Category: The Shaker

By Michael Buzzelli

The 20s are roaring! Roxie Hart (Ellie Roddy) and Velma Kelly (Claire Marshall) are at it again. These two ne’er-do-wells can’t get along.

When Roxie kills her lover, Fred Casely (the incredibly fit Tim Canali), she’s sent up the river to the Hoosegow. The prison is run by the corrupt Matron “Mama” Morton (Illeana “Illy” Kirven). Mama introduces Roxie to the prison’s most infamous jailbird, Velma.

Velma flaunts her lawyer, Billy Flynn (Max Cervantes), but Roxie, not to be one-upped, wants Flynn to represent her as well. The problem is that Flynn’s fee is exorbitant. Roxie cuddles up to her cuckhold of a husband, Amos (Marc Christopher), to get the money for Flynn’s billable hours.

Suddenly, Flynn, with the help of Mary Sunshine (Michael Mottram in the opening night performance), turns Roxie into front-page news, angering Velma.

Things are going swimmingly for Roxie until Go-to-Hell-Kitty (Amy Knips) shows up with a bigger, splashier murder, knocking Roxie to the backseat next to Velma.

Then, Roxie announces she’s pregnant, catapulting her back to the front page.

Marshall is a fabulous Velma Kelly. She struts across the Benedum stage as if she owns it. Her voice is flawless, and her moves are classic Fosse.

Roddy is the perfect foil. It’s not an easy role. Roxie is the immoral center of the show, and Roddy performs it with aplomb.

Marshall and Roddy are sensational together.

Cervantes is a sleazy Flynn, and that’s a good thing. He slithers across the stage like an ill-mannered snake. You can almost see the dollar signs in his eyes every time he hears about a sensationalized new murder.

Christopher plays the meek and mild husband, but surprises with “Mr. Cellophane,” knocking the number out of the park.

P.S. “Mr. Cellophane” was this reviewer’s least favorite number in the show until last night.

The ensemble burns with intensity and sizzles with lust. Their leave-nothing-to-the-imagination costumes by William Ivey Long are ogle-worthy.

“Chicago” is all about the music and the dancing. Andy Chen works magic with Kander and Ebb’s music. Gregory Butler recreates the original choreography and Ann Reinking creates fluid, jazzy movements using Bob Fosse’s extraordinary style.

“Chicago” comes around every few years, but it’s worth it to see Director David Hyslop’s stunning homage to the original. It’s time to paint the town again.

-MB

“Chicago” runs until March 15 at the Benedum Center, Seventh & Penn Avenue, Pittsburgh, PA 15222. For tickets and additional information, click here.

Review by Tiffany Knight Raymond, PhD, and Theron Raymond (7^th grader)

Every magician who comes to Liberty Magic unfailingly remarks on what a special and intimate space it is. It’s one of a few venues nationwide that’s dedicated solely to magic. Pittsburghers know our city is special, but it’s always an affirming delight to hear that sense of wonder expressed by outsiders.

Jonathan Levit was no exception to this talk track. Levit is fresh from a residency at The Venetian in Las Vegas. As a powerhouse magical performer, he’s clearly not one to be wowed by the mere presence of a stage. This amplifies his reverence for the Liberty Magic space.

Levit opens his new show with a clip of his 12-year-old self performing a magic trick on Sally Jessy Raphael’s national daytime talk show back in the 1980’s. David Copperfield is in the front row, and Levit’s clip ends with the word MAGIC! splashed across a disparaging eyeroll from the young Copperfield. This moment of vulnerability both establishes Jonathan’s career arc and charms the audience, who are now rooting for the middle-aged Levit before he even starts the show.

Jonathan is so practiced that he appears to execute his tricks effortlessly. This allows him to banter and establish rapport with the audience. His show is clearly not a simple rinse-and-repeat. He personalizes the show, building the audience’s sense of trust and willingness to collaborate.

For example, Levit asked Theron his name when he had him assist with a trick, then guessed how to spell it – and got it correct. The next participant, Nicole, proactively offered up the spelling of her name, which Levit dryly noted was far less impressive than him guessing the spelling.

Levit’s dry, slightly self-effacing wit provides a throughline of authenticity. In fact, he opens the show by baselining that he’ll go from “the easy stuff to the hard stuff,” which he elaborates to define as “mind-reading and going from there.” This elicits easy laughter from the audience.

While initially a joke, mind-reading does prove to be the easy stuff. Levit consistently puts geological layers of choice in the hands of multiple audience members. This definitively illustrates how unplanned his tricks are and how he is unable to manipulate the outcome. And if he’s not manipulating the outcome, then it must be…magic?

The show’s narrative has a charmingly autobiographical bent that’s established with the childhood Sally Jessy Raphael clip. Levit’s origin story is cross-generational, as his father was a magician before Jonathan was born. When Jonathan discovered his dad’s magic trick box in a dresser drawer, the next-generation magician was inspired. Levit frequently references childhood memories. The focus on memories attunes the audience to the memories we are collectively making during this singularly unique show.

On the night we attended, the show ended with Levitt deftly conducting coin tricks with close-up cameras intent on his wide-set hands. His jaw-dropping feats of legerdemain were stunningly executed. Your blink is a slow roll compared to Levit’s hands.

Awaken your sense of awe. The show is rated for ages 12 and up and is astounding for teens and adults alike.

-TKR, Ph.D., & TR

Come (or come again) to Liberty Magic (811 Liberty Avenue, Pittsburgh, PA 15222) through March 29^th and witness Jonathan Levit reinvent reality in Reality Reinvented. It’s well worth the VIP Skeleton Key experience. This allows you to go backstage with Levit after the show, where you can ask questions and see more magic in an even cozier space. Purchase tickets online here.

By Michael Buzzelli

On Monday, March 2026, the Tony-nominated actor, Eva Noblezada, graced the Greer Cabaret stage with an evening of off-kilter cabaret.

Noblezada sang beautiful songs and spun zany tales of her life on Broadway and London’s West End, where she began her career. The singer was accompanied by Rodney Bush (founding member of Tony & the Kiki) on the piano.

At twenty-nine, soon-to-be-thirty, Noblezada has had an illustrious career. In 2017, she was nominated for her first Tony, for the title role in “Miss Saigon.” In her role as Eurydice in “Hadestown,” she was nominated for her second Tony and won a Grammy.

Noblezada didn’t just do Broadway; she included an Amy Winehouse song and a Jefferson Airplane song.

Noblezada showcased her talents. She has a delightful ear for accents and can sing like no one else. The singer is adorable. She is full of joy and gratitude for her vocal vocation.

She was candid and vulnerable, which made it hard not to like her.

Noblezada spent a little bit too much time between songs, discussing her mental health, and branched out on several tangents, possibly a symptom of her confessed ADHD.

There was an unnecessary whole bit about a Guardian Angel, which was mostly used to set up songs, including a fanny pack with an alleged magic mushroom inside, so she could go way back to the 60s and do an amazing rendition of Jefferson Airplane’s “Go Ask Alice.”

Toward the end of the show, she told the audience a hilarious story about a five-year-old who peed on her during the final act of “Miss Saigon.”

If she had peppered in a few more songs. and kept the chatter down a notch, the evening would have been flawless.

-MB

There is one more Trust Cabaret show in the 2025-2026 season. Broadway and TV star Cheyenne Jackson will perform on Monday, May 11. For tickets and additional information, click here. 

By Michael Buzzelli

At the start of Annie Baker’s “Infinite Life,” Sofi (Tami Dixon) is on a sun deck, in a lounge chair, reading George Eliot’s “Daniel Deronda.” When Eileen (Cary Anne Spear) goes out to catch some rays, she asks Sofi, “How’s the book?”

Sofi replies, “It’s good. It’s weird. It’s both.”

That’s Annie Baker peeking out from behind the script, letting you know that we’re in for a bit of weirdness right off the proverbial bat. That’s so meta!

Sofi, Eileen, Yvette (Sheila McKenna), Elaine (Karla C. Payne), and Ginnie (Helena Ruoti) are attending a sort of clinic (health spa, wellness center, starvation dungeon) where everyone is fasting. Some guests are restricted to water; others are allowed to have juice.

Everyone is there to treat their individual illnesses. The characters take a deep dive into their chronic pain. Fibromyalgia, cancer, a litany of medical conditions (eat dinner BEFORE the show).

After a few days, the women get a groove going. They begin to bond, when Nelson (Michael Tisdale) shows up. He’s attractive and around Sofi’s age (the other women are, as Sofi puts it “not much older than me”). Nelson’s mere presence sets off a disturbance in the “Force.”

The women have some lively discussions.  Imagine a more intellectual   “Golden Girls” getting deeper without the cheesecake (or any food). Sure, there’s sex talk, but there’s also a chat about CMBR (Cosmic Microwave Background Radiation), and a parable from the teachings of Thich Nhat Hanh.

Secrets spill out. Sofi tries to find pleasure through the pain (euphemism alert).

Baker’s play is performed incredibly by the stacked cast (local theater legends). Tisdale’s character’s appearance is a shock on several levels. He’s the only newcomer to the barebones stage.

Dixon’s performance is courageous. Her Sofi is deeply flawed, vulnerable, and pulsating with anger and regret.

Spear plays another layered character, but Eileen is used sparingly. She is the moral center of the play, exuding love and kindness.

Each of the other characters get a literal and figurative moment in the sun. Every line carries a tremendous weight when delivered by this all-star cast.

Side note: While it happens in real life having an Elaine and Eileen is confusing, especially when the characters don’t refer to each other by name very often. Luckily, the two actors are very distinct.

Tisdale’s role is small but meaningful.  He is full of charisma. He delivers the most horrifying speech with clinical precision (the functions of the human body are discussed throughout the play, if you’re squeamish, it’s best to cover your ears when his character discusses his colon issues).

It’s always ironic when a theater company calling itself barebones enlists the aid of Scenic Designer Tony Ferrieri. There is an elaborate motel style concrete lattice and properly placed lounge chairs.

Lighting Designer Andrew David Ostrowski orchestrates the lighting as the show slips from day into night and back again. The soft morning light is so realistic, you’ll want a cup of coffee every time it’s a new day on the stage.

The director, founder and artistic director Patrick Jordan knows how to create drama in moments writ small and large. While “Infinite Life” seems like an odd choice for the theater, he does a tremendous job with the material. He certainly couldn’t have chosen a better cast.

The show has long transitions between scenes because the actors stay in character when they shuffle on and off the stage. It’s the only lag time in the tight 100-minute show.

Baker’s script does emphasize on the weird. It’s hard to find the meaning “Infinite Life,” but there’s a point where Sofi and Nelson argue about comparable pain. Nelson claims his pain is worse, and Sofi challenges that notion. “How could you know?!?” It’s one of the most dramatic sections of the play because the characters finally have a real conflict. Like a Greek Tragedy, most of the other conflicts happen off stage.

It’s hard to watch people suffer, and the show isn’t for everyone, but there is an exquisite beauty in finding the moments of joy in the pain. It’s a grand metaphor for the nature of life in “Infinite Life.”

-MB

“Infinite Life” runs until March 22 at the Bingo O’Malley Stage, barebones, 1211 Braddock Avenue, Braddock, PA 15104. For tickets and additional information, click here. 

 

 

 

 

 

 

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.