Category: The Shaker

By Tiffany Knight Raymond, Ph.D.

Victorian writer Oscar Wilde was best known as a playwright, so it’s no surprise his only novel, The Picture of Dorian Gray, has been adapted into theater (this one by Robert Kauzlaric).

Artist Basil Halward (Dason Strawder) becomes consumed with painting a perfect portrait of the handsome Dorian Gray (George Ramey). Basil’s preoccupation becomes Gray’s obsession as Dorian realizes “the painting will keep what I lose.” Dorian’s wish to never age is granted, although his portrait counterpart does.

Dorian’s 19^th century fears translate well to today. Any of us who have ever looked wistfully at pictures of our younger selves relate to Dorian’s desire to stave off aging. Dorian’s crisis anticipates the unhealthy comparisons and youth-obsessed tinderbox of social media, filters, and facial fillers.

Director Brooke Echnat has the baby-faced George Ramey preen through his performance and tilt his head back, literalizing his looking down on others. Ramey captures a man committed to the idolatry of youth who chronically upstages his aging contemporaries by virtue of his agelessness. He is arrogant and indifferent, blatantly disregarding Basil’s instructions during portraiture. Dorian indiscriminately justifies his demeaning treatment of actress Sibyl Vane (Kat Bowman) after she disappoints him with a lackluster performance. Bowman captures the hopeful naivete of Vane, the stereotype of an actress looking to ascend, regardless of the cost.

The intimacy of the Carnegie Stage space allows Stage Warp Productions to put the actual portrait at the center of the play. In the opening scene, Basil faux paints into a blank frame, letting us imagine the end product. Strawder captures Basil’s tensions. While painting is his profession, he is also clearly attracted to Dorian. Basil endlessly refines the painting to delay its completion as that will signal the end of the artist/subject relationship.

Basil also wants to keep Dorian for himself. That plan goes awry when Basil’s friend Lord Henry Wotton (Justin Macurdy) decides he wants to see the good-looking Dorian. Lord Wotton proudly proclaims his goal is the “new hedonism,” and he makes a quick convert of Dorian, leaving the placid Basil without either man. Macurdy and Gray are both peacock-like, using their wealth and youth as levers for indiscriminately indulging hedonistic impulses.

A canvas portrait does emerge thanks to the work of portrait artist Erin Zeddies. Zeddies’ eye-catching portrait comes to occupy center stage both literally and metaphorically. The painting is styled much like a page-a-day calendar. Portrait pages are removed to show the passage of time on Dorian’s painted face. A large ensemble cast represent old and young versions of the primary characters. However, Dorian’s older version is just the painting of him, sharply manifesting the two-dimensional quality of a life lived only in pursuit of pleasure.

Oscar Wilde was jailed for homosexual acts, and imprisonment cut his life short. As a painter, Basil’s profession provides a “safe” way to explore his male gaze. With the rights of women and queer identities under threat today, Wilde’s own life reminds us that no one thrives under oppression.

Wilde’s novel is considered Gothic fiction, a genre hallmarked by the dark and supernatural, making this the perfect play to wind down spooky season – or perhaps carry it forward.

-TKR

Stage Warp Production’s presentation of The Picture of Dorian Gray runs through November 2, 2024 at Carnegie Stage (25 W. Main Street, Carnegie, PA). Purchase tickets online at www.stagewarp.org.

By Michael Buzzelli

Time. Space. Reality. It’s more than a linear path. It’s a prism of endless possibility. Where a single choice can branch out into infinite realities, creating alternate worlds from the ones you know.  Imagine if you will, a world where Anne Hathaway (Teal Wicks) – Mrs. Shakespeare, not the put-upon assistant in “The Devil Wears Prada” – grabs her husband’s pen and rewrites the tragic ending to “Romeo and Juliet.” The product is”& Juliet,” a poppy jukebox musical bouncing with sheer joy.

The plot – and there’s a lot of it for a bubbly romcom – centers around Juliet Capulet-Montague (Rachel Simone Webb) waking up in the mausoleum and finding her betrothed dead, but – and here’s the big but – she doesn’t plunge the dagger into her chest. She chooses life.  Instead of being the victim of a tragic romance, she’s the survivor looking for her own agency.

She decides to run away from Verona and enlists her gender-fluid bestie May (Nick Drake), April (Anne writing herself into the story) and her nurse, Angelique (Kathryn Allison) to come with. They escape to Paris where there is a gender-bent love triangle, a pair of reunited lovers, and turbulence in Anne’s own marriage to Will (Corey Mach). There’s even a surprise guest star, a certain Gentleman of Verona who chases Juliet to Paris.

The gay best friend trope from a zillion romcoms is subverted here as a May finds François (Mateus Leite Cardoso) and they get their own love story.

Things get complicated over some of the greatest commercial hits of all time. Don’t worry. All’s Well That Ends Well.

“& Juliet” is a high-octane candy-coated jukebox musical filled with bubblegum pop. It’s exuberant. Joyous. The cast puts the spectacular in the spectacle.

Webb is glorious as Juliet. She is a belter of the highest pedigree. She is a charismatic lead and a joy to watch.

Mach is a fun Shakespeare. His character is not quite as egocentric as the Shakespeare-cum-Elvis from “Something Rotten!” Mach instills a sweet charm into the immortal playwright, even when he’s behaving badly.  He’s rocking some Skylar Astin energy.

Anne gets the best lines, and Wicks delivers them flawlessly. Her banter with the Bard is electric. She trades barbs with him effortlessly, often – but not always – gaining the upper hand.

Note: On November 1, Shelby Griswold takes over the role of Anne until the end of the Pittsburgh run).

Drake is terrific as May. They are sensational in the role.

Paul-Jordan Jansen gets some great moments as Lance, a hard-ass military father who finally learns about love – in all of its splendor.

Michael Canu is a delightful Mr. Montague (in case you were wondering where for art thou Romeo? He’s right here).

Allison’s Angelique is effervescent, especially in her scenes with Jansen’s Lance.

Naima Alakham (Lady Capulet) is an imperious mom.

Andre Cerullo leads a magnificent band, playing more hits than Casey Kasem’s American Top 40. The songs are all hits from producer Max Martin, including “Baby One More Time,” “I Kissed a Girl,” and “Oops…I did it again.”

David West Read has wedged a few clunky lines in this story, but mostly sparkles with wit and wisdom.  May’s name is a set up to the most painful pun.

Soutra Gilmour scenic design matched with Andrezej Goulding’s video and projection design is a kaleidoscopic feast for the eyes.

The bright rainbow of costumes, by Paloma Young, are inspired.

“& Juliet” is the perfect cotton candy confection of a big budget musical. It’s a spectacle, an extravaganza! Look closely, there are a couple of pointed messages under the layers of sugary goodness, like an engagement ring hiding in a parfait.

It’s also the play we need right now. Young, fun and full of contemporary wisdom.

-MB

“& Juliet” runs until November 3, 2024 at the Benedum Center, Seventh & Penn Avenue, Pittsburgh, PA 15222. For more information, click here. 

By Michael Buzzelli

Bilbo Baggins (Russell Saylor) is a Hobbit living a pleasant, comfortable life when he is plucked from the Shire and offered a chance to go on a mythic quest by the great wizard Gandalf (Shammen McCune).

Bilbo is the archetypical reluctant hero straight out of the pages of Joseph Campbell’s “The Hero’s Journey.” He hems and haws until he is introduced to a troupe of dwarves led by their cranky leader, Thorin (Ryan Patrick Kearney).

Thorin and the Bilbo clash immediately. The good-natured Hobbit and the gruff dwarf king are polar opposites, but over the course of quest they begin to trust one another.

The questers, which include Balin (Jamie Agnello), Fili (Britt Dorazio), Kili (Maya B. Fullard) and Bombur (José Pérez IV) are beset on by trolls, giant spiders, and all sorts of fantastical creatures on their way to face the Big Bad, Smaug, an imperious dragon. The dragon is hoarding all of the treasure. She’s such a  hoarder that Suzanne Chabaud and Cory Chalmers would be incapable of helping.

After a book, a cartoon adaptation and a full-length feature film, it’s safe to say spoilers do not apply to this stage play, but if you’re living in a cave with a prickly dragon and a hoard of gold and haven’t heard of J. R. R. Tolkien and his epic fantasy, stop reading the review, see the show and meet me back here.

Greg Banks adapted the book for the stage with the intent of bringing new audiences to theater. He has a crafted a work that is perfect for children and the young-at-heart. Banks had a daunting task. He took a 310 page best-selling book and turned it into a play.

The playwright introduces an element that is meant to bring the audience into the story. The actors begin the show around a D & D board and roll multi-sided dice. It’s an unnecessary contrivance and it doesn’t wholly work, but every other element does.

The cast is marvelous. Saylor is the right amount of curmudgeon, with a soft sweetness, and childlike wonder.

McCune has the requisite gravitas to play the mighty wizard, Gandalf. Her voice is deep and authoritative, yet she displays a playful, joyous side on the O’Reilly stage. She is a fantastic choice to lead the mythic quest. She is a Pittsburgh treasure worth more than a mountain of gold.

Kearney’s character has the fullest arc in the story. He goes from gruff to grateful to greedy. His death scene is the most poignant moment in the play [You were warned you about spoilers].

Fullard gets some great lines as the resident scaredy-cat dwarf.

While they are mostly dwarves, Fullard, Agnello, Dorazio and Pérez play a variety of roles. They are all exceptional.

Pérez does an Elvin Queen that is hilarious. He also doubles as the fight choreographer and the fight scenes are impressive.

Matt Acheson and Jamie Agnello’s puppet designs were marvelous, creations of pure imagination, whimsical, mysterious and even, at times, frightening.

Smaug is literally and figuratively smoke and lights, but Robert J. Aguilar’s lighting design makes the dragon come to life.

The set, designed by Jennifer Zeyl, is a thing of beauty. It’s a jungle gym disguised as a home suitable for a Hobbit – a hobbitat.

Director Marya Sea Kaminski lovingly created a playful, big and fun adventure for all ages.  Fantasy fans will marvel in the beauty of the creation. If your not familiar with any iteration of “The Hobbit,” now isn’t the best time to start.  While our hero loves a cup of tea – this one won’t be yours.

“The Hobbit” overcomes the adage that there are limitations to a stage show. You just need a decent script and great actors to create magic.

-MB

“The Hobbit” runs until November 10 at the Pittsburgh Public Theater, inside the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information click here. 

By Lonnie the Theater Lady

Bingham (Justin Mohr) director of Quail Valley Country Club, holds great animosity towards Dickie (Dewayne Curry), director of the Crouching Squirrels Country Club whose team consistently wins the annual interclub golf tournament. This year feels differently for Bingham. He has a new team member, an incredible scratch golfer. Confident of victory, Bingham makes a $100,000 wager with Dickie and recklessly throws in the ownership of his wife Muriel’s (Misty Challingsworth) much loved antique shop. Upon learning that his star golfer has defected to join Dickie’s team, Bingham is frantic to find a replacement golfer.

Fortunately, he discovers his new assistant Justin (Cole Vecchio) is an amazing golfer—with one important codicil —–To ensure his expert playing, Justin must be kept calm and be kept away from any potentially stressful situations. The tournament is going very well for Justin, until it isn’t.

Bedlam ensues and the hilarity shifts into high gear. Just when it seems to be clear where the plot is headed, BOOM! Another dizzying plot twist hits.

The entire cast is to be congratulated on their high energy, physicality and spot on comedic timing.

Vecchio’s Justin is played with an innocence that endears him to the audience. His emotional fragility and vulnerability are sweet,

Mohr plays Bingham with an understandably frenetic desperation considering what is at stake. He’s both likable and sympathetic.

Curry’s Dickie is loud mouthed and obnoxious. His swagger and grating, braying laugh are perfectly annoying. The man you love to hate!

Julia Yeomans is adorable as the love struck, naive, ingenue Louise.

Emma Brown Baker is a personable (at times), sophisticated Pamela who radiates contempt for Dickie, her ex. Perfect demonstration of the adage, “If looks could kill.”

Misty Chillingsworth is Bingham’s wife, Muriel. Before she is onstage, she is depicted as an overbearing battleax. Her humanity becomes clearly evident when she comes onstage. She’s a woman of strength with a soft side.

Director Lisa Ann Goldsmith keeps the cast’s electrifying energy on high voltage. The actors fast paced physicality excites.

This hilarious farce flies from scene to scene and delights with its unexpected turns and surprise revelations. Look no further if you are in the market for a delightful evening out!

-LtTL

“A the Fox on the Fairway” runs until November 10 at the Little Lake Theater, 500 Lakeside Drive, Canonsburg, PA 15317. For more information, click here.

By Claire DeMarco

“Black Angels Over Tuskegee” is a fictious story about six real life black soldiers and their quest to become aviators during World War II.

Potential recruits Percival (Kenneth Browning), Theodore (Lamar K. Cheston), Elijah (Anthony Goss), Quentin (Layon Gray), Abraham (David Roberts), and Jeremiah (Reginald L. Wilson) meet for the first time in preparation to take the exam that allows them to continue on as potential aviators.  Quentin and Abraham are brothers.

Their initial interaction with one another involves backslapping and general information-seeking as they evaluate each other.

Jeremiah is the only recruit who remains aloof.  Tired with what he deems as simple banter, he challenges them to think about the upcoming exam.  To him it is the essence of success. He does not smile.

Settling down the men begin to prepare for the exam, testing one another in the fine points of airplanes, engines and general flight concepts.

They do get serious about the one thought in all of their minds – how they have to succeed. Success for them is harder to attain, not due to their abilities but because of their race. Between nostalgic conversations about their backgrounds, they talk about the racism they’ve experienced.   Jim Crow laws are still in effect at this time.

These six talented black men succeed in their quest to become aviators.  They land in Tuskegee, Alabama, become licensed aviators and are sent off to war as part of the famous Tuskegee Airmen.  It’s just a shame that they were segregated in war just as they were at home, but what American heroes they were!

This production is well-executed and is well-worth seeing!

Gray is both aggressive as he argues with his brother but is gentle and sympathetic as he talks about his girlfriend and their soon-to-arrive baby.

Roberts is bubbly and excitable, prodding and teasing his brother but carefully watches out for him.  He is high energy.

Goss attempts and sometimes successfully lessens the tension between the men.  He is more temperate than the others.

Cheston is delightful as the music-loving aviator.  His comedy skills are apparent in his pantomime to Billie Holiday’s recording of “God Bless the Child”.

As Percival, Browning is both tender and furious as he retells a story about his young daughter’s school experience with racism.

Wilson’s character is intense and unwavering.  His performance is exceptionally riveting as we finally discover why he is aloof and unsmiling.

Collectively the six aviators’ roles require intricate choreographed dancing, fighting and simulated flying.  They all do this brilliantly.

Narrator Thaddeus Daniels (Man) provides the background for “Black Angels Over Tuskegee,” relaying each stage of the six aviators journey from exam to training class to actual combat.   It’s apparent that he has a particular interest in the six aviators and his narration is both humorous and emotional.

In a small role, P. David Miller plays Major Roberts, the commanding white officer in charge.

Diego Villada (Fight Choreographer) does an excellent job coordinating the many fight scenes and the flight simulations.

“Black Angels Over Tuskegee” was written and directed by Layon Gray.

-CED

“Black Angels Over Tuskegee” runs until October 27 at the Pittsburgh Public Theater’s Helen Wayne Rauh Rehearsal Hall, 621 Penn Ave., Pittsburgh, PA 15222. For more information, click here. 

By Joseph Szalinski

On my latest traipse through the tangled timber of Western Pennsylvania, I happened upon three weird sisters who offered prophecy: I will write another review with random references, I will become Pittsburgh’s preeminent theatre critic, and you will see Hobnob Theatre CO.’s production of Macbeth, directed by Ken Smith, now running at Hobnob Theatre Studio in Butler, PA.

Shakespeare’s “Scottish Play” (no, not Braveheart: The Musical) concerns itself with the titular character and his descent into madness. As his sanity slips, he practices some heavy handed acupuncture, bonds with Lady Macbeth, and suffers from hallucinations and paranoia like he’s just patronized a shifty apothecary. All leading up to an ecologically inspired skirmish that seems to have influenced military strategy from American Colonists to the Viet Cong.

Aside from the evergreen themes explored in the story, this classic tragedy is replete with wonderful performances. From the eerie opening to the show’s closing moment, the cast simply mesmerizes. Right away, audiences are unsettled by The Weird Sisters (Kari-Anne Innes, Amy Dittman, Casey Hoolahan) whose creepy choreography makes skin crawl, in tandem with their body movements, line delivery, and makeup (Delaney Gatenby). Similarly, The Murderers (Daniel Williams, Kari-Anne Innes, Craig Adams) evoke a palpable dread that’s often overlooked in other iterations or interpretations.

Contrasting with the play’s horror is a spot of comedy courtesy of The Porter (Jack Senske); his meta-humor offers a brief respite from the chaos and violence. Senske’s scene is a standout with his delightful combo of verbal and physical comedy.

In regard to more psychologically fraught portrayals, there are plenty of phenomenal performances from the principal players. Casey Bowser, in addition to appearing as The Doctor and serving as assistant director, is terrific and terrifying as Banquo, MacBeth’s congenial compatriot-turned-victim. Even in death, Bowser brings the character to life, plaguing his treacherous friend with ceaseless haunting and chilling stares.

Daniel Williams is remarkable as Macduff, the opposing nobleman to Macbeth who eventually does “Mick Dagger” in. He holds nothing back, surrendering to Macduff’s emotional volatility, delivering moving speeches and showcasing his intensity in the scenes in which he appears.

The Macbeths, one of literature’s favorite toxic couples, are brilliantly depicted by Kevin Vespaziani and Deanna Sparrow as Lord and Lady Macbeth, respectively. Their chemistry is compelling and cringe-inducing, the latter meant as a compliment. This dastardly duo slaughters soliloquies and murders monologues as they masterfully demonstrate their twisted devotion to fate and to one another through powerful dialogue, odd embraces, and conspiracy. Sparrow makes fantastic use of her own physicality to highlight Lady Macbeth’s loss of self and sanity amidst inescapable guilt and suspicion. Vespaziani’s turn as the off KILTer Scotsman is incredible. His spellbinding execution of the manic intricacies of the skittery dictator is on full display as he succumbs to his predestined possession for power by any means necessary.

Sound design by Ken Smith is superbly orchestrated. Not only are the actors’ voices seamlessly amplified, but the voice modulation for certain characters is also a nice touch; it really works well with the Weird Sisters. Costumes by Vikki Safran really fleshed out the world and helped make it more immersive. The props greatly elevated the gravity of the performances, and it was cool that they were primarily supplied by the stage manager/sound console operator, Carrie Allio, as well as the cast themselves.

While nearly every date is slated to run at Hobnob Theatre Studio, opening night was held at Big Rail Brewing in Grove City. Having to produce a show of this magnitude in the middle of the woods would be daunting for most companies, especially with all of the technical dressing that complements the astounding acting, but Hobnob handled it with a seasoned ease, having cut their teeth putting on Shakespeare in the Park shows for as long as they existed. And what an epic opening night they had; optimal weather conditions, a sizeable crowd, cozy beverages, and crackling flames that worked in concert with the lighting by Stephen Fogle. What better way to celebrate theatre than to bring together two things a person probably shouldn’t jokingly mention in one: Macbeth and fire. For those upset about missing a chance to imbibe while being cultured, fret not. Tannin and Tonic by Porchvue Winery have made specialty cocktails that will be sold at their location in addition to the lobby of Hobnob Theatre Studio on show nights—a move that The Bard would certainly approve of.

Whether in their space on Butler’s North Main Street or a stage somewhere else, Hobnob puts on a marvelous production. Oscillating between tried and true theatrical staples and amazing original plays—on top of their other artistic endeavors—makes them an indispensable part of this area’s theatre community. An undeniable passion for creating something special, coupled with a willingness to take risks, continues to prove why anyone who enjoys live performance should check out Hobnob’s shows.

-JS

Macbeth continues its run Oct. 19-20, 25-26 at Hobnob Theatre Studio in Butler, Pennsylvania. For more information, click here. 

By Claire DeMarco

Laura Benanti, Tony award winning artist opened the first event in the 2024-2025 Trust Cabaret Series on Monday, October 14.

Benanti started off with a recap of “My Fair Lady”, interjecting between vocals her comedic telling of the well-known musical.  Her voice is spectacular and powerful as she sang “Wouldn’t It Be Loverly” (with a Cockney accent), “The Rain in Spain” and “I Could Have Danced All Night”.

Her comedy chops were highlighted as she took us on a journey through many aspects of her theatrical career and personal life.  Only eighteen years old at the time, she interjected the adventure and mishaps encountered as she played Maria in the “The Sound of Music” as she sang that famous theme song.

In 2002 Benanti played Cinderella in “Into the Woods” and we segue into her own Cinderella story (she thought) with a fellow actor.  It turned out to be not so enlightening but as usual, the way she told it was hilarious.

She fondly remembered and praised the late Chita Rivera who was kind to her, especially when Benanti broke her back.  Benanti starred with Chita and Antonio Banderas in “Nine.”

She paid homage to her mom who gave up a promising singing career to rear her and her sister.

Benanti proudly announced that’s she’s been married for twenty years. After a pause she coyly indicated that it wasn’t to the same person.  The discussion then continues about those other marriages, again told in a hilarious way.

Her impression (vocal and facial) of a former first lady was spot on.

She had an instant rapport with the audience, often directing her comments with asides and facial expressions especially for their benefit.   With excellent timing, a beautiful voice and a touch of self-deprecation, she held court.

During the evening Benanti mentioned that she was a people pleaser, always wanting to please others but now “on a people pleasing recovery journey”.  Fortunately, she hasn’t fully recovered because a “pleased” (very pleased) audience enjoyed time with this multi-talented artist.

Excellent piano accompaniment by Todd Almond.

The next show in the Trust Cabaret Series is on Monday, November 18, 2024 featuring Jason Robert Brown.

-CED

Laura Benanti was presented by Pittsburgh Cultural Trust, part of the 2024-2025 Trust Cabaret Series on Monday, October 14, 2024 at 9:30pm in the Greer Cabaret Theater, Theater Square, 655 Penn Avenue, Pittsburgh, PA. For information on upcoming shows, click here. 

By Claire DeMarco

Siblings Sheila (Mia Hill) and David (Charlie Kennedy) are on their way home, sloppy drunk.  Floundering through a park, they appear to fall down into a deep sleep.

Waking up the next morning, standing up ready for the challenges of a new day, they can’t move their feet. They’re grounded!  Rooted like trees.

Family, friends and strangers come to commiserate, support or just stare at this phenomenon.

Sheila and David’s grandmother, Baba (Cecilia Staggers) demonstrates her support by pitching a tent near her two grandchildren.

David’s partner, Jared (Sam Gibson) learns of his dilemma through the newspapers.  He is appalled at David’s situation and quickly dumps him.

Friend Charlotte (Giovanna Marino) pops in, spending more time bemoaning her mother’s dependency than commiserating with Sheila’s dilemma.

Terry (Audrey Klein), a local vendor occasionally stops by selling snacks.

Saul (Logan Kearney) travels from Cleveland in pursuit of what he believes is a religious happening.

Julian (Camani Campbell) and Tavish (Adrian Escalona) join the group.

Norman (Christopher Rone) literally comes out of the bushes to join the others.

Their experiences as a community are filled with the same angst and tensions that any community or group encounters.  It is also a community where everyone is welcome and equal including gays, straight, religious and those of different races.

Protecting and supporting Sheila and David is the group’s main concern.

They are able to thwart the occasional threats from local government concerning their setup in the park.

Jumping ahead seven years the group is still aligned with the “planted” siblings.  New members now include 5-year-old Ezra (Jaylan Gardner) and Sheryl (Morgan Zeidman).  It is apparent that they have collectively and individually grown.

The groups’ survival and real threat comes into question when a developer is determined to build a mall where the group and the “trees” reside.

Note:  This is a great production of a bizarre play.  I’ll go out on a limb and suggest that you don’t think about and ponder how David and Sheila handled bodily functions or survived winters in Connecticut.  It is not a traditional play with a plot line and conclusion.  Let your imagination fill in the missing pieces!

Hill is at first emotionally stymied by the change in her world, worrying about missed flights and pending appointments in her home in Seattle.  She comes to terms with her new world and is frankly content.

As David, Kennedy is pragmatic about his new closeness with nature.  Kennedy shows much of his character’s emotion through great facial maneuvers and side looks.

Imagine playing a part in an English-speaking play speaking entirely in Polish.  That’s what Staggers does brilliantly and effectively as Baba.

Marino delights as Sheila’s self-centered friend popping in and out of Sheila’s life as the mood suits her.

As the flamboyant gay, Jared’s timing is excellent.  His movements and facial expressions add to his comedic timing.

Kearney’s earnestness is palpable and is convinced that Sheila and David’s novel situation is truly a religious event.

Klein develops Terry from the pesky small time snack vendor into a formidable entrepreneur.

What a wonderful ensemble of actors.

Lighting Designer Andre Segar provides striking visual movements behind the seven large symbolic trees on stage.  These movements display without comment a change in season or the environment in general.

Tremendous job by Language Coach Eva Kamienska-Carter with excellent direction by Adil Mansoor.

“The Trees” was written by Agnes Borinsky.

-CED

“The Trees” runs from October 10 to October 20 at Point Park Playhouse’s Rauh Theater, 350 Forbes Avenue, Pittsburgh, PA 15222. For more information, click here. 

By Joseph Szalinski

Diss tracks have experienced a resurgence of sorts in 2024. While these poetic beefs seem confined to hip-hop, or at least more modern music, they are but the most recent iteration of an age-old tradition. Art has always been used to comment on itself, whether that be on a canvas, on a stage, or even in a weird-yet-well written review. In that spirit, The Pittsburgh Savoyards have resurrected Gilbert & Sullivan’s classic operatic critique of the aesthetic movement, Patience, as part of their 87^th season, and they’ve brought it to The Greater Pittsburgh Masonic Center in Ross Township, with stage direction by Patrick Daniels.

Reginald Bunthorne (Corey Nile Wingard) is a poet—ewww—who’s desired by all the ladies in town. He spends his days hanging around his estate, that he somehow can afford writing poetry; scribbling cheesy verse in a book; and being utterly infatuated with the local milkmaid, Patience (Kate Manuel), who he has like a 2% chance of getting with. The other women have a cow and become curious as to why Bunthorne desires someone common and potentially LECHErous, which ultimately does little to advance their own standing. But just as things start going smoothly, they quickly get spoiled by the arrival of, Archibald Grosvenor (Jordan Speranzo), a fellow poet—yuck—who can’t wait to start a life with Patience.

Patience is a production rife with fantastic performances, one of the most notable being by the live orchestra. Conducted by Guy Russo (who also serves as the show’s musical director) this group of musicians expertly soundtracks the songs and scenes throughout the story—using music to introduce the audience to the world being brought to life, all the way until the final notes are played. As far as the cast is concerned, every member is invaluable. The Chorus of Rapturous Maidens and the Chorus of Dragoon Guards are both heavily utilized, with many of the memorable moments coming from the teeming masses of talent.

Supporting characters like Colonel Calverly (Andrew Mours), Lieut. The Duke of Dunstable (Zhen Yu Ding), and Major Murgatroyd (Don Gudenburr) are a delightful trio. Between ridiculous dialogue, silly physicality, and great chemistry as a group, these three bring ample amounts of comedy. Moving along, the main characters are brilliantly portrayed by their real life counterparts. Corey Nile Wingard is a phenomenal Bunthorne, getting totally immersed in the absurdity of the poet’s manufactured persona. Kate Manuel delivers a great performance as Patience, masterfully showcasing her struggle to figure out what she wants out of life while being an object of affection for two lovesick scribes. Jordan Speranzo rounds out the principal players with his amazing turn as Archibald Grosvenor.

The technical aspects of this show are executed by a superb production staff. Robert Hockenberry’s costuming is complemented by his extraordinary set design, the latter of which is a stunning castle and courtyard that hosts this show’s shenanigans. Lighting, helmed by Garth Schafer, is used to humorously heighten certain asides by casting performers in a red light that, infuses the horror with hilarity. A very interesting elements is the usage of screens to make the play more accessible to everyone, as well as a unique way for audience members to follow along.

What would a production of this size be without a proper stage? And what a stage it is! The Greater Pittsburgh Masonic Center boasts an impressive theater, complete with sprawling hardwood and plenty of comfy seats. The rest of the space is interesting to explore during intermission, as there’s plenty of memorabilia and the like to look at. It’s great venue, and just one of the three The Pittsburgh Savoyards make use of to continue carrying on their legacy as a staple in local theatre. As they mount more productions and move beyond traditional shows with improv comedy nights and staged readings, they demonstrate why they’re on their 87^th season.

-JS

“Patience” continues its run October 11-13^th at the Greater Pittsburgh Masonic Center in Ross Township. For additional details, please click here. 

By Michael Buzzelli

When Alannah Devlin (Sara Lindsey) gets an unexpected visit from her sister, Fianna Devlin (Phoebe Lloyd), all hell, literally and figuratively, breaks loose in Meghan Tyler’s “Crocodile Fever.”

If it’s not hell…it gets dangerously close. It’s hell adjacent.

The play is set during the height of the Troubles (Armagh, Northern Ireland in 1989) and tensions are already high before Fianna storms into the family homestead in hopes of reconciling with her sister after an eleven-year estrangement.

The Devlin sisters mix like fire and gasoline.  The crazy gets kicked up a notch when they are together. They have only one thing in common…a paralyzing fear  and deep-seated hatred of their father, Peter (Anthony McKay).

Alannah has dedicated her life to her invalid father, despite years of physical and verbal abuse. After an eight-year stint in jail, Fianna has joined the Irish Republican Army in hopes of freeing Ireland from the British rule.

Tyler’s play is filled with shock and awe. There are too many surprises to spoil the stew (there is actually a stew and the ingredients are also a secret). The play even has a special guest star that is comical and frightening. I hope not to see him later or in a while.

Take a Martin McDonagh play and imagine him being able to write strong women characters and you get Meghan Tyler.

Lindsey plays Alannah as a devout Catholic girl with deep dark places in the nooks and crannies of her soul. She is marvelous.

Lloyd’s Fianna is brilliant. Fianna is a whirlwind of complex and complicated feelings and emotions and Lloyd jumps in with both feet.  The play needed a strong, charismatic women to play the part and Lloyd is perfectly cast.

Max Pavel plays a British soldier with menace. Though the character only has a handful of lines, Pavel makes excellent use of each and every utterance.

Dialect coach Don Wadsworth does a terrific job with Alannah and Fianna’s Ulster accent, replete with phonemic vowels and colorful idioms.

Side note: To the next production company that mounts this insane play: Please consider adding a glossary of Irish slang in the back of the program or in a QR Code. Example: Craic (sounds like crack) is to have fun or make fun of someone.

Tony Ferrieri’s set is an Irish Catholic nun’s fever dream. It’s filled with more religious iconography than my nana’s house, complete with Heinrich Hofmann’s iconic print of  “Jesus praying in the Garden of Gethsemane.”

In the  middle of the play, there is a dramatic scene change that stunning, shocking and quite amazing. Kudos to Tolin FX and the stage hands for this macabre transition that is created in the dark with whip-like speed.

There is excellent lighting by 2024’s Pittsburgh New Works Festival Lifetime Achievement Award winner, Andrew David Ostrowski.

Director Patrick Jordan astounds with the closing play of barebones productions’ season.

While “Crocodile Fever” explores some dark territory it is filled with twists, shocks and…occasionally…belly laughs.

Parental advisory: This show is not for children, despite the fact that the box office held the most adorable and charming first-grader.

“Crocodile Fever” is a frightening fun house of a play filled with wit and audacity. It’s another Must-See in an incredible season of Pittsburgh theater.

-MB

“Crocodile Fever” runs until October 20 at the Bingo O’Malley theater inside the barebones blackbox theatre, 1211 Braddock Avenue, Braddock, PA 15104. For more information, click here.