Ray Cooney’s wildly successful, nine-year run of the British farce “Run for Your Wife” prompted him to write the sequel, “Caught in the Net, “currently running (or more accurately zooming) across South Park Theatre’s stage.
The bigamist London taxi driver John Smith (Justin Mohr) is still married to Mary (Jocelyn Hillen) and Barbara (Misty Challingsworth). After eighteen years of duplicity, things have become more complicated because John now has two children: Barbara’s son, Gavin (Owen Stillwell), and Mary’s daughter Vickie (Josie Manculich).
Gavin and Vickie meet on the internet and are amazed at how much they have in common. They’re planning to get together for tea at Vickie’s parents’ apartment. (Teenagers–tea? Yes, after all, they live in London). Understandably, John is horrified that his years’ long subterfuge will be discovered, so he schemes to prevent the teenagers from meeting by using any means possible, including enlisting his friend Stanley (Noah Kendall) to keep the teens apart.
Stanley and John spin a series of increasingly ludicrous tall tales to stop the inevitable meeting of John’s offspring. The hilarious lies create farcical situations- ringing cell phones, doorbells, people frantically knocking on locked doors, mistaken identities, not-so-dead bodies, and silly disguises.
From left to right: Owen Stillwater, Misty Challingsworth, Jocelyn Hillen, & Josie Manculich. Photo Credit: South Park Theatre
Mohr is frenetic from the beginning of the play until the end. The physicality, energy, and volume he summons must leave him exhausted after every performance.
Hillen skillfully plays the loving wife and mother. Her range of emotions ranges from patient, loving mother to rabid, maniacal anger. She is believable in every scene.
Challingsworth’s sweet new age concern for others is delivered with warmth and sincerity.
Kendall’s Stanley is wonderfully comical. His sincere, riotous efforts to support his friend, John, highlight his comedic timing, funny facial expressions, and high energy.
Manculich and Stillwell both give natural authentic performances as the likable, polite, yet frustrated teens who want nothing more than to meet each other.
Stanley’s dad is an amusing Bob Rak who makes the very best of all his laugh lines, “dirty old man” gestures and body gyrations.
The clever set design (Robert Hockenberry) adds to the comedy. Two nearly identical apartments, side by side on the stage set the scene for two simultaneous conversations, with similar dialogue in each apartment.
Director, Gavin Calgaro orchestrates these conversations with intricate timing thus engaging the audience.
The witty dialogue in “Caught in the Net” elicits hearty laughter throughout the show. This fast paced, slapstick. high energy show builds a compelling case for monogamy! If you enjoyed “Run for your Wife” you’ll not want to miss this show!
LtTL
“Caught in the Net” runs through May 17 at South Park Theatre, at the intersection of Corrigan Dr & Brownsville Road, South Park, PA. For tickets and more information, click here.
Henrick Ibsen’s “A Doll’s House” premiered in Copenhagen in December of 1879, Since then numerous adaptations have been written for both stage and screen.
The Heritage Players chose Frank McGuinness’ adaptation with the plot focusing on Nora’s (Chelsea Kikel) increasing fear that her seemingly “doting”, somewhat oppressive husband (who treats her like a plaything–a doll), Torvald (Kieran Craft) will learn of the criminal means she employed to secure a bank loan to provide the medical care for him prescribed by their family friend, Dr. Rank (Reed Mack). The treatment was successful in saving the ailing Torvald’s life. Coincidently, the still unpaid loan originated from the same bank where he’s the newly appointed manager.
When bank employee Nils Krogstad (Kamran Mian) learns that he’s going to lose his position at the bank, he threatens to expose Nora’s forgery to Torvald unless she can convince him to keep him employed.
Several twists and turns lead to a surprising or maybe not so surprising ending.
Nora (Chelsea Kikel) finds a moment of joy, even under the thumb of her oppressive husband.
Kikel gives a strong performance. She’s convincingly merry, flirtatious, loving, frightened. angry, frustrated and desperate. Her fluid emotions and mercurial mood swings are all very real. The strength of her work is consistent and her energy unflagging.
Craft comes across as a condescending and controlling man more concerned about his own reputation than his wife’s happiness.
Mian’s stuffy, cold, calculating Kragstad later redeems himself.
Mack has a tender, moving scene with Kikel when he confesses his longtime love for her.
Director, Nancy Caronia makes an interesting choice. Between scenes when the actors exit the stage from the right side, they walk across the theater, from right to left, in front of the audience, (and also in front of the continuing action on the stage), then they walk up the left aisle to exit the auditorium. It distracts from the onstage action.
Declan Hines’ lovely period costumes lend a historic, nostalgic tone. (Nostalgic? Wait — I wasn’t around in 1879, but still –the costumes provide a pleasant touch.)
“The Doll’s House” was inspired by a real life event. A friend of Ibsen’s was sent to an insane asylum by her husband after he learned that she borrowed money to pay for his medical treatment. He was furious that she did something without his permission and had her committed. Ibsen was greatly disturbed by this event and was motivated to write a play that validates women and their need for autonomy, and individual freedom. He saw the need for women to escape the limiting expectations of a patriarchal society.
Seeing this interesting adaptation will surely provoke stimulating discussions about individualism, freedom, self-respect and fulfillment.
LtTL
“A Doll’s House” runs until May 4th at the Elizabeth Seton Center at 1900 Pioneer Avenue, 15226.For tickets and more information, click here.
In Cleveland, Ohio, in 2004, Shawn (Robert Hunter) wants to buy season passes to LeBron James’s inaugural season with the Cavs, and, instead, gets a lifelong, yet unlikely, friend, in the ticketholder, Matt (Michael Patrick Trimm) in Rajiv Joseph’s play, “King James.”
The fast friends bond over LeBron. The play takes place over four quarters, like a basketball game, in 2004, 2010, 2014 and 2016. Their lives take roller coaster turns, up, down and sideways throughout the four significant years of their friendship.
Matt and Shawn go mano a mano in the pickup game of life.
Their lives become intwined in a variety of ways. When Shawn becomes friends with Matt’s parents, things get a bit awkward. Societal issues become a sticking point between them. Things get ugly in the second act, when Matt slips a comment out about LeBron that becomes a seismic quake in their friendship.
Ultimately, the story is about platonic friendship, a difficult feat to pull off in a two-hander. Joseph keeps the text laser-focused on basketball, and the subtext on money, race and education.
Shawn (Robert Hunter) discusses the game with Matt (Michael Patrick Trimm). Photo by Roger Mastroianni
Both of the male leads are charming to watch, especially when they’re geeking out over their favorite player, the titular King James (LeBron).
The nature of fandom is a core component of the show. Even though, LeBron James feels like a third character in the play, the subject of their bond could have easily been any iteration of fandom. The could have easily been Terrible Towel-waving Steeler fans, or light saber-wielding Star Wars fans.
Matt (Michael Patrick Trimm) and Shawn (Robert Hunter) learn that LeBron is returning to the Cleveland Cavaliers. Photo by Roger Mastroianni
Trimm brings a lot of sitcom energy to the work. His character is an over-the-top sports fan is meant to have a manic dynamic. It works, especially against Hunter’s more measured character (until things flip when LeBron returns to Cleveland).
Hunter does a terrific job as the more intellectual of the two. His character starts off as aloof, distant, but as the show progresses, he is the more open and passionate member of the duo.
Both characters have an arc, and the actors handle each of their respective changes with finesse.
Monteze Freeland directs the show with verve. Even though the story is “two men shooting the shit,” Freeland keeps the kinetic energy high, the actors are in constant motion.
Tony Ferrieri does another spectacular job with the set. Act one takes place in a church that is converted into a wine bar complete with ornate stain glass windows. Act two takes place in a curiosity shop, stuffed with vintage tchotchkes, including a standing globe, a human skull and a stuffed armadillo.
Side note: The Armadillo, Armand, is a plot point throughout the show.
Shout out to Howard Patterson’s sound design. Normally, when the actors are mic’ed, it’s riddled with feedback loops, or that scruffy noise when the mic rubs up against facial hair or loose clothing. Patterson’s microphones elevated the actors voices without being noticeable or annoying.
“King James” doesn’t carry the dramatic weight of “Birthday Candles,” but it’s a delightful story about friendship. If you have a basketball enthusiast in your life, this could be the play that gets him or her into the theatre. You might be able to create a lifelong theatre fan. The theatre, every theatre in Pittsburgh, could benefit from having a few more fans. After all, sports and theater are nothing without fans.
-MB
“King James” runs until Sunday, May 11 at the City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. For tickets and more information, click here.
John (Trieu Tran) works for a British master and his daughter, Miss Julie (Shelby Garrett) in a house in Hong Kong. His girlfriend, Christine (Yan Pang) serves as the all-round domestic in that same household.
After World War II Hong Kong is still controlled by the British, although their influence is waning.
Julie loves both John and Christine although she often doesn’t show it. She’s been reared in Hong Kong. Exposed to Chinese culture but as part of the white hierarchy, there are social boundaries that can’t be crossed.
There has always been a reckoning that the upper and lower classes don’t mix. This “upstairs, downstairs” mentality may soon be broken as John has aspirations for independence. His potential wealth and growth would take him outside of his social class.
Christine is content being the obedient servant and is the only moral person in the household. She embraces Chinese traditions but is also a faithful Christian.
Julie has a more selfish outlook on life. She wants to be entertained and satisfied constantly. It is apparent that she never had the parental attention she now seeks in others.
There is a definite distinction and division in the two classes within the household. Not only a division by class, race and culture, but also the rancor of colonialism.
Poster for “Miss Julie.”
When Julie decides to break all social barriers by meandering “downstairs” into John’s world, everything changes.
Note: Playwright Amy Ng’s adaptation of “Miss Julie” incorporates more than differences in social class. By adapting the play as if it occurred in the 20th century it can and does include distinctions in race and culture, along with the concept of colonialism.
Pict’s production of “Miss Julie” is outstanding, beautifully presented and well-acted.
Garrett is excellent as the tormented Miss Julie. She transitions easily from the spoiled young woman who demands attention from John. She is a crazed, confused woman whose emotions and rationale are fluid and easily changed. In spite of her behavior, Garrett conveys a sense of sadness a troubled soul.
Tran is a dynamo. His desire to move and grow out of his current station in life is palpable. He has a wide range of emotions – funny and endearing, at times subservient, angry and combative, physically threatening. He is an equal opponent in his and Julie’s psychological warfare.
As the domestic servant Pang keeps her cool most of the time, capitulating to both John and Miss Julie. When she finally reaches her limit, Pang lets loose, freeing herself from the demure, always acquiescing person to a woman with a mind of her own.
Mimi Jong as Auntie has no vocal lines but her presence as “Auntie’s Ghost” as she gently glides across the stage or plays the Erhu is soothing.
“Miss Julie” was written by August Strindberg with adaptation by Amy Ng.
Scenic Design by Tucker Topel is exquisite and artistically presented. Bob Steineck complements the set as Lighting Designer.
Kudos to Director to Elizabeth Elias Huffman.
-CED
“Miss Julie” runs from April 18th to May 4th at Carnegie Stage, 25 West Main Street, Carnegie, PA. 15106. For tickets and additional information, clickhere.
To view the works by Kara Walker currently on display at The Frick Museum of Pittsburgh until May 25, 2025, can be described as, “Enlightening,” according to KEA, a local Pittsburgh performer, singer-songwriter, and visual artist. “It opened up a whole new horizon for me,” she added. That new horizon included an intimate evening of music at The Frick Museum, a first of its kind experience for KEA, pairing the songs of Sam Cooke, Curtis Mayfield, and Marvin Gaye, among others along with her own personal music and poetry, in conversation with the racial history of America addressed by Walker’s artwork exhibited throughout the museum.
“Kara Walker’s art invites viewers to confront uncomfortable truths and the complex relationship between the past and present,” explained Dawn R Brean, Chief Curator and Director of Collections at The Frick Museum.
Inviting musicians to fill the museum with sounds in response to the art on view is something The Frick Museum has welcomed into its space often during its recent exhibits. It adds elements of collaboration, commentary, and community within the art scene in Pittsburgh that is more refreshing than simply seeing the art or hearing the music separately—though inspiring on their own, together there are more layers and contexts to be explored, much like Walker’s artwork.
KEA and the band.
On March 29, 2025, KEA graced the stage at The Frick Museum alongside Gary K., on the strings, and George C. Jones on the congas. Her powerful performance included an original poem, she titled “Unapologetic Freedom,” describing the struggles of Black Americans from the Civil War, to the Civil Rights Movement, to modern-day, where the line of her poem, “equality and our livelihood was at stake,” dwelled over the audience in deep reflection of the current political climate. KEA also gave voice to one of her top-charting songs, “Holla If You Hear Me” which she impressively wrote in just over 10 minutes, and released in 2020 following the death of George Floyd, hoping to inspire change for Black Americans. In her soul-filled sounds, she sang, “Change is needed now,” and “One thing and one person at a time.”
According to Brean, “The Kara Walker exhibition is a continuation of a larger Frick initiative to reexamine history with a contemporary lens. This is perhaps best seen in our new, reinterpreted tour of Clayton, the historic home of the Fricks. The new tour titled Gilded, Not Golden strives to learn from the Gilded Age and open dialogue on how we still feel the effects of that era in our everyday life today.”
Brean continued, “The Civil War and the Reconstruction Era laid the foundation for the Gilded Age, a time when industrialists, like Henry Clay Frick, amassed immense fortunes. As a Gilded Age historic site,I find it so illuminating to reflect on our nation’s history, how it shaped and continues to shape our present day. The issues central to that time—citizenship, industry, voting rights, power and wealth inequalities—are still relevant today. Sometimes it’s hard to tell if a newspaper headline is from yesterday or 1892. Kara Walker’s work engages with these themes in such profound ways, drawing powerful connections between the past and present. Contemporary artists in particular have the power to humanize complex issues and draw these connections in such engaging ways. Kara Walker’s work is a great example of that power.”
KEA’s vocals in concert with Walker’s work were uniquely powerful and moving. When speaking about the inspirations that have had the power to move her, KEA expressed, “I draw my inspiration, number one, from the community and from the struggle. It’s about the strength within that struggle.” She described her early musical inspirations, which she also found in her parents.
“I grew up in the inner city, a Black neighborhood here in Pittsburgh and my parents were married at the time, and I’d seen my Dad going through so much, working and having to deal with issues at work because of the color of his skin. My parents, both being musical people, my Dad being a guitar player and a singer, introducing my Mom being a violist. They showed me different genres of music.”
Specifically, KEA recalled hearing her mother play Marvin Gaye’s song “What’s Going On” and she did not understand why her mother was crying. Years later, KEA, who balances her career in music while being a single mother, keenly understands her mother’s tears, and is equally inspired by Marvin Gaye and her own children.
Of her own music KEA expressed, “I’ve honed myself as somebody who speaks about struggles, issues, relationship struggles that most people don’t want to talk about, but I tackle it.”
Not shying away from the tough subjects sums up Walker’s works as well. Through the use of strategic artistic silhouettes overlaid atop enlarged renditions of Harper’s Weekly, pictorial drawings depicting scenes from the Civil War across mainly southern territories of the United States, Walker highlights racial inequality and the repugnance of slavery in stark black and white prints. The layered nature of Walker’s prints invites viewers to confront the positive and negative spaces of the artwork and the history. A few of Walker’s pieces also depict layers within layers, like a female silhouette within a male silhouette, and a boy within man, to further the conversation around gender inequality and generational disparities.
“The visual disruption of her black silhouettes silkscreened on the surface of Winslow Homer’s illustrations brings to the surface a silenced history of violence that is absent from the initial narrative. We decided to include a content warning so visitors could prepare themselves to encounter images that might be graphic or emotionally overwhelming,” said Brean.
On of the pages from Harper’s Weekly from the Civil War years.
Brean also explained, “What makes our showing of this exhibition particularly unique is the inclusion of bound copies of Harper’s Weekly from the Civil War years that are typically housed in the Clayton library. These original editions from our collection are presented alongside Walker’s work, inviting further dialogue between historical and contemporary perspectives and how artists serve as a witness to American history—as it unfolds and in its aftermath. We booked this exhibition several years ago (museums are often planning exhibitions years out) so this show became even more timely in a way we never anticipated. But that shows that Walker’s work is more urgent than ever. We will continue to engage in an open and honest exploration of the past, in all its depth and complexity.”
Planned or unplanned, the presence of these pieces at The Frick Museum clearly could not have come at a more poignant time.
KEA’s contribution gave a certain light to the darkness that is much needed in this moment. “Music is hope. Music is support,” the singer stated, “During my darkest days and darkest times that’s all I had, was music to help me through. It’s all about hope, it’s all about ‘Let’s help the people.’”
Giving voice to the people of Pittsburgh is another thing The Frick Museum inherently values. “Over a dozen Pittsburgh community members—artists, professors, and local leaders—accepted our invitation to contribute guest labels to deepen the conversation. We are grateful for their insights and the rich dialogue they’ve helped foster; that isn’t possible when there is only the ‘museum’ voice represented in the labels,” Brean reflected.
Through art and music, The Frick Museum’s Kara Walker: Harper’s Pictorial History of the Civil War (Annotated) exhibition is changing the community—for the better—one viewer at a time.
To hear more of KEA’s music to accompany your own visit to this exhibition, follow her on social media: Instagram @musicbykea, Facebook @Kea; and YouTube @KeaTV.
Musicians Joe/Josephine (Matt Loehr) and buddy Jerry/Daphne (Tavis Kordell) witness a gangster-style murder in 1930’s Chicago. These musicians have two alternatives: contact the police about what they witnessed or run like hell. They choose the latter.
With high heels clicking, lipstick applied generously, dresses flowing and a flair for the dramatic, Joe (AKA Josephine) and Jerry (now Daphne) join a female orchestra led by band leader Sweet Sue (Tarra Conner Jones). They’re headed to California, hoping to escape detection.
Adjusting to this new world is not an easy task as they’re always on edge not to drop their cover.
Joe has always been a womanizer and even in disguise as Josephine he’s enchanted with singer Sugar (Leandra Ellis-Gaston). Joe’s personality as Josephine is to act, speak and react as a prim, churchly-type woman.
Adapting more easily to this environment, Daphne relishes his role as a female. He finds a strength and confidence in this new role that he didn’t have previously as Jerry. He’s more assertive and independent as Daphne than he ever was as Jerry.
When millionaire Osgood (Edward Juvier) enters the picture and meets Daphne, he is immediately smitten.
How will all the players resolve their issues and problems? Do the gangsters ever catch up with Joe and Jerry or will they be forced to live this dual life forever? Is Osgood still in the picture? Does Sugar still sing for Sweet Sue?
“Some Like it Hot” is a sizzling production showcased with hot dancing (and lots of tap), singing and acting by the entire cast.
Note: Based on the movie by the same name, this 2022 Tony Award winner inserts some modern references around gender identity and racism.
A phenomenal performance by Loehr. He easily transitions from an outgoing, in charge guy to a mild, religious woman, to a German. His comedic timing is impeccable, and dancing is on point.
Kordell sashays his way into our hearts as Daphne. He develops his character from the more reticent Jerry to the vivacious and outgoing Daphne. His comedy delivery, both physically and vocally is well done. Great singing of “You Coulda Knocked Me Over With a Feather”.
Ellis-Gaston captures the strength and talent of a singer who is determined to be successful in a time when obstacles often prohibited or slowed that growth. Her vocals on “A Darker Shade of Blue” and “Ride Out the Storm” are powerful.
Brash, loud and opinionated, Jones holds court as the in-charge band leader. She has some sharp comedic lines and great stage presence. Her rendition of “What Are You Thirsty For?” is powerful and opens the show with a big bang.
Juvier stands out as the likeable but naïve and bizarre rich man. He falls in love with Daphne at first sight and is determined to win her affection. Juvier’s comedic and dancing skills come to life as he prods Daphne to “Let’s Be Bad”.
“Some Like it Hot” Book by Matthew Lopez and Amber Ruffin. Music by Marc Shaiman and lyrics by Scott Wittman and Marc Shaiman.
Hats off to Costume Designer Gregg Barnes for exquisite costume designs.
Choreography by Casey Nicholaw was superb, heightened further by the excellent dancing ensemble.
Brilliant lighting design by Natasha Katz and Scenic Design by Scott Pask.
-CED
“Some Like It Hot” runs April 15th to April 20th at the Benedum Center for Performing Arts, 7th and Penn Avenue, Pittsburgh, PA 15222. For tickets and additional information, clickhere.
The much-anticipated world premiere of Mark Souther’s play, “The Art of Wise”, the fifth in his 19th Century Collection, set in the 1820’s on a cotton plantation in Alabama does not disappoint. It explores several themes through the eyes of two families (both having the surname Wise) living on the same plantation under radically different circumstances. The white Wise family are the plantation owners who own the black enslaved Wise family.
Samantha (Maddie Kocur), daughter of plantation owners, Jonathan (Joseph McGranaghan) and Sarah (Jenny Malarkey), is less than enthusiastic about taking the private painting lessons that her parents foist upon her. They’re thrilled about what they believe is her exceptional artistic talent, at such a young age.
Conversely, Amale (Adjoa Opoku-Dakwa), a young house slave, relishes observing the painting lessons. Amale and Samantha develop a tenuous friendship based on keeping each other’s secrets.
L-R – Karla C. Payne, David Minniefield, Joseph McGranaghan*, Adjoa Opoku-Dakwa, Maddie Kocur and Justus Payne.
Photographer: J.L. Martello/18ricco
Bendoo (Sheldon Ingram) the strong, loving patriarch of his enslaved family, wife Oni (Karla C. Payne), son Albert (Justus Payne) and daughter Amale, yearns for his family’s freedom so he can fulfill his dream of returning to his beloved village in Africa with them. It appears that art could be the ticket to their freedom.
Sheldon Ingram and Adjoa Opoku-Dakwa
Photographer: J.L. Martello/18ricco
It would be a spoiler to reveal any of the shocking situations that occur in this intricately written gripping script. Suffice it to say that it addresses many weighty themes—-betrayal, revenge, deception and the immorality and brutality of the slavery system. The serious themes are counterbalanced by the themes of familial love, devotion, friendship and their power to bring light into difficult situations. Several beautiful, dreamlike, lighthearted scenes accompanied by music, depict a perfect existence and lighten the mood.
The entire cast impresses with their unflagging emotional authenticity.
Ingram touchingly portrays Bendoo’s strength, resolve and love for his family.
Karla C. Payne’s poignant portrayal of Oni is genuine and at times heart wrenching. Her love for Bendoo is palpable.
McGranaghan expertly embodies the brutal, smug, self-important, idealogue. He is convinced of his own superiority and makes it easy for the audience to dislike Jonathan.
Malarkey’s Sarah radiates intelligence and an empathy that her husband lacks. She’s convincing as a loving woman who’s somewhat limited by the social mores of the times.
Kocur creates a sympathetic Samantha, boxed in by her own deceptions and youthful indiscretions.
David Minniefield’s remarkable embodying of severely abused Campie is soul crushing.
Adjoa Opoku-Dakwa, a ninth-grade student and Justus Payne, an eighth grader are current and I predict future, stage stars. Their youth in no way limits their accomplished performances. Both delivered their lines perfectly and gave emotionally natural performances.
Kudos to the dynamic team of Mark Southers (playwright), Monteze Freeland (director) and Tony Ferrieri (set designer) for working together to produce this achingly beautiful, exceptional production.
Not only does “Art of Wise” tell a riveting, gripping story but it’s a consequential glimpse into what once was. Don’t miss this brilliant production.
LtTL
“Art of Wise”, a Pittsburgh Playwrights production, runs through May 4 at the Madison Arts Center.
Franklin Hart (Jeff Boles) is the sexist, egotistical, dishonest boss in “9 to 5 The Musical.” He enjoys mistreating and humiliating his female employees–especially Violet (Tonilyn Jackson), his top assistant. She forms a friendship with co-workers Doralee (Alexis Hawk) and Judy (Joyce Hinnebusch). One day, Violet mistakes rat poison for artificial sweetener and adds it to Hart’s coffee. The three friends believe that he died after drinking the coffee. The next day they discover he didn’t drink the coffee and that he’s alive and well. Roz (Stephanie Rodgers), the office snitch overhears their conversation about the poison in the coffee and relays the information to Hart, who tries to use it to blackmail Doralee into having a tryst with him.
To silence him the three women concoct a scheme to kidnap him, trap him in his own home and convince him to forget about the near poisoning. Of course, he refuses to drop the subject and threatens to blackmail the women. They discover some damaging facts about Hart that they threaten to use against him. To gather evidence, they need access to business records at the office which necessitates Hart being held hostage (under wildly comical circumstances) for a longer period of time. When the women return to work, as they’re collecting evidence, they’re also able to make several improvements to the work environment.
Surprising sometimes raucous incidents unfold leading to a satisfying karmic conclusion.
Tonilyn Jackson, Alexis Hawk, Joyce Hinnebusch
Photo Credit: Hawk Photography
Tonilyn Jackson delights with her authentic portrayal of Violet. “Potion Notion” highlights her lovely, expressive vocals and commanding stage presence. Her glam star quality lights up the stage.
Alexis Hawk plays Doralee just right—lovable, sometimes misunderstood and smarter than she looks. Her charming rendition of “Backwoods Barbie” endears her to the audience.
Joyce Hinnebusch not only has a gorgeous voice but she plays Judy with a charming vulnerability. As her character grows stronger, the audience celebrates her transformation right along with her as she sings “Get Out and Stay Out” to her former husband. Powerful!
Jeff Boles is laugh out loud hilarious as the smarmy, obnoxious Hart. His facial expressions, physicality and mannerisms make it impossible not to laugh at his antics. He tries to seduce Doralee with a hysterical delivery of the song “Here for You”.
Stephanie Rodgers (along with the female ensemble) performs a showstopping version of “Heart to Heart.” Uproariously funny!
The large, well costumed (Maison Kairush, designer) ensemble harmonizes beautifully and enriches the show’s high energy.
The numerous scene changes are executed seamlessly and rapidly–never slowing the show’s pace, thanks to the skillful direction of Kathy Hawk.
The talented cast and musicians ensure you’ll experience a totally entertaining evening that will certainly brighten your day and remind you that happy endings are still possible!
LtTL
“9 to 5 The Musical” runs through April 27 at Little Lake Theater.
“Jesus Christ Superstar” is a 2000 plus year old story based on Christ’s life during his final earthly days. It’s a Biblical history with a bit of a twist! Jesus (Brecken Newton Farrell) is the main character, but Judas (Treasure Treasure) and Mary Magdalene (Kamilah Lay) are prominent co-stars in this rock opera (performed without dialogue).
Based loosely on the Gospel and the last days of Jesus, this slightly revised history debuted in 1971 with lyrics by Tim Rice and music by Andrew Lloyd Webber. Nods to costumes and various modern slang reinforce that time frame.
This re-imagining of the Gospel concentrates specifically on Judas and his relationship with Jesus, his concerns, his frustrations and fears.
Mary loves Jesus, is his greatest support but there are subtle suggestions that something more possibly exists (from her perspective).
Judas is concerned that Jesus’s popularity might cause a problem with the Romans who control the country. He is always advising, arguing and lamenting that Jesus is straying from the intent of their mission and what he is doing will only aggravate the Romans.
Judas’s small fractures in his relationship with Jesus finds him reaching out to Caiaphas the Jewish High Priest (Paul Lutty III). Caiaphas and his fellow priests also find Jesus a threat. Judas’ betrayal begins.
Jesus’s supposed crimes come before the Roman governor Pontius Pilate (Paul Binotto) and we all know how this story ends.
Pittsburgh Musical Theater’s production of Jesus Christ Superstar is visually electric and vocally outstanding!
What a talented group of actors who can sing, dance and play musical instruments. Kudos to the entire cast!
Hold on to your seats! The music might just propel you right out of them! If not during the show, then definitely when the highly charged jam finishes off the evening after curtain call.
Treasure Treasure as Judas and Brecken Newton Farrell as Jesus.
As Christ, Farrell is multi-dimensional. He succeeds as the loving Savior, the angry man who kicks the vendors out of the temple, the doubting Son facing a known ending. His performance covers a wide range of emotions. “Poor Jerusalem” and “Gethsemane” highlight his singing skills.
Treasure is a treasure – outstanding as Judas with movements graceful, yet strong. Tense emotion is expressed through Treasure’s strong facial expressions and powerful voice. “Heaven on Their Minds” and “Damned for All Time/Blood Money” are examples of vocal excellence.
“I Don’t Know How to Love Him” is one of the most popular songs of “Jesus Christ Superstar” and Lay’s delivery is excellent. Her interpretation of Mary conveys both strength and gentleness. She is also a gifted violinist.
Lutty’s voice is deep, strong and powerful!
With a strong beautiful voice, Justus Wheatley carries the song “Simon Zealotes” to a new high.
Making a brief but memorable appearance as King Herod in a Liberace-like costume, Taylor Isaac Gray provides comedy relief as the silly, singing and piano playing ruler. His rendition of “King Herod’s Song” hits the mark.
“Jesus Christ Superstar” lyrics by Tim Rice and music by Andrew Lloyd Webber.
Lighting Designer Forrest Trimble and Scenic Designer Todd Nonn compliment one another’s work as the set and lighting work seamlessly together. An impressive two story-high lighted cross showcases their work.
Excellent orchestration under Music Director Dr. Francesca Tortorello.
Impressive direction and choreography by Danny Herman, Rocker Verastique and Lucas Fedele.
-CED
“Jesus Christ Superstar” is a production of Pittsburgh Musical Theater. It runs from April 3rd – April 13th at the Byham Theater, 101 6th Street, Pittsburgh, PA
Take four Hallmark rom-coms, squish them together, add some hummable tunes, a hippie aesthetic, and you have Shaina Taub and Laurie Woolery’s magical musical adaptation of William Shakespeare’s “As You Like It.”
Note: There are two productions of “As You Like It” running concurrently. This is the University of Pittsburgh’s musical production. This production is closer in tone to “Hamlet: the Musical!” in Dee Caruso and Gerald Gardner’s season 3 episode of “Gilligan’s Island,” a brilliant episode of one of the world’s stupidest sitcoms.
We begin with the melancholy Jacques (Shea Sweeney) is working on the famous “All the World’s a stage,” soliloquy, only this time the famous speech is set to music.
After a meet-cute at a wrestling match, Orlando (Kerragan Kurtz) falls head over head over heels, or rather hood over poulaines, for Rosalind (Olivia Tran-Speros).
But Oliver (John Papadimitrou) banishes his benign brother Orlando to the woods. Meanwhile, Duke Senior (Andy Levin) banishes Rosalind to the woods. She dresses up as a boy and takes off with Duke Senior’s daughter Celia (Virginia Keister) and Touchstone (Cade Teribery) the clown.
Being banished to the woods has never been more fun.
In the forest of Arden where we lay or merry scene, things get complicated quickly as love blossoms all over the freaking place!
There’s a love triangle between the disguised Rosalind/Ganymede with a shepherdess Phoebe (Stefania Di Michele) and Silvia (Marie Southall). Touchstone falls for Andy (Evan Knott). The previously banished Duke Frederick (Landon White) doesn’t recognize his daughter in boy drag. Rosalind in her disguise tries to test Orlando’s love for her/him.
Don’t worry. We’re assured of a happy ending early on.
The cast is exuberant, jubilant. It is delightful to see these men and women as they make their entrances and exits on the stage, players with woeful ballads and strange oaths.
Kurtz is tremendous. He has the swagger and the charisma to charm the fair Rosalind.
Tran-Speros is an excellent Rosalind.
Side note: Very little effort is made to disguise her as a boy. It’s evident that while very talented, she would not win a Drag King competition.
White’s banished Duke Frederick and Sweeney’s Jacques are particularly fun, especially when sparring together.
Other standouts include Teribery’s Touchstone, Southall’s lovestruck Silvia, and Keister’s Celia.
There is fantastic work by conductor Ben Brosche and his band, consisting of Victoria Murphy, Aldo Dilanni, Kamran Mian and Samuel Couch.
P.S. This reviewer cackled every single time Duke Senior and his cronies made their musical entrance. Think “Darth Vader’s Imperial March,” but with giggles.
Britton Mauk’s light and airy set matched with Maya Jones’s bohemian wardrobe plopped us right in the center of the Age of Aquarius.
Visiting director Tom Pacio does a marvelous job with this frothy musical adaptation of an already light play.
In a world where Diversity, Equity and Inclusion have become political buzzwords, this musical adaptation of “As You Like It” is filled with queer joy.
The cast is having a ball, and you will too. If you’re in the mood for mindless fun, this production will be just as you like it.
-MB
“As You Like It” runs from April 4 to 13 at the Charity Randall Theatre, 4301 Forbes Avenue, next to the Cathedral of Learning, Pittsburgh, PA 15213. For tickets and additional information, click here.
