arts.

This month fdp studios+shop, is hosting three festive events, including a bonsai workshop with Nancy Neel of Sunny sprouts bonsai workshop, Halloween Cupcake decorating with Leah Poponick of Pipetown Pastries, (tickets for these two events are sold out already), and a Floral Bouquet Bar with Tracy Quinn of Quinn’s Wooden Floral Creations. Each of these events is the perfect example of the fdp studio+shop ethos—supporting small businesses, locally sourced products, and artisan home goods.

In 2022, fdp studio+shop, officially opened its brick-and-mortar storefront located at 2082 State Route 130 in Pleasant Unity, Pennsylvania. Francis and Lynn DeFobo, the husband and wife duo behind fdp studio+shop, are equal parts art and business. Francis, who loves being a potter and would be thrilled to work at his pottery wheel seven days a week, makes the pots in the downstairs studio of the business. Lynn curates and manages the shop on the first floor, putting her college marketing studies to good use, visiting with shoppers, and enjoying all the facets of running a small business.

According to Lynn, the business came together rather organically. She said, “We were looking for a place to move Francis’s pottery studio out of our garage. Our friend and real estate agent suggested that we check out this property. It is an 80-year-old building that was built as a country grocery store. The current owners were operating a cozy country diner in the building. Though it was more space than we were looking for, we fell in love with the history of the building and the sweeping views of the surrounding farm and fields.

“Francis had been making pottery for about a decade. He sold to restaurants and stores as well as directly to collectors. Our favorite place to sell pottery was our annual open studio pottery sale—we loaded every room in our home with pottery and opened the doors to all comers. It was great fun, and people really responded to seeing how we live with pottery—in the living room, kitchen, dining room, and even the bathroom! I think it helped folks realize that handmade pottery is best lived with and used daily. So when we decided to move the studio out of the garage, we wanted a display space that echoed the experience people enjoyed when they came to our open studio event.”

As for the day to day at fdp studio + shop, Lynn says, “I stock the shop with beautiful things that I’d pick to furnish our own home. We love to feature local makers, but also include the work of artisans that we’ve discovered on our travels. Our workshops and trunk shows feature talented local artisans—many of whom are good friends as well.” That eye for beautiful things recently landed fdp studio+shop among House Beautiful’s list of the top 25 most beautiful shops in America.

fdp studio+shop is open to the public every Thursday through Saturday, and will begin Holiday Sunday shopping hours from 9:00 AM to 4:00 PM starting November 2, 2025. Looking ahead to holiday season, fdp studio+shop is hosting a Felted Christmas Ornament workshop on Thursday, November 20th from 6:00 PM to 8:00 PM.

-GM

For more information on events and products visit https://www.fdpstudioshop.com/.

By Claire DeMarco

Utopia is a small island in the Pacific Ocean ruled by King Paramount (Corey Nile Wingard).  Paramount is enchanted by Britain and wants his country to emulate the great imperialistic empire.

When his daughter Princess Zara (Alessandra Gabbianelli) returns to Utopia after completing college in England, she is more enthralled than her father in turning her country into a mini Britain.  Her enthusiasm for British tradition and society helps spur Paramount into action. So impressed with the idea, she brings a group of people back with her called the Flowers of the Progress.  These six gentlemen represent a cross-section of every aspect of British life that will facilitate and expedite the transition to a more British way of life.

As the movement toward a British lifestyle continues over the next few months, it is apparent that not all of Utopia’s inhabitants are happy with the plan.  They begin to see that they really like the life they had.  There are many aspects of the transition that they do not like.  Utopians support the idea of having judges of the Supreme Court to check the King’s power.  They are not in tune with Britain’s politics or legal system.

The stage is set for a showdown between two differing factions.

How will it end?  Who gives in?  Does Utopia totally change or does its structure remain the same?  Or could a compromise between the two factions be the answer?

As King Paramount Wingard is easily swayed.  He relies on his daughter to take the lead and advance the British cause.  Wingard is convincing as a weak, intimidated ruler easily coerced by those around him.  His fear of his advisors is palpable.

Uptight and strait-laced, Johnston as Lady Sophy is the haughty member of the court.  She demands attention, and her function in life appears to be as the guide and teacher of the King’s younger daughters.  She allows her stiff exterior to bend somewhat in a beautiful rendition of “When But a Maid Of Fifteen Year?”

Gabbianelli exudes confidence and authority as the King’s eldest daughter.  Her confidence and authority are believable. She pushes the King into fully adapting the British traditions and way of life.  Gabbianelli has a beautiful voice. “Oh, Maiden Rich in Girton Lore” is just one of the many songs she sings that highlight her rich vocals.

What a dynamic duo!  Sean Lenhart as Leander and Alex Polocicchio as Phobus are judges of the Utopian Supreme Court.  Responsible for keeping Paramount from becoming a tyrant, they delightfully and devilishly sing and dance their way into our hearts.  “With Fury Deep We Burn” is only one of their many duets.

In a brief appearance as Thanatos, the Public Exploder, Eric Shaffer wears a belt of dynamite sticks and carries two in his hands. His facial and physical movements convey his eagerness to blow up the king, if needed (and he very much wants to).

Walking and marching like a majorette, Will Benedum as Lord Dramaleigh is perfect as the strait-laced and proper English gentleman.

Zhen Yu Ding (as Captain Fitzbattleaxe) plays the shy soldier in love with Princess Zara.  His shyness and backwardness in his general movement and facial expressions are obvious when he’s near her.

A shoutout to the entire cast of players, all with wonderful singing voices!

As with all of Gilbert and Sullivan’s operettas, love interests and pairings are everywhere.  Add this to the absurd and satirical storyline that always pokes fun at British imperialism and Victorian society, and you have another entertaining evening of fun.

Note: “Utopia, Unlimited” is not as well-known as other Gilbert and Sullivan operettas, nor has it been produced as frequently.

Kudos to Music Director and Conductor Guy Russo and the Savoyards Orchestra.

Excellent Direction and Choreography by Robert Hockenberry.

Note:  Depending on the performance date, many of the actors’ roles are performed by other members of the cast.

-CED

“Utopia, Limited or The Flowers of Progress” runs from October 10^th to October 19^th at the Andrew Carnegie Free Library and Music Hall in Carnegie, PA.  Production by the Pittsburgh Savoyards. For tickets and additional information, click here. 

By Lonnie the Theater Lady

Attack Theatre’s “Some Assembly Required” was first commissioned by the Carnegie Museum of Art in 1996. It’s being brought back to celebrate the company’s thirtieth anniversary. Congratulations to the founders of Attack Theatre, Michele de la Reza and Peter Kope, on thirty successful years. This signature Attack Theatre experience is described as, “part performance, part conversation and entirely alive.” It is every bit as intriguing as it sounds!

Be sure to arrive early to enjoy the art pieces in the studio. All of them are a part of the Persad Center’s “Art for Change” collection and are offered for sale to benefit the Center’s mission.

Another distinct advantage of an early arrival is the opportunity to enjoy watching the dancers’ graceful stretches and warm-ups.

The audience is treated to brief demonstrations of several different dance sequences–some of which have amusing names, “Arm Swing Fish,” for one.

De la Reza cordially invites the audience to voice their thoughts and observations about an abstract art piece. Several people, including a young teenage girl, enthusiastically shared their ideas. Those descriptions are all notated by Kope to later be incorporated into creating a new piece of art. The descriptors on this particular day ranged from industrial to bristly and velvety soft and comforting.

Cello Fury cellist, Simon Cummings, brilliantly plays the cello to illustrate music’s ability to create moods and evoke emotions.

An amusing demonstration of improvisational, interpretive dance creates a shape-shifting room, one whose identity and function are clearly identifiable.

These activities set the scene for creating new art. Interpretive dance, music, and observations about the painting all combine to devise a unique new work. The latest work is determined by audience input, ensuring that each of the works is fresh and different from previous ones.

De la Reza suggests people, “Take the time to sit with art and see where it takes you.” That sound advice can be explored at the upcoming (October 16) “Some Assembly Required: Contemporary Craft”, featuring the work of nineteen artists exploring the expressive and technical possibilities of wood.

An exciting opportunity to explore a collaborative, immersive art-making journey awaits you.

LTL

Attack Theatre, October 16, “Some Assembly Required: Contemporary Craft, 5645 Butler Street, Pittsburgh, PA 15201. For more information, click here.

By Claire DeMarco

A New York lawyer hires Bartleby as a scrivener, a person who makes copies of wills and other legal documents.

Note:  This short story was written in 1853.  Neither Xerox nor computer printouts were available, and any duplication had to be done by diligently copying original forms.

His employer is initially pleased with his work, but after a few days, Bartleby (not violently or defiantly) decides that he “prefers not to…” when asked to do some work.  Refusal doesn’t occur for all work requests, but “asks” other than copying also occasionally get the “I prefer not to” treatment, too.

A sense of compassion and accommodation overtakes the employer as he accepts and tolerates Bartleby’s passive resistance.  Even when he realizes that Bartleby is also living at the office, he tends to justify letting him stay.  Bartleby becomes a physical part of the office, as permanent as the office desks and chairs.

The situation deteriorates further, and as Bartleby becomes even more elusive, how does the problem get resolved (or does it)?  Why does Bartleby act the way he does?  Is he emotionally unstable or just self-centered?  Is his stance a statement about Wall Street and capitalism and the people who occupy it?

Note:  Nobody has a definitive answer after all these years.  And after you see this production, you can add your own thoughts and opinions to the ongoing, continual conversation.

An outstanding performance by Sam Tsoutsouvas as the narrator/lawyer and only actor in this production.  He has a fireside chat approach as he tells us about the scriveners, their oddities, and who works hard and who doesn’t.  We see these other characters through Tsoutsouvas’ eyes. He effortlessly conveys their traits and foibles.  When Bartleby enters the picture, Tsoutsouvas’ emotions range from puzzlement, frustration, quasi-anger, pity, to acceptance.  He makes it easy for the audience to envision the office setting, its occupants, and most of all, the enigma named Bartleby.

The set was the living room of a private home, which made the event more intimate and personal.  At the October 7th show a brief discussion after the production explored different theories and thoughts about the lawyer’s relationship with Bartleby, as well as what motivated Bartleby.

Note:  Theater can be anywhere. What a pleasant diversion to be entertained in the comfort of a theater-goer’s home.

“Bartleby, the Scrivener:  A Story of Wall Street” was written by Herman Melville with adaptation by Sam Tsoutsouvas.

-CED

“Bartleby, the Scrivener:  A Story of Wall Street” runs from October 8^th to October 12th at the Tomayko Foundation Gallery, 5173 Liberty Avenue, Bloomfield.  Produced by Kinetic Theatre.  For tickets and additional information, click here. 

By Michael Buzzelli

Fashion designer Isaac Mizrahi opens up about his life among the stars (celebrities, not celestial bodies), dropping celebrity names like witty bon mots, hilarious little pearls of wisdom.

Mizrahi knows how to weave a story as easily as he weaves a designer dress. He had the audience in stitches. He shares stories about Streisand, Cher, Elizabeth Taylor, and, of course, Liza Minnelli.

The fashion designer also sings. While he is a fantastic designer and a hilarious storyteller, singing isn’t his strongest suit. It doesn’t even matter because he is, however, filled with confidence and does his absolute best.

While not the best balladeer, he did, however, choose great music, including Noel Coward’s “Mad About the Boy” and Madonna’s “Borderline,” sung in a ballad style.

The show is gay with a capital G, but thoroughly enjoyable. The 9:30 show is particularly racy. Mizrahi goes off script several times, and it’s the best part of the show.

Mizrahi is backed by an incredible band, including James Sarno, a terrific trumpeter; Joe Strasser, a percussionist; a bass player he calls Big Daddy; and Ben Walter on the piano.

The band is incredible and worth the admission price. Sarno’s trumpet solo, for example, is among the best trumpet solos this reviewer has ever heard.

The 2025-2026 Trust Cabaret season is off to a fabulous start. Up next, Sierra Boggess comes to the Greer Cabaret on November 10.

Jump in on the fun while you can. It’s the most fun thing you can do on a Monday night.

– MB

 The Trust Cabaret series is at the Greer Cabaret, 655 Penn Avenue, Pittsburgh, PA 15222. Learn more about the Cabaret series here.

By Lonnie the Theater Lady

“Reefer Madness–the Musical” is based on the 1936 public service announcement propaganda film “Reefer Madness” that pushed the false narrative that smoking reefer leads to addiction and criminal behaviors like theft, murder, hit and run incidents, and rape. The movie fosters the theory that addiction brings hallucinations and insanity. The movie was revived in the 70’s and has become a camp cult classic on college campuses. The movie’s satire is unintentional yet very funny. Conversely, the satire in the play is purely intentional and wildly funny.

The Lecturer (Andy Coleman) opens the play,  giving a lecture about the evils of the unspeakable scourge of the leafy green assassin. He regales his audience with the tale of a sweet, innocent teenage couple, Jimmy (Adrien-Sophia Curry) and Mary Lane (Samantha Hawk), whose lives are tragically affected by smoking reefer. Jack (Jeremy McCawley) entices Jimmy to smoke pot. One hit and boom–Jimmy is a full-blown addict!

Mae (Alexis Hawk), Jack’s live-in girlfriend, vehemently objects to Jack selling the drug to teenagers. However, she must stay with Jack because she is an addict and needs him to provide her with what she refers to as ‘the stuff”. She emotionally sings a humorous yet sadly plaintive rendition of the song “The Stuff.” Lovely vocals.

Much of the story’s action takes place in Jack and Mae’s smoke-filled, shabby apartment, referred to as the “reefer den,” where the sleazy, diabolical Ralph (Harry Hawkins) hangs out, doing his best to enlist new customers for Jack.

The story is comprised of a series of scenes following Jimmy and Mary Lane’s romance. It’s infused with humorous exaggerations of outrageous behaviors and madness, assumed to be caused by smoking pot.

The non-speaking Placard Girl (Angelica Bondy) sporadically graces the stage, carrying large posters painted with comical quotes summarizing the message of the preceding scene. Examples: “Reefer gives you a potty mouth” and “Reefer makes you sell your baby for drug money.”

Coleman plays several roles, including Lecturer, Man Hit by a Car, and FDR. He’s invariably comical in every role. His priceless facial expressions are comedy gold.

Curry is convincing in their portrayal of Jimmy’s transformation from sweet innocence to drug-addled addict. Their performance touchingly tugs at one’s heartstrings. Their very funny version of “The Brownie Song” is laugh-out-loud funny.

Samantha Hawk authentically embodies the character Mary. Her melodic voice never falters. Her tender rendition of “Lonely Pew” is charming. The duet with Curry, “Romeo & Juliet,” is touchingly sweet.

McCawley plays the malevolent Jack with a convincingly sinister vibe. He’s the man we love to hate.

Alexis Hawk’s portrayal of the trapped, abused Mae elicits empathy from the sympathetic audience.

Numerous clever costumes (Alex Freeman) enhance every number. You’ll see angel wings, lingerie, and outfits comically donned with marijuana leaves in strategic places. Ingenious!

The versatile set acts as a train station, roadway, Five and Dime, prison and church (among as other settings). (Alex Keplar, set and props design)

Patrick Cannon, director, expertly wrangles this large cast on a small stage. He keeps the electric energy flowing to create a top notch production.

*An always welcome bonus to any production is a live band supplying musical accompaniment. Kudos.

“Reefer Madness–the Musical” is a splashy, hysterically funny piece of camp musical theater. The talented actors/vocalists and large ensemble are pure delight. You don’t need to get high to enjoy this wacky, zany piece. But, I guess you could if you wanted to! Your call! Either way, you’ll laugh enthusiastically watching this riotous show!

-LtTL

“Reefer Madness” runs until October 19 at Little Lake Theater, 500 Lakeside Drive, Canonsburg, PA 15317. For tickets and information, click here.

By Claire DeMarco

“Noises Off” is a slapstick comedy on steroids!

Developed as a play within a play, we travel with a small theater group in England through three stages (no pun intended) of the play’s production.  Play rehearsal is fraught with miscues, missing props, and general confusion.  The director coaxes, cajoles, and, at times, loses his temper as he tries to keep the players on track.  It’s apparent that this theater group is not ready yet for prime time.

The next iteration seen by the audience is from a backstage perspective.  This is the play’s debut performance. We hear the players act and see them in shadow, while the emphasis is on backstage, there’s movement and action, but no vocals.

The cycle ends with the play’s final performance, which elevates the players’ miscues, missteps, and general aggravation with one another to a higher level.  The play has been touring for several weeks.

Note:  No further divulging of what actually happens next.  You have to see it for yourself, but I believe you will enjoy this production of “Noises Off”.

A bit of satire, a dash of slapstick, and throw in some farce!

Kudos to the entire cast of “Noises Off” – a well-balanced, talented, gymnastic, coordinated, and most of all, hilarious group!  This production only works (and does) if there is no broken link in the chain.  All the actors brought their characters to life in their own unique way.

The actors are Lara Hayhurst, Matt Henderson, Wali Jamal, Jeremy Kahn, Gwendolyn Kelso, Linda Mugleston, Saige Smith, Rowan Vickers, and Ricardo Vila-Roger.

The satire “Noises Off” was written by Michael Frayn in 1982.

Tim Mackabee’s front and backstage set design is complemented by Lighting Designer Marika Kent’s work.

Fight and Intimacy Director José Pérez IV is very successful at his job, which is a massive undertaking.

Excellent direction by Margot Bordelon.

-CED

“Noises Off” runs from October 1^st to October 19th at the O’Reilly Theater.  “Noises Off” is a production of Pittsburgh Public Theater.  For tickets and additional information, click here. 

by Claire DeMarco

In a modern regime somewhere near ancient Mesopotamia, the citizens are uprising.  They’ve had enough with corruption and the state of their country.  The president of this mythical country has already fled for parts unknown.

His wife, First Lady Ishtar (Elizabeth Elias Huffman), totally oblivious doesn’t know her husband has left.  Nor does she realize that the country is in turmoil.

In an attempt to tamp down the growing unrest, Ishtar’s Chief of Staff Elish (Doren Elias) is tasked with having her deliver a speech to the nation.  Most of those remaining in power don’t think this will work as Ishtar is thought of as self-absorbed, a bit of a ditz.  But they proceed in spite of misgivings, hoping that her speech will help to stabilize growing tensions.

Local reporter Yasmine (Milia Ayache), assigned to interview Ishtar for this televised event soon discovers that although she’ll be asking the questions, the questions have already been crafted for her.

Gazal (Treasure Treasure) is Ishtar’s assistant, a trans who totally supports her mistress, addresses her every need.  One of Ishtar’s redeeming qualities is her acceptance of Gazal in a country not prone to diverse lifestyles.

After many iterations of taping a message to the masses and not meeting the moment, Ishtar is confronted with the real state of affairs.

What begins as political satire transitions into thought-provoking memories and confrontations of past injustices and indifference.

Beneath the comedy lies a serious layer of intrigue and deception.  Disconnected hierarchy at the top of many governments that are totally oblivious about the concerns of their masses, is unfortunately, not unique.

Elias Huffman owns the stage as an authoritarian first lady out of touch with the real world. Her comedic timing is spot on through her attempts at addressing the nation.  She becomes more aggressive as she is confronted with the reality of her situation. Excellent execution of facial expressions, double takes and physical movement.

As the faithful chief of staff Elias understands Ishtar’s plight.  He possesses a cool and collective approach in handling Ishtar through many iterations of the “address to the nation”.  He delivers a controlled narrative and as the outside turmoil increases, he reflects on his many years of service to the leader and Ishtar.

Ayache is convincing as the timid, inexperienced, ethical reporter assigned to interview the first lady with questions she feels appropriate to ask.  As the story progresses, she easily transitions to a vocal, determined woman whose ulterior motives involve more than reporting.

Treasure’s facial expressions and physical movements are exceptional.  As her character becomes more involved in the situation at the palace, her theatrics take on more extreme moves.  Singing an excerpt from “Don’t Cry for Me, Argentina” sung from the top rung of a step ladder is hilarious.  It’s a quick moment but spot on!

“First Lady” was written by Sedef Ecer and translated by Amelia Parenteau.

Kudos to the design team – Scott Andrew, Sasha Jin Schwartz, Anthony Del Grosso, Madeleine Steineck, Alex Keplar and James Dworek and Randy Kovitz.  This is a beautifully done artistic production.  Excellent use of technology, special effects, lighting, sound and media design from this talented group.

Special recognition to E.E. Huffman for Costume Design.

Excellent direction by Adil Mansoor.

The word International is part of PICT’s identity and how appropriate – an international playwright and French-to-English translator and the U.S. world premiere of a unique play.

-CED

“First Lady” runs from October 2nd to October 11th at Carnegie Stage, 25 West Main Street, Carnegie, PA. 15106.  For tickets and additional information, click here. 

Reviewed by Dr. Tiffany Knight Raymond, PhD

There are rare productions you know will resonate with you across time, and it’s a privilege to share that collective theatrical experience. City Theatre’s world premiere of LM Feldman’s Another Kind of Silence is nothing short of a masterpiece.

The playbill describes the show as bilingual, given its in English and American Sign Language (ASL). However, it would be better described as quadrilingual, given that the play also includes spoken Greek and Greek Sign Language (GSL), while perfectly obvious after the fact, the existence of other Sign Languages truly wasn’t something I’d ever considered as someone with limited exposure to the Deaf community, giving myself a mental facepalm eye roll at such an American ethnocentric blunder.

Quadrilingual sounds complicated by default. However, it’s a testament to Director Kim Weild and Monique “MoMo” Holt, as director of artistic sign language, that it’s absolutely effortless for the audience to follow. This power duo makes it smooth for the actors as well, a clear by-product of lock-step collaboration. The play ensures inclusivity by thoughtfully utilizing non-intrusive subtitles. They are there for reference but never distract.

Holt is Deaf and represents just one member of the Deaf community involved in this production. Among others, the production also includes Deaf and Hard of Hearing actors, and lighting designer Annie Wiegand is Deaf. This ensures the production is represented from a fuller circumference within the Deaf community instead of singular representation.

Chelsea M. Warren’s classical Greek scenic design elegantly blends amphitheater with ruins, providing a sun-bleached background for each scene. Fabric-like pillars provide elegant spaces for the subtitles. Topping these pillars is a connecting arch. One of the play’s most memorable and magnificent moments is courtesy of Wiegand. For a scene at the Odeon in Athens, Wiegand projects a musical staff onto the arch. When symphony music commences, the lines of the staff vibrate. They become sound waves that vibrate with the music, providing a visual representation of the music’s crescendos and decrescendos.

At its heart, Another Kind of Silence is about love and the evolution of relationships. Girl meets girl, but both are involved with others. Feldman doesn’t yield to oversimplification, doing justice to the murkiness we’ve all experienced in relationships, romantic and otherwise. What we need and value changes as time passes, and those needs may or may not align with your partner’s evolution.

The two women at the center are Chap (Kaia Fitzgerald) and Evan (Catherine Gowl). They meet when Evan is in Greece accompanying her husband, Peter (Anil Margsahayam), on a work trip. Or rather, they don’t so much meet, but Chap observes Evan writing in a park.

Chap immediately and uncannily sees into Evan and discerns her ability to “find the epic in small things.” Before even knowing her name, Chap mentally nicknames Evan “Eureka.” The translation of this ancient Greek word of “I have found it,” foreshadows what feels like a pre-destined connection. Their spark is immediate, and the play thoughtfully explores the spaces – and silences – between spark and fire. Fitzgerald and Gowl make passion palpable thanks to Weild’s masterfully deft direction. Weild heightens the small moments that compose this fledgling relationship.

Each of the four characters is paired with their own personal chorus member. Costume designer Damien E. Dominguez visually unites each pairing with color to ensure readability for all audience members. For example, Evan and her Chorus (Amelia Hensley) are always in shades of pink.

The Chorus is a visual representation of the subconscious. Chorus members are costumed in flowing gowns that highlight their ethereal quality. The chorus members interact with each other in ways their counterparts can’t and sometimes provide reaction shots, going so far as to physically shield their actors, providing an actual block to difficult news. The Chorus also represents the desires of the characters they represent, able to act out that which their counterparts are not yet ready for or about which they dream.

Chap’s partner is local cafe owner, Ana (Jules Dameron). Dameron is a deaf, trans actor who commands the stage. For both couples, Feldman counters the heights of new love with the realities of an unraveling relationship. Chap states it simply when she says to Ana, “Something’s missing.”

And yet, nothing is missing from this production. Don’t miss the transformative.

-TKR, Ph.D.

City Theatre’s production of Another Kind of Silence runs through October 12, 2025, at City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. Purchase tickets online here.

By Lonnie the Theater Lady

The Becoming Arts Collective, in partnership with Broken Arts Entertainment, recently held a play festival at Carnegie Stage on September 19-20. The Twenty-four 10-minute plays were staged over the two days. Playwrights from Pittsburgh and beyond were featured in this entertaining festival. The subject matter covered many themes: father/son relationships, suicide, interracial marriage, childless women, life support, presidential behavior, missing children, death, ecology, and futuristic internet dating–among others.

A panel of festival judges chose the “Best of” in several categories. The top three plays selected will be filmed by Broken Arts Entertainment, a Maine- based production house that focuses on art that “gets you to think, and effect positive cultural change.”

The winner for the best play was “Familiar” by Robert J. Le Blanc. The two runners up (in no particular order) are “King of Spades” by Kim El and “From Day One” by J.D. Trafford.

Darrin Freidman, Founder and Managing Director,  and Art DeConciliis, Artistic Director, describe the recently formed Becoming Arts Collective as “a thriving theatre company of artists dedicated to bringing the transformative power of live theater to the Pittsburgh stage.”

One of their goals is to “explore storytelling that fosters empathy and connection in a time when the world needs it.” Through the Collective, they strive to “create a space where every voice matters and where everyone can feel connected.” And that “every spoken word and play performed infuses compassion, resolve, and hope into a world that desperately needs it.”

The festival featured forty-four gifted actors, thirteen directors, and sixteen playwrights. Each of the plays addressed topical, relevant themes with compassion and sensitivity.

Congratulations to everyone involved in this relevant, successful project.

-LtTL

To learn more about the Becoming Arts Collective, click here.