Author: VivantAdmin

by Claire DeMarco

“Forbidden Broadway” opened Off-Broadway in 1982 and continues to this day to delight and engage viewers.  Usually presented in a cabaret-style environment, “Forbidden Broadway” aims parody and satire at Broadway musicals.

It’s a fluid musical that has been updated over the years to include more recent Broadway musicals that were not part of the original production.  Older productions no longer prevalent or known to younger audiences were often eliminated.

Some of the Broadway musicals skewered in this production include “The Book of Mormon” (renamed the “Book of Morons”), “Chicago,” “Gypsy,” and “The Lion King.”

“Forbidden Broadway” – don’t miss this laugh-out-loud adventure!

What a talented cast!  Whether they perform together in a parody or separately, their timing and coordination are superb.  Their singing is top-notch.

None of these skits work if any one of the four is out of sync (whether performing solo or with the other members). They play a myriad of characters, quickly shifting from one personality to another (with quick, multiple costume changes, too).

Eric Acosta, Marshall Benton, Autumn Papczynski, and Jamie Spurrell are a well-balanced and unique group of talented actors. With perfect comedic timing and excellent vocals, they own the stage as they seamlessly transition from one unique character and parody to another.

Papczynski turns our sweet little “Annie” into a smoker turning 30 “Tomorrow.” She hasn’t worked since “Annie.”  She is still attired in the red dress and red curly wig.  “Hamilton” doesn’t escape ridicule as Papczynski adds a variation of rap to her delivery.

Playing Mary Poppins as the upright, good English nanny, Spurrell blasts Disney with a smile on her face. As Liza, she adopts the characteristics and flamboyance of Liza Minnelli.  Spurrell has a powerful voice.

Benton reaches the high notes brilliantly in “It’s Too High”, a parody of “Bring Him Home”.  He manipulates two puppets while singing “You Gotta Get a Puppet” to the tune of “You Gotta Get a Gimmick” from “Gypsy.”

Acosta skillfully and comedically portrays a character from “The Lion King”.  Initially beginning with an Africa-like chant, he segues into “The Circle of Mice,” a playful rendition of “The Circle of Life.”  He is convincingly funny as the phantom in “Phantom of the Opera.”

Just as energetic is “Fiddler on the Roof,” where the group of four works together.

Note:  So, did “Les Miz” face “Forbidden Broadway’s” innovative satire, even if the story centers on a character pursued by the police, a dying mother, and a revolution?  Of course!  Apparently, nothing is sacred.

“Forbidden Broadway” was created and written by Gerard Alessandrini.

The set has a cabaret-style setting.  The only props are those held by the cast as they perform each skit.

Note: The one prop not handheld was the obligatory crystal chandelier from “Phantom” that made a brief appearance.

The fifth performer is Music Director Douglas Levine, whose piano accompaniment is the final touch.

Kalyn Parardis’ costume designs are stunning. Considering the many costume changes required for this production, they are detailed, creative, and unique.

-CED

“Forbidden Broadway” is a production of Point Park University Conservatory Theatre Company. Performances run from March 4th to March 8th at the Pittsburgh Playhouse, 350 Forbes Avenue, Pittsburgh, PA 15222. For tickets and additional information, click here. 

By Michael Buzzelli

It’s a tale as old as time. A song as old as rhyme. It’s “Beauty and the Beast.” The Disney version is back, bigger and better than ever!

The late Angela Lansbury (who died in 2022) narrates the prologue, in which we learn how a handsome prince became the horrible Beast (Fergie L. Philippe). He’s an insufferable, boorish lout, devoid of civility, transformed into a monster. Unfortunately, the Enchantress (Kate Wesler) also punishes his staff by turning them into household items with faces.

Meanwhile, a young girl, Belle (Kyra Belle Johnson), is a social pariah in her small provincial (not Provençal) French village because she likes to read. Doesn’t this town have a book club?

She’s a beauty (Belle is a French word for beauty, but don’t worry…the villagers will remind you in the opening number).

After being chased through the woods by wolves (animated, but still scary), Belle’s dad, Maurice (Kevin Ligon), enters the wrong castle (or perhaps the right castle). The Beast ships him off to the dungeon, but Belle pleads with the Beast to take his place.

The furniture, including a nervous Nelly of a clock, Cogsworth (Javier Ignacio), a sassy candelabra named Lumiere (Danny Gardner), and a pragmatic teapot, Mrs. Potts (Kathy Voytko), believe that Belle can break the Beast’s curse and change them all back into people again.

Philippe is magnificent as the Beast, alternately fearsome and friendly, more petulant child than frightening monster, who still commands a terrifying growl. It’s easy to see the humanity behind this Beast. He is a marvelous singer.

Johnson is everything Belle needs to be. She can portray the character with kindness, wisdom, and heart. She also has a beautiful singing voice. Actors should not be judged on their looks, but if someone is playing a character synonymous with beauty, she needs to be beautiful, and Johnson is definitely that.

The show’s signature song, “Be Our Guest,” is a showstopper! It’s a glorious spectacle on stage. It is worth the price of admission.

Voytko gets the other signature song, the titular “Beauty and the Beast” number, and she nails it! It’s a lovely rendition.

Gaston (Stephan Mark Lukas) parades around singing his big, brash song alongside Lefou (Harry Francis) and the ensemble. The team twirls and jumps around with athletic prowess. It’s another joyous moment in a show full of them,.

The design team is equally responsible for the success of this show. Stanley A. Meyer’s scenic design is triumphant, brilliantly crafted, and working in tandem with Darrel Maloney’s projection and video design, adding to the magic of the evening.

But wait! There’s more! Jim Steinmeyer astounded the audience as an illusion designer. When the hag transforms into the Enchantress, the gnarled old woman becomes a beautiful princess, growing eight feet into the air. Chip (alternately played by Levi Blaise Coleman and Kanoa Edgar) appears to be a head-sized teacup without a body. In the final act, the Beast transforms back into a man, spinning around in the air. It’s astonishing.

Ann Hould-Ward’s costumes sparkle like Swarovski crystals (nearly every girl in the audience wore a variation of Belle’s golden off-the-shoulder ballgown, but Hould-Ward’s version was a bedazzled beauty).

There are only a few minor flaws, more to do with the script than the production. Linda Woolverton’s book could use a trim, and not all of the Alan Menken, Howard Ashman & Tim Rice songs are winners; one or two could be excised to save some of the show, which goes over two hours (not counting the 20-minute intermission). There is also a weird choice to make Lefou sound like an over-the-top villain in a Saturday morning cartoon or anime [Personally, I wanted to kick the sidekick to the curb].

Everything else is MAGICAL (yes, in all caps)!

If you want your kids to enjoy live theater, this is the show. Adults and children alike will be awestruck by the majesty of “Beauty and the Beast.”

-MB

“Beauty and the Beast” runs until March 1 at the Benedum Center, Seventh & Penn, Pittsburgh, PA 15222. For tickets and information, click here. 

by Claire DeMarco

Annie (Aubree Liscotti) lives in a New York orphanage in the 1930’s during the height of the Depression. It’s a dreary place run by Miss Hannigan (Connor McCanlus).  Hannigan is not nice and most times is a little inebriated.

The orphans’ lives are not pleasant, but it’s Annie who is always pushing to leave that horrible place and find her biological parents. She always looks for ways to leave the orphanage, but thus far has been unsuccessful.

One day, Miss Hannigan receives a visit from Grace Farrell (Caroline Nicolian), secretary to Oliver Warbucks (Allan Snyder), one of the wealthiest men in America.  Farrell’s mission is to bring an orphan to his home to spend two weeks during the Christmas holidays.

To his dismay, Warbucks discovers that his orphan is a girl and not the boy he requested.  But Annie is disarmingly charming, and with Farrell’s support, he is soon won over.  He finds a new purpose in life and intends to adopt Annie.

Although excited and honored by Warbucks’ offer, Annie is determined to find her real parents.  Warbucks calls all his high connections to help make that happen.

Back at the orphanage, Miss Hannigan is surprised by two visitors – her brother, Rooster Hannigan (Isaac Miller), and his girl, Lily St. Regis (Allie Burns).  Recently out of jail, Rooster is already planning his next illegal escapade. Together with Miss Hannigan, they all lament their state in life, feeling sorry for themselves.

Two stories evolve.  Will Annie find her parents?  Do the Hannigan siblings and Rooster’s girlfriend find a way out of their miserable lives?

With strong vocals and great stage presence, Liscotti captivates as the ever-hopeful Annie.  She delivers with “Maybe” and “Tomorrow,” songs synonymous with this musical.

McCanlus owns the stage as the obnoxious Miss Hannigan.  His facial features, perfectly timed side glances, and physical movements accentuate his raucous, often tipsy behavior.  An outrageous character, but you can’t help but love him!   McCanlus sings “Little Girls” as a testimonial of his dislike for his wards, especially Annie.

Snyder transitions from a man whose entire world is centered on making money into a gentle human being, now in sync with the more important things in life.  What a powerful solo rendition of “Something Was Missing.”

Miller and Burns complement one another, Miller as the con artist and Burns as his ditsy girlfriend and cohort.  They solidify that cohesion, along with McCanlus, in their lament-filled agony about their lives in the song “Easy Street.”

Nicolian portrays Farrell as the dutiful and supportive secretary who, in many instances, has more influence on her boss than he realizes.

A shout out to Domenica Buffo, Olivia Duddie, Ainsley Christof, Brenna Asti, Charley Galman, and Charlie Kennis.  They delivered as the other orphans in Annie’s world, especially with the song “You’re Never Fully Dressed Without a Smile.”

The entire talented cast contributes to this production’s success.

Note:  The concept for “Annie”, the Broadway musical, originated from a 1920’s comic strip titled “Little Orphan Annie.”  The show’s timeframe was moved to the 1930’s Great Depression.  This musical has won seven Tony awards.  It remains a favorite musical production.

Book by Thomas Meehan, Music by Charles Strouse, and Lyrics by Martin Charnin.

Wonderful music accompaniment by the orchestra under the direction of Dr. Francesca Tortorello, DMA.

Kudos to Director Quinn Patrick Shannon.

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

-CED

“Annie” runs from February 19 to March 1at the Byham Theater, 101 6^th Street, Pittsburgh, PA 15222.  “Annie” is a production of Pittsburgh Musical Theater.  For tickets and additional information, click here. 

 

By Michael Buzzelli

Late one night, Sheila (Tracey Maina) and her brother David (Andrew Perfetti) come home drunk from a party and lie down in the park in front of his home. Strangely, with no real explanation, Sheila and David become rooted to the spot in Agnes Borinsky’s “The Trees.”

A crowd gathers to see the unusual situation, as David and Sheila cannot move from their spot. Their Grandmother (Yide Liu), who speaks Polish, is among the first to camp out with her grandchildren.

Julian (Thomas Sirianni) reads about the duo in the newspaper and shows up to see the spectacle. Others are drawn to them.

Norman (Griffin Maley) finds the siblings while cruising the park. Sheila’s friend Charlotte (Lizzy Boulos) shows up to help out.  Rabbi Saul (Mayce Lee) drives from Cleveland to Connecticut to meet with them. She feels a spiritual connection to the two of them, mostly Sheila. A vendor salesman, Terry (Seth Pittsburg, no H), shows up selling chips, bottled water, and paninis.

Tavish (Jay Remenih) tags along with Julian, and David’s boyfriend, Jared (Nathan Jacobs-Hyman), shows up to break up with him, but keeps coming back to visit.

Sheryl (Maddie Colucci), mentioned earlier, appears in the second act.

Ezra (Nate Feldman) also shows up in the second act (but spoilers prevent this review from revealing more).

The siblings create a queer forest of Arden, where Bohemians flock to support and care for the human trees.

promotional material for “The Trees.”Though the show starts with an absurd problem, the show is rooted (pardon the pun) in realistic relationships. It’s weird, but fun.

The cast is superb (the length of this review prohibits this reviewer from individually calling out each of them, but we will cover some of the best).

Maina and Liu have a conversation in Polish! It’s amazing to watch Maina ride a wave between English and Polish. It’s astonishing to watch. Polish tutor Kornelia Gondek worked with the actors to get the accents right.

Maina and Perfetti have a great dynamic. They are comfortable with each other, bickering like real siblings. Perfetti is a master of the pregnant pause. He delivers his lines with thoughtful elegance.

While every character gets to jab and thrust in rapid-fire witty lines, Maley’s Norman is the biggest comic relief. He knows his way around a joke.

Lee’s Saul has the headiest material as her character struggles with her relationship with God, finding something deep and meaningful at Sheila’s side.

The stage space is transformed into an idyllic, pastoral scene by Liza Brown (with Britton Mauk, one of Pittsburgh’s prolific scenic designers).

“The Trees” is expertly directed by Natasha Cole. She keeps things light, even when the characters are discussing loneliness, the nature of love, and myriad existential crises. 

Borinsky’s script is odd. She never explains the situation, but she also doesn’t sensationalize it. It’s an allegory, a fable, or a fairy tale told in modern times. The trick is not to get hung up on the mechanics of the show’s magic and to go with the flow. She doesn’t answer questions; she creates situations for characters to explore.

It’s easy to get hung up on how the characters eat, defecate, and make love to their perspective partners, but it’s best not to think too hard about it.

“The Trees” isn’t for everyone. If you use the word “woke” as a pejorative, this show isn’t for you. There are so many LGBTQ characters in “The Trees,” you could almost hear Emily Montgomery (Joan Cusack in “In & Out”) running out into the street and crying out, “Is everybody gay?!!?”

The show has more gay characters than “Kinky Boots” and “La Cage Aux Folles” combined, and that is a good thing. For everyone who doesn’t normally see themselves in media, “The Trees” is required viewing.

-MB

By Lonnie the Theater Lady

Pittsburgh native, Emmy award winning writer, comedian, producer and actor, Ed Driscoll has returned to regale Pittsburgh audiences with some of the most memorable escapades he’s had over his twenty-five-year career in show business.

His expansive experience includes writing jokes for Robin Williams, Whoopi Goldberg, Joan Rivers, Michael Buble’ and Justin Timberlake. Driscoll has written for the Academy Awards, Comic Relief and ESPN’s Espy Awards. He has also written for several sitcoms including “The Drew Carey Show”.

Driscoll spins some seriously funny, true tales based on his life events. One particularly amusing story relates what happened one evening when he got lost on his way to Billy Crystal’s house, in a torrential rainstorm. (Pre GPS technology)

No spoilers–but his problem-solving antics are hilarious.

Another delightful story reveals what happened the night he ran into Bob Newhart’s trash cans–another one of many humorous crowd-pleasing tales!

Driscoll discloses the details of a practical joke that went very wrong, leading the police to question Dennis Miller as a suspected Vanna White stalker. It was very comical!

Driscoll’s an entertaining, witty storyteller with perfect comedic timing. He sprinkles some valuable encouraging life lessons into his captivating narrative. Driscoll’s spellbinding warm story telling style engages the audience from the first moment of the show until the last. “Cracking Up” is guaranteed to live up to its name. Not only will you laugh but you’ll be uplifted. Don’t miss this engaging, intimate evening with the wildly talented, Ed Driscoll.

By Michael Buzzelli

Alfred, Lord Tennyson, Emily Dickinson, and even Tony Orlando and Dawn wax poetic about oak trees. Layon Gray joins the illustrious club of tree huggers with his play, “Meet Me at the Oak.”

Jonius (Thaddeus Daniels) and Selma (Kenya Wilson) have a mighty oak on their property in Alexandria, Louisiana. They have dubbed the tree BEN because one of Jonius’s ancestors carved the initials in the tree back when the oak was on an Antebellum plantation. Their daughter, Ruthie (Tahiliah Rose Bergel), wants to climb the old oak. Even though Jonius and his friend, Earl (Dennis Brito), climbed the tree as children, Jonius doesn’t want his daughter scaling it.

Gossipy friend-of-the-family, Luther (David Roberts), tells Jonius that a white family is moving in next door.

Ruthie is the first to interact with the very pleasant nurse, Mary Coles (Lillian Monique Sherman), and her cantankerous (read racist) husband, Frank (Sal Rendino). When Selma directs Mary to the nearest grocery store, the Piggly Wiggly, she invites the neighbor to cut through the yard on the way back because it’s a shortcut. Mary, however, trips over a gnarled root from the old tree and falls on their property.

When Luther finds Mary unconscious in the yard next to old BEN, he is accused of pushing her. He is arrested. From there, a complicated web of fear and hate strangles both Frank and Jonius. The neighbors are far from neighborly.

Gray describes “Meet Me at the Oak” as “a love letter to my hometown – my neighborhood, the people who shaped me, and the family who raised me. It carries the weight of memory, the courage of survival, and the beauty of choosing love and compassion over fear.”

Gray’s play is about hope, even if it takes some frightening turns to get there. There is a lovely moment with the family dancing to a record filled with joyful exuberance, a moment of beauty before descending into a ghastly neighborhood nightmare.

The cast is amazing. Their performances ring with truth.

Daniels is triumphant as the patriarch of a nuclear family. He is a passionate man, a fully realized character with hopes, fears, and dreams. The character is at his best during his sweeter moments. Daniels exudes natural charm in the quiet, reflective moments.

Bergel shines as the young daughter, Ruthie. The actor, who isn’t yet twelve years old, is giving 100%. Yes, she’s adorable, but her ability is far beyond her years.

Wilson’s Selma is a thoughtful, caring matriarch. While Selma is a 50s Black housewife, Wilson plays to the character’s soul. You see the intelligence and gravitas of the woman who is really running the household, even though she’s making it look like her hubby is calling the shots.

Roberts plays Luther with unrestrained emotions. His character’s emotions are always over-the-top. Whether it’s happiness, sadness or anger its cranked up to 11.

Herb Newsome’s set is charming and simple, looking like a lower-middle-class home in the 50s. His BEN is the secret eighth member of the cast. The tree looks imposing, gnarled, and stately. The Oak in “Meet Me in the Oak” has a personality all of its own.

There is a beautiful memorial to the ancestors, created with clever projection design by Aidan Cole.

Gray also directs his work. It’s not often that a playwright can direct his own play. They don’t have emotional distance to make bold changes or quiet revisions. That said, Gray does a phenomenal job with his own material.

Sadly, Americans are still hung up on “Othering,” and we haven’t progressed far enough since the attitudes of the 1950s. Gray reminds us to be our better selves even in dire circumstances. The lesson is given dramatically – sometimes melodramatically – without feeling like a morality play. While there are a few prayers – including a beautiful version of “Amazing Grace” – it’s never preachy. Gray is more interested in telling the story as he sees fit.

“Meet Me at the Oak” needs to be seen.  It should be required viewing for anyone in the Senate, House of Representatives and/or ICE agents, because the people who NEED to see the play, probably aren’t going to see the play, but you should.

-MB

“Meet Me at the Oak” runs until March 1st at the Pittsburgh Public Theatre’s Helen Wayne Rahu Rehearsal Hall, 621 Penn Avenue, Pittsburgh, PA 15222. For tickets and additional information, click here. 

By Michael Buzzelli

Vocalist Jessica Vosk breezed into Pittsburgh before her upcoming musical adaptation of “Beaches” on Broadway (rehearsals began the day of her show, Monday, February 16, 2026, but Vosk will join the troupe on Tuesday, February 17, 2026).

Vosk accompanied by acclaimed conductor, music director, orchestrator, composer, and arranger, Mary-Mitchell Campbell (“Mean Girls,” “Tuck Everlasting,” “Finding Neverland,” “The Prom,” and more), and musical director, actor and drummer, Rich Mecurio (drummer for “Waitress” and Van Zandt, and Little Steven and the Disciples of Soul, and the drummer on Vosk’s Christmas album, “SLEIGH.”

The Broadway singer and actress regaled the crowd at the Greer Cabaret Theatre with stories from her career in show business, delivered with delightful and charming wit.

The Broadway performer opened the show from the rear of the theater, cutting through the audience and winding her way to the stage, commenting as she went. She turned to one guest seated at a table, “Is that a cookie?”

When the patron offered her the cookie, she responded, “No. I can’t. I am in the middle of a show.”

Vosk covered songs from “Waitress,” “Beaches,” “Wicked,” and “Somewhere Over the Rainbow.”

In 2022, Vosk headlined “Get Happy: A Judy Garland Centennial Celebration” at Carnegie Hall.  Her version of “Somewhere Over the Rainbow” was astonishing.

The singer even rocked a Taylor Swift song, “Treacherous,” to the delight of the audience.

Vosk received two standing O’s, and midway through the set, there was a mini-standing ovation as a smattering of the crowd rose after her rendition of “The Wizard and I.”

The Broadway star has her own Christmas album, “SLEIGH,” and you can listen to a track here.

Vosk was entertaining and engaging, and one of the best performers of a stellar season at the Greer.

-MB

The 2025-2026 Trust Cabaret continues with Eva Noblezada on March 9th, 2026, and Cheyenne Jackson on May 11, 2026. For more information and tickets, click here. 

by Claire DeMarco

“Love Letters” follows the lives of two people who have known each other since childhood.  Andrew Makepeace Ladd III (Zach Wyatt) and Melissa Gardner (Tammy Wyatt) began their journey with the written word in grade school, sending little notes to one another during class.  Their correspondence didn’t get off to a smooth start.  When their teacher exposed them, Ladd and Gardner were forced to repeat “I will not write personal notes in class” multiple times.

Their relationship has fluctuated over the years as they have found themselves in different parts of the world, taken different career paths, married (and divorced), and had children.  But they always keep corresponding.

As time goes on, Melissa has more issues than Andrew.  She is a free spirit, an artist, and one who eventually has difficulties with excessive drinking.  Her emphasis on the course her art takes is as fluid as her multiple marriages.

Andrew chooses a legal career, applies himself, and takes the next logical step for him by pursuing politics.  He has a successful marriage and three sons.

The hint of jealousy rises from both sides when either one announces a new love interest or marriage.  One wonders how deep their attachment is.  Their relationship is complex and fluctuates between love, annoyance, jealousy, concern, and sympathy.

As they grow older, many more complexities within their own worlds demand more of their attention.

Does their relationship remain the same after fifty years of correspondence?  Do they continue to write to one another?

Zach’s Ladd is strait-laced.  He has set his career objectives from an early age; his path is straight forward, with no deviations. His physical delivery is spot on, and he sits stick-straight as he delivers his lines. As he grows older and faces certain family issues, his composure shifts from rigid to more relaxed and casual.

Tammy shines as her delivery is the opposite of Ladd’s.  She flails her arms, makes faces as she reads her correspondence from Ladd, twists her ankles, and generally moves quite a bit.  Tammy’s physical gymnastics and facial expressions tell us all we need to know about Melissa. She is a free spirit and spontaneous.  When she experiences failure, she becomes more remorseful and sullen.

Independently, their performances are excellent, but in tandem, they excel.  They complement each other, and their timing is perfect.

Special Note: Actors Zach Wyatt and Tammy Wyatt are a married couple, and their romance, which began in 2006, included exchanging letters and notes!  This play must have special meaning to them.

Note: Lonnie, the Theater Lady, mentioned that this production was the third time she had seen this play.  She told me that this production was the best one she’d ever seen.

A stamp of approval for this production of “Love Letters.”

“Love Letters” was written by A. R. Gurney.

Ed and Elaine Cassidy’s set design adds a nice touch to the story.  Most productions of “Love Letters” take place on a bare stage with two uninteresting tables side by side.  This set design reflects each character’s background and personality, with props and colors built around their unique traits.

Excellent direction by producer/director Ken Gargaro.

-CED

“Love Letters” is produced by Ken Gargaro. Performances run from February 12^th to February 21^st at Carnegie Stage, 25 W. Main Street, Carnegie, PA. For tickets and additional information, click here.

 

 

By Michael Buzzelli

Robbie Doerfler (Robert Frankenberry) assembles his best friends, Rose (Desiree Soteres) and Roger (Christopher Scott), to aid him in successfully launching a revised project, a new take on the works of Walt Whitman, in “I Hear America Singing,” a Pittsburgh-produced film, ingeniously described as a 75-minute operafilm (part of the Bardo Trilogy).

Writer/Director Daron Hagen’s “I Hear America Singing” is unusual. It’s a meta-commentary on the creative process, an operetta, a musical, and a fictional documentary.

P.S. It’s first and foremost a drama, and there is only a smattering of laughs, which keeps the film out of the “mockumentary” category.

It’s sort of “Merrily We Roll Along” in the right chronological order, but in this case, two of the friends are former lovers.

Robbie was friends with Rose and Roger when they were married, but after the divorce, Robbie distanced himself from Roger.

Hagen’s film touches on a lot of subjects; the nature of art, love (in a variety of forms), friendships, writer’s block, and more. Much of it, delivered in song.

It’s an ambitious project (the musical and the film), and Hagen is aware of the critics. Hagen voices of one of the critics, alongside Talal Jabari and Tevi Eber, in this metacommentary on art.

Jabari and Evi’s critic characters are named after Greek mythological creatures, Charon (the boatman on the river Styx), and Acheron (a river of woe and entrance to the underworld), but neither of them are seen.

Watch the trailer here.

Soteres has a strong singing voice. Her character of Rose is the most likable. Soteres plays Rose with a frank matter of fact-ness and down-to-Earth charm.

Frankenberry is extremely talented. His singing voice is also powerful. He oozes charisma on screen. He manages to deliver the only laugh lines in the script, with a dash of self-deprecating humor.

There are several Will-They/Won’t They moments between Rose and Roger. Maybe a few too many. It becomes hard to care about their situation-ship.

Note: I didn’t want them to get back together, Roger’s character is pretty unlikable, not just because he’s a Republican, but because he wants to impose limits on Robbie’s creativity (in a very Republican way, though).

While Scott’s Roger is annoying, he has a marvelous singing voice as well.

Hagen was Pitt’s 2007 Franz Lehar Composer-in-Residence, and he’s grown into a strong multi-hyphenate. The songs, some of which are based on America’s greatest poet, Walt Whitman, mix together with his original compositions.

Hagen could have benefitted from one more editorial pass on the script and/or the final cut. Early in the film, there is a scene in a hallway where the voices are tinny (the audio quality isn’t quite right). The scene should have been cut since it didn’t match the sound quality of the rest of the film, which is excellent.

With the rare exceptions, such as Quentin Tarantino, Christopher Nolan and Alfred Hitchcock, most films benefit when the writer and the director are two distinct individuals, having another creator help shape the work could have turned this into a masterpiece.

The cast and crew worked with Aria412, a premiere Pittsburgh institution for supporting local artists performing a variety of opera, art house, musical theater and popular tunes. “I Hear America Singing” has all of those elements. 

-MB

Find the film here.

Reviewed by Dr. Tiffany Knight Raymond, PhD

Liberty Magic continues another spellbinding season with Czech Republic magician, Ondrej Psenicka, in 52 Lovers.

As an audience member at any live magic show, particularly a venue as wonderfully intimate as Liberty Magic, you find yourself leaning in and forward. There’s the involuntary hubris of thinking you’ll somehow figure it out, glimpse that ah-ha moment the card goes up the sleeve or some small moment that will put you in the special audience of one that discerns the trick.

Ondrej Psenicka is up for the challenge, and his languorous style dares you to spot the deceit. He fooled Penn and Teller not once, not twice, but three times, so he’s comfortable with us mere mortals. Not that this stopped me from leaning in to try and figure it out. Spoiler alert – I didn’t.

Psenicka establishes a warm, approachable ambiance before his show even starts. He immediately develops audience rapport, interacting with the audience as they trickle in. He hands out packs of cards as well as single playing cards with instructions on them. We aren’t just attending a show. We are immediately welcomed as his assistants, and he makes the audience feel like essential components of his show.

Ondrej’s memory is phenomenally flawless. Even though he does endless shows, he never missed a name or even hesitated on one. His confidence brings the audience in as confidantes, heightening the feeling that we are all his assistants. In fact, an audience member named Jorge was running a few minutes late to join his crew, and Ondrej made him a touchstone of the show.

Psenicka’s sleight of hand is atmospheric. The cards become literal storytellers in his palms as he makes them spell messages. A camera livestreams for enhanced close-up visibility, another level to his dare. This storytelling bookends the show. The cards both foreshadow where we are going and provide a summary of where we have been.

Psenicka’s talents, however, goes beyond prestidigitation. He thoughtfully interweaves his skills as a mentalist to bring variety.

At the finale, he stands on a chair, fluidly exhibiting rope tricks. This unusual view enables a wide range of angles that invite the audience to catch him. At this point, he also takes inspiration from Teller, performing silently. This heightens the authenticity as there is no clever banter to distract and redirect us. His silence is its own electricity, the rope a kinetic waterfall in his hands.

-TKR, Ph.D.

Don’t miss the chance to see Ondrej Psenicka in 52 Lovers through March 1, 2026 at Liberty Magic (811 Liberty Avenue, Pittsburgh, PA, 15222).  The show’s title is as racy as it gets, so while it’s suggested for 18+, it’s appropriate for the 12+ who are allowed. Liberty Magic also offers a Skeleton Key VIP experience to go backstage and connect with Ondrej after his show, which is well worth it. Purchase tickets online here.