Category: The Shaker

by Claire DeMarco

In a modern regime somewhere near ancient Mesopotamia, the citizens are uprising.  They’ve had enough with corruption and the state of their country.  The president of this mythical country has already fled for parts unknown.

His wife, First Lady Ishtar (Elizabeth Elias Huffman), totally oblivious doesn’t know her husband has left.  Nor does she realize that the country is in turmoil.

In an attempt to tamp down the growing unrest, Ishtar’s Chief of Staff Elish (Doren Elias) is tasked with having her deliver a speech to the nation.  Most of those remaining in power don’t think this will work as Ishtar is thought of as self-absorbed, a bit of a ditz.  But they proceed in spite of misgivings, hoping that her speech will help to stabilize growing tensions.

Local reporter Yasmine (Milia Ayache), assigned to interview Ishtar for this televised event soon discovers that although she’ll be asking the questions, the questions have already been crafted for her.

Gazal (Treasure Treasure) is Ishtar’s assistant, a trans who totally supports her mistress, addresses her every need.  One of Ishtar’s redeeming qualities is her acceptance of Gazal in a country not prone to diverse lifestyles.

After many iterations of taping a message to the masses and not meeting the moment, Ishtar is confronted with the real state of affairs.

What begins as political satire transitions into thought-provoking memories and confrontations of past injustices and indifference.

Beneath the comedy lies a serious layer of intrigue and deception.  Disconnected hierarchy at the top of many governments that are totally oblivious about the concerns of their masses, is unfortunately, not unique.

Elias Huffman owns the stage as an authoritarian first lady out of touch with the real world. Her comedic timing is spot on through her attempts at addressing the nation.  She becomes more aggressive as she is confronted with the reality of her situation. Excellent execution of facial expressions, double takes and physical movement.

As the faithful chief of staff Elias understands Ishtar’s plight.  He possesses a cool and collective approach in handling Ishtar through many iterations of the “address to the nation”.  He delivers a controlled narrative and as the outside turmoil increases, he reflects on his many years of service to the leader and Ishtar.

Ayache is convincing as the timid, inexperienced, ethical reporter assigned to interview the first lady with questions she feels appropriate to ask.  As the story progresses, she easily transitions to a vocal, determined woman whose ulterior motives involve more than reporting.

Treasure’s facial expressions and physical movements are exceptional.  As her character becomes more involved in the situation at the palace, her theatrics take on more extreme moves.  Singing an excerpt from “Don’t Cry for Me, Argentina” sung from the top rung of a step ladder is hilarious.  It’s a quick moment but spot on!

“First Lady” was written by Sedef Ecer and translated by Amelia Parenteau.

Kudos to the design team – Scott Andrew, Sasha Jin Schwartz, Anthony Del Grosso, Madeleine Steineck, Alex Keplar and James Dworek and Randy Kovitz.  This is a beautifully done artistic production.  Excellent use of technology, special effects, lighting, sound and media design from this talented group.

Special recognition to E.E. Huffman for Costume Design.

Excellent direction by Adil Mansoor.

The word International is part of PICT’s identity and how appropriate – an international playwright and French-to-English translator and the U.S. world premiere of a unique play.

-CED

“First Lady” runs from October 2nd to October 11th at Carnegie Stage, 25 West Main Street, Carnegie, PA. 15106.  For tickets and additional information, click here. 

Reviewed by Dr. Tiffany Knight Raymond, PhD

There are rare productions you know will resonate with you across time, and it’s a privilege to share that collective theatrical experience. City Theatre’s world premiere of LM Feldman’s Another Kind of Silence is nothing short of a masterpiece.

The playbill describes the show as bilingual, given its in English and American Sign Language (ASL). However, it would be better described as quadrilingual, given that the play also includes spoken Greek and Greek Sign Language (GSL), while perfectly obvious after the fact, the existence of other Sign Languages truly wasn’t something I’d ever considered as someone with limited exposure to the Deaf community, giving myself a mental facepalm eye roll at such an American ethnocentric blunder.

Quadrilingual sounds complicated by default. However, it’s a testament to Director Kim Weild and Monique “MoMo” Holt, as director of artistic sign language, that it’s absolutely effortless for the audience to follow. This power duo makes it smooth for the actors as well, a clear by-product of lock-step collaboration. The play ensures inclusivity by thoughtfully utilizing non-intrusive subtitles. They are there for reference but never distract.

Holt is Deaf and represents just one member of the Deaf community involved in this production. Among others, the production also includes Deaf and Hard of Hearing actors, and lighting designer Annie Wiegand is Deaf. This ensures the production is represented from a fuller circumference within the Deaf community instead of singular representation.

Chelsea M. Warren’s classical Greek scenic design elegantly blends amphitheater with ruins, providing a sun-bleached background for each scene. Fabric-like pillars provide elegant spaces for the subtitles. Topping these pillars is a connecting arch. One of the play’s most memorable and magnificent moments is courtesy of Wiegand. For a scene at the Odeon in Athens, Wiegand projects a musical staff onto the arch. When symphony music commences, the lines of the staff vibrate. They become sound waves that vibrate with the music, providing a visual representation of the music’s crescendos and decrescendos.

At its heart, Another Kind of Silence is about love and the evolution of relationships. Girl meets girl, but both are involved with others. Feldman doesn’t yield to oversimplification, doing justice to the murkiness we’ve all experienced in relationships, romantic and otherwise. What we need and value changes as time passes, and those needs may or may not align with your partner’s evolution.

The two women at the center are Chap (Kaia Fitzgerald) and Evan (Catherine Gowl). They meet when Evan is in Greece accompanying her husband, Peter (Anil Margsahayam), on a work trip. Or rather, they don’t so much meet, but Chap observes Evan writing in a park.

Chap immediately and uncannily sees into Evan and discerns her ability to “find the epic in small things.” Before even knowing her name, Chap mentally nicknames Evan “Eureka.” The translation of this ancient Greek word of “I have found it,” foreshadows what feels like a pre-destined connection. Their spark is immediate, and the play thoughtfully explores the spaces – and silences – between spark and fire. Fitzgerald and Gowl make passion palpable thanks to Weild’s masterfully deft direction. Weild heightens the small moments that compose this fledgling relationship.

Each of the four characters is paired with their own personal chorus member. Costume designer Damien E. Dominguez visually unites each pairing with color to ensure readability for all audience members. For example, Evan and her Chorus (Amelia Hensley) are always in shades of pink.

The Chorus is a visual representation of the subconscious. Chorus members are costumed in flowing gowns that highlight their ethereal quality. The chorus members interact with each other in ways their counterparts can’t and sometimes provide reaction shots, going so far as to physically shield their actors, providing an actual block to difficult news. The Chorus also represents the desires of the characters they represent, able to act out that which their counterparts are not yet ready for or about which they dream.

Chap’s partner is local cafe owner, Ana (Jules Dameron). Dameron is a deaf, trans actor who commands the stage. For both couples, Feldman counters the heights of new love with the realities of an unraveling relationship. Chap states it simply when she says to Ana, “Something’s missing.”

And yet, nothing is missing from this production. Don’t miss the transformative.

-TKR, Ph.D.

City Theatre’s production of Another Kind of Silence runs through October 12, 2025, at City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. Purchase tickets online here.

By Lonnie the Theater Lady

The Becoming Arts Collective, in partnership with Broken Arts Entertainment, recently held a play festival at Carnegie Stage on September 19-20. The Twenty-four 10-minute plays were staged over the two days. Playwrights from Pittsburgh and beyond were featured in this entertaining festival. The subject matter covered many themes: father/son relationships, suicide, interracial marriage, childless women, life support, presidential behavior, missing children, death, ecology, and futuristic internet dating–among others.

A panel of festival judges chose the “Best of” in several categories. The top three plays selected will be filmed by Broken Arts Entertainment, a Maine- based production house that focuses on art that “gets you to think, and effect positive cultural change.”

The winner for the best play was “Familiar” by Robert J. Le Blanc. The two runners up (in no particular order) are “King of Spades” by Kim El and “From Day One” by J.D. Trafford.

Darrin Freidman, Founder and Managing Director,  and Art DeConciliis, Artistic Director, describe the recently formed Becoming Arts Collective as “a thriving theatre company of artists dedicated to bringing the transformative power of live theater to the Pittsburgh stage.”

One of their goals is to “explore storytelling that fosters empathy and connection in a time when the world needs it.” Through the Collective, they strive to “create a space where every voice matters and where everyone can feel connected.” And that “every spoken word and play performed infuses compassion, resolve, and hope into a world that desperately needs it.”

The festival featured forty-four gifted actors, thirteen directors, and sixteen playwrights. Each of the plays addressed topical, relevant themes with compassion and sensitivity.

Congratulations to everyone involved in this relevant, successful project.

-LtTL

To learn more about the Becoming Arts Collective, click here.

By Lonnie the Theater Lady

“A Picasso” opens in the basement of a government building in Nazi occupied Paris in 1941. The sparsely decorated, drab, slightly eerie room (Sabrina Hykes-Davis, set design) holds several pieces of art confiscated by the Nazis.

Miss Fischer (Diana Ifft), a former art historian, now serves the German Ministry of Culture. She interrogates Picasso (Andy Cornelius) to confirm the authenticity of three artworks for a “special exhibition,” and he initially verifies all three.  When he learns that the works are slated to be publicly burned in a Nazi propaganda event, he denies that the works are his creations.

Note: The Nazis believed “degenerate” (modern or avant-garde art) reflected disorder and decadence colored by Jewish influences that could destroy order and public safety.

Desperate to save his art, Picasso engages in an intricate battle of wits with Fischer. During the course of the interrogation, Picasso relates some background stories that inspired his paintings. These musings uncover intimate details of his personal life, going back to his childhood when his sister tragically died. Details about the loves of his life and his close friendship with fellow Catalan artist Carles Casagemas, provide fascinating insights into who Picasso was.

Ifft is a remarkable Miss Fischer. Her authentic German accent never wavers. (Lisa Ann Goldsmith, dialect coach) She creates a nuanced, relatable Fischer with intricate complexity—a tour-de-force performance.

In a passionately delivered, captivating monologue, Cornelius brings Picasso to life as he cites his reasons for painting “Guernica”. After the bombing of Guernica (a town in the Basque Country)  in the Spanish Civil War, Picasso was moved to create this enormous anti-war painting.

The smart, sometimes witty dialogue and a clever plot twist at the end of the play, provide an interesting view of Picasso’s complex personality. Playwright Jeffrey Hatcher poses relevant questions about the effect an oppressive, authoritarian government can have on works of art. This thought-provoking play is sure to stay with you and may even disturb you with its current relevance.

-LtTL

South Park Theatre Runs through October 4 at South Park Theatre. For tickets and additional information, click here.

By Lonnie the Theater Lady

Neil Diamond collaborated with Anthony McCarten to write “A Beautiful Noise.” The play tells the “true story” of Neil Diamond’s journey from the beginning as a poor boy in Brooklyn to his current status as the internationally famous singer-songwriter. Diamond wrote all the music and lyrics in this biographical jukebox musical.

The show opens with Diamond’s therapist (Lisa Renee’ Pitts) encouraging an aging, “Neil-Now” (Robert Westenberg) to reflect on his life and career in hopes to lead him through the emotional pain he’s experiencing due to his failing health preventing him from doing what he loves best–touring. Therapy sessions are interspersed throughout the story as Diamond’s life and career are seen in flashbacks.

The doctor uses lyrics from Diamond’s own songbook to spark his memories. Through these sessions, Diamond’s lifelong feelings of dissatisfaction, self- doubt, and low self-confidence become evident. His greatest disappointments and many successes are exposed.

American Idol winner Nick Fradiani delights in the reprisal of his Broadway role as “Neil-Then.” He bears a strong resemblance to Diamond both physically and vocally. In the show, Ellie Greenwood (Kate A. Mulligan) describes his voice as “gravel wrapped in velvet.” Fradiani nails that vocal quality. The emotional expression in his vocals is stunning. He captures Diamond’s off-stage angst, his on-stage swagger, and dazzling charisma. It is a memorable, remarkable performance. Every one of his musical numbers is noteworthy.

Broadway veteran Robert Westenberg delivers a poignant, heart-wrenching portrayal of “Neil-Now” and his struggle with his failing health. At the show’s climax, Westenberg and Fradiani sing a powerful duet, “I Am…I Said.” The stark contrast between the weaker “Neil-Now” and the vibrant “Neil-Then” is heartrending.

Jaye Posner (Tiffany Tatreau) is Diamond’s first wife. As their marriage is disintegrating, Tatreau vocalizes an emotional, impactful rendition of “Love on the Rocks.”  So powerful. It caused a flush of teary eyes in the audience.

Hannah Jewel Kohn plays Diamond’s second wife. She lights up the stage with a star quality reminiscent of Ann Margaret. Her lovely vocals and commanding stage presence are evident in every scene. Kohn sparkles in the number “Forever in Blue Jeans” as she leads the bedazzled denim-clad troupe in a joyous, uplifting romp.

Spencer Donavan Jones provides another beautiful moment, in a night of beautiful moments, when he sings “Shilo,” a touching, sweet song about a lonely child’s imaginary friend. Lovely.

The story takes a backseat in this captivating production. The colorful neon lights, sparkling sequined costumes, and well-choreographed dance numbers harken back to old-time Las Vegas night club shows.

“A Beautiful Noise” is an inspiring, delightful way to spend an evening. The outstanding showmanship exhilarates, entertains, and leaves one wanting more!

-LtTL

“A Beautiful Noise” runs from September 9 until  September 14 at Benedum Center, 237 Seventh Avenue, Pittsburgh, PA 15222. For more information, click here. 

By Lonnie the Theater Lady

“Campfire Stories at Camp Guyasuta” winds back the clock to childhood’s relaxed, innocent, summer nights. Those magical times when sitting around a campfire, eating s’mores, and telling spooky stories, were just about the best imaginable way to pass a few hours. The campers (audience members) at Camp Moonside are lucky enough to enjoy all these things and more!

The fictitious Camp Moonside is set in an idyllic, natural, wooded setting located a short walk from Camp Guyasuta’s parking lot. Counselors (actors) warmly welcome the campers as they wander in. After some musical entertainment, dancing, and interactive activities, the counselors engage in a ghostly storytelling competition. The glow of the crackling woodfire lends a mysterious ambiance that intensifies the spooky mood.

Bradleigh Bell’s frightening story left the campers with a clear example of the importance of respecting other’s boundaries.

Elizabeth Glyptis’s sweetly shared story warns what might happen if one attempts to swindle another–especially if that someone is a witch!

Isaac Miller detailed an Irish story about a girl living between two worlds. His animated delivery has an almost Shakespearean feel to it— except when he is speaking with an Irish accent.

Tal Kroser is bigger than life when he makes a dramatic, surprise entrance.

The much-maligned Green Man (of fame in the South Hills of Pittsburgh) is featured in Sydney Dubose’s poignantly told story that reveals the moving, tragic origin of the Green Man.

Al (Allie Lampman-Sims) plays the very funny, hickish groundskeeper.

Brooke Echnat (director) makes clever use of the wide open space. The actors aren’t confined to the immediate performance area. Their unexpected entrances from several directions add to the wondrous tone of this theatrical experience.

Sean Collier (playwright) creates an entertaining, unique, and clever show, where adults can channel their inner child. The audience members fully embrace the show’s interactive elements, leading to a warm camaraderie developing among them.

A crisp night, under a full moon, in the woods, listening to ghost stories around a blazing campfire is the perfect way to unwind, forget about everyday stresses, and appreciate the simple things in life. Do yourself a favor and take the time to smell the campfire. Join the other happy campers at Camp Moonside for a much-deserved restorative interlude.

LtTL

“Campfire Stories at Camp Guyasuta” runs next weekend. For more information, click here. 

By Lonnie the Theater Lady

The New Product Company is not a household name — yet. It was founded by Pria Dahilya and Spencer Byham-Carson, graduates of the Carnegie Mellon School of Drama’s John Wells Directing Program. New Product is described as “An experimental theater company dedicated to boundary pushing original and adapted works that explore digital worlds.” The company uses “hybrid media-driven performance work that explores the contradictions of contemporary life online and off.”

“Play: Body” is set in some unspecified future time when AI is as much a part of life as cellphones are now. Billie (Yin Roquino) is employed by “Immaterial,” a digital company that provides its customers with custom-made avatars (immaterial bodies) that can be used at will.

Once an avatar is created, it can virtually interact (with the use of virtual reality glasses) with other avatars on the “Immaterial” dating site. Billie’s avatar develops a romantic relationship with Francis’s (June Alamonte) avatar. Francis works for “Speakeasy,” a digital listening company that charges their customers by the minute and guarantees a “certified 100% human being” will be on the other end of the line listening to them. The audience is treated to a steamy love scene between the avatars as their immaterial body images are ethereally projected onto two giant screens flanking the stage. (Several onstage screens of varying sizes project images throughout the show).

In addition, Billie is in a relationship with Yasmin. (Shannon Arielle Williams) Their relationship becomes strained when Billie meets (material) Francis face-to-face. After they meet, Billie is confronted with making several life-altering moral and professional choices.

Raquino effectively telegraphs their confusion, and later guilt and regret over some of their decisions.

Williams’ strong performance makes her character likable and sympathetic.

Alamonte’s glamorous Francis is notably comical as she disinterestedly “listens” to her phone clients.

There is much to unpack in playwright Lily Gonzales’ avant-garde workshop piece. It examines a dystopian future where the digital world creates a populace that yearns for close, intimate, personal relationships, while simultaneously creating circumstances that make them more challenging to achieve. Weighty themes such as gender identity, ambition,  loyalty  and the distinction between virtual and actual reality run through this innovative work.

This unique, tech-savvy play explores what a digital, AI, virtual reality future might hold. It presents (with humor at times) a bleak vision of a confusing future in which it’s challenging to determine what is real. “Play: Body” is guaranteed to spark stimulating and thoughtful discussions about a multitude of controversial topics.

LTL

“Play: Body” Produced by New Product Company Ran August 29 and 30 at the Pierce Theater at Three Stories. For more information, click here.

by Dr. Tiffany Knight Raymond, PhD

South Park Theatre goes 21st century with Paul Slade Smith’s The Outsider. Smith’s 2015 political satire is both thoroughly modern and timeless since lampooning politicians is a craft as old as time. In college, I read 18th century political satirists Alexander Pope and Jonathan Swift. I remember being surprised by how effortlessly their political slights – and insights – translated to the modern day.

Smith’s play is a story of opposites attract, politics edition. In this case, charismatic governor Larry Clark suddenly steps down after being caught lying about an affair with the runner-up in a beauty pageant (the play is already dated!). This thrusts Lieutenant Governor Ned Newley (Jim Kiley) into the spotlight and office. While Ned’s actually the brains of the governor’s office, Newley appears to be a bumbling fool. He’s a socially awkward, nerdy introvert who prefers spreadsheets to people.

CNN political advisor Arthur Vance (Kevin Bass) sweeps in after seeing Newley stumble through his swearing in. Vance is a legend, having “worked for four of the last six presidents,” and Bass has a palpably commanding presence that brings people into line. He’s there to refashion Newley from pitiable into a relatable man of the people. This transition is facilitated by costume designer Robert Hockenberry as Newley goes from rumpled suit to red flannel vest. Vance delivers a master class in political maneuvering to appeal to the masses.

Photo Credit:  Carina Iannarelli

Before we ever meet Ned, we hear about him from political strategist Paige Caldwell (Stacey Rosleck) and Newley’s Chief of Staff, Dave Riley (David Nackman). Rosleck rocks a blue power suit and pairs it with a commanding, no-nonsense presence. Riley admires Newley for his actual talent, not his political prowess. As Newley’s long-term supporter, Nackman finds the line of authentic underdog admiration without lapsing into sycophancy. It’s a small circle who know Ned’s true talents. Like the public, the audience’s view of Ned is skewed by his fumbled public appearance and Caldwell’s armada of pollster stats that paint Ned unfavorably.

Unfortunately, this is reinforced by Ned’s introduction. He sneaks into what is now his office, clutching a cardboard box of his supplies, shield-like. Kiley carefully circles his predecessor’s desk, tentative to claim what is now his and authentically screaming in terror as he’s startled when someone walks in. A larger than life (literally) framed headshot of Governor Clark behind his desk remains a smilingly omniscient presence in the play.

Photo Credit:  Carina Iannarelli

In typical political fashion, Clark’s staff is let go when he resigns. Newley’s thin day one crew consists of his Chief of Staff and temp agency-sourced executive assistant, Louise Peakes (Caitlin Young). Young is captivating as Miss Peakes. She embodies a disarmingly charming vapidness. It’s perplexing to pin down if it’s manufactured, real, or some combination.

Director Olivia Hartle commands a talented cast, and she endows Miss Peakes with a flapping hand wave gesture. Young transforms it into a viral-worthy character signature. Smith speaks to the power of poll. Just as Newley polled poorly, which casts doubt on him, Peakes has broad appeal. The balance of political opposites is restored.

The Outsider reminds us that as long as there have been politicians, there have been critiques of them from all sides of the aisle. While penned 300 years before Smith’s play, Alexander Pope’s 1714 political commentary still resonates: “I find myself hoping a total end of all the unhappy divisions of mankind by party-spirit, which at best is but the madness of many for the gain of a few.”

The feeling one is living in a divisive political climate remains a historical constant. There’s a kind of survival solace to that reality. It was dark times in 1714, and yet, here we are. Ned Newley defines government as “what we decide collectively to do together,” revealing Smith as an optimist. Through Ned, he advocates for a government truly for the people, which is a hopeful and unifying vision, regardless of one’s “party-spirit.”

-TKR, Ph.D.

South Park Theatre’s production of The Outsider runs through September 6, 2025 at South Park Theatre, South Park Township, PA, 15129. Purchase tickets online here.