Author: VivantAdmin

by Michael Buzzelli

In Chicago in 1927, the Mother of the Blues, Gretrude “Ma” Pridgett Rainey (WIlla Catherine “Katy” Cotten), enters a cramped music studio with her band to cut an album that includes her biggest hits, including “Moonshine Blues” and the titular “Ma Rainey’s Black Bottom” in August Wilson’s “Ma Rainey’s Black Bottom.”

Wilson’s play, one of the few American Century Cycle plays NOT set in Pittsburgh’s Hill District, is historical fiction at its best, weaving real-life figures alongside fictional ones.

The play splits its focus between May Rainey upstairs with management, her girlfriend Dussie Mae (Bianca Dixon), and her nephew Sylvester (Matt Southers, Jr.), where she is demanding respect from her agent, Irvin (Chris Olshefski) and the producer, Sturdyvant (John Gresh); and Culter (Charles Timbers) and the band downstairs where Levee (Dionysius Akeem), a volatile young man with lofty aspirations, wants to have his own band, sing his own music, and take Ma’s girl, Dussie Mae.

Ma and Levee run parallel to one another. Ma has achieved glory as Levee strives for it. His story, however, takes a darker path (if you’ve seen the 2020 adaptation filmed here in Pittsburgh, you know how bleak his road becomes).

“Ma Rainey’s Black Bottom” is filled with colorful characters, expertly acted by an impeccable cast directed by a scion of Pittsburgh Playwrights Theatre,  Ashley Southers (daughter of Mark Clayton Southers, founder of the company).

The band mates are known by their nicknames, such as Toledo (David Minniefield) and Slow Drag (Rich Dickson).

Side note: On some nights Sylvester is played by Emir Hardy, and Dussie Mae is played by Tajionna Clinton.

Cotten is bigger than life, as she should be, playing Ma Rainey. She has the swagger and the gravitas to carry the demanding role.

Levee is a young man brimming with testosterone and rage, and Akeem is phenomenal in the role. His anger is visceral.

Toledo is the quiet, intellectual pianist, who riles Levee. Toledo is expertly played by Minniefield.

Irvin vacillates between bouts of nervous energy, and waves of controlled confidence. Olshefski does a great job.

The set is designed by Mark Clayton Southers is cleverly split from upstairs to downstairs. The only demarcation is a line of paint, a muted yellowy brown divided by a deep cement-colored gray.

Cheryl El Walker’s costumes give off that flapper vibe of the roaring 20s.

If you want to complete the American Cycle, you have a chance to catch three plays in Pittsburgh this month.

-MB

“Ma Rainey’s Black Bottom” runs until August 24 at the Madison Arts Cabaret Space, Madison Arts, 3401 Milwaukee Street, Pittsburgh, PA 15219. For more information, click here. 

 

 

By Michael Buzzelli

Stephen Sondheim’s “Sunday in the Park with George” is a tale of two centuries, color and light.

In the first half, George Seurat (Aaron Galligan-Stierle), his mistress, Dot (Saige Smith), and a colorful cast of characters who represent the various figures from the painting, “A Sunday Afternoon on the Island of La Grande Jatte (Un dimanche après-midi à l’Île de la Grande Jatte).” After rejecting Dot for his slavish devotion to his artwork, she moves on to another man (Robert Frankenberry) giving birth to George’s bastard daughter.

The second half jumps one hundred years later. In 1984, George’s illegitimate great-grandson, also named George (Galligan-Stierle again), begins his quest to create art as iconic and immortal as his predecessor while trying to woo investors. His latest piece, Chromolume Number 7, is a beautiful but derivative.

Side note: There is little historical connection between Seurat’s real life story and the book by James Lapine. Seurat’s common-law wife, Madeleine Knobloch, gave birth to his two sons, one after his death. Dot obviously is a pointed (or pointillist) joke.

Twentieth-Century George finds a deep connection to his great-grandfather when visiting the Parisian island (La Grande Jatte) for a contemporary exhibition. It’s a moving and beautiful pay off to the first half of the show, but it takes some time to get there.

A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l’Île de la Grande Jatte), George Seurat

Lapine and Sondheim’s story of the neo-impressionist is cluttered with the back story of minor characters, but the more contemporary artist’s story is laser-focused, literally and figuratively. The contemporary story carries more emotional weight and makes several important points (pun always intended).

After the intermission, the story picks up speed (and the first half FEELS like it took place a hundred years prior).

Director Rob James does a stellar job with the material, honing in on microscopic details, connecting all of the dots. He amps up some of the humor, especially during “Putting It Together.” He’s gathered a tremendous amount of local talent, both cast and crew.

Galligan-Stierle is terrific as the two Georges. He is stoic, work-obsessed Seurat, and shifts to the more self-reflective Laser-Light George in the second act. He also nails the aforementioned, “Putting It Together.”

Smith has been frequently praised here for her work in the Pittsburgh theatre arts scene. It’s another great performance.

Side note: This reviewer does not like it when young people play old people.  It’s usually done in an over-the-top Katherine Hepburn in “On Golden Pond,” all body shakes, and warbly squawking, but Smith isn’t over-the-top or ridiculous. It’s a poignant portrayal.

The spotlight is clearly on Galligan-Stierle and Smith, but other characters get some decent moments. Daphne Alderson’s Old Lady, Brad Smoak’s Jules, Toth’s Blair, Marnie Quick’s Frieda, and Ben Nadler’s very nervous Dennis.

Adelyne Anderson and Caroline Travers are delightful as the Celestes.

Youngest cast member, Eleni Elizabeth Josephs, gets a few good laughs, mostly at the expense of the Boatman (Matty Thornton).

The show has some lovely music by Camille Villalpando Rolla and her orchestra.

The costumes by Michelle Nowakowski are beautiful, especially Smith’s violet gown with a bustle to match.

The show is divisive. Most people like one half of the show or the other. The second half has a solid character arc where the characters evolve and change, and a bittersweet moment that makes the first half worth the time. The number one reason to see the show is to watch all of the actors put it together in a unique and glorious way.

Make it a point to go see “Sunday in the Park with George.”

-MB

Disclosure: The Front Porch Theatricals program has a lovely tribute to this website’s founder, the incomparable Brian Edward.

“Sunday in the Park with George” runs until August 24 at the New Hazlett Theater, 6 Allegheny Square, Pittsburgh, PA 15212. For tickets and additional information, click here. 

 

By Michael Buzzelli

“There are always two trains running. There is life and there is death. Each of us rides with them.” 

A diner owner in the Hill District in 1969, whose nickname and restaurant name are the same, Memphis (Art Terry), struggles with selling his business during a tumultuous time in the Civil Rights Movement  in August Wilson’s “Two Trains Running.”

Memphis barks orders at Risa (Amira Jackson), and Risa responds with action and never complains. She works quietly as Memphis spends his time arguing with customers.

If you’re wondering if Risa is his cook, waitress, or janitorial staff, the answer is “All of the Above.”

The diner has a group of regulars, Wolf (Boykin Anthony), who runs numbers; Holloway (Wali Jamal, a last minute cast replacement); who is enjoying his retirement; Hambone (Loaf Thomas), an mentally-deficient indigent with pork products on his mind; and West (Sheldon Ingram), a stoic and stingy funeral director.

A newcomer, Sterling (Manny Walker), breezes in and upsets the natural order of things.

August Wilson’s dialogue is both poetic and pedestrian (in a good way). He inflates everyday language and twists it into beautiful balloon animals.

The play contains Easter Eggs in the Wilsonian Universe (Aunt Esther from “Gem of the Ocean” is frequently mentioned).

“Two Trains Running” is not the strongest in Wilson’s oeuvre, but it has some powerful moments.

Trigger warning: The N word is prevalent, said over 100 times in the course of the play.

Director Mark Clayton Southers cast the play with panache. He found excellent actors for each role.

Side note: There were some hiccups in the August 14th show, but they can be easily rectified.

Terry’s Memphis is a small man trying to act big. He, like Hambone, is singularly obsessed. Terry plays him with blustery bravado. The actor makes us care about this overconfident, self-important man.

Jackson portrays Risa with quiet strength. It’s a layered performance that Jackson handles deftly.

Walker’s Sterling is equally mesmerizing and mischievous. He exudes charm even when threatening others.

Jamal, plays Holloway with charisma and verve (there is no discernible moment when you realize that Jamal was a last-minute replacement). Jamal, who has been in all ten plays of Wilson’s American Century Cycle, is marvelous.

Southers also designed the diner set. It’s got the right amount of ’60s kitsch without being mired in nostalgia. The peeling yellow vinyl chairs added a rustic and realistic charm. The set, and Cheryl El-Walker’s hair, makeup, and costuming, brought the audience right back to 60s Pittsburgh.

Sadly, America hasn’t moved the Civil Rights pendulum as far as it needs to go. It seems to be swinging back in the wrong direction under the current, despotic administration.

August Wilson’s plays should be taught in high schools, as they bring drama to the history curriculum. This production was an excellent starting point for a more extended discussion on race in America.

-MB

“Two Trains Running” will play from August 9 to the 30th in the Carter Woodson Redwood Theater, inside the Madison Arts Center, 3401 Milwaukee Street, Pittsburgh, PA 15219. If you would like more information, please click here. 

 

 

 

By Lonnie the Theater Lady

August Wilson’s “Fences” is set in the backyard of the Maxson family living in the Hill District of Pittsburgh in 1957. The story revolves around the complicated relationships among the family members as they live in a time of discrimination and a lack of opportunity for black Americans.

Troy (Kevin Brown), a sanitation worker and the family patriarch, resents the role his race plays in limiting his on-the-job opportunities. Black workers are assigned the most labor-intensive jobs at the back of the truck, where they load the garbage. White workers are given the higher-paying, less strenuous jobs as drivers. He’s also bitterly disappointed that segregation denied him a position on a National League baseball team after an auspicious career in the Negro Leagues.

Troy wants to protect his son Cory (Kymir Cogsdell-Freeman) from suffering the same discrimination in his chosen sport, football. He denies Cory permission to play football. This is a significant conflict, among many others, between father and son. Their deeply contentious relationship distresses both of them.

Troy’s disastrous decision to cheat on his wife, Rose (Karla C. Payne), has a devastating, long-term effect on their marriage.

Brown’s masterful portrayal of the complex, multifaceted Troy perfectly manifests Troy’s insecurities, resentment, disappointment, and sometimes humorous bravado. His breathtaking, powerful performance is truly remarkable. Congratulations!

Payne authentically embodies Rose’s strength and resilience. The palpable love she has for Troy transmits both through her tone of voice and loving facial expressions. Her raw, impactful response to Troy’s confession of adultery is heartbreaking.

Sixteen-year-old Cogsdell-Freeman is an amazing talent. In the scene where Troy refuses to express any affection for him, the look on his face is excruciating to witness. He impressively nuances Cory’s many emotions–ranging from anger, fear, unwilling compliance, rebellion, and finally maturity. It is a stunning performance from one so young.

The entire cast (under the direction of award-winning director Terrence Spivey) gives strong, genuine performances. Spivey keeps up the pace, so this rather lengthy Pulitzer Prize- and Tony Award-winning play seems to speed by.

Being able to see an August Wilson play performed in the backyard of his childhood home is a humbling, almost magical experience. We Pittsburghers are fortunate to have access to this extraordinary happening.

The rich dialogue, commanding acting, and unique setting combine to tell a compelling story of life’s struggles, dreams, betrayal, victories, and hope — creating a memorable experience that cannot be matched–and more importantly–should not be missed.

-LTL

“Fences” runs through Sept. 6 at the August Wilson House in the Hill District. To learn more and get tickets, click here.

 

by Claire DeMarco

Coach Jake Sebastian (Eric Vollmer) is a successful coach at Fisk High school in western Pennsylvania. The town of Fisk and its inhabitants are working class.  Their main competition is a high school nearby in a town much wealthier and high end than Fisk.  Unfortunately, Fisk has lost the last two annual games with their arch rival and a third game has been scheduled.

Coach’s wife Lynn (Amy Sikora Baschnagel) grew up in the rival town and still supports and is enthusiastic about several foundations she’s involved in.  She doesn’t fit in with the other women of Fisk.

“Coach and Mrs. Jagoff” is more than a play between two rival football teams.  The difference not only between the working class of Fisk and the wealthier stature of the neighboring town is highlighted not only through the dialogue.  Social standing also plays a key role in that dichotomy.

The outcome of the football game (Fisk loses by one point) can change Coach’s position at the school.

We’re introduced to the political aspect of high school football as Board Superintendent Wayne Taylor (Duncan Jameson) and the school board members determine Coach’s future path.  Their decision not only can end Coach’s career but will sensationalize his drinking problem from whispers only gossip to actual acknowledgement.

Note:  Football – whether high school, college or professional is a big deal in Pittsburgh and western Pennsylvania.  We thrive on the game, no matter our social status.  Coaches are usually held in high esteem (unless we or politics deem them unworthy) and they tend to have a status all their own.

Vollmer’s portrayal of Coach covers all the nuances and ups and downs of a man facing a personal dilemma.  He is both strong and vulnerable as his life changes.

As the supportive wife, Baschnagel is refined and dignified but she develops her character into a more vocal, demanding spouse as Coach faces life-changing uncertainties and challenges.

Vollmer and Baschnagel are especially effective as Lynn forces Coach to come to terms with his demons and drinking.  There is no skirting the issue as she was wont to do previously and Coach is left with Lynn’s ultimatum.

Jameson’s portrayal of the school’s superintendent follows his slow progression of dealing with innuendoes about Coach in closed meetings to a reckoning that requires a final public resolution.

Inserting the necessary Pittsburghese into the conversation is handled effectively by Ellen Kalik as Gina Bernardi, Fisk school board member. Her introduction is loaded with “yinz” and “n’ats”, reinforcing and confirming that we are indeed near Pittsburgh and in western Pennsylvania.

Adam Merulli as rival coach Milan Toth adds a touch of humanity, common sense and much needed advice as Coach hits his low point.

Alan Hayashi (Lights and Sound) visuals of fiery images of steel production with accompanying noise of steel-making at the play’s introduction are striking.

The set is simplistic with props delivered and removed by cast members as each scene changes.

Costume selections also help identify without words the social status of each character.  Lynn Sebastian usually wore more formal attire while the locals’ clothes were extremely casual, less coordinated.

Note:  There are perhaps too many scenes overall in the production, making it less cohesive than it could be.

The world premiere of “Coach and Mrs. Jagoff was written by Bruce Zewe.  Congratulations on a new career after 40 years of writing for other organizations.

CED

“Coach and Mrs. Jagoff” runs from August 8th to August 23rd at Iron Horse Theatre Company, 348 Maplewood Avenue, Ambridge, PA. 15003.  For tickets and additional information, click here. 

By Michael Buzzelli

On Tuesday, August 5, 2025, the Carnegie Artist’s Showcase was officially opened with live music from the library’s own Ukulele Strum-Along group and light refreshments, cheese, crackers, cookies, and wine.

The artists all from, living or working in Carnegie included local business owners, Phil Salvato of the 3rd Street Gallery, Dave Klug from Double Dog Studio, Eva Trout from Firebox Art Studios all with studios in downtown Carnegie.

Walker Evans, Library Director at Andrew Carnegie Free Library & Music Hall, said, “Throughout my 14 years working in public libraries, I’ve witnessed countless changes and innovations — some which stick, some which don’t. But one consistent presence I didn’t really expect has been the constant conversation and interaction between public library service and the visual arts.”

Evans and Journalist Bob Podurgiel (a frequent contributor to the Pittsburgh Post-Gazette’s Goodness section) planned the retrospective of local artists.

Podurgiel said, “Carnegie has been home to many exceptional artists — for instance, Phil Salvato was selected to exhibit in China several years ago as one of the American artists chosen in a State Department initiative,” Podurgiel, who took a leading role in planning the event, added, “Anthony Vitale is another homegrown artist. The Carnegie Artists Showcase is a tremendous opportunity to highlight the work of Carnegie artists.”

Third Street Gallery owner, Phil Salvato, who recently closed his gallery, was in attendance at the opening.  Other artists showed up for the event, including Bernadette Kazmarski , Ron Mahoney Marlene Pendleton, and  Dave Columbus.

Dave Columbus offered whimsical artwork that included a scene from “Monty Python’s Holy Grail,” and nerd-centric art that listed a finely detailed diagram of “Star Trek [The Original Series]” which included each actor and the episodes they appeared in. The graphic was meticulously researched.

The late Anthony Vitale’s art included abstracts such as “Metal in Motion” and a realistic falcon in “Falcon at Rest.”

For Carnegie residents, it’s a great way to get to know their neighbors, but it’s also a great selection of fine and fun artwork.

The showcase is free to the public, but donations are gratefully accepted. The showcase is open during regular library hours from Aug. 2 to 16 (Mondays, noon to 7 p.m.; Tuesdays through Thursdays, 10 a.m. to 7 p.m.; Fridays, 10 a.m. to 5 p.m.; and Saturdays, 11 a.m. to 3 p.m.).

-MB

The Andrew Carnegie Free Library and Music Hall, 300 Beechwood Ave, Carnegie, PA, United States, Pennsylvania 15106. For more information, click here.

By: Joseph Szalinski

Raid your older sibling’s stash and cue up Dark Side of the Moon, because we’re returning to the merry old land of Oz in The Rage of the Stage Players’ production of Dorothy in Oz, written and directed by James Michael Shoberg, now running at the Margaret Partee Performing Arts Center in Bellevue, PA.

Originally staged by The Rage of the Stage Players in 2009, followed by a revival in 2011, this production takes advantage of some wickedly awesome timing for its current run. Inspired by the classic MGM film, the books by L. Frank Baum, and the wealth of related media, Dorothy in Oz offers up a unique twist on a familiar favorite, minus the Munchkin you swear you saw swingin’ in the background. Littered with references you’d only catch on your third viewing, this play is best enjoyed by those who have visited the Emerald City regularly, but can be enjoyed by the whole family, and your little dog too!

Shoberg’s passion for the source material, and for the written word, manifests itself in the form of a solid script that enables this show to stand out. Clever dialogue, creative allusions, kooky characters, and heaps of humor help make this an engaging piece of theatre from start to finish. Story beats and plotlines are similar enough to the original film that audiences are easily able to immerse themselves in the world on stage, while also getting a new narrative to watch unfold. Tight and polished, this production flies by amidst a soundtrack of chuckles.

Assisting Shoberg in executing his vision is a great and powerful cast who is unafraid to commit to the insanity of the story. Chelsey Gooch is magnificent as Dottie, the mentally ill protagonist who’s forced to take more meds than Judy Garland. She is aided in her journey by Mrs. Goode/Glinda, played by the hilarious Carrie L. Shoberg, in addition to three stooges with amazing chemistry. Luke Frederick throws himself into his role as Skarekrow, not to be confused with Lord Infamous from Three 6 Mafia, an edgy musician who is the second most doped up strawman next to Michael Jackson. Rusty finds his heart thanks to Mike Psenick, who has an easier time with his iteration of the hatchet-wielding hero than Buddy Ebsen had with his. Bill Herring is enjoyably skeevy as Mr. Lyons, a dude who most certainly has some hairy palms, especially with how he works in the Winkies’ iconic chant.

Jen James exorcises the pearl from the liver with her performance as Dr. Green/Wicked Witch of the West Wing. A medical professional with a lot of sympathy, just not for her patients. A fascist in the west wing…huh…I think I’ve seen that somewhere before…Making up the Witch’s gaggle of miserable creatures are Jamez Draconis II, Anthony Babeaux, and Justin Havens as Swish, Twitch, and Grunt, respectively.

Matthew Grimm is terrific as The Great Oz/Dr. Ozlin, giving a powerful performance when communicating through a digital avatar. Completing the in-person cast is Lily V. Sixx as Ms. Gates and Linda Baker as Aunt Em. For long time fans of Rage of the Stage, Ryan Ott entertains as the voice on hospital intercom.

Equaled by the cast’s talent is the technical prowess of the crew. Wait until you see the end credits. Technical director, Dylan Baker, handles lighting design while sound design is handled by Anthony Logreco. Original music is composed by Andrew Lasswell, a smart move considering covering “Over the Rainbow” didn’t really turn out well for IZ. Rachel Roach wears more hats than Bartholomew Cubbins, serving as assistant director, board operator, scenic artist, set designer, and stage manager. Assistant stage manager, Diana Smith, shares hair/makeup/special effects duties with Chloe Mackay, Lily V. Sixx, and Brittany Spinelli. Other performers to moonlight behind the scenes are Jen James and Carrie Shoberg as set decorators, with the latter further blurring the line between cast and crew by overseeing props and costume design, complemented by Kaitlyn Alyce’s seamless job as seamstress. Elizabeth Marie Murphy, the sole member of the production’s run crew, does a formidable job of navigating the backstage chaos. James Michael Shoberg goes beyond his role of playwright/director by being involved with the show’s marketing alongside David L. Wooddell, producing the show with Carrie L . Shoberg, and working on the graphic design with Joseph Stammerjohn. Damien Worm has concocted awesome poster artwork and Skylar Walton has expertly crafted additional production artwork. Forrest Cook lends a trained eye to the show’s photography and videography. Dawn D. Anderson, Peter Anthony Vetrini, Stephanie Cook constitute the house managers, a dedicated group of Shoberg devotees who cycle in and out with each production.

Bellevue is blessed to have the Margaret Partee Performing Arts Center as part of the borough. It is a wonderful venue that has been home to scores of fantastic productions since its opening. Between being the homebase for The Pittsburgh Savoyards, as well as a hub for local art and culture, the space has become positioned as an indispensable element of the scene. The “North Boros” are experiencing a renaissance of sorts, and Bellevue is at the epicenter. One can only hope that the MPPAC gets to share in those spoils as well.

The Rage of the Stage Players have been terrorizing tiny towns for 24 seasons and don’t show any signs of slowing down. In an era plagued by a collective waning interest in doing anything, it’s refreshing to see a group of people so motivated to share stuff they love. Theatre is a multifaceted artform that allows for the tried and true to stay eternally relevant, or permits a bit of experimentation, and Rage is luckily of the latter. Their original shows, whether seriously disturbing or disturbingly funny, are tremendous feats of theatre that have entertained audiences around the world. Pittsburgh is incredibly fortunate to host them and their unusual body of work. Whatever they end up doing next will certainly be spectacular.

-JS

Dorothy in Oz continues its run August 7^th, 8^th, 9^th, 14^th, and 15^th at 8 pm, with a special 2 pm matinee performance followed by a talkback with the cast and the playwright on Sunday, August 10^th at the Margaret Partee Performing Arts Center in Bellevue, PA. Tickets can be found here. 

Ensemble Actors Studio’s “All Things Pittsburgh Play Festival n’at” takes a delightful, satirical, loving look at the idiosyncrasies that belong to the “Burgh” and its residents.

Parking chairs, Pittsburgh potties, sandwiches with French fries, rabid sports fans, pierogies running foot races, Hunts versus Heinz Ketchup, what we think of Ravens fans, Kennywood and chipped ham, are just some of the unique Pittsburgh oddities providing  the fodder for this clever parody.

The ten 10 minute original plays are all wildly entertaining, comedic, and distinctly different from each other. Works by several well known local playwrights including  Gayle Pazerski and Jaime Slavinsky are directed by Chris Clavelli and Cynthia Dallas among others. The actors are students of Ensemble Actors Studio.

“Seasonal Effective Disorder” by Brian Pope, directed by Jaime Slavinsky lampoons Pittsburgh’s unpredictable weather. Each season is represented by an actor who jockeys to control the greatest number of calendar days for their season. It’s a very entertaining comically presented  premise. Alauna Gipson is impressive as Winter. She has a confident, commanding stage presence and loads of charisma. A star in the making!

Tammy Ryan’s “The Cookie Table” directed by Justin Zeno, kids about the pressure to have a spectacular cookie table at every wedding. It’s a funny yet poignant piece.  Krista Graham (the future bride)  has great comedic timing. Her exceptional countenance and expressive eyes convey excitement about her upcoming nuptials. She glows from within, radiating love and contentment.

“Where Are All My Yinzers At?” by Kim El, (directed by Wali Jamal) is a hysterically funny look at a classroom in the future. The teacher (Andrew Lasswell) is doing his best to keep the dying Pittsburghese dialect and language alive by instructing his students on the finer points of both. He has the students perfect the distinctive accent by practicing phrases such as, “I took a shower with Bill Cower and he bought me flowers.” So funny! Lasswell is terrific in his role as he earnestly pursues this ludicrous goal. He has a great sense of comedy.

There are  many surprising and laughable moments in all of the plays. It is  nearly impossible to include all of them in this overview. Everyone involved in producing this wonderful night of comedy is to be commended. It is a truly pleasurable diversion away from today’s weighty matters.

There is some bad news and some good news. First, the bad news. This festival runs just one short weekend ending  August 3. The good news is, this is a continuing, ongoing  project. It will be back with a rash of all new plays humorously razzing Pittsburgh. This festival is a wonderful gift to Pittsburghers that keeps on giving.

The “All Things Pittsburgh Play Festival N’at” gives Pittsburghers a chance to laugh at the city and the people they love.

– LtTL

Learn more about the Ensemble Acting Studio right here.

by Gina McKlveen

Last year, a Walnut Street staple in Shadyside celebrated its 50th year in business. Standing arm in arm outside Maser Galleries, the Maser women, Brenda and her two daughters, Katie and Kristen, reminisced about what this business has meant to them since it first opened. 

The building where Maser Galleries is located, 5427 Walnut Street, was a former dry cleaner when Ronald Maser, affectionately known as “Lefty”—a Pittsburgh-area native, McKeesport High School graduate, former University of Pittsburgh student-athlete, and multi-talented visionary, turned the space into the thriving art business it has become. 

His wife Brenda explained, “Lefty hammered every board on that wall. Those barn wood walls, every nail was hammered in by him… There was nothing he couldn’t do.” But back then people thought Lefty was out of his mind to open another gallery along Walnut Street, which ironically, was right across the street from an Arts International gallery, his former employer. Doubting Lefty’s can-do attitude, naysayers thought Maser Galleries would be out of business within six months, incapable of withstanding the competition of a powerful chain like Arts International. However, not long after Maser Galleries arrived on Walnut Street, it was Arts International that closed its doors, not Lefty.

Brenda described what Maser Galleries was like on Walnut Street in the 1970s, “When we first opened, Walnut Street then was almost all, if not all, independent owners, many different types of shops, and a lot of hippies. We had lots of arts and crafts items, we had shelves and shelves of crafts and little metal sculptures, paintings on marble, paintings on fungi, we just had all different little things. And as the street evolved, we evolved. So as the more upscale shops came in, so did we. Also, the timing was so perfect because the 70s was a time when art was really exploding and graphics were just coming out like Normal Rockwell, Erte, Simbari, LeRoy Neiman. It was just an amazing time when these limited-edition graphics were available for the first time, and we were on the ground floor of that.”

The artworks of many of these mentioned artists are available for sale at Maser Galleries this weekend during the Annual Shadyside Sidewalk Sale, along with other Pittsburgh natives who’ve achieved reputable success with their art, like Burton Morris, Fritz Keck, and Linda Barnicott. 

Since the 50th anniversary celebration, Maser Galleries has shifted into retirement, announcing that it is closing its doors, and offering discounts on their entire collection. Stop by Shadyside this weekend, August 1st-August 3rd, for a special look at the fine art collected right here in Pittsburgh by one of the city’s finest families. Artworks for sale are of limited editions, so don’t swing and miss the opportunity to catch a unique piece of art to add or start your own collection. 

-GM

To experience Maser Galleries, visit: https://www.masergalleries.com/ or stop in at 5427 Walnut Street, Pittsburgh, PA 15232 and explore their ongoing retirement sale.