Author: VivantAdmin

By: Joseph Szalinski

Much like cities in England, Pittsburgh is a wet and gloomy place where people talk funny, so it makes sense that British comedy has some fans here. While most are familiar with the work of Shakespeare or Monty Python, there are other important works that have shaped the genre. Audiences in the north hills now have a chance to familiarize themselves with an aforementioned hallmark of humor, thanks to Hay Fever, a production from Community Theatre Players, directed by Hannah Dearborn, now running at Community Presbyterian Church of Ben Avon in Ben Avon, PA.

Written by theatrical multihyphenate, Noël Coward, Hay Fever is an uproarious farce riddled with eccentric characters, notably the Bliss family. This comedy of manners manages to satirize the narcissism and other ills of the wealthy and upper class while maintaining a silliness that captivates from beginning to end, especially thanks to the performers involved.

The performers in this show are wonderful on their own and with their fellow castmates. Employing whimsical physicality, clever dialogue, plenty of chemistry, and the like, they bring this hilarious world to life. Sorel Bliss is expertly embodied by Carly Chotiner. Calvin Brookins does a wonderful job as Simon Bliss. Mace Porac, Ellen Kalikand Todd Foose entertain as Clara, Judith Bliss, and David Bliss, respectively. Adam Merulli is great as Sandy Tyrell, as is Mary-Cait Cox as Myra Arundel. Eric Rummel and Heather Johnson Smith round out the cast as Richard Greatham and Jackie Coryton.

Assisting the performers in realizing this story are a slew of technically talented folks. Jeff Cieslak’s work with lighting and sound elevates the immersive qualities of the production. Costumes by Amy Sikora Baschnagel, Fran Halley, Alisha Mehlo, and Mace Porac help flesh out the characters. Director Hannah Dearborn crafts sublime sound design. Fran Halley has designed a phenomenal set that has been beautifully constructed by an army of artists.

Community Presbyterian Church is quite the cozy venue. It’s large enough to accommodate a decent-sized stage and ample crowd, but small enough to retain a degree of intimacy that works to its benefit. Having the opportunity to see a show here is something every fan of community theatre should take advantage of.

Community Theatre Players are a group of driven individuals dedicated to putting on tremendous live events. Despite not getting a chance to do too many shows in a season, they are determined to make each show they perform an incredible experience. Invaluable to their community and to community theatre in Pittsburgh as a whole, it’s exciting to think of what they might have in store for their next show. I’m sure it’s bound to be something fun.

-JS

Hay Fever Continues its run April 4^th & 5^th at Community Presbyterian Church of Ben Avon in Ben Avon, PA. For tickets and additional information, click here.

Reviewed by Dr. Tiffany Knight Raymond, PhD

The Pittsburgh Cultural Trust and Liberty Magic continue their 2025 show series with Swedish magician Malin Nilsson. She’s an award-winning, third-generation magician who brings her show, Magic: Unplugged, to Pittsburgh for a 5-week run.

Malin is a stage name and acronym inspired by her love of magician Max Malini, standing for “Magical Alternative Lavishly Ignoring the Norm.” Interestingly, Malini was not Max’s given name as the Polish immigrant was born in 1875 as Max Katz Breit, so it’s some meta-meta layering.

Like her idol, Malin is also a street magician, which means she performs close-up magic with common objects. Her favored tools of the trade are rings, ropes and cards. In fact, she replicates one of Malini’s famous card tricks, paying homage to his work while bringing it into the 21st century. Malin inculcates the everyday with newfound power, helping us see common objects in transformative ways. She accomplishes this most magnificently and memorably with a simple loose-leaf tea infuser.

Malin is a showwoman. Dressed in a black tulle skirt, she keeps her wand tucked into her boot and dons the quintessential magician’s black top hat, which she often utilizes as a prop. She dramatically enters and exits through a curtain of metallic gold streamers. This lends both a fantastical air to her performance and levity given the audience can see her on the other side of the curtain’s frame. Malin frequently tosses confetti throughout her performance, reminding us of the power and importance of celebrating small moments and joys.

Street magicians are also hype people who cultivate audience response. Malin fosters interactivity as she brings audience members on stage. However, most of her magic is performed to music, so transitions sometimes feel awkward and forced. This may be due to the fact English is not her native language, so bantering in English while performing may be a Pittsburgh bridge too far. She is self-aware and self-deprecating in this regard, even noting at one point that she is not a “mistress of suspense,” giving the audience the freedom to cheer for her.

The Swedish have a strong connection to animals, and accordingly, have some of the strictest animal welfare legislation globally for both pets and farm animals. Malin translates that love transatlantically. Animals and natural forms are a key theme within her show. Malin demonstrates an authentic, gentle whimsy with animals as she taps into her actual hat and transforms the classic magician/rabbit relationship. The figure of the rabbit becomes a touchstone across the show.

Malin’s show takes viewers on a journey that gains power as it unfolds. Her acts of magic become progressively more impressive, and the audience’s oohs and aahs rise in tandem. At one point, she quotes Max Malini who famously affirmed, “I am the show.” One can sense him nodding across the time-space continuum at his protege as that statement also applies to Malin Nilsson.

-TKR, Ph.D.

Unplug with Malin Nilsson through May 4, 2025 at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA, 15222.  Liberty Magic offers a VIP experience to go backstage with Malin after her 70-minute show. Purchase tickets online here.

by Michael Buzzelli

With a sprinkle of fairy dust and plenty of happy thoughts, we’re off to Neverland in a slightly more modernized version of Sir J. M. Barrie’s iconic classic “Peter Pan.”

Wendy Darling (Aubrey-Mei Rubel) thinks she’s old enough to care for her younger brothers, John (Owen Suarez) and Michael (Zaynn Arora), instead of the blink-and-you-miss-her babysitter, Liza (Hannah Schmidt), her parents (Shefali Deshpande and Cody Garcia) have hired.

The moment Mr. & Mrs. Darling step out of the room, Peter Pan (Kruz Maldonado) flies in [It’s a high-flying spectacular entrance, complete with sparkling fairy dust shimmering over the set].

Soon, after a bit of business with Pan and his ornery shadow, Peter convinces Wendy and her siblings to fly off on an adventure.

Sci-Fi Side note: The journey to Neverland (beautifully rendered with projection design by David Bengali) is a phantasmagorical, reminiscent of Ant-Man’s plunge into the Quantum Realm in the Marvel movies. Neverland even has a time dilation like the Quantum Realm.

Pan and the Darlings arrive in Neverland, which is filled with Lost Boys, a displaced tribe of the 500 nations, fairies, pirates and crocodiles. 

Peter battles and then befriends Tiger Lily (Bailey Frankenberg). Then, the Lost Boys team up against Hook (Cody Garcia in a dual role) and his dysfunctional and dimwitted band of pirates.

Side note: This band of pirates is even gayer than the pirates in HBO Max series “This Flag Means Death,” which is quite a rainbow-colored accomplishment.

This production is magical. There’s a double entendre or two, even playful sexual innuendo, but most of those jokes will fly higher over the young audience’s heads higher than Pan himself.

Malonado is a marvelous Pan. He prances, dances and displays exquisite aerial acrobatics. He has a sonorous singing voice and can crow with the best of the Pans.

Hook is the one to watch. Garcia is chewing up Anna Louizos’ beautifully constructed scenery. Every entrance is an instant giggle.

His right-hand man, Smee (Kurt Perry), is delightful. He’s simpering and cowering. A cross between Charles Nelson Reilly’s Claymore Gregg on “The Ghost and Mrs. Muir,” and Jonathan Harris’s Dr. Zachary Smith in “Lost in Space.”

Arora is adorable as Michael.

The aforementioned projection design and the scenery make this a must-see “Peter Pan” production. It’s captivating from Pan’s glorious entrance until the croc swallows Hook (we don’t call Spoiler Alerts on 120-year-old stories).

There’s some terrific fight and dance choreo by Paul Rubin and Lorin Latarro. There’s only one hummable song, “I Won’t Grow Up,” but the other songs are fun, jaunty tunes, wonderfully executed by Jonathan Marro’s orchestra.

Director Lonny Price goes full on tongue-in-cheek, over-the-top spectacle, and its theatrical nirvana.

Larissa Fasthorse revised and updated the story from Barrie’s original. The playwright makes some bold choices in the beginning with some modern updates (Wendy wants to be a TikToker, and tries to go to bed with her iPad at her side), but makes a wise decision to leave out Nana the dog and replace the canine (sometimes a person in a costume) with an actual babysitter.

There’s a weird “Tricks are for Kids” sort of ending, where Wendy, as an adult, is too old to fly off with Pan. Peter takes her daughter Jane (Zanie Love Shaia) instead.

During the entire production, Peter Pan is pulling on your inner child and screaming, “Come out to play!” It’s a magical ride for children and for those of us who refuse to grow up completely.

-MB

“Peter Pan” runs April 1 to April 6 at the Benedum Center for Performing Arts, 7th and Penn Avenue, Pittsburgh, PA 15222.  For tickets and additional information, click here. 

By: Joseph Szalinski

Count your sheep and grab your friends to see everyone’s favorite pastoral comedy, As You Like It, in a production from Steel City Shakespeare Center, directed by Jeffrey Chips and Alexandra Hellinger, now running at West View Hub’s Hubworks in West View, PA.

A humorous commentary on court and country life, As You Like It follows a slew of characters as they navigate life, love, and the messiness that comes with it. Along the way there is betrayal, conflict, humor, song, and plenty of romance. Boasting a cast of actors who each assume multiple roles; this production is brimming with talent.

Bob Colbert gets to show off his physicality and comedic sensibilities with his roles as Touchstone, Oliver, and Duke Senior. Michael Kirk, in addition to serving as music director, plays Jacques, Adam, Duke Frederick, Lebeau, and Silvius. His commitment to the physical intricacies of each character is astounding, and a thrill to watch as he bounces between characters. Alexandra Hellinger plays Celia, Phebe, Amiens, and Charles. Despite the fact that Celia is the best demonstration of her abilities, her other portrayals allow her to show off her comedic side, particularly Charles. Lauren Scheller-Wolf, who is also one of the show’s producers, does double duty as Rosalind and Audrey, delivering solid performances as each character. Trevor Buda plays William, Corin, and Orlando, employing plenty of humor and charm, especially as the lovesick poet. Anastasia McDermott and Adelaide Schmich do an amazing job filling out the remainder of the roles.

In addition to being versatile actors, the cast is also musically talented. At various points during the show, they dart offstage to grab their instruments for lively jam sessions. Comprised of traditional tunes like, “Wayfaring Stranger,” “Scarborough Fair,” and “Blow, Blow Thou Winter Wind,” the intermittent concerts add even more variety to this production. To make things even more interesting, the actors seamlessly swap instrumental and singing duties with each song.

On a technical level, this production is relatively minimalistic. Lighting and sound are left alone in favor of creative costuming and props, masterfully handled by production designer Hannah Ruth Moss. Costume changes appear effortless, which helps the flow of scenes and assists the audience in differentiating each actor’s various characters. The most ingenious use of a prop in the show is when the performers create an impromptu ring for a scuffle, which is executed beautifully, a cool mix of props and choreography.

Hubworks offers an intimate space for performances of all sorts. While theatre is typically hosted there, the space has seen events and workshops that range from music to robotics. An indispensable resource not just for the community, but for anyone visiting West View, the West View Hub, as a whole, does a tremendous job of providing opportunities for people of all ages.

Steel City Shakespeare Center is a wonderful theatre company that puts on phenomenal productions. They do a great job of curating seasons and choosing interesting shows to perform, being knowledgeable of their regular actors’ strengths while selecting plays that interest outsiders as well. Chalk full of creatives who continue to bring new ideas to well-seasoned stories, SCSC is a company that is destined to become the default for quality theatre just north of the city.

-JS

As You Like It continues its run April 4^th, 5^th, and 6^th at West View Hub Hubworks in West View, PA. For more information, click here.

by Lonnie the Theater Lady

Christopher St. Pierre’s  creative adaptation of the script and his funny lyrics in “Speed: The Musical,”  satirize the 1994 movie, “Speed”. The movie plot is closely followed and (in my opinion) enhanced with an original musical score rife with catchy melodies and comical lyrics. The entire cast harmonizes beautifully in several numbers.

The plot revolves around a disgruntled retired bomb squad police officer, Howard Payne (Eric Bernat), planning to exact revenge on some of his former coworkers whom he believes have wronged him. His diabolical scheme begins with him detonating a bomb in the elevator of a tall building. The inventive use of puppetry in this scene whimsically softens the horror of people being slaughtered. Payne continues his revenge tour by planting a bomb on the underside of a public bus in Los Angeles. The device will explode if the bus reaches a speed below fifty miles per hour. The job of preventing this explosion falls to police officers Jack Traven (Alexis Cromer) and Detective Harry Temple (Fred Brown) assisted by Lt. “Mac” McMahon (Tenly Schmida). When Sam, the bus driver (Will Weiner), is shot (in a scene that is very funny– due to a costuming decision), passenger Annie Porter (Aubrey Thompson) takes over driving the speeding bus. Hilarity ensues!

Cromer’s role is particularly physically demanding, and her energy never wanes. She pleases with her strong vocals. She and Thompson shine their sweet, touching “Meant for this World” duet.

Brown not only skillfully and amiably plays a detective, but he composed the music in the show, and he also directs this fast-paced extravaganza of constantly moving, cleverly designed, huge set pieces and props—picture a nearly life-sized front end of a bus.

Bernat’s portrayal of a madman delves deeply into his psyche, making him somewhat sympathetic- but not for long. He makes it easy to dislike and fear his evil character. The surreal musical number “The Whim of a Madman,” performed by Bernat and several other cast members, is simultaneously chilling and funny.

Thompson, the ingenue tasked with driving the bus, personifies Annie’s sweet innocence wrapped in toughness and grit.

Schmida’s Mac flies off and on the stage IN and AS a helicopter. Brilliant, hilarious prop/costume work! And, when she rescues passengers from the bus— beyond hilarious.

Nick Stocks has some wonderful musical moments as he sings the witty, poignant number, “The Life of a Bus.”

Without exception, everybody in the large cast throws themself into their roles with wild abandon. Every role demands great physicality, and this cast delivers it!

The band is effective in creating different moods, ranging from suspenseful to uplifting and joyous. The talented musicians never overplay the vocalists. That is notably difficult to do in a small venue. Well done.

The realistic sound effects, well-designed lighting and simple but effective special effects are noteworthy for their contributions to the overall action and setting various moods.

This campiest (is that a word?) of all campy shows is a delicious mix of Monty Python, Laugh In, and Saturday Night Live with a twist of Lucille Ball as a garnish.  It’s delightfully, smartly silly, but it never stoops to goofy. I hope this show is produced again. Its rapid-fire introduction of many unexpected humorous elements makes it one that can be enjoyed multiple times.

I believe “Speed: The Musical” has all the makings of an enduring cult classic. That’s a cult I’d love to join!

LtTL

“Speed :The Musical” a DYI production completed its run at the Glitter box Theater on March 30, 2025.  

 

 

 

by Michael Buzzelli

Rewriting Shakespearean heroines to give them a new ending is becoming a motif. First, “& Juliet,” the frothy Broadway musical, and now Caridad Svich’s “12 Ophelia’s (a play with broken songs,” which is (kinda, sorta) a musical.

Let’s brush up our Shakespeare (with a 400+ years spoiler alert). By the end of “Hamlet,” everyone is dead: the king, the queen, the evil uncle, Hamlet, Ophelia, Rosencrantz, and Guildenstern. Everyone but Horatio.

In “12 Ophelia’s (a play with broken songs),” Ophelia (Madyson Hearsh) comes up from the water,  strangely dry and alive after drowning herself in the middle of “Hamlet.”

Note: Her death is Act 3, Scene 1 of the original work.

Ophelia encounters literal and figurative ghosts from her past, including Queen Gertrude (Lulu James), Rosencrantz, going by R (Gabriel Hammesahr), and Guildenstern, going by G (Samm Gibson), and Hamlet, who Ophelia has dubbed, Rude Boy (Leandro Bilello).

The original works only survivor, Horatio, simply known as H (Dermot Hannon), shows up, too, courting a woman named Mina (Susie Iannitelli).

There’s also a chorus of Ophelias, who would be best described as water nymphs. Cast members in flowing rags that drape their frames.

The cast of characters speaks in Shakespearean Light (a frappe of Elizabethan English with words from modern vernacular mixed in).

Svich expands on a quote from the Danish prince’s story; “Young men will do’t if they come to’t, By Cock they are to blame.” Truer words…and all that.

Unlike “& Juliet” all’s well doesn’t always end well.

Bilello is a dynamic Danish prince. He struts with gravitas, owning the stage. To be (or not to be) Hamlet one must have equal parts confidence and confusion, and Bilello portrays both aspects of the Rude Boy.

Hearsh, who looked like she stepped out of Sir John Everett Millais’s painting (pictured above), dried herself off and went about her new business. She does a magnificent job in the title role.

R & G prop the play up with exposition, bits of the original work, and much added humor. Hammesfahr and Gibson are delightful. They added a camp value to the production, winking and mugging. They are scene stealers.

James’s Gertrude is commanding, regal.

The orchestra, consisting of Marshall Benton, Aryan Cheruvattath, Illijana Husak, Theo Kutsko and Colin Villacorte are, playing wonderful music , mostly in short clips (hence the ‘broken songs’ portion of the show). Their curtain call music was exhilarating, joyful.

Tonya Lynn’s fight and intimacy coordination is a highlight of the play. The fight between Rude Boy and H seems brutal, savage and genuine. It was such a good fight scene, that my seat mate, Lonnie the Theatre Lady, had to cover her eyes. Also, the passionate kisses between Ophelia and Rude Boy were swoon-worthy.

There’s some beautiful movement choreographed by slowdanger, especially amongst the fluid chorus of Ophelias.

Claudia Brownlee’s costume design was near brilliant, adding to Hearsh’s resemblance to the masterpiece by Millais.

There are a few criticisms of this fine production. It’s not easy to understand what Svich is trying to say. The play is more poetry than prose. It lacks structure. It’s not simply a “This is the story of A who wants B, but finds C along the way.” Like a mighty river, you have to go with the flow and not be drown by logical questions like: “Where are they?” “Are they dead?” and “What do they want?”

The second problem compounded the first.  At times, the characters were hard to hear in the back row of the theatre space.  The problem could have been easily solved with tiny lav mics, which the cast of “Jerry’s Girls” had in the same venue.

If you’re going, sit in the front row, away from the birch tree which obscures a corner of the show.

Despite these minor flaws, “12 Ophelias (a play with broken songs)” boasts the best fight choreography on any stage in Pittsburgh. The play runs 90 minutes with no intermission.

-MB

“12 Ophelias (a play with broken songs)” runs March 26 to 30 at the Highmark Theatre, inside the Pittsburgh Playhouse, 350 Forbes Avenue.
Pittsburgh, PA 15222. For tickets and additional information, click here. 

By Claire DeMarco

Nick (Dylan Marquis Meyers), a biology professor and his wife Honey (Claire Sabatine), a young couple, are invited for cocktails at George (Daniel Jenkins) and his wife Martha’s (Tasha Lawrence) home.

They have no idea what this seemingly innocent invite turns into.

Even before their guests arrive Martha and George are arguing needlessly about the name of a film Bette Davis appeared in.  They seem to delight in digging at one another over anything, with Martha more vitriolic and unrelenting while George has his moments (though brief) of the occasional normalcy.

This is normal “conversation” for this long-time married couple.

Once Nick and Honey arrive, they are suddenly exposed to the diatribes, not knowing how to respond or react.  As they slowly get sucked into the hostile environment, their own insecurities and hidden frustrations come to the surface.  They are no longer observers, but participants in this mayhem.

Everyone gets drunk, the drinks keep flowing and so does the uninhibited conversation.

Nick in private talks with George laments about Honey’s constant frailties and health issues.  He married Honey because he thought she was pregnant.  It turns out to be a false pregnancy.  Their marriage doesn’t appear to be as perfect as they suggest.

Honey’s reaction to all the turmoil is to become physically ill, ending up in the bathroom several times.

As the evening progresses, Honey who initially sat next to Nick, unwittingly slowly moves away from him, sitting by herself at the end of the living room.

George and Martha continue their hostility towards one another, exposing one another’s inadequacies to their guests.  Razor sharp retorts and rebukes spew out of their mouths like rounds of rifle fire.

Their stories about one another are so bizarre that it is often apparent that Nick and Honey aren’t sure what is real, what is imagined.

Martha’s venom is more acute as she sees Nick as the person who at his young age has accomplished so much.  George, in her mind, has always underperformed and has not achieved the level of success she feels he should have.

Martha’s revenge is to solicit Nick sexually.  George doesn’t stand in her way.

As the evening comes to an end and Nick and Honey depart, George and Martha are alone again.  And they are faced with dealing with their version of reality, sprinkled with illusion.

Note:  The show is heavy with lots of ugly talk but thankfully there are moments of comedy that provide needed relief.

What a blockbuster cast!

Jenkins is brilliant as the long-suffering husband.  There are multiple nuances to his personality. He can have an almost normal conversation with Martha, sometimes with a bit of humor.  Other instances he is as belligerent as she is.   Jenkins is excellent in handling those transitions.

Lawrence is a standout as the vile, loud and obnoxious Martha.  She is consistent in her tirades against her husband and has no reticence in holding back any remarks she thinks appropriate to anyone in her path.  Her caustic voice is her weapon.  Easy to dislike, there are a few moments when that veneer begins to crack.

Sabatine cleverly portrays Honey as a quasi-airhead, naïve with an innocence that is touching.   She continues to drink but she never appears to always understand what is going on. She conveys much of her emotion through great physical mannerisms and facial expressions.

Meyers does a great job of transitioning from the strait-laced professor to a more vocal, confrontational guest.  He becomes a less likeable character as his drinking brings out his lack of feeling for Honey.

 “Who’s Afraid of Virginia Woolf,” a 1963 Tony Award Winner for Best Play was written by Edward Albee.

Scenic Designer Jason Simms’s set is beautifully done.  Kudos to Director Pamela Berlin.

Note from Pittsburgh Public Theater:  This play is Rated MA and is for mature audiences only. Due to adult content, themes, and language, this show is not recommended for children. This show contains violence and abuse, sexual content, explicit language, use of alcohol, and the use of prop guns on stage.

-CED

“Who’s Afraid of Virginia Woolf” is a production of Pittsburgh Public Theater at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA.  Performances run from March 19^th to April 6. For tickets or additional information, click here.

 

 

By Michael Buzzelli

When an Old Man (Sam Lothard) and a Boy (Dionysius Akeem) roll into East Piney Grove, a small Black church in rural South Carolina, life is about to change for the entire congregation in Javon Johnson’s “Sanctified.”

Harold Jones (Emir J. Hardy) is running the parish church amid a lot of controversy. He wants to grow the church, expand and modernize. Whereas the Deacon (Charles Timbers) wants to keep things traditional, creating a rift between the preacher and his choir.

All the dissenting voices have their own agenda.

Piano player Thelma (Brenda Marks) can’t read sheet music and is unwilling to learn. The occasional nips from the flask she carries around increase and the church goers realize she’s got a drinking problem.

Jamal (Manny Walker) wants to be a gospel singer and a rapper. His sister, Monique (Marissa Lily) has a crush on the mysterious new Boy, who wants to be called Mister.

The pastor’s cousin, Dr. Pauletta Jones (Karla C. Payne) wants to overpower the choir with her operatic voice.

“Sanctified” is a musical and there’s a lot of plot and a lot of singing, it’s a glorious joyful noise.

The “Sanctified” cast is gigantic, but Johnson lifts every voice, and each actor gets the spotlight.

Willa Catherine “Katy” Cotten dazzles as Sarah.  Her rendition of the title song, “Sanctified” is amazing.

Cheryl El Walker gets some of the best lines and delivers them flawlessly. Her singing voice is powerful.

Marks is hilarious as the tipsy pianist.

Lothard, literally and figuratively, brings soul to his character. Old Man/Sir is grounded and gently pressing forward with his own agenda. He and Akeem’s Boy/Mister have a dynamic chemistry.

Mils James plays the stuttering Bobby, who doesn’t stutter when he sings. James also supplied the kinetic choreography. He has all the moves. In the second act, he has a triumphant moment and plays it to the hilt.

While there are some lovely moments in “Sanctified,” it has a few too many moments. The show runs 2 hours and 25 minutes with a 15-minute intermission. There are, however, a plethora of lovely songs. The music composed by Rollo Dilworth and orchestrated by music director Dwayne Fulton is beautifully rendered.

The show won’t just resonate with gospel music fans, but it helps if you are one. The best thing about “Sanctified” is that there are no clear villains, only people struggling with different points of view. It’s glorious to see them come together and work for the greater good. Amen!

-MB

“Sanctified” runs until March 30th at the Madison Arts Center,  3400 Milwaukee Street, Pittsburgh, PA 15219. For more information and tickets, click here.

By Claire DeMarco

Ralph Rackstraw (Omar Tolentino) is a lowly seaman on H.M.S. Pinafore, a ship commanded by Captain Corcoran (Logan Newman).  Rackstraw loves Corcoran’s daughter, Josephine (Leah Huber).

Corcoran, however encourages a marriage between Josephine and Sir Joseph Porter (Corey Nile Wingard), 1^st Lord of the Admiralty. He is unaware of his daughter’s feelings for Rackstraw.  Even though she wants to make her father happy, Josephine is not keen on Porter.  Not a fan!

Porter is the 1^st Lord of the Admiralty through no merit on his part.  He has never been at sea and is a prime example of the British class system where status, not competence elevated him to his current position.

Little Buttercup (Sally Denmead), a local vendor, makes periodic visits to Pinafore, delivering sellable goods to the seamen.  She has a natural rapport with the seaman and has her eyes on one in particular.

If only Josephine and Rackstraw were from the same social class, their love would be no problem.  But this difference is a concern to her father and a baffling enigma to Porter who can’t understand why someone wouldn’t want him.

Who finally prevails?   Josephine and Rackstraw or Josephine and Porter.

Differences do come to a conclusion for all parties and Little Buttercup divulges a secret of her own.

Huber is delightful as Josephine. Her singing voice is powerful and operatic, especially highlighted in “Sorry Her Lot” and “The Hours Creep on Apace.”  She brings out the enthusiasm of young Josephine with great physical moves and a flair for the occasional comedy.

Newman’s every emotion radiates from his face and facial expressions – eyebrows raised, eyes twitched, lips pouted. You know exactly what his reaction is to a situation without him saying a word.  But when he does speak, he is brilliant!  Great physical movements also enhance his vocal characterization of Captain Corcoran.

Decked out in flamboyant naval dress, Wingard easily invites ridicule as the pompous 1^st Lord of the Admiralty.  Impressed with himself, his rendition of “When I Was a Lad” defines how he rose to the top but never went to sea.

Denmead’s Little Buttercup is spunky, an extrovert and well-liked by the crew.  She delivers a great rendition of “I’m Called Little Buttercup” and compliments “Things Are Seldom What They Seem,” a duet with Corcoran.

Tolentino plays a gentle soul with a powerful singing voice.  He exudes a dreamy quality.  He is aware of his social standing and lacks the confidence to express his interest in Josephine immediately.

What beautiful singing voices by the entire cast!

This is a lovely production of an old classic, filled with humor and subtle jabs at a class system still in existence but fortunately, less rigid today.

Gilbert and Sullivan’s H.M.S. Pinafore is one of the most notable of their many operas.  It follows a formula familiar to theatergoers through satire and comedic jabs about British society and its well-known class system.

Libretto for “H.M.S. Pinafore” written by W. S. Gilbert and Music by Arthur Sullivan.

Excellent Stage Direction by Melissa Hill Grande.

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

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

-CED

 “H.M.S. Pinafore” is a production of The Pittsburgh Savoyards.  Performances run from March 14^th to March 23rd at the Andrew Carnegie Free Library & Music Hall, 300 Beechwood Avenue, Carnegie, PA.  For more information, click here.