Inside dish on interviews, editorials, events listings, musings from the minds of BV’s contributors, viewer mail, and other bits of fabulousness — It all goes into The Shaker, ‘Burgh Vivant’s bacchanalian bulletin board. Saddle up to the bar, and get ready for another round of what’s shakin’!
August Wilson’s “Fences” is set in the backyard of the Maxson family living in the Hill District of Pittsburgh in 1957. The story revolves around the complicated relationships among the family members as they live in a time of discrimination and a lack of opportunity for black Americans.
Troy (Kevin Brown), a sanitation worker and the family patriarch, resents the role his race plays in limiting his on-the-job opportunities. Black workers are assigned the most labor-intensive jobs at the back of the truck, where they load the garbage. White workers are given the higher-paying, less strenuous jobs as drivers. He’s also bitterly disappointed that segregation denied him a position on a National League baseball team after an auspicious career in the Negro Leagues.
Troy wants to protect his son Cory (Kymir Cogsdell-Freeman) from suffering the same discrimination in his chosen sport, football. He denies Cory permission to play football. This is a significant conflict, among many others, between father and son. Their deeply contentious relationship distresses both of them.
Troy’s disastrous decision to cheat on his wife, Rose (Karla C. Payne), has a devastating, long-term effect on their marriage.
Brown’s masterful portrayal of the complex, multifaceted Troy perfectly manifests Troy’s insecurities, resentment, disappointment, and sometimes humorous bravado. His breathtaking, powerful performance is truly remarkable. Congratulations!
Payne authentically embodies Rose’s strength and resilience. The palpable love she has for Troy transmits both through her tone of voice and loving facial expressions. Her raw, impactful response to Troy’s confession of adultery is heartbreaking.
From Left to right: Bono (Sam Lothard), Rose (Karla C. Payne), Cory (Kymir Cogsdell-Freeman), and Lyons (Mils James).
Sixteen-year-old Cogsdell-Freeman is an amazing talent. In the scene where Troy refuses to express any affection for him, the look on his face is excruciating to witness. He impressively nuances Cory’s many emotions–ranging from anger, fear, unwilling compliance, rebellion, and finally maturity. It is a stunning performance from one so young.
The entire cast (under the direction of award-winning director Terrence Spivey) gives strong, genuine performances. Spivey keeps up the pace, so this rather lengthy Pulitzer Prize- and Tony Award-winning play seems to speed by.
Being able to see an August Wilson play performed in the backyard of his childhood home is a humbling, almost magical experience. We Pittsburghers are fortunate to have access to this extraordinary happening.
The rich dialogue, commanding acting, and unique setting combine to tell a compelling story of life’s struggles, dreams, betrayal, victories, and hope — creating a memorable experience that cannot be matched–and more importantly–should not be missed.
-LTL
“Fences” runs through Sept. 6 at the August Wilson House in the Hill District. To learn more and get tickets, click here.
Coach Jake Sebastian (Eric Vollmer) is a successful coach at Fisk High school in western Pennsylvania. The town of Fisk and its inhabitants are working class. Their main competition is a high school nearby in a town much wealthier and high end than Fisk. Unfortunately, Fisk has lost the last two annual games with their arch rival and a third game has been scheduled.
Coach’s wife Lynn (Amy Sikora Baschnagel) grew up in the rival town and still supports and is enthusiastic about several foundations she’s involved in. She doesn’t fit in with the other women of Fisk.
“Coach and Mrs. Jagoff” is more than a play between two rival football teams. The difference not only between the working class of Fisk and the wealthier stature of the neighboring town is highlighted not only through the dialogue. Social standing also plays a key role in that dichotomy.
The outcome of the football game (Fisk loses by one point) can change Coach’s position at the school.
We’re introduced to the political aspect of high school football as Board Superintendent Wayne Taylor (Duncan Jameson) and the school board members determine Coach’s future path. Their decision not only can end Coach’s career but will sensationalize his drinking problem from whispers only gossip to actual acknowledgement.
Note: Football – whether high school, college or professional is a big deal in Pittsburgh and western Pennsylvania. We thrive on the game, no matter our social status. Coaches are usually held in high esteem (unless we or politics deem them unworthy) and they tend to have a status all their own.
Eric Vollmer as the Coach.
Vollmer’s portrayal of Coach covers all the nuances and ups and downs of a man facing a personal dilemma. He is both strong and vulnerable as his life changes.
As the supportive wife, Baschnagel is refined and dignified but she develops her character into a more vocal, demanding spouse as Coach faces life-changing uncertainties and challenges.
Vollmer and Baschnagel are especially effective as Lynn forces Coach to come to terms with his demons and drinking. There is no skirting the issue as she was wont to do previously and Coach is left with Lynn’s ultimatum.
Jameson’s portrayal of the school’s superintendent follows his slow progression of dealing with innuendoes about Coach in closed meetings to a reckoning that requires a final public resolution.
Inserting the necessary Pittsburghese into the conversation is handled effectively by Ellen Kalik as Gina Bernardi, Fisk school board member. Her introduction is loaded with “yinz” and “n’ats”, reinforcing and confirming that we are indeed near Pittsburgh and in western Pennsylvania.
Adam Merulli as rival coach Milan Toth adds a touch of humanity, common sense and much needed advice as Coach hits his low point.
Alan Hayashi (Lights and Sound) visuals of fiery images of steel production with accompanying noise of steel-making at the play’s introduction are striking.
The set is simplistic with props delivered and removed by cast members as each scene changes.
Costume selections also help identify without words the social status of each character. Lynn Sebastian usually wore more formal attire while the locals’ clothes were extremely casual, less coordinated.
Note: There are perhaps too many scenes overall in the production, making it less cohesive than it could be.
The world premiere of “Coach and Mrs. Jagoff was written by Bruce Zewe. Congratulations on a new career after 40 years of writing for other organizations.
CED
“Coach and Mrs. Jagoff” runs from August 8th to August 23rd at Iron Horse Theatre Company, 348 Maplewood Avenue, Ambridge, PA. 15003. For tickets and additional information, clickhere.
Pub owner and hangman, Harry Wade (Simon Bradbury), walks the condemned Hennessy (David Whalen) to the gallows, setting off long-lasting consequences in Martin McDonagh’s darkly comic “Hangmen.”
In 1963, the United Kingdom ended execution by hanging, retiring Wade from his part-time business. He returns to running the pub with his wife, Alice (Sheila McKenna), and daughter, Shirley (Sara Joyce Reynolds), but Wade does not go quietly. He spills the tea to local reporter, Clegg (Cameron Nickel). He even mocks the previous hangman, Pierrepoint (Whalen in a dual role) in the exposé.
The story makes the front page, delighting his barflies, Charlie (Arjun Kumar), Bill (Gregory Johnstone), and Arthur (John Reilly). Inspector Fry (Darren Eliker) has his reservations about Wade announcing his kill number (233) to the general public.
Enter Mooney (Charlie Kennedy), a smooth-talking gadabout with a penchant for peanuts. He’s got some sinister plans afoot. Mooney enlists Wade’s mousy right-hand man, Syd Armfield (James FitzGerald), to aid him in his devilish deeds, but things – to say the least – don’t go smoothly.
John Reilly, David Whalen, and Arjun Kumar argue over drinks in “Hangmen.” Photo by Rocky Raco.
McDonagh’s wit is Guiness dark, but it goes down much easier.
Director Andrew Paul’s cast is top notch. Each member of the cast is terrific. There isn’t a blemished apple in the bunch.
Most of the cast members of Kinetic Theatre’s “The Hangmen.” Not pictured (Sara Joyce Reynolds and Charlie Kennedy). Photo Credit, Rocky Raco
Bradbury is triumphant. Even though his character is smug and unlikable, it’s easy to sympathize with him when his daughter goes missing. He conveys a range of emotions deftly in “Hangmen.” It’s a great performance.
McKenna’s Alice is guarded and tough until disaster looms.
Whalen serves up two distinct characters, the simpering Hennessy (a thief wrongly accused of murder), and Pierrepoint, the officious hangman with stale Brylcreem in his hair.
Kennedy, in his first professional role after graduating Point Park University is brilliant as the shifty Mooney. He is creepy AND menacing. He deftly manages to share the stage with luminaries like Bradbury, FitzGerald, McKenna, and Whalen.
Equally impressive is fellow Point Park grad, Reynolds, who shows her inner pluck after moping about the bar.
Spoiler alert: You have to hang around for the shocking ending.
A special recognition must be garnered upon Brandi Welle, the dialect coach, who zeroed in on a very specific Northern English accent. Everyone holds the accent without slipping into a Welsh sing song or Scott’s brogue.
The pub is “vedy British,” designed by Jonmichael Bohach, and the costumes, by Kimberly Brown, perfectly suit the characters. There’s a lot of gray and brown for a damp Northern British town.
In a crowded weekend, filled with beer festivals, drag shows, and theater, make room for “Hangmen.”
On Tuesday, August 5, 2025, the Carnegie Artist’s Showcase was officially opened with live music from the library’s own Ukulele Strum-Along group and light refreshments, cheese, crackers, cookies, and wine.
The artists all from, living or working in Carnegie included local business owners, Phil Salvato of the 3rd Street Gallery, Dave Klug from Double Dog Studio, Eva Trout from Firebox Art Studios all with studios in downtown Carnegie.
Walker Evans, Library Director at Andrew Carnegie Free Library & Music Hall, said, “Throughout my 14 years working in public libraries, I’ve witnessed countless changes and innovations — some which stick, some which don’t. But one consistent presence I didn’t really expect has been the constant conversation and interaction between public library service and the visual arts.”
Evans and Journalist Bob Podurgiel (a frequent contributor to the Pittsburgh Post-Gazette’s Goodness section) planned the retrospective of local artists.
Podurgiel said, “Carnegie has been home to many exceptional artists — for instance, Phil Salvato was selected to exhibit in China several years ago as one of the American artists chosen in a State Department initiative,” Podurgiel, who took a leading role in planning the event, added, “Anthony Vitale is another homegrown artist. The Carnegie Artists Showcase is a tremendous opportunity to highlight the work of Carnegie artists.”
Abstract by Eva Trout.A colorful look into the mind of local artist, Dennis O’Neill.A landscape by Phil Salvato.
Third Street Gallery owner, Phil Salvato, who recently closed his gallery, was in attendance at the opening. Other artists showed up for the event, including Bernadette Kazmarski , Ron Mahoney Marlene Pendleton, and Dave Columbus.
Dave Columbus offered whimsical artwork that included a scene from “Monty Python’s Holy Grail,” and nerd-centric art that listed a finely detailed diagram of “Star Trek [The Original Series]” which included each actor and the episodes they appeared in. The graphic was meticulously researched.
Metal in Motion by Anthony Vitale.
The late Anthony Vitale’s art included abstracts such as “Metal in Motion” and a realistic falcon in “Falcon at Rest.”
For Carnegie residents, it’s a great way to get to know their neighbors, but it’s also a great selection of fine and fun artwork.
The showcase is free to the public, but donations are gratefully accepted. The showcase is open during regular library hours from Aug. 2 to 16 (Mondays, noon to 7 p.m.; Tuesdays through Thursdays, 10 a.m. to 7 p.m.; Fridays, 10 a.m. to 5 p.m.; and Saturdays, 11 a.m. to 3 p.m.).
-MB
The Andrew Carnegie Free Library and Music Hall, 300 Beechwood Ave, Carnegie, PA, United States, Pennsylvania 15106. For more information, click here.
Raid your older sibling’s stash and cue up Dark Side of the Moon, because we’re returning to the merry old land of Oz in The Rage of the Stage Players’ production of Dorothy in Oz, written and directed by James Michael Shoberg, now running at the Margaret Partee Performing Arts Center in Bellevue, PA.
Originally staged by The Rage of the Stage Players in 2009, followed by a revival in 2011, this production takes advantage of some wickedly awesome timing for its current run. Inspired by the classic MGM film, the books by L. Frank Baum, and the wealth of related media, Dorothy in Oz offers up a unique twist on a familiar favorite, minus the Munchkin you swear you saw swingin’ in the background. Littered with references you’d only catch on your third viewing, this play is best enjoyed by those who have visited the Emerald City regularly, but can be enjoyed by the whole family, and your little dog too!
Shoberg’s passion for the source material, and for the written word, manifests itself in the form of a solid script that enables this show to stand out. Clever dialogue, creative allusions, kooky characters, and heaps of humor help make this an engaging piece of theatre from start to finish. Story beats and plotlines are similar enough to the original film that audiences are easily able to immerse themselves in the world on stage, while also getting a new narrative to watch unfold. Tight and polished, this production flies by amidst a soundtrack of chuckles.
Carrie L. Shoberg as Glinda and Mike Psenick as Rusty.
Assisting Shoberg in executing his vision is a great and powerful cast who is unafraid to commit to the insanity of the story. Chelsey Gooch is magnificent as Dottie, the mentally ill protagonist who’s forced to take more meds than Judy Garland. She is aided in her journey by Mrs. Goode/Glinda, played by the hilarious Carrie L. Shoberg, in addition to three stooges with amazing chemistry. Luke Frederick throws himself into his role as Skarekrow, not to be confused with Lord Infamous from Three 6 Mafia, an edgy musician who is the second most doped up strawman next to Michael Jackson. Rusty finds his heart thanks to Mike Psenick, who has an easier time with his iteration of the hatchet-wielding hero than Buddy Ebsen had with his. Bill Herring is enjoyably skeevy as Mr. Lyons, a dude who most certainly has some hairy palms, especially with how he works in the Winkies’ iconic chant.
Matthew Grimm as the voice of Oz. Mike Psenick as Rusty and Bill Herring as Mr. Lyons.
Jen James exorcises the pearl from the liver with her performance as Dr. Green/Wicked Witch of the West Wing. A medical professional with a lot of sympathy, just not for her patients. A fascist in the west wing…huh…I think I’ve seen that somewhere before…Making up the Witch’s gaggle of miserable creatures are Jamez Draconis II, Anthony Babeaux, and Justin Havens as Swish, Twitch, and Grunt, respectively.
Matthew Grimm is terrific as The Great Oz/Dr. Ozlin, giving a powerful performance when communicating through a digital avatar. Completing the in-person cast is Lily V. Sixx as Ms. Gates and Linda Baker as Aunt Em. For long time fans of Rage of the Stage, Ryan Ott entertains as the voice on hospital intercom.
Chelsey Gooch as Dottie Gale.
Equaled by the cast’s talent is the technical prowess of the crew. Wait until you see the end credits. Technical director, Dylan Baker, handles lighting design while sound design is handled by Anthony Logreco. Original music is composed by Andrew Lasswell, a smart move considering covering “Over the Rainbow” didn’t really turn out well for IZ. Rachel Roach wears more hats than Bartholomew Cubbins, serving as assistant director, board operator, scenic artist, set designer, and stage manager. Assistant stage manager, Diana Smith, shares hair/makeup/special effects duties with Chloe Mackay, Lily V. Sixx, and Brittany Spinelli. Other performers to moonlight behind the scenes are Jen James and Carrie Shoberg as set decorators, with the latter further blurring the line between cast and crew by overseeing props and costume design, complemented by Kaitlyn Alyce’s seamless job as seamstress. Elizabeth Marie Murphy, the sole member of the production’s run crew, does a formidable job of navigating the backstage chaos. James Michael Shoberg goes beyond his role of playwright/director by being involved with the show’s marketing alongside David L. Wooddell, producing the show with Carrie L . Shoberg, and working on the graphic design with Joseph Stammerjohn. Damien Worm has concocted awesome poster artwork and Skylar Walton has expertly crafted additional production artwork. Forrest Cook lends a trained eye to the show’s photography and videography. Dawn D. Anderson, Peter Anthony Vetrini, Stephanie Cook constitute the house managers, a dedicated group of Shoberg devotees who cycle in and out with each production.
Bellevue is blessed to have the Margaret Partee Performing Arts Center as part of the borough. It is a wonderful venue that has been home to scores of fantastic productions since its opening. Between being the homebase for The Pittsburgh Savoyards, as well as a hub for local art and culture, the space has become positioned as an indispensable element of the scene. The “North Boros” are experiencing a renaissance of sorts, and Bellevue is at the epicenter. One can only hope that the MPPAC gets to share in those spoils as well.
The Rage of the Stage Players have been terrorizing tiny towns for 24 seasons and don’t show any signs of slowing down. In an era plagued by a collective waning interest in doing anything, it’s refreshing to see a group of people so motivated to share stuff they love. Theatre is a multifaceted artform that allows for the tried and true to stay eternally relevant, or permits a bit of experimentation, and Rage is luckily of the latter. Their original shows, whether seriously disturbing or disturbingly funny, are tremendous feats of theatre that have entertained audiences around the world. Pittsburgh is incredibly fortunate to host them and their unusual body of work. Whatever they end up doing next will certainly be spectacular.
-JS
Dorothy in Oz continues its run August 7th, 8th, 9th, 14th, and 15th at 8 pm, with a special 2 pm matinee performance followed by a talkback with the cast and the playwright on Sunday, August 10th at the Margaret Partee Performing Arts Center in Bellevue, PA. Tickets can be found here.
Ensemble Actors Studio’s “All Things Pittsburgh Play Festival n’at” takes a delightful, satirical, loving look at the idiosyncrasies that belong to the “Burgh” and its residents.
Parking chairs, Pittsburgh potties, sandwiches with French fries, rabid sports fans, pierogies running foot races, Hunts versus Heinz Ketchup, what we think of Ravens fans, Kennywood and chipped ham, are just some of the unique Pittsburgh oddities providing the fodder for this clever parody.
The ten 10 minute original plays are all wildly entertaining, comedic, and distinctly different from each other. Works by several well known local playwrights including Gayle Pazerski and Jaime Slavinsky are directed by Chris Clavelli and Cynthia Dallas among others. The actors are students of Ensemble Actors Studio.
“Seasonal Effective Disorder” by Brian Pope, directed by Jaime Slavinsky lampoons Pittsburgh’s unpredictable weather. Each season is represented by an actor who jockeys to control the greatest number of calendar days for their season. It’s a very entertaining comically presented premise. Alauna Gipson is impressive as Winter. She has a confident, commanding stage presence and loads of charisma. A star in the making!
Tammy Ryan’s “The Cookie Table” directed by Justin Zeno, kids about the pressure to have a spectacular cookie table at every wedding. It’s a funny yet poignant piece. Krista Graham (the future bride) has great comedic timing. Her exceptional countenance and expressive eyes convey excitement about her upcoming nuptials. She glows from within, radiating love and contentment.
Andrew Lasswell with Adaeze Dozie, Yanira Cintora Lopez and Greg Kulik.
“Where Are All My Yinzers At?” by Kim El, (directed by Wali Jamal) is a hysterically funny look at a classroom in the future. The teacher (Andrew Lasswell) is doing his best to keep the dying Pittsburghese dialect and language alive by instructing his students on the finer points of both. He has the students perfect the distinctive accent by practicing phrases such as, “I took a shower with Bill Cower and he bought me flowers.” So funny! Lasswell is terrific in his role as he earnestly pursues this ludicrous goal. He has a great sense of comedy.
There are many surprising and laughable moments in all of the plays. It is nearly impossible to include all of them in this overview. Everyone involved in producing this wonderful night of comedy is to be commended. It is a truly pleasurable diversion away from today’s weighty matters.
There is some bad news and some good news. First, the bad news. This festival runs just one short weekend ending August 3. The good news is, this is a continuing, ongoing project. It will be back with a rash of all new plays humorously razzing Pittsburgh. This festival is a wonderful gift to Pittsburghers that keeps on giving.
The “All Things Pittsburgh Play Festival N’at” gives Pittsburghers a chance to laugh at the city and the people they love.
– LtTL
Learn more about the Ensemble Acting Studio right here.
Last year, a Walnut Street staple in Shadyside celebrated its 50th year in business. Standing arm in arm outside Maser Galleries, the Maser women, Brenda and her two daughters, Katie and Kristen, reminisced about what this business has meant to them since it first opened.
The building where Maser Galleries is located, 5427 Walnut Street, was a former dry cleaner when Ronald Maser, affectionately known as “Lefty”—a Pittsburgh-area native, McKeesport High School graduate, former University of Pittsburgh student-athlete, and multi-talented visionary, turned the space into the thriving art business it has become.
His wife Brenda explained, “Lefty hammered every board on that wall. Those barn wood walls, every nail was hammered in by him… There was nothing he couldn’t do.” But back then people thought Lefty was out of his mind to open another gallery along Walnut Street, which ironically, was right across the street from an Arts International gallery, his former employer. Doubting Lefty’s can-do attitude, naysayers thought Maser Galleries would be out of business within six months, incapable of withstanding the competition of a powerful chain like Arts International. However, not long after Maser Galleries arrived on Walnut Street, it was Arts International that closed its doors, not Lefty.
The Cathedral of Learning, part of Linda Barincot’s “Pittsburgh Remembered” series.
Brenda described what Maser Galleries was like on Walnut Street in the 1970s, “When we first opened, Walnut Street then was almost all, if not all, independent owners, many different types of shops, and a lot of hippies. We had lots of arts and crafts items, we had shelves and shelves of crafts and little metal sculptures, paintings on marble, paintings on fungi, we just had all different little things. And as the street evolved, we evolved. So as the more upscale shops came in, so did we. Also, the timing was so perfect because the 70s was a time when art was really exploding and graphics were just coming out like Normal Rockwell, Erte, Simbari, LeRoy Neiman. It was just an amazing time when these limited-edition graphics were available for the first time, and we were on the ground floor of that.”
The artworks of many of these mentioned artists are available for sale at Maser Galleries this weekend during the Annual Shadyside Sidewalk Sale, along with other Pittsburgh natives who’ve achieved reputable success with their art, like Burton Morris, Fritz Keck, and Linda Barnicott.
Pittsburgh landscape by Fritz Keck.
Since the 50th anniversary celebration, Maser Galleries has shifted into retirement, announcing that it is closing its doors, and offering discounts on their entire collection. Stop by Shadyside this weekend, August 1st-August 3rd, for a special look at the fine art collected right here in Pittsburgh by one of the city’s finest families. Artworks for sale are of limited editions, so don’t swing and miss the opportunity to catch a unique piece of art to add or start your own collection.
-GM
To experience Maser Galleries, visit: https://www.masergalleries.com/ or stop in at 5427 Walnut Street, Pittsburgh, PA 15232 and explore their ongoing retirement sale.
South Park Theatre’s current production brings us into the 21st century with Steven Dietz’s 2016 play, This Random World. The play opens with the reading of an obituary. This turns out to a draft version for the commanding and confidently spoken 30-something woman on stage, Beth (Katherine Ann Kerr). Beth’s thinly tolerant younger brother, Tim (Sam James Lander), is the recipient and keeper of this obituary – as well as an alternative option.
Lander captures Tim’s melancholia as a somewhat directionless late 20-something. Director Richard Weld Bryant thoughtfully balances the sibling energy. Lander counters Kerr’s older sister high energy, and at one point, he utters, “I’m not sad…I’m composting.” Elizabeth Jane Glyptis shines as Tim’s ex-girlfriend, Claire, who was confident she “would outgrow” him. For both of them, the realities of being on the cusp of 30 are at odds with who they thought they would be by then.
The idea of alternate options is at the heart of the play, which is about the ways lives intersect. The audience’s fun and suspense is typically derived from knowing something ahead of the characters and waiting for them to discover the common bond. Dietz gives this a decidedly modern twist. In his Random World, some characters never discover the intersectionality that would bond them, and they remain strangers.
However, director Richard Weld Bryant ensures it’s intriguing, not frustrating. The fact we know and they never do actually enriches the play. It invites “what if” and musing upon one’s own historical interactions with apparent strangers – ones that felt significant and linger with you in unexplained ways, even years later. We live in a world that’s more connected than ever, which heightens the potency of these undiscovered intersectionalities. They suggest that despite our hyper-connected world, we aren’t as connected as we think. We don’t know everything, and there’s a magic in that unknowing.
Dietz continues to surprise. He puts pressure on the traditional mother figure. We are introduced to Scottie (Lynne Martin-Huber) via her children, Beth and Tim. They lament her inability to travel and pair mention of her with her aid, Bernadette (Apryl Lynne Peroney). One immediately conjures a sympathetic view of a feeble, wheelchair-bound old lady in a nursing home.
Apryl Lynne Peroney as Bernadette.
Martin-Huber brings power to the geriatric. Martin-Huber not only dismantles that vision, but actively hides her traveling gnome status from her kids. She is the renegade, rebellious teen trying to “protect” her family – and herself – from their excessive worry, which she decides is both unnecessary and intrusive. The extent to which her kids have her wrong, and misdirect us as the audience, suggests our overreliance on societal norms. In fact, the vision of Scottie that Beth and Tim describe feels much more “normal” than the actual Scottie we meet, which is destabilizing and uncomfortable given societal expectations of doting mothers.
Relationships are at the play’s core, and extend to Bernadette’s sister, Rhonda (Adrien-Sophia Ann Curry), who works in a funeral home. Curry brings a delightfully memorable quirkiness to Rhonda in their balance of anxiety and adept acceptance of everything from ghost sightings at the funeral home to an unexpected trip abroad.
The first play I saw and reviewed at South Park Theatre was Neil Simon’s 1976, California Suite, on May 8, 2018. Simon created his own Random World by tracing 4 sets of guests in the same hotel room. The third scene starred Brian Edward (also the founder of ‘Burgh Vivant) who absolutely stole the show in his tux as arm candy beard to an aging actress. It seems fitting This Random World is the first play I’ve reviewed since Brian’s untimely passing – at the same theatre where I first saw him perform so memorably and before we’d even met. This Random World is about the intersectionalities that mark all of our lives and makes me grateful for those degrees of separation that brought me into Brian’s orbit. The world and stage is dimmer without Brian’s presence, but for those who knew him, or were lucky enough to experience his craft and wit, it’s a far brighter place. We honor you and miss you Brian.
-TKR, Ph.D.
South Park Theatre’s production of This Random World runs through August 9, 2025 at South Park Theatre, South Park Township, PA, 15129. Purchase tickets online here.
Everyone in Chekhov’s “Seagull” is stuck in a miasma of unrequited love, swirling around in their own emotions, drowning in them.
Medvedendko (Evan Vines), the low paid teacher, loves Masha (Maxine Coltin). Masha loves Constantine (Phoebe Lloyd), a frustrated playwright. Constantine loves Nina (Julia Rocha), an actress. Nina loves Trigorin (Brett Mack), a famous author. Constantine’s mother, Arkadina (Lisa Velten Smith) is in love with Trigorin.
Meanwhile, Masha’s mother, Polina (Gwendolyn Kelso) loves the local doctor, Yevgeny Sergeyevich Dorn (Daniel Krell).
All of these lovelorn characters meet and interact a country estate owned by Sorin (Ken Bolden), Arkadina’s brother.
It may sound soapy to modern ears, but this adaptation of “The Seagull,” simply retitled, “Seagull” transcends the melodrama and full drama with vodka-soaked wit.
Arkadina (Lisa Velten Smith) berates her daughter Constantine (Phoebe Lloyd) for histrionics. Velten Smith is amazing as the narcissistic, aging actress, who believes she can still play the part of an ingénue. Arkadina traps herself in a relationship with Trigorin, even though she knows he doesn’t love her back, and Velten Smith carries all the sadness and rage inside, ready to burst with roiling emotions. It’s a powerful performance.
Lloyd is able to match Velten Smith in a no-holds-barred verbal smackdown. It’s a mother/daughter battle of epic proportions. Lloyd is a strong Constantine who is riddled with self-doubt and suicidal tendencies.
Side Note: Pennsylvania provides a free and confidential support line for people in distress at 988. It is operated 24 hours a day, 7 days a week.
Rocha gets some fine moments on the stage, literally and figuratively, when she is the solo star of a play-within-a-play, reciting poetry on a long-dead earth in the far future.
Mack hands in a terrific performance as Trigorin.
Despite the fact that their are ten characters fighting for stage time, each cast member gets the spotlight. Bolden’s Sorin drops delightful bon mots as he rails against death. Krell, playing Sorin’s doctor, seems to have no use for his patient. Nor is he interested in the woman who pursues him. For a character with little to no emotion, Krell fills him with depth.
Smart, tailored costumes by Damian E. Dominguez adorn all of the actors, Velten Smith’s gowns are especially stunning.
The pastoral setting, an octagonal pergola with flowing diaphanous drapes overlooking the lake on the Shadyside Campus of Chatham University, is filled with bucolic beauty.
Anton Chekhov admits that there’s not much dramatic action, but the playwright saw “The Seagull” as a comedy, a dark, subversive comedy with tragic consequences. This adaptation has some witty, wry moments excellently parlayed by the superb cast.
Director Joanie Schultz filters the story through a queer lens, and it works brilliantly. The language is simple, but elegant.
In a world that continues to stifle LGBTQ+ voices, “Seagull” stands triumphant. Another reminder that all art is political and Quantum doesn’t back down to the rising tide of intolerance.
-MB
“The Seagull” runs from July 25-August 17, 2025, alongside Anne Putnam Mallinson ’61 Memorial Pond, on the campus of Chatham University. For tickets and additional information, click here.
Sharing is caring, at least that’s what Sir John Falstaff would want you to believe as he attempts to seduce any married woman he comes across. Audiences will be “ewed and awed” by his lecherous adventures in Hobnob Theatre Company’s production of The Merry Wives of Windsor, directed by Stefan Lingenfelter.
Like a lot of artists today, despite a prolific output of brilliant writing, William Shakespeare still occasionally found himself to be the pawn of patrons and commissioned work. At the request of Queen Elizabeth the 1st, The Bard wrote one of his least acclaimed plays, The Merry Wives of Windsor, a comedy that talks about cuckolding so much, you’d think ChatGPT whipped it up after being fed 4chan posts. Unlike the AI slop that permeates the internet, Shakespeare’s bawdy comedy is well written and becomes an even greater piece of theatre when elevated by tremendous performers.
This show’s cast is large and replete with talent. Drew Breslawski leads the charge as the bullish Sir John Falstaff, an established character whose name definitely isn’t an innuendo for “brewer’s droop,” showing off his comedic chops as he attempts to wreck homes, accompanied by his servant, Pistol (Megan Flannery), and all of their oysters. Sarah Altomari splits sides as Mistress Quickly, the play’s messenger of sorts, diving headfirst into the role through mannerisms and a distinct voice. Master and Mistress Ford are outstandingly portrayed by Casey Bowser and Deanna Sparrow, with the former double-dipping as the mysterious Master Brooks. Stefon Austin gives an uproarious performance as Simple, an absent-minded assistant/character who may have influenced Ben Stiller at one point in his career.
The Page Family is comprised of the hilarious trio of Master Page (Justin Macurdy), Mistress Page (Casey Hoolahan), and Anne Page (Logan Andres). Grant Clark does a magnificent job as Fenton, a gentleman after the heart of Anne, who must resort to some clever conniving to get closer to his happily ever after. Kevin Vespaziani zestfully jests as Doctor Caius, a fiery French physician.
Megan Flannery and Stefon Austin supplement their larger roles with the comedic duo of Robert and John, whose utterance of the word “horns” is guaranteed to make spectators erupt in chuckles. Shallow (Laura Crago), Slender (Tyler Bassett) Hostess of Garter Inn (Kari-Anne Innes), and Sir Hugh Evans (Ken Smith) flesh out the cast with heaps of humor.
Actors rehearse a dance for Shakespeare’s “The Merry Wives of Windsor,” in Preston Park. Photo courtesy of the Butler Eagle
For being outdoors, The Merry Wives of Windsor features plenty of ingenuous technical elements. The simple set, designed by Ken Smith and Danyle Verzinskie, works wonders in every scene, helping audiences immerse themselves in the world being created. Props, handled by Verzinskie and the cast, bring a delightful air to things, whether it’s the chest Falstaff hides in, or the bike William Page (Kevin Vespaziani) gleefully rides. The latter may even elicit a “That’s so cool!” from a fellow audience member. Costumes, devised by Vikki Safran, are another point of praise for this production, as everyone in the cast is clad in interesting outfits, the most memorable being Falstaff’s disguise. A simple change of garment assists performers in switching between multiple roles, a helpful aid when even the characters themselves have to act. Musicians, Sawyer Smith and Asa Errington masterfully score the silliness, complementing the songs “The Horn,” “To Shallow Rivers,” and “Pinch Him,” with music written by Ken Smith and Sarah Altomari, respectively.
Preston Park is a marvelous place to enjoy some nature and see a show, permitting you get there in time to snag a decent spot to sit. The stage area is framed beautifully by towering trees and lush bushes. Intermission is the perfect opportunity to stretch legs and take in some gorgeous scenery. Never mind the kids playing down by the pond yelling about Massasauga Rattlesnakes. They like comedies too.
Hobnob is a wonderful theatre company that puts on incredible productions. While they’ve certainly made a home for themselves on Butler’s Main Street, where they’ve done traditional theatre, improv, and much more, it’s awesome to see them return to their roots—doing Shakespeare in the Park. Their shows perfectly encapsulate the commitment and care everyone involved has for theatre, which not only entertains audiences, but inspires future thespians to join the fray. And that would make Billy Shakes proud.
-JS
Hobnob Theatre Company’s production of “The Merry Wives of Windsor” continues its run July 25-27 at Preston Park in Butler, PA. For tickets and additional information, please click here.
