Author: VivantAdmin

By Lonnie the Theater Lady

Most people are familiar with the 1989 star-studded film, “Steel Magnolias”. Robert Harling’s dramatic tragicomedy began as a short story chronicling his sister’s catastrophic battle with Type 1 Diabetes. The short story quickly morphed into a full-length play opening Off-Broadway in 1987. The movie followed.

The main storyline is easy to follow. A group of female neighbors and friends frequently gather at Truvy’s (Tonilyn Jackson) home beauty parlor in Chinquapin, a small town in Louisiana. The women gather to gossip, chat, complain, share opinions, laugh, and support each other– when they’re not bickering. And, of course, sometimes they do get their hair done. Serious topics are interspersed with very funny one-liners. It never gets too serious for too long. Examples– “He’s so dumb he thinks Sherlock Holmes is a subdivision!’ And my personal favorite: “I don’t see plays because I can fall asleep at home for free.”

The show opens in the beauty shop (where all the action takes place) on the morning of Shelby’s (Sarah Puhala) wedding. Truvy recently hired a quiet, meek, young beautician, Annelle (Sydney Mannion). One by one, Annelle is introduced to the women’s circle of friends as they enter the shop to get beautified for the wedding. The widow of the deceased town mayor, Clairee (Barbara Harrold), Oiser (Cindy West), the town grouch, and Shelby’s mother, M’Lynn (Stephanie Ottey), all buzz with excitement about the wedding. The conversation centers on the wedding and Shelby’s plans to start a family. Shelby suffers an episode of diabetic hypoglycemia and loses consciousness. When she recovers, she shares the news that she and Jackson, her future husband, have decided to adopt, since her doctor discouraged her from getting pregnant. The extreme health risks caused by her diabetes make pregnancy a dangerous choice. She’s clearly devastated—her greatest desire is to bear her own children.

Several months later, Shelby is ecstatic to announce to her friends and family that, against all medical advice, she is pregnant. M’Lynn is openly distraught over Shelby’s ill-advised pregnancy. Shelby is confident that her pregnancy will go well — and it does. Even after the baby’s premature birth, both she and her son thrive. Shelby is thrilled and exhilarated to be a mother. Unfortunately, her good health is short-lived. She begins to suffer from kidney failure. What follows is an impressive display of motherly love, courage, strength, and women’s steely resilience.

To the credit of Sean Michael Barrett (director), the entire cast plays their roles with authenticity and a consistently natural ease. He doesn’t take the easy road and portray the characters as stereotypical Southern women. He makes the characters both real and sympathetic. Their accents are never exaggerated and are easy to understand.

Tonilyn Jackson plays Truvy with genuine warmth. She’s a truly charismatic Southern Belle exuding grace and dignity. Truvy’s character needs to be strong enough to hold the play and its characters together. Jackson more than meets the challenge.

Sydney Mannion’s Annelle presents a sweet, naive vulnerability that endears her to the audience. Her expressive face perfectly mirrors her character’s every emotion. She appears almost angelic at times.

Sarah Puhala’s nuanced portrayal of Shelby enchants with her pure, sweet side. She’s a woman who is obsessed with pink, undeniably the most “girly” of all colors. Beneath that feminine softness lies a strong, courageous woman determined to make her own decisions.

Stephanie Ottey’s powerful final monologue is masterfully done. M’Lynn is trying to make sense of what happened to her daughter. Her heart-wrenching grief and confusion are beyond excruciating. Her dynamic delivery leaves not one dry eye in the theater. Truly a stunning performance. WOW! Unforgettable!

Cindy West gives us a crotchety, yet somehow lovable Oiser. She has some of the best laugh lines and delivers them all with perfect timing and tone. Her good heart shines through her irritable demeanor.

Barbara Harrold’s Clairee is the least quirky of the women. She brilliantly shows off her comedy chops in a very funny scene that momentarily lightens the mood of Ottey’s monologue.

Set designer Rob James creates a charming set reflecting the tone of the 1980s. Real beauty shop furniture, retro hair dryers, and a sink with real running water are among the many details that create the homey feeling of the set. Large white trellises festooned with big, colorful magnolias flank the set. The extraordinary, nostalgic set is gorgeous.

Stage 62 is best known for its big splashy musicals. It is lovely to see that the company is also proficient at producing high-quality dramatic comedy. Steel Magnolias is a splendidly done, flawless reminder that life is beautiful, fragile, and sometimes heartbreaking..

In Shelby’s words, “I’d rather have thirty minutes of wonderful than a lifetime of nothing special.”  This show delivers many more than thirty minutes of wonderful and is, in fact, very special! Marvelous! Don’t miss this one!

LtTL

For tickets and more information, click here.

By: Joseph Szalinski

Intoxicants and live events have been intertwined since the days of Dionysus, so what better way to pay homage to such a tradition than to put on a show about wine? Add a dash of the supernatural, and you’ve got the makings of a tailgate in Gettysburg, or, more appropriately, The Haunted Theatre Company’s inaugural production of Wine and Spirits, written and directed by Michael McGovern, now running at Margaret Partee Performing Arts Center in Bellevue, PA.

An original show by Pittsburgh scribe, Michael McGovern, Wine and Spirits follows siblings Guy and Judy Chambers on their visit to the Chambers Mansion at the Chambers Winery, upon hearing the news of their uncle’s passing. While there, they encounter an assortment of relatives and some ghoulish guests. Chock-full of horror and humor, it’s a refreshing breath of originality in the scene’s community theatre circuit.

The script comes to life thanks to the efforts of the show’s cast. Eddie Kunz amusingly leads the charge as Guy Chambers, a playwright who just so happens to be the butt of many jokes. Writers are the worst. Completing him comedically is his satisfyingly sardonic sister, Judy Chambers, played by Trinity Griffin. The two have a fun dynamic that propels parts of the plot. Jordan Coury is a delight as Henry Chambers, the pretentious relative who makes a living reviewing wine. That might be my next step. His physicality and penchant for peculiar pronunciation are highlights of his scenes. Nicole Brady is a lot of fun as Piper Banks, an aspiring actress and a cousin to many of the others, although the latter doesn’t prevent Guy from becoming enamored with her. Mary Ann Chambers, the last member of the family, is given an electrified performance by Gina Preciado. Jon Poli joins her as Bramwell Tripp, a rather amorous hanger-on. Equally silly and sleazy, Poli is a great addition to the fold. Rounding out the cast are Tom Sarp and Mary Randolph as Rogers and Dolores, respectively. The servants of the estate, the duo provide a fair share of laughs, especially with their comic disfigurements.

Of course, the technical elements of the show do some heavy lifting as well. Playing into a story included in the program, ghosts from the company’s past make their presence known by toying around with the lights and sound. Pamela Cashdollar is the one responsible for wrangling them, in addition to her duties as the show’s photographer. Otherwise, the behind-the-scenes contributions are helmed by an army of hardworking, flesh-and-blood individuals. Set designer Robert Hockenberry masterminded the detailed set. Audio is made possible by Dan Sterzinger who runs sound and Britt Pierce, who designed it. Similarly, Barbara Sawatis runs the lighting designed by Wendy L. Rea. Samantha Sanford executes special effects and makeup, while Shawn Karabinos handled the show’s graphic design work. None of this would even be possible without the expert guidance of the stage manager, Gretchen Beck.

Margaret Partee Performing Arts Center is a quaint venue in the heart of Bellevue, PA. Although on the smaller side, it hosts an impressive array of events and performances, most of which are plays by the Pittsburgh Savoyards. Along with The Rage of the Stage Players, The Haunted Theatre Company has established a residence in the space, wonderful news for the creative scene in the North Boros.

Despite the spooky history detailed in the programs, The Haunted Theatre Company is a new artistic outfit proposing to produce five seasons of entertaining shows. Headed by writer and director Michael McGovern, the group is set to realize that goal with a second production slated for the fall.

-JS

Wine and Spirits continues its run May 14^th-16^th at 8 pm and May 17^th at 2 pm. at Margaret Partee Performing Arts Center in Bellevue, PA. For tickets and more information, click here. 

By Timothy Ruppert

Want a challenge? Stage William Shakespeare’s infrequently produced early comedy, Love’s Labour’s Lost, knowing fully well how few audience members will have any significant familiarity with the play beyond its alliterative title. Oh, and do so with paper puppets projected onto a screen. And throw in a singalong with the audience to close out the festivities. Interested?

Steel City Shakespeare Center accepts that challenge with verve and vision, proving that they are a theatre company meriting serious attention in the Pittsburgh arts community. Beautifully designed and superbly executed, their production of Love’s Labour’s Lost fashions a unique, not-to-be-missed theatrical experience.

The play itself begins with what seems an outrageously difficult task when King Ferdinand of Navarre (Aaron Crutchfield) charges three high-ranking courtiers—Berowne, Dumaine, and Longaville (the first two voiced by Bob Colbert, the third by Matthew Hartman)—to forego all physical gratification for the sake of scholarly pursuits: “Our court shall be a little academe,” boasts the sovereign, “Still and contemplative in living art” (1.1.13-14). This royal fiat—which includes an edict forbidding any woman within a mile of court—swiftly becomes a sticky wicket once the Princess of France (Anne Forrest) arrives with her entourage of ladies (Sarah Elizabeth as Maria and Ella Mizera as Rosaline and Katherine), sparking love and romance in place of arcane intellection. What follows is a mélange of elements that recur throughout Shakespearean comedy: the verbal fencing of eventual lovers so well beloved in Much Ado About Nothing; disguises and misidentifications such as we find in Twelfth Night and As You Like It; and a metatheatrical sequence that presages the work of Peter Quince and friends in A Midsummer Night’s Dream. We get a few important surprises, too, making Love’s Labour’s Lost a distinctive presence in the Shakespeare canon.

Álvaro Muñoz as the braggart Don Adriano de Armado and Joseph Vasquez as his page, Moth, complete a terrific cast of voice actors whose passion for their craft resonates throughout the evening. While Colbert, one of Pittsburgh’s best interpreters of Shakespeare, delivers an expectedly splendid performance (and he plays the accordion to boot), the actors prove to be impressive.

Director Cat Aceto deserves special notice for her designs and puppeteering. Along with Skylar Rella and Jenna Simmons, Aceto treats us to a striking display of shadow-theatre storytelling. The puppets are wonderfully constructed and varied, combining human forms with the heads of assorted animals—deer, rabbits, giraffes, owls, and many beyond—to render a theriocephalic spectacle that puts us in mind of folkloric magic generally and of Nick Bottom’s adventures among the fairies specifically. Together with the cast’s keen performances, the puppetry truly elevates this production to a remarkable level of achievement.

Not surprisingly, Steel City Shakespeare Center scores a very palpable hit with their current showing of Love’s Labour’s Lost. The company takes artistic risks with alacrity, in part because the talent and imagination of this troupe’s members ensure success. To paraphrase Moth (5.1.35), this production offers a great feast of theatrical languages—voice acting, puppetry, music-making—certain to delight newcomers to the Bard as surely as it will please connoisseurs.

-TR

Steel City Shakespeare Center’s production of “Love’s Labour’s Lost” continues 15 and 16 May, 7.00 PM, at the Tracey D. Turner Studio, Northmont United Presbyterian Church, 8169 Perry Highway, Pittsburgh, PA 15237. For information and tickets, please visit here.

Reviewed by Dr. Tiffany Knight Raymond, PhD, and Theron Raymond (7th grade)

Pittsburgh Musical Theater brings Dear Evan Hansen to the stage. It’s about teen suicide, specifically the suicide of a teenager named Connor Murphy (Joshua Clark). The dark subject matter is not characteristically musical-like, and since most of the songs are solos, Lucas Fedele’s choreography becomes more of an afterthought.

Connor snags a letter Evan (Anthony Marino Jr.) has written to himself out of the high school computer lab printer. It’s an assignment from Evan’s therapist. When Connor’s body is found, the note is on his person. Since it’s addressed to “Dear Evan Hansen” and signed “me,” Connor is presumed to be the author.

Tucker Topel’s set design is spare. A large frame at a canted angle arches over the stage, and other posts extend upward to anchor it. These towering elements are lit in varying colors to signify different characters and moods. They’re often overlaid with projections from visual media designer Scott Andrew. While striking, they don’t have as much visual impact as they could because of the frames’ narrowness.

Evan is a milquetoast and doesn’t speak the truth when he learns about Connor’s passing and the note from Connor’s parents. In his effort to provide comfort, Evan slides into assuming the role of Connor’s best friend, despite the fact that they barely knew each other. Evan’s long-term obsession with Connor’s younger sister, Zoe (Erin Cain), significantly complicates his motives to nurture his relationship with the Murphys.

Connor struggled with substance abuse and was both feared and disliked. Ironically, it is only through Evan that Connor comes to life – and becomes likable. But the same is true for Evan. Evan goes from weird outcast to popular by association. Connor’s death creates a viral moment that people want to associate with. The play explores the lengths one goes to in order to extend a moment and keep something significant when the world is constantly moving on. In a world of social media-driven attention spans, new tragedies and events continually draw us in other directions.

Director Tim Seib has Marino lean into a disarmingly quiet presence that brings both Connor and Evan to life through storytelling. Their fictional friendship reflects a heart-achingly real wish for connection. Evan’s only friends are his “family friend” Jared (Max Milligan) and another socially awkward classmate, Alana (Maya Fullard). Both Fullard and Milligan create memorable supporting characters without overplaying their roles. Fullard continually talks over Marino to corner her own piece of Connor’s memory, reminding his parents she was one of his “best acquaintances,” and you can see the wheels spinning as she wants to parlay the moment into a college application essay.

Evan loves trees; nature provides a companionship and comfort he can’t find with humans. It’s not accidental that the fictional friendship takes place at an abandoned apple orchard that Connor used to visit with his family. Apples are symbols of temptation, and Evan succumbs to the temptation to keep elaborating on this fictional friendship to draw closer to the Murphy family. They’re upper-middle-class and embrace Evan. This contrasts with Evan’s hard-working single mom, who’s rarely home as she struggles to make ends meet as a nurse’s aide while also completing her education. Her absence in Evan’s life is understandable, but it’s one more dimension of his loneliness that is countered by the affirmation and attention the Murphys give him.

You know this house of cards must eventually collapse, and that anticipation heightens as Evan is caught in a swirl of his own lies that is at odds with the genuine affection he has for the Murphys and his attraction to Zoe. While Steven Levenson’s book elides climactic confrontation, the staging dynamically compensates. The musical opens with the two moms in a duet, singing about “making this up as I go.” It’s not just a line about parenting but about life, and Dear Evan Hansen inspires deeper discussions about how we each make it up as we go. Those choices can never be perfect, but thanks to Dear Evan Hansen, they do inspire reflection.

-TRK, Ph.D. & TR

Pittsburgh Musical Theater’s production of Dear Evan Hansen runs through May 24, 2026, at the Gargaro Theatre, 327 S. Main Street, Pittsburgh, PA 15220. Purchase tickets online here.

By Timothy Ruppert

If Point Park University alerts Seymour Krelborn to the frost advisory currently in effect for Pittsburgh, let’s hope he doesn’t put Audrey II out on Forbes Avenue overnight—we would miss a terrific new production of Alan Menken and Howard Ashman’s hilarious musical, Little Shop of Horrors.

Admittedly, the diffident but loveable florist Seymour (Braden Max Stroppel) has good reason to wish the otherworldly plant Audrey II (Bianca Dixon) out of his life. A bloom with vampiric tendencies and a taste for human beings, Audrey II happens into Seymour’s hands after a solar eclipse takes place. Seymour names the plant for his secret love, Audrey (Mariana Sarmento), who works with him at a nearly bankrupt Skid Row flower shop owned by the often-irascible Mr. Mushnik (Konstantin Kipshidze). When Mushnik allows Seymour to display the plant in the street-side window, the shop’s fortunes take an instant turn for the better—seemingly. Soon enough, though, Audrey II’s sinister thirsts compel Seymour to seek out sustenance for her, leading him to plan the murder of Audrey’s sadistic dentist-boyfriend, Dr. Orin Scrivello (Logan Johnson). After Orin dies of a nitrous oxide overdose, Seymour gives his remains to Audrey II, initiating a terrible sequence of events that intensifies the chaos at Mushnik’s shop even as it betters the profits beyond what anyone could have imagined.

Like Cats or Sweeney Todd, Little Shop of Horrors is an eccentric masterpiece that asks a lot of its performers and technical staff. The cast and crew of this Point Park offering have the vision and commitment to make it succeed. As Seymour, Stroppel commands the stage without ever losing the thread of his character’s charming forlornness as it evolves from “Grow For Me” to “Suddenly Seymour” and beyond. Sarmento sings goldenly, most notably in her gorgeous rendition of “Somewhere That’s Green.” Kipshidze anchors the triumvirate of principals with a fine sense of world-weariness tempered with a quiet compassion and an inclination to hope against hope. Johnson delights as Orin, finding the essential vein of humor in his sometimes polite but always cruel character. Chiffon (Kat Bruce), Crystal (Mia Laverne), and

Ronette (Kendal Williams) comprises a savvy, skeptical chorus whose lovely voices and enthusiastic performances endow this production with a graceful cohesion. Dixon ensures that Audrey II plays as funny as she is menacing—no mean achievement for a character in which 1930s horror cinema meets 1960s Motown brilliance. And, of course, Luka DePasquale, Madyn Harris, and Jo Welch do excellent work with Stella Frazer’s strikingly designed puppets. The production staff, under Michael Campayno’s sure-handed direction, deserves recognition, with the work of dance captain Jayla McDonald, choreographer Latrea Rembert, and sound designer Zach Moore particularly notable. Add in a splendid orchestra conducted by Camille Villalpando Rolla, and the formula for an outstanding evening is complete.

As this new spring brings old temperatures back to the region, remember to bring in your plants—unless you find Audrey II among them. If you do, please have her go to the Pittsburgh Playhouse right away. She has songs to sing and murders to commit for Point Park’s exceptional interpretation of Little Shop of Horrors.

—TR

“Little Shop of Horrors” runs through 3 May at the PNC Theatre, Pittsburgh Playhouse, 350 Forbes Avenue, Pittsburgh, PA, 15222. For more information, please visit https://playhouse.pointpark.edu/shows-events/conservatory-theatre/Little-Shop-of-Horrors/.