Author: VivantAdmin

Reviewed by Dr. Tiffany Knight Raymond, PhD and Theron Raymond (6th grader)

The Pittsburgh Cultural Trust welcomes Annie to the Benedum Center. This 1977 Tony-awarding musical is directed by Jenn Thompson and features book by Thomas Meehan, lyrics by Martin Charnin, and music by Charles Strouse. Annie is based on a 1924 comic strip, which was in fact inspired by a poem. The show is aptly timed between the recent centennial of the comic strip and upcoming National Poetry Month in April.

Hazel Vogel is spell-bindingly magnetic as title character Annie. While Vogel’s vocals feel rushed at times, she brings an indomitable spirit and effervescent charm. In the orphanage, Annie is differentiated as a redhead, but all of the girls have mussy, unbrushed hair that exemplifies the lack of care they receive. Once Annie goes to the Warbucks home, her hair is brushed, then adorned with bows. It culminates in the curls we associate with Annie thanks to the brilliant hair and wig design by Ashley Rae Callahan. The modernization of Annie’s hairstyle symbolizes her rise in status. Curls were all the rage in the 1930s, which is when the show takes place. The level of care and required styling expertise earmarks them – and her – as high society.

Alejo Vietti’s costume design works synergistically with Callahan’s hair and wig design. The orphans wear drab, undifferentiated shades of brown and beige that symbolize their downcast surroundings. However, the play ends with each girl wearing a different jewel-colored dress. Annie may own red, but Vietti shows us they each shine gemlike in their own way.

Oliver “Daddy” Warbucks (Christopher Swan) is the bald-headed Jeff Bezos of his day. His character progresses from money-grubbing billionaire to adopted father with a heart of gold. Swan’s authenticity makes Warbucks’ transformation feel real. When Annie asks for help finding her real parents, the pain on his face is acute at the thought of losing her. However, like any good parent, he puts her needs first and summons all of his powers to help. In fact, the moral seems to be that a mid-life crisis might be better solved by adoption and helping the less fortunate than day-drinking Bezos-style with bikini babes on yachts.

Miss Hannigan (Stefanie Londino) manifests a palpable disgust for the girls in her charge. She seeks refuge in alcohol and expresses her dissatisfaction by tormenting her wards. The girls are not cowed and rally to torment her back with antics like dangling a dead mouse in front of her. They seek agency in a world where they’re forgotten. The ensemble of orphans shine in synchronicity in legendary numbers like “It’s a Hard Knock Life.” They bang buckets in unison at the expression of “hard knock” and use mops as props in this beautifully staged number by choreographer Patricia Wilcox.

Wilson Chin’s scenic designs make use of sharp contrast that reinforce the status of those who live there. The orphanage’s despondent gray walls are cracked and crumbling. The Warbucks mansion is awash in cream and gold tones with towering, sparkling windows. As bad as the orphanage looks, there’s one scene in a homeless encampment where the “walls” are dirty fabric, heightening the spectrum of disparity across America and reminding us this story is just as relevant today.

-TKR, Ph.D. & TR

Purchase online tickets for Annie through March 15, 2025 at the Benedum Center, 237 7th Street, Pittsburgh, PA, 15222.

by Michael Buzzelli

The promise of forever is a lie. Watching love fade and life wither has never been more beautiful than it is in Noah Haidle’s “Birthday Candles.”

Ernestine Ashworth (Robin Walsh) celebrates her seventeenth birthday, and almost every birthday thereafter, in a kitchen in Grand Rapids, Michigan. Her best friend, Kenneth (Gavin Lawrence) gifts her with a pet fish, Atman (Atman is the concept in Hinduism and other Indian philosophical traditions that refers to the individual’s true self, soul, or essence).

Kenneth is in love with Ernestine, but she has eyes for Matt (Andrew William Smith).

She chooses Matt and the duo build a family, their son, Billy (José Pérez IV), and daughter, Madeline AKA Athena (Deena Aziz). Eventually, Billy meets his future wife, Joan (Saige Smith).

Time marches on and the actors pop up in different roles. All while Ernestine holds court in the kitchen, baking a birthday cake with flour, eggs, milk and stardust.

The “Birthday Candles” cast shines bright.

Each actor has to play a variety of ages. It’s mesmerizing. Most of them play multiple characters with distinct personality traits.

Walsh never leaves the stage. She is the constant presence who cycles through a full range of emotions, joy, grief, rage, but most of all love. It’s palpable and Walsh exudes it.

Andrew William Smith’s character has a big arc. He plays every stage of life, particularly excelling as a nervous boy and as a dour husband.

The other Smith, Saige, is equally brilliant. She is magnificent. She shines bright with charisma. Her character of Joan is a neurotic but endearing. Her Alex character is unadulterated joy.

Lawrence is a divine. His character of Kenneth gets some of the show’s biggest laughs, but it’s the tender, sweet moments between his character and Walsh’s character that really stand out.

Pérez fits into the role of Billy very well.

Aziz plays a mother and a daughter. Her first scene is the first heartbreak of the play….with many more heartbreaks to follow.

The set, designed by Sasha Jin Schwartz, and lighting, designed by Xuewei (Eva) Hu, adds an extra layer of heartache. At the end of the play, Hu highlights intricate props framed in shadowboxes causing a ripple of sniffles throughout the audience.

There’s a poetry, a rhythm, in profound moments in one person’s life, but Haidle finds wild, uproarious laughter and joy, even in dark places.

The play covers a 100 years in ninety minutes.. The swift movement of years isn’t as jarring as you’d imagine.  Haidle, and director Marc Masterson, find a way to smooth the bursts of time. A turn, a facial expression and the lone piano note transitions us to the next year, and then to another.

“Birthday Candles” hits hard, and will hit harder for people with more candles on their birthday cake.

William Shakespeare once wrote, “Many strokes, though with a little axe, hew down and fell the hardest-timber’d oak.” Each scene in “Birthday Candles” is a quick stroke of the axe, sometimes with riotous laughter, sometimes with unbearable grief.  It’s a remarkably beautiful play.

-MB

“Birthday Candles” runs until March 30th at the City Theatre, 1300 Bingham Street,  Pittsburgh, PA 15203. For more information and tickets, click here. 

 

 

By Michael Buzzelli

Stephanie J. Block fresh from a recent revival of “Kiss Me, Kate” in London’s West End, sang songs from her heart on Monday, March 11th as part of the Trust Cabaret Series. She performed two sold-out shows.

Block, accompanied by pianist Ben Cohn, delivered powerful renditions of songs from “Wicked,” “Into the Woods,” “Falsettos” and more.

The Tony-Award winning actor filled the time between songs with witty banter and sips of hot tea.

Block told an amusing anecdotes about her experiences in Pittsburgh. She had genuine affection for the Steel City. She met her now-husband, Sebastian Arcelus , while trodding the boards at the Benedum in the national tour of “Wicked.” She was Elphaba and he was Fiyero (technically, the duo met in Hartford, Connecticut, but didn’t get together until they hit Pittsburgh).

While Block joked that she was tired and lazy, she was vivacious, charming and energetic on the cabaret stage.

Her rendition of “Breaking down” from “Falsettos,” which she did for the 9:30 PM show, was delightfully whacky and filled with gusto.

Block told a very amusing stories about her former bosses, Dolly Parton (on “Nine to Five”), and Cher (on “The Cher Show”), and recording Cher’s book on Audible). She sang songs from both shows.

Block’s show was one of the highlights of a stellar year of cabaret performances which included Laura Benanti, Jason Robert Brown and Christopher Jackson.

-MB

The Trust Cabaret Series continues with Patina Miller on May 5 at the Greer Cabaret, 655 Penn Avenue, Pittsburgh, PA 15222. For more information, click here. 

Reviewed by Dr. Tiffany Knight Raymond, PhD and Theron Raymond (6th grader)

The Pittsburgh Cultural Trust and Liberty Magic continue their 2025 show series with magician Ben Seidman in Good Charlatan. Seidman brings his brand-new show to Pittsburgh, so don’t miss the chance to say you saw it when.

Ben bridges his origin story as a magician to the present when he opens his show by saying, “The thing I love about magic is that you couldn’t trust your eye.” This mixed tense sentence is prophetic and anticipates the show’s journey. Good Charlatan sweeps the audience along on a journey about trust – and questioning trust. As individuals, we have unshakable trust in what we see – or think we see. Seidman flips that narrative and demonstrates time and again how we lose perspective inside the matrix of our own perception.

Ben (also the good charlatan) provides a history of the con – and con men (interestingly, no women). In fact, con man is actually a shortened version of confidence man as confidence is key for the con to work. Ben’s history of con men begins in the 19th century with William Thompson who gained infamy by asking if he could borrow people’s watches and return them the next day. It sounds like a laughably obvious scam, and the audience shares a knowing laugh that we’d never fall for something like that in the 21st century.

And yet, history proceeds to say otherwise. Ben marches us forward through time with legendary con men like Charles Ponzi whose name became synonymous with scheming. Regardless of historical time period, our confidence that we’re too smart to be conned persists. This consistency is in fact what enables and emboldens the con man

Ben interweaves his narrative with illustrative magic tricks. He plays with a full deck of cards (magician pun intended!) as he effortlessly blends magic styles from close up tricks to sleight of hand to mentalism. He picks pockets with the proficiency of a Dickens character in Oliver Twist and mesmerizes with his shell game. His feats of mentalism leave the audience gasping and guessing.

When Ben performs close up tricks, he thoughtfully utilizes a camera that projects onto two screens. This allows not just the person in front of him, but the entire audience to participate in seeing the tricks. It’s a con of our own times that the person in front of him ends up drawn to the screens, not Ben’s hands. Ben gently reminded the witness to watch his hands, not the video feed. We are drawn to the mediated experience even when the real experience is in front us. It reminded me of seeing the Mona Lisa and watching people not even looking at it but framing it on their cellphone cameras.

Ben’s background as a trained actor enables him to improv as needed, injecting humor and humanity into the show. He connects effortlessly with the audience as he can laugh at himself and on-stage participants in a way that enhances the collective experience. He often heightens the effect by commenting on his own magic, and his seamless ability to make everyone comfortable is in fact critical to the show’s success and its theme of trust. While the show is amazing, the ending is truly spectacular.

-TKR, Ph. D.  & TR

Don’t miss the chance to see Ben Seidman in Good Charlatan through March 16, 2025 at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA, 15222.  Liberty Magic also offers a VIP experience to go backstage and connect with Ben after the show, which is well worth it. Purchase tickets online here.

By Michael Buzzelli

When Scratch (Max Pavel) comes to a rural village to tempt the local witch, Elizabeth Sawyer (Shammen McCune), all hell, literally and figuratively, breaks loose in Jen Silverman’s dark comedy, “Witch.”

Scratch is a handsome devil, but he’s not THE devil, he’s mid-level management for Beelzebub in a satanic pyramid scheme.  He’s pitching money, power and true love all for the measly price of a human soul.

When this particular devil breezes into town, he sets his sights on Cuddy (Matt Henderson). The boy, the closeted son of the fiefdom, son to Sir Arthur (Brett Kennedy), who prefers Morris Dancing to dating, is willing to cut a deal. He both loves and hates the rival of his father’s affections, Frank Thorney (Ryan Patrick Kearney).

Frank is secretly married to Winnifred, (Lorna Lominac), a maid in the castle. When Frank realizes he could be the heir to the tiny fiefdom, over the rightful heir, Cuddy, he seizes the opportunity and dumps Winnifred like a hot potato. She does not take it well.

Cuddy is tempted by Scratch. Then, Frank is tempted by Scratch. The only one who won’t give in to the temptations is the aforementioned witch, Elizabeth, who turns out to be a lonely woman in the woods. Her denial of Scratch’s iron clad agreement causes him to look deeper into the abyss, and the devil gets his due, or, rather, the soul stealer finds his own soul.

Whether they are maidens, mothers, or crones, witches are hot right now. With the success of “Agatha All Along,” “The Discovery of Witches” and “The Mayfair Witches,” the sorceresses are in style.

Witch is style and substance.  It’s heart and soul. It is a timeless tale told in contemporary vernacular, both witty and wise. 

Pavel is a handsome devil indeed, everything Scratch should be. He is charismatic, charming and churlish, a mischievous rogue, and with a soul.

Henderson seems born to play Cuddy. The part is so perfectly aligned with Matt and his sensibilities. When an actor crushes a role, it’s hard to picture anyone else in the part.  Think: Peter Falk in “Columbo,” Tony Shaloub in “Monk,” or Patrick Stewart as Jean-Luc Picard in “Star Trek: Next Generation,” and “Picard.”

McCune has the gravitas to command any stage.  Her Elizabeth is too smart to be seduced, but, possibly, too smart to ever love or be loved. It’s a tragic flaw, and McCune mines it, giving subtextual layers upon layers. There is wisdom and aching sadness, and undeniable rage.

Kearney does a marvelous job as the smarmy villager. Frank is a man who expects to get everything with his self-confidence and good looks. The high school jock/bully who becomes a senator, smiling while stabbing people in the back. Frank is the other handsome devil in the show and far more motivated than Scratch.

Lominac, last seen in “Arcadia” at Point Park University, is gracing the professional Pittsburgh theater scene for the first time. It won’t be the last. She makes a stunning impression.  Winnifred seems like a minor character until the last few moments of the play when she finally finds some agency.

Kennedy, who has a more minor role, is also perfect for the part.

Director Ingrid Sonnichsen finds the core to each character and opens the actors up to their most vulnerable selves. The cast is at their best under her helm.

There’s a fight scene, choreographed by Randy Kovitz that is both dramatic and hilarious.

Jenn Bechak’s scenic design is a wonder; opulent castle on one side, rustic witch’s hut on the other.  Gnarled branches festoon Elizabeth Sawyer’s cottage giving it a real witchy vibe.

All art is political, and “Witch” is a powerful play at the right time with the right actors.  Silverman’s underlying message of the show is a visceral gut punch to the soul.

If you get invited to the play, tell your date that you’ll be there with bells on, or, better yet, conjure up your own ticket.

-MB

“Witch” runs from March 7fd to March 22 at the Carnegie Stage, 25 W. Main Street, Carnegie, PA 15106. For tickets and more information, click here.

 

Reviewed by Dr. Tiffany Knight Raymond, PhD and Theron Raymond (6th grader)

The enGAGE program brings together the Holocaust Center of Pittsburgh and Prime Stage Theatre in creating performances that address the atrocities of genocide. Prime Stage’s current production showcases playwright Celeste Raspanti’s two plays, I Never Saw Another Butterfly and The Terezin Promise, which are thoroughly meta. Through the plays as art form, we see how drawing art and writing poetry helped children find agency and give voice to their experiences amongst the horrors of the Terezin concentration camp.

While the production is positioned as two plays, it would be more accurately described as one play with two acts. The characters are the same, and the storyline is continuous. The Terezin Promise picks up where I Never Saw Another Butterfly ends.

Alex Keplar’s set design is brutalist and unchanging. The towering, yet bleakly earth-toned walls with sharp angles symbolize the unblinking horrors they hide. A stark black and white sign in all caps arches over the entrance to Terezin and commands “ARBEIT MACHT FREI.” The German phrase translates to “work sets you free” and was displayed at camp entrances. This visual icon is chillingly ominous from our vantage point as work was in fact enslavement, and freedom was an illusion.

Costume designer Meg Kelly triumphs with rough, patchy fabrics in shades of brown and gray. The costumes are outward manifestations of those who wear them – dirty and dispirited but holding together.

The play only becomes infused with color when the children read their poems. “I Never Saw Another Butterfly” is both the play’s title and a poem’s name that personifies the camp. The title mourns the details we lose that we never even thought of as privileges. The impact is heightened by the fact flowers on the property are repeatedly mentioned, suggesting that even though the butterflies have reason to, they choose to avoid Terezin.

Holland Adele Taylor is inspiring as the production’s lone adult, art and poetry teacher Irena Synkova. Taylor channels a forceful, but maternal, power. She effortlessly calibrates to each child’s needs while not understanding the chaos herself or being able to provide rational answers for why this is happening. She inspires her students to experience joy and hope because it is hope that helps them survive. Notably, Taylor also portrayed Annie Sullivan in Prime Stage’s production of The Miracle Worker where she also demonstrated an instinctual unsung leadership as she wrangled a young Helen Keller.

Synkova helps main character, Raja Englanderova (commandingly played by Meredith Kocur) adapt to Terezin and invites her into the community of children she teaches art and poetry to. This community deepens relationships, which creates accountability for preserving the artistic byproducts of their suffering to ensure history is learned from, not repeated.

Genocide can only be a heavy and triggering word. Yet, what shines through most in Raspanti’s plays is hope fostered by community and through art. Art by its very nature outsurvives its creator and lives on to teach, inspire, and provoke thought. While so many lives in Terezin and other concentration camps were cut tragically short, their art lives on.

At the play’s start, the children take turns reading “their” poems aloud, which are actual poems written in the camps. Helga Weissova (Eva Balodimas Friedlander) reads her poem last. Director Wayne Brinda subtly demonstrates the power of art, having Friedlander gradually stand taller as she reads on. Friedlander movingly quavers as she reads: “friends depart — for other worlds…we want to have a better world.” Departure is such a poignant, tender positioning of the brutality of death in a concentration camp. These worlds interconnect in Helga’s poem, at Terezin, and still today. The responsibility to help create that “better world” is no less urgent than ever before. May we all do so.

-TKR, Ph.D.

You can see Prime Stage’s I Never Saw Another Butterfly and The Terezin Promise through March 9, 2025 at the New Hazlett Theater, 6 Allegheny Square East, Pittsburgh, PA, 15212.  Purchase tickets online here.

by Michael Buzzelli

At the skating rink, Kimberly (Carolee Carmello) meets Seth (Justin Cooley), but “Kimberly Akimbo” is not just your average high school boy-meets-girl romcom.

Kimberly is suffering from an unnamed disease that is most likely, Hutchinson-Gilford progeria syndrome, an extremely rare, progressive genetic disorder. It causes children to age rapidly, and Seth is looking for a partner for Science Class. She wants to do the project on Glaucoma, but he wants to do it on her illness.

On a study date in the library, we discover that Seth is wonderfully weird. He’s into anagrams and a member of a puzzle society.

Note: “Flared Puny Owl” is an anagram for “Wonderful Play.”

Seth and Kimberly meet the show choir, who become their new friend group.

There’s a subplot with show choir kids, Theresa (Skye Alyssa Friedman), Aaron (Pierce Wheeler), Martin (Darron Hayes) and Delia (Grace Capeless.

Theresa likes Martin. Martin likes Aaron. Aaron likes Delia. Delia likes Theresa.

Kimberly’s family life is odd, even for a rapidly aging teen. Her father, Buddy (Jim Hogan) is an alcoholic, her mother, Pattie (Laura Woyasz) is pregnant and recovering from two carpal tunnel surgeries (both hands). Then, her Aunt Debbie (Emily Koch) shows up and things get even weirder.

Carmello is terrific as Kimberly.  She is able to play the role with the complexity of the character. A young girl dying of old age. Someone stuck between various levels of maturity.

Cooley is terrific. He is charismatic, joyful and full of weird fun. He is able to deliver the most awkward lines with verve.

The show choir kids are used as a form of Greek Chorus, or rather, a regular chorus, backing up the songs, providing dance moves, etc. There woefully funny love-rectangle is funny, but seems achingly real for high school. The whole quartet is great, Hayes knocks it out of the park as the lovelorn Martin. There is a great scene during the song, “How to Wash a Check” where Friedman and Wheeler show off some great slapstick skills. Capeless’s delivery of lines hilarious.

Another standout is Koch. She is crude, crass and delightfully comical.

Playwright David Lindsay-Abaire captures the truths about high school, adds a whacky subplot about check fraud, show choir costumes and a trip to an amusement park and wedges in a powerful statement on “living in the now.”

David Zinn’s scenic design is gorgeous, especially the skating rink.

Danny Mefford’s choreography is cleverly akimbo (Seth would love that reference).

While the songs are as catchy as other Broadway shows, and the lyrics are particularly difficult to sing in the shower the next day, “Kimberly Akimbo” is a fun show with some great character work. Lindsay-Abaire doesn’t go for the easy puns, the jokes are a little smarter than most musicals.

Most of all, “Kimberly Akimbo” is a fervent love letter to life and living it as best you can.

-MB

“Kimberly Akimbo” runs until Sunday, March 9 at the Benedum Center for Performing Arts, 237 Seventh Street, Pittsburgh, PA 15222. For more information, click here. 

by Michael Buzzelli

George Roth AKA Mr. Super (Dave Joseph), aging TV star,  has trouble coming to grips the loss of his celebrity status in Thomas B. Andrews play, “Up and Away.”

The former Hollywood actor is trying out for bit parts in small theaters and working in a call center.  His wife has died and his daughter, Chelsea (Chelsea Kikel) has moved away with her husband, David (Michael Church). His only real connection to the world is through his therapist, Amy (Joan Schwartz), who is prompting him to get out in the world and try some new things.

George would rather sit at home and relive his glory days, watching videotapes from his show, “Mr. Super.” He wears his old red cape everywhere, to work, to his favorite diner, and, even, to his therapist’s office, LARPing through life.

George’s grasp on reality slips and thinks he can fly.

Note: The first half of the play was performed as a one act in the 2023 Pittsburgh New Works Festival. Andrews won the Best Playwright Award that year and has added the second act. R-ACT’s production of “Up and Away” is the premiere of the full-length play.

The second act features Chelsea’s story.

Joseph is amazing as George in “Up and Away.” He’s also a very-convincing Mr. Super. The first act is a showcase of his talents. George cycles through every possible emotion, mania, rage and despair.

Kikel is very impressive as Chelsea. She runs through an gamut of emotions as well, the full spectrum of Kübler-Ross’s stages of grief.

The show has an interesting conceit. Most of the characters are voice overs. George’s interactions with his therapist, the waitress (Anna McAnallen), his boss (David Holderbaum), and his old rival, Jack (John C. R. Silbert) are unseen. It enhances George’s loneliness. It isolates him.

The stage is nearly barren with just a few props, a phone, a menu, and, of course, the iconic scarlet cape, but the scenes are enhanced by Jack Lefebvre’s art via projection design.

Barbara Burgess-Lefebvre, the show’s director, does an excellent job with the playwright’s prose and poetry, bringing George Roth and his estranged daughter to life.

Andrews wrote a provocative play about death and aging, and the ramifications for the survivors.

R-ACT Theatre Productions is tucked away off of a roundabout in Rochester, PA, but “Up and Away” is worth the drive. Unlike the central character of his first full-length premiere play,  the playwright’s future is bright.

-MB

“Up and Away” runs from February 27 to March 2 at the Segriff Stage, 134 Brighton Avenue, Rochester, PA 15074. For more information, click here. 

By Michael Buzzelli

Spinsters Abby (Joyce Miller) and Martha (Cindy Berg) Brewster believe they’ve found the solution to curing loneliness by dispatching elderly gentlemen to the afterlife with their diabolical concoction, a  glass of home-made elderberry wine laced with arsenic, strychnine, and “just a pinch” of cyanide, in Joseph Kesselring’s black comedy, “Arsenic and Old Lace.”

The Brewster women’s beleaguered nephew, Mortimer (Brian Ferris), returns to their Brooklyn home to pick up his sweetheart, Elaine (Chelsea Contino Eicher), to take her to the theater, when discovers a dead man in the window seat.

Mortimer learns that there are eleven bodies in the basement. Mr. Hoskins, the widower in the window seat, is the twelfth victim or the aunt’s loving charity work, i.e., the macabre murder spree.

He plans on pinning the murders on his loony brother, Teddy (Cassidee Knott Huey), because he already has the papers drawn up to send Teddy to a sanitarium because Teddy thinks he’s Theodore Roosevelt. Teddy’s been burying the bodies in the basement because he thinks he’s digging the Panama Canal and that the men are victims of Yellow Fever.

Meanwhile, Mortimer’s dastardly brother Jonathan (John Hermann) and his assistant, Dr. Einstein (Dennis Taylor) hightail it to Brooklyn to hide out in the Brewster home. They’re on the run for killing twelve men all over the world.

Realizing his sweet old aunt’s have the same body count, Jonathan decides it’s time to take out his brother, Mortimer, to get the higher score.

Director Erin Bock’s take on the timeless tale of murder, mayhem and madcap comedy is delightful. The director mines the show for all the comedy gold.

While the play takes a moment to get going, it speeds along once Ferris pops through the front door.  He is hilarious as the nervous nelly who keeps finding dead men in his childhood home. Ferris fidgets and fumbles with grace and style. “Arsenic and Old Lace” rests on the shoulders of the lead actor, and Ferris handles the responsibility with aplomb.

Miller and Berg are the perfect pair for Abby and Martha. They perform their characters with sweetness and  sincerity, ramping up the laughs.  Miller gets the first funny line of the show when she says, “I’m beginning to think that that Hitler person isn’t very Christian.”

Hermann is properly menacing as Jonathan Brewster, an escapee from the Home for the Criminally Insane in South Bend, Indiana. He delivers his lines in a slow, methodical way, devilishly calm.

Taylor’s Einstein is channeling Peter Lorre, who played the same character in the film adaptation of the play.

There are also some fun cameo roles by Alex Blair as O’Hara and Brian Kadlecik as Witherspoon.

Brian Nath’s set design is a true beauty to behold. He makes great use of the unique stage, which has several layers.

Berg also provided the costumes for the show. Martha and Abby’s funeral blacks are particularly impressive, replete with lacy high collars with brooches.

Side note: Unlike drama critic Mortimer Brewster, this review was not written on the way to the theater.

“Arsenic and Old Lace” is a frolicking romp with some laugh out loud moments. The play was originally performed during World War II to be a pleasant diversion from the ugliness of the outside world, and it remains to be a pleasant diversion from the ugliness of the outside world.

-MB

“Arsenic & Old Lace” runs until March 2 at 20 Wabash Ave, Hickory, PA, United States, Pennsylvania 15340. For more information, click here. 

by Michael Buzzelli

Director and former Point Park University graduate, Daina Michelle Griffith, returns to her alma mater  to gather an amazing cast of leading ladies to sing from Jerry Herman’s songbook in “Jerry’s Girls.”

“Jerry’s Girls” is a musical revue, or, to put in simpler terms, an extravaganza. It’s full of classic songs from Herman’s repertoire, highlighting Broadway favorites such as “Hello, Dolly!” “Mame,” and “La Cage Aux Folles.”

Reviews were everything is terrific are often very boring to read. Prepare to be lulled into a restful sleep as we heap mounds of praise on this amazing musical revue.

The cast is flawless.

The Leading Ladies included Jessica Carmona, Charlotte Jensen, Giavanna Marino, Julianna Ramos, Jamey Meske, Drew Dela Llana, Andrea Nalbandian, Daphne Riddle with ensemble members Camani Campbell, Lexi Casey, Andrea Robles and Bee Walker.

Carmona’s “Before the Parade Passes By” is a heartfelt moment. Her Super-Villain Team-Up with Charlotte Jensen for “Bosom Buddies” is a comedic high point in the show.

Meske belts out “I Am What I Am” from “La Cage Aux Folles” and nearly brought the house down. It was a beautiful moment of LGBTQ+ Pride (bringing joyous tears many audience members, including my seat mate, Lonnie the Theatre Lady).

Dela Llana performed a delightful rendition of “Gooch’s Song” from “Mame,” with a laugh out loud reveal at the end of the tune.

Riddle’s comic “Nelson” is a joy.

The ensemble moves with ease to some excellent choreography coordinated by Kristiann Menotiades. They dance beautifully to beautifully orchestrated Deana Muro and her all-star band which includes Doug Levine, RJ Heid, Paul Thompson, Kathleen Billie, George Hoydich and Dave Wingenbach.

The array of costumes by Claudia Brownlee is astonishing. “Jerry’s Girls.” The stunning clothes are fit for Broadway.

Emmaline Naud’s scenic and projection design is a whimsical addition to the show. The projections add context, flashing the title of the song and the name of the show it premiered in, saving patrons from flipping and fumbling around in their programs for context.

“Jerry’s Girls” is as big as Broadway but without the pocketbook breaking ticket prices.

-MB

“Jerry’s Girls” runs until February 23 at the Point Park Playhouse’s Highmark Theatre, 350 Forbes Avenue, Pittsburgh, PA 15222. For more information, click here.