'Burgh Vivant

By: Joseph Szalinski

Long before Lil’ Wayne wheezed his way into the hearts of many millennials, Americans were enamored with another poet who scribbled beloved verse, beefed with his contemporaries, and guzzled opiate-based syrups: David Allan Coe. I mean, Edgar Allan Poe. Unfortunately, unlike the rapper, the latter did not see much money during his lifetime, young or old. It’s in these dire financial straits that the audience finds Poe, drinking and gambling with a fussy fan, in Hobnob Theatre Company’s latest production, Edgar Allan Poe—Tales of the Grotesque, directed by Justin Anderson, now running at Hobnob Studio Theatre in Butler, PA.

Named in reference to a short story collection published in 1840, Tales of the Grotesque and Arabesque, Erick W. Cook’s script weaves together a tense narrative, three short stories (The Masque of the Red Death, The Fall of the House of Usher, and The Tell-Tale Heart), and “The Raven.” Performed initially 11 years ago, Hobnob once again helms this tribute to the misfortunate master of the macabre. This time around, Justin Anderson forgoes the titular role in favor of directing the show. He does a marvelous job infusing every decision with purpose, making every scene visually striking, like an oval portrait.

An army of amazing actors assists Anderson in his endeavor. Kevin Vespaziani mystifies as Edgar Allan Poe, the “Angel of the Odd,” aka “The OG Superspreader.” Despite having liquor in his blood, Poe is dispirited, namely over his prospects as a writer. He’s struggling to make ends meet from his stories, poems, or criticism. Wait. People get paid for this?! Vespaziani beautifully embodies the distraught genius of Edgar Allan Poe, most stunningly with his recitation of “The Raven.” Not the screenplay for the John Cusack movie, but the poem. Everything —from his striking resemblance to his accent to his hypnotic hand gestures —demonstrates his prowess. Even when relaying his philosophy of composition between each story, he makes Poe engrossing. Vespaziani must be an orangutan with how he kills his role.

Mr. Toller, the Mark David Chapman of this story, is masterfully brought to life by Daniel Williams. Crossing Poe’s path like a proverbial black cat, he assumes his position as a sinister sherpa into this descent into the maelstrom, accompanying the woeful writer until Poe has his eureka moment. Through imposing physicality and terrifying laughter, Williams dissolves into his role.

Sam Thinnes delivers a trio of chilling performances as The Masque of the Red Death, Roderick Usher, and the Young Man, respectively. First, he channels his inner Lon Chaney as he wordlessly haunts the stage. In his second appearance, he plays the world’s weirdest slumber party host with a fading charm that’s equally disturbing as it is delightful. But it’s as the Young Man in The Tell-Tale Heart that he really shines. One can’t look away from his descent into madness, which culminates in an incredibly physical display.

Molly Miller is great as Alabama, errr, Viriginia Clemm Poe, Edgar’s much younger cousin-bride. Fated to succumb to consumption like all of Poe’s loved ones, Miller’s heart-wrenching portrayal cuts like a pendulum in an inquisitor’s dungeon. Complementing her is Elizabeth Smith as Mrs. Clemm, Edgar’s aunt. With dialogue informed by actual correspondence between the family members, Smith’s performance is exceptionally vulnerable.

Cory J. Pfahl juggles his four roles with elegant ease. While his turn as Ralph only gives a glimpse of his potential, his other characters allow him to show off his skills, especially Ainsworth, Roderick Usher’s college buddy. Likewise, Logan S. Andres has her standout role in the same story as Madeline Usher, as does John Henry Steelman as the Doctor. Jeff Myers and Gail Suhr expertly round out the cast, playing a handful of parts between themselves.

Technical elements elevate this production into the realm of cinema. Sets are minimal yet effective, even if they don’t abide by Poe’s “Philosophy of Furniture,” JD Vance’s favorite erotic essay. Aside from a table and a few seats that are recycled throughout the tales, the stage is left open to allow the performers more space to dazzle the audience. Anthony Closkey holds down the fort as a stagehand, effortlessly enabling the show to move at its engaging pace. Sound design, by producer Ken Smith, adds terrifying texture to an already rich world. Elizabeth Smith, who performs double-duty as the production’s costumer, provides her castmates with stunning wardrobes. These outfits even rival the threads sported by the fuzzy background extras with fuzzier faces in The Pale Blue Eye. Let me tell you, being forced to have mutton chops for months is a lot scarier than anything Poe could conceive.

Hobnob Studio Theatre is a wonderfully intimate space. While everything they produce is fantastic, this show really makes use of the “immersive proximity” of the stage and seats, plunging audiences into Poe’s distorted reality. To further complement the atmosphere, Tannin and Tonic, a bar a few doors down, has beverages in the lobby. Their Amontillado wine is to die for!

Hobnob Theatre Company has graced the theatre scene in Butler for over a decade. In that time, they’ve staged plenty of tremendous productions, cultivated quite a following, and, as of 2024, have their own space to realize their artistic ambitions. Whether they’re indulging in more traditional theatre or unorthodox events like children’s programming or improv comedy nights, they’re bound to have something for everyone. Interested in fostering an appreciation and passion for the performing arts, Hobnob is an asset to Butler, as well as an indispensable addition to the theatre scene in the Greater Pittsburgh Area.

-JS

Edgar Allan Poe—Tales of the Grotesque continues its sold-out run October 30^th, November 1st, and November 2^nd at 7:30 PM at Hobnob Studio Theatre in Butler, PA. For more information on shows at the Hobnob space, click here. 

By Michael Buzzelli

When wimpy Seymour Krelbourne (Chad Elder), a clerk at Mr. Mushnik’s Flower Store in the middle of downtrodden Skid Row, finds a mysterious plant, his life takes a strange new turn. Suddenly, Seymour becomes popular, and the flower store booms.  His boss, Mr. Mushnik (Sean Michael Barrett), takes a liking to him. The girl he admires, Audrey (Chelsea Davis), might even like him back. If only he could get rid of her pesky boyfriend, Orin Scrivello, D.D.S. (Travis Myers-Arrigioni)

Audrey II (voiced by Franklin Mosley, and played by a group of puppeteers) has it all figured out. All of Seymour’s problems can be solved at “Suppertime!” Because when this plant gets hungry, it wants people food. No, scratch that…he wants people to be his food!

The plant Audrey II is a man-eating monster from another planet, but that, such as it is, is life on Skid Row. Just ask Crystal (Tiara Emery), Ronette (Jalise Gary), and Chiffon (Sean Hale), the singing Greek chorus in “Little Shop of Horrors.”

“Little Shop of Horrors” is another fine addition to Pittsburgh’s spooky season of shows, alongside “The Rocky Horror Show” at the Greer Cabaret and “Night of the Moth Man” at Arcade Comedy Theater.

Elder is terrific as the geeky, schleppy Seymour. He is a community theater treasure with star potential (he already has a fan base, several audience members were there just for him). He has a great singing voice, which you can hear when he sings (more on that later).

Davis is a belter of the highest caliber. She nails the high notes in “Somewhere That’s Green” and “Suddenly Seymour.”  Her characterization of Audrey stands among the best.

Myers-Arrigioni is a dastardly dentist. He sparkles whenever he’s on stage. He probably has a great singing voice as well (We’re almost there).

Mosley gave a fun spin to Audrey II, the evil plant attempting to take over the world, one victim at a time.

The set is marvelous, including the aforementioned malevolent killer Venus Fly Trap controlled by Lyle Hieronymous, Katie Kerr, Amber Mount, and Johanna Philips.

Ian Scully-Szejko’s projections turn the entire auditorium into a circa-1950s Los Angeles Skid Row. Its a wonder to behold.

“Little Shop of Horrors” has amazing music by the talented team of Howard Ashman and Alan Menken. It’s incredibly campy fun!

The show had one big flaw (here it is). The orchestra, led by Travis Rigby, overpowered the vocals. You could only hear the singing when the cast hit the highest notes, or when the song had a preamble leading into the music.  It was a fantastic band, but it was hard to hear anything else.

P.S. The cast had microphones,  yet it was tough to hear them, especially on the far right side of the theater where this reviewer sat.

Word on the street is that the director, Nik Nemec (on his way to becoming one of Pittsburgh’s finest musical theater directors) and the fine folks at Heritage Players are looking into solving the issue.

If someone could tamp down the orchestra one or two notches, or hide them behind the stage, the Heritage Players would have a hit on their hands!

-MB

“Little Shop of Horrors” runs until November 2 at the Seton Center, 1900 Pioneer Avenue, Pittsburgh, PA 15226. If you would like more information, please click here. 

By Michael Buzzelli

As the Narrator (Dixie Surewood) would be sure to tell you: You’ll find happy hearts and smiling faces in Denton, the small town where Brad Majors (Spencer Millay) proposes to Janet Weiss (Kat Harkins). Still, on the outskirts of this sleepy hamlet,  you will find the lustful, wanton ways of Dr. Frank N. Furter (Alexander E. Podolinski, last seen as Modred in CLO’s “Camelot”) in “The Rocky Horror Show.”

When Brad and Janet are stuck with a flat tire in the middle of a downpour, they find Frank’s castle (because every little American town has a castle), and through the velvet darkness, they find a light over at the Frankenstein place.

Side note: “The Rocky Horror Show” skewers every ’50s Sci-Fi movie it can, but cranks up the horniness on the sonic oscillator all the way up.

Brad and Janet meet Riff Raff (Connor McCanlus, recently Malvolio in the Public’s “Twelfth Night”), Magenta (Laura Frye), and Columbia (Sam Carter) when they enter the castle. Then, they are introduced to Dr. Frank N. Furter and his creation, Rocky (Michael Greer, pulling double duty as the dance captain).

Things get weird and sexy…until Dr. Scott (Matthew Hydzik) shows up looking for his nephew, Eddie (Hydzik again, in a dual role).

The camp classic time warps to the Greer Cabaret Theater with the proper pomp and circumstance it deserves. The cast is an energetic bunch, dancing, cavorting, canoodling, and running rampant through the Greer.

Warning: Do not bring rice, toast, water guns, newspaper, etc. It’s a staged performance, not the film version.

If you’re a fan of the movie, “The Rocky Horror Picture Show,” you will note some minor changes to the plot and dialogue, but all the characterizations stay close to Richard O’Brien’s masterful creatures of the night. For instance, like the original London production, Brad gets a ballad (“Once and a While” was cut from the movie).

Podolinski is doing a spot-on Frank N. Furter, adding a few nuances of his own.  He’s a joy to watch in the role. Somehow, the actor even makes drinking a bottle of Pepsi look sexy.

Harkins is a fun doe-eyed Janet with vocal chops, making “Touch-a, Touch-a, Touch Me” a fun romp of a ditty.

Millay’s Brad is giving Seymour from “Little Shop of Horrors” vibes (that’s a compliment). Think Rick Moranis,  but with an excellent singing voice.

Greer is no newcomer to the Greer (when do you get to write that line?). He has been in multiple shows in the venue, but he really stands out here. Maybe because he’s prancing around in golden underwear.

Frye is sexy, sultry and magnificent as Magenta. The moment she opens the show with the number “Science Fiction Double Feature,” the audience immediately knew they were in the right hands.

McCanlus rocks as Riff-Raff. He and Frye have some great chemistry, and elbow sex (you had to be there).

Carter makes her debut on the Cabaret stage, and does it with all the enthusiasm Columbia can muster. She is a fine addition the Pittsburgh theatrical community.

Surewood’s Narrator/Criminologist is pure perfection. She chews up the elaborate scenery and makes the Narrator role her own. It’s a fresh and funny take on the character, and very little in common with Charles Gray (from the film), outside of their personal lives.

Side note: The show is unapologetically queer, but there is something for everyone here (except small children).

Natalie Rose Mabry’s projection design coupled with Noah Glaister’s sets and Katherine Mikula-Wineman’s props bring Rocky and the show to life.

Director Mark Fleischer does a marvelous job of aligning the film and stage production, giving it a few little surprises.

It’s a spooky, spectacular show, a Halloween must-see event.

-MB

“The Rocky Horror Show” runs until November 8th at the Greer Cabaret Theater, 655 Penn Avenue, Pittsburgh, PA 15222.  For more information, click here.

by Joseph Szalinski

Back in my day, if we didn’t want to read a book for school, we’d rely on Cliffnotes or Sparknotes. Sure, we wouldn’t really get smarter, but we wouldn’t get any dumber. Nowadays, kids are too dependent on ChatGPT. Not only do they get all of their information this way, but they shrink their hippocampi in the process. Thankfully, there’s a more entertaining, and intellectually stimulating, alternative for folks who haven’t gotten around to dusting off their copies of Pride and Prejudice or Emma—Community Theatre Player’s latest production, Instant Austen: Jane Austen at Warp Speed, directed by Mace Porac and produced by Hannah Dearborn, now running at Community Presbyterian Church in Ben Avon, PA.

Written by multimodal scribe, Treanor Baring, Instant Austen cobbles together six of Jane’s novels: Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey, and Persuasion. Envisioned initially for middle and high school classrooms, this show proves it has something for everyone, whether that be a clever reference, cheeky commentary, or just general silliness. While most of the novels are presented as tiny scenes akin to short plays or skits with overlapping jokes, the last two go for something really unique that’s sure to delight even the most ardent curmudgeon. Engaging and riddled with humor that lands nicely with audiences, this production is a perfect way to celebrate Austen’s 250^th birthday. She doesn’t look a day over forty-one.

The cast does a splendid job despite the dizzying feat of changing characters as constantly as they do. To make things even more confusing, a few cast members trade roles on certain nights, which makes what they do even more incredible. Their commitment to the accents, slightly varying them with each successive role; their good chemistry in group scenes, as well as everyone excelling in their moments to shine; the ample opportunity for playful physicality, which serves as a testament to the energetic and fun edge this ensemble brings to the stage; the performers really put their hard work on display. Not to mention, the fact that they don’t spend too much time getting ready during blackouts between scenes also speaks to their adeptness. Great job to Alexa Burak, Samantha Carpin, Frederick Coleman, Mary-Cait Cox, Ashley Dugan, Chris Duvall, Phil Hayes, Mace Porac, Heather Johnson Smith, and Mary Witul.

Less dependent on technical elements than other productions, this show uses them sparingly and to significant effect. Costumes stand out the most, as they not only help set the time periods and make the world(s) more immersive, but they are also helpful for establishing and distinguishing characters. Sound effects and lighting, by Jeff Cieslak and Patrick Trimble, are another ingenious technical element, typically used when someone needs to ride a horse or ride in a barouche. Ewww. As far as props go, they are seldom used, generally reserved for a goofy character or to stand in for a character altogether, whether it’s dolls or even a chair. Aside from a couch and a seat for The Narrator, the “character” is one of the few pieces of furniture on this simple set designed by director Mace Porac and actor Mary Witul, the same duo responsible for the program.

The Community Presbyterian Church of Ben Avon is a marvelous venue for theatre. Located on Church Avenue (what a coincidence) in the sleepy neighborhood of Ben Avon, this building has housed some tremendous talent. Even those who believe in the separation of “Church and Stage” must recognize how cool it is for art and live performances to have another home in the North Boros. The site of dozens of fantastic productions, the church is a cultural hub that hopefully lasts well into the future, and that’s not just because the parking is decent.

Community Theatre Players is a wonderful organization that has been putting on incredible shows for over 35 years. Whether they’re taking a risk on something new and different or putting a signature spin on a classic, they’re guaranteed to wow audiences with every performance. From the close involvement of the board, to the capable casts and crews that make theatrical magic, to the belief that the local sponsors have in them, it goes to show how special art is to our various communities in and around this wonderful city.

-JS

“Instant Austen: Jane Austen” at Warp Speed continues its run on Oct 24^th and Oct 25^th  at Community Presbyterian Church in Ben Avon, PA.

 

by Michael Buzzelli

Things that go bump in the night can sometimes inspire laughter. That is certainly the case at Arcade Comedy Theater’s spooky new show for the Halloween season, “Night of the Moth Man.”

Inspired by a tabletop Dungeons and Dragons-style game, the titular Night of the Moth Man, Gamemaster (John Feightner) leads four actor/improvisers (playing nerds from a sleepy, little hamlet) on a quest to find their hidden candy and avoid the mysterious cryptids (legendary local monsters) from killing them all.

When Butch (Feightner) steals their Halloween candy, he tells them he’ll return it if they spend the night in the creepy old Johnson cabin in the woods, the kids, dressed in their Halloween costumes, accept the challenge and head out.

The Halloween costumes become essential right away. The trick-or-treaters, one dressed as a skeleton (Paul Fields), a Frankenstein person (Regina Connolly), a devil girl (Kendall White), and a mummy (Tal Kroser), enter a mysterious mist that imbues them with the powers of their costumes.

When creepy cryptids arrive, the players must roll D&D dice to survive the game.

Side note: Pittsburgh-based designer Eamon McNamee designed the game.

Watching the improvisers solve the challenges in fun and unique ways is most of the fun. The adlibs are hilarious.

The show, produced by Connor McCanlus (currently playing Riff Raff in “The Rocky Horror Show” down the street and around the corner from Arcade Comedy Theater, a very different funny and spooky show), was devised from the board game. McCanlus takes all of the frightening elements, but ramps up comedic elements, picking the talented cast, and designing some of the other  elements (because it’s an improv show, directing just isn’t the right word).

As Gamemaster, Feightner plays all of the ancillary characters, a local firefighter with a crush, a bully, and a variety of woodland-dwelling monsters. He excels at it.

Each of the actors garners huge laughs because these kids say the darndest things! Kroser’s meek mummy was a particular highlight.

Up in the booth, Technical Director Aaron Tarnow works the lights and sound. Tarnow projects digital D&D dice when players roll, so the audience can clearly see the results. The audience would “ooh” and “aww” over each role. Every toss determines a different outcome.  It’s easy to get invested when White, Connolly, Fields and Kroser are so delightfully engaging.

“Night of the Moth Man” is a three-night episodic event running through October. A brief recap and this review will give you all you need to know if you wish to see the remaining episodes.

If you want something spooky, but not gory and gross, head downtown for this entertaining and surprising new Halloween-themed show.

-MB

“Night of the Moth Man” runs two more nights, Fridays, October 24th (episode two) and 31st (episode 3) at the Arcade Comedy Theater, 943 Liberty Avenue, Pittsburgh, PA 15222. If you would like more information, please click here. 

By Joseph Szalinski

Composer/playwright Jonathan Larson is facing a conundrum. He’s turning 30. Or in musical theatre speak, 15768000 minutes old. Yuck! To make matters worse, he can’t seem to find his feet creatively; everyone else is on their way to success, and he’s plagued by noises like he has an old dude’s heart hidden under his floorboards. Join Jon and his friends as they sing, strut, and sweat in the Musical Theatre Guild of Butler’s production of Jonathan Larson’s Tick, Tick…Boom! directed by Matt Mlynarski.

Having spent the bulk of his 20s attempting to write and produce a musical based on 1984, and then an original futuristic musical, Jonathan Larson was at his wits’ end. Instead of taking a stab at a musical based on We or Brave New World, he did the next best thing and wrote a show, in part, about the development of his play, Superbia. Originally envisioned as a “rock monologue” under the name Boho Days, Tick, Tick…Boom! was performed at various workshops from 1990-1993, until Larson decided to work on his final, and career-defining project, The Far Side. Whoops. My bad. I mean, Rent. Following Jon’s early death in 1996, playwright David Auburn reworked the show to feature 3 actors, which was eventually produced in 2001. In 2021, Lin-Manuel Miranda directed a film adaptation for Netflix, starring Andrew Garfield as Jon, a role that almost earned the latter an Academy Award.

Jeremy Poynton beautifully realizes Jon’s inner turmoil and delivers a heartbreaking rendition of an artist desperate for some sort of professional validation. Unafraid to give his all during a song or to throw himself across the stage, he demonstrates the commitment required to portray such a venerated icon of musical theatre. His chemistry with his two co-stars and his ability to captivate crowds by himself showcase his skill set perfectly.

Anna Gergerich gives a rousing performance as Susan, Jon’s girlfriend, as well as Karessa, Rosa, Judy, and Mom. She does a terrific job of alternating between her characters, never losing momentum during the transitions. Whether she’s embroiled in an intimate argument with Jon as Susan or splitting sides as the smoky Rosa, she crushes every role. While a smaller part, she is exceptional as Karessa, a performer in the workshops for Superbia, delivering astounding solos and dancing her heart out to silly songs about sweets.

Jack Cipriani delights in his roles as Michael, counter guy, dad, and market research guy. Being able to switch between goofier moments, like corporate brainstorming, and more conflicted moments talking about “selling out” and finding happiness, is a testament to his skills as a performer. His acting is matched only by his ability to sing and dance, as evidenced by electrifying numbers and awe-inspiring gymnastics.

Complementing the cast are four tremendous musicians. Music director/keyboardist Jessica Sanzotti effortlessly leads Adrian Cresce on bass, Jacob Glath on guitar, and Karen O’Donnell on percussion, creating a superb sonic supplement. Technical elements are tight and polished. Producer Christina Savannah does excellent work with props and costumes. Simple yet effective set design by director Matt Mlynarski is brought to life by technical director, set constructor, and painter Vince Sanzotti. Glen Bittner expertly handles duties as a lighting technician while Jamilah N. Turner does the same as a spotlight operator. Philip Ball works his magic as sound designer, while Eric Snyder works his as sound technician.

Hidden in the woods of Butler Memorial Park, the William A. Lehnerd Performance Hall & Production Center is a cozy little venue. Though a tad removed from the scene on downtown Butler’s main drag, audiences eagerly swarm the area to enjoy some fantastic shows. The Musical Theatre Guild of Butler is a phenomenal organization housed at the Lehnerd Center that has put on tremendous productions since 1962. Their commitment to fostering arts and culture has left quite a legacy. By forgoing the straight plays and Shakespeare offered by other local theatres and companies, they remain a unique and indispensable part of the community.

-JS

Tick, Tick…Boom! The event continues its run on October 17^th, 18^th, and 19^th at the William A. Lehnerd Performance Hall & Production Center in Butler Memorial Park.

By Lonnie the Theater Lady

Mr. Messado (Joshua Messado) brings a new show to Liberty Magic, “Mr. Messado in Ringistry.” This limited-run adult show (ages 16 and up) is running concurrently with his record-breaking, long-running, popular family/child-friendly show “Mr. Messado’s School of Magic.”

As he enters the stage clad in a jaunty top hat and stylish black tuxedo, an exciting performance appears to be imminent, and he doesn’t disappoint!

Messado’s magic is a mix of intriguing card tricks, masterful prestidigitation, intuition, prediction, and the famous linking Messado rings–his signature effect. He’s able to move a solid through and into another solid object. Remarkable! (No spoilers here).

The show is much more than his incredible feats of magic – although there is plenty of it! Messado’s quick wit is put to the test as he comically improvises and ad-libs while he is navigating his way through several warm interactions with the audience. Clever puns are an integral part of his humor. He accidentally drops one of his props and quips that he’s giving the audience a “floor show.” He selects volunteers. from the audience to assist on stage with making magic, often with humorous results. Be prepared to laugh hard – and often!

A talented raconteur, Messado infuses the show with fascinating personal stories about how he became interested in magic, his youth, and life lessons his beloved grandmother taught him. One lesson he learned and still holds dear is, “Anything is possible, even the impossible, if you believe.” By sharing a part of his personal history, he draws the audience in and creates a warm atmosphere of intimacy.

Throughout the show, the audience has the pleasure of listening to lovely piped-in lo-fi, chill hop music composed by and recorded by Messado himself. He’s not only a talented magician but a musician, as well. Now that’s impressive.

Don’t let the label of this being an “adult” show discourage you from seeing it. There is nothing off-color or offensive in this squeaky-clean show. It’s just more sophisticated than the family/child-friendly “Mr. Messado’s School for Magic.”

“Mr. Messado in Ringistry” is a delightful, funny, entertaining, frequently amazing way to spend an evening! It’s a truly magical event from start to finish!

LTL

“Mr. Messado in Ringistry” runs through October 18 at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA 15222. For more information, click here.

 

 

Gina McKlveen

Is there anything more pleasant than the scenic views of the fall season? Perhaps those Pittsburghers prone to leaf peeping ought to visit fdp studio+shop located in Pleasant Unity, a few miles from the Westmoreland County Fairgrounds and local pumpkin patches, for an added adventure exploring the autumnal arts.

This month fdp studios+shop, is hosting three festive events, including a bonsai workshop with Nancy Neel of Sunny sprouts bonsai workshop, Halloween Cupcake decorating with Leah Poponick of Pipetown Pastries, (tickets for these two events are sold out already), and a Floral Bouquet Bar with Tracy Quinn of Quinn’s Wooden Floral Creations. Each of these events is the perfect example of the fdp studio+shop ethos—supporting small businesses, locally sourced products, and artisan home goods.

In 2022, fdp studio+shop, officially opened its brick-and-mortar storefront located at 2082 State Route 130 in Pleasant Unity, Pennsylvania. Francis and Lynn DeFobo, the husband and wife duo behind fdp studio+shop, are equal parts art and business. Francis, who loves being a potter and would be thrilled to work at his pottery wheel seven days a week, makes the pots in the downstairs studio of the business. Lynn curates and manages the shop on the first floor, putting her college marketing studies to good use, visiting with shoppers, and enjoying all the facets of running a small business.

According to Lynn, the business came together rather organically. She said, “We were looking for a place to move Francis’s pottery studio out of our garage. Our friend and real estate agent suggested that we check out this property. It is an 80-year-old building that was built as a country grocery store. The current owners were operating a cozy country diner in the building. Though it was more space than we were looking for, we fell in love with the history of the building and the sweeping views of the surrounding farm and fields.

“Francis had been making pottery for about a decade. He sold to restaurants and stores as well as directly to collectors. Our favorite place to sell pottery was our annual open studio pottery sale—we loaded every room in our home with pottery and opened the doors to all comers. It was great fun, and people really responded to seeing how we live with pottery—in the living room, kitchen, dining room, and even the bathroom! I think it helped folks realize that handmade pottery is best lived with and used daily. So when we decided to move the studio out of the garage, we wanted a display space that echoed the experience people enjoyed when they came to our open studio event.”

As for the day to day at fdp studio + shop, Lynn says, “I stock the shop with beautiful things that I’d pick to furnish our own home. We love to feature local makers, but also include the work of artisans that we’ve discovered on our travels. Our workshops and trunk shows feature talented local artisans—many of whom are good friends as well.” That eye for beautiful things recently landed fdp studio+shop among House Beautiful’s list of the top 25 most beautiful shops in America.

fdp studio+shop is open to the public every Thursday through Saturday, and will begin Holiday Sunday shopping hours from 9:00 AM to 4:00 PM starting November 2, 2025. Looking ahead to holiday season, fdp studio+shop is hosting a Felted Christmas Ornament workshop on Thursday, November 20th from 6:00 PM to 8:00 PM.

-GM

For more information on events and products visit https://www.fdpstudioshop.com/.

 

 

By Claire DeMarco

Utopia is a small island in the Pacific Ocean ruled by King Paramount (Corey Nile Wingard).  Paramount is enchanted by Britain and wants his country to emulate the great imperialistic empire.

When his daughter Princess Zara (Alessandra Gabbianelli) returns to Utopia after completing college in England, she is more enthralled than her father in turning her country into a mini Britain.  Her enthusiasm for British tradition and society helps spur Paramount into action. So impressed with the idea, she brings a group of people back with her called the Flowers of the Progress.  These six gentlemen represent a cross-section of every aspect of British life that will facilitate and expedite the transition to a more British way of life.

As the movement toward a British lifestyle continues over the next few months, it is apparent that not all of Utopia’s inhabitants are happy with the plan.  They begin to see that they really like the life they had.  There are many aspects of the transition that they do not like.  Utopians support the idea of having judges of the Supreme Court to check the King’s power.  They are not in tune with Britain’s politics or legal system.

The stage is set for a showdown between two differing factions.

How will it end?  Who gives in?  Does Utopia totally change or does its structure remain the same?  Or could a compromise between the two factions be the answer?

As King Paramount Wingard is easily swayed.  He relies on his daughter to take the lead and advance the British cause.  Wingard is convincing as a weak, intimidated ruler easily coerced by those around him.  His fear of his advisors is palpable.

Uptight and strait-laced, Johnston as Lady Sophy is the haughty member of the court.  She demands attention, and her function in life appears to be as the guide and teacher of the King’s younger daughters.  She allows her stiff exterior to bend somewhat in a beautiful rendition of “When But a Maid Of Fifteen Year?”

Gabbianelli exudes confidence and authority as the King’s eldest daughter.  Her confidence and authority are believable. She pushes the King into fully adapting the British traditions and way of life.  Gabbianelli has a beautiful voice. “Oh, Maiden Rich in Girton Lore” is just one of the many songs she sings that highlight her rich vocals.

What a dynamic duo!  Sean Lenhart as Leander and Alex Polocicchio as Phobus are judges of the Utopian Supreme Court.  Responsible for keeping Paramount from becoming a tyrant, they delightfully and devilishly sing and dance their way into our hearts.  “With Fury Deep We Burn” is only one of their many duets.

In a brief appearance as Thanatos, the Public Exploder, Eric Shaffer wears a belt of dynamite sticks and carries two in his hands. His facial and physical movements convey his eagerness to blow up the king, if needed (and he very much wants to).

Walking and marching like a majorette, Will Benedum as Lord Dramaleigh is perfect as the strait-laced and proper English gentleman.

Zhen Yu Ding (as Captain Fitzbattleaxe) plays the shy soldier in love with Princess Zara.  His shyness and backwardness in his general movement and facial expressions are obvious when he’s near her.

A shoutout to the entire cast of players, all with wonderful singing voices!

As with all of Gilbert and Sullivan’s operettas, love interests and pairings are everywhere.  Add this to the absurd and satirical storyline that always pokes fun at British imperialism and Victorian society, and you have another entertaining evening of fun.

Note: “Utopia, Unlimited” is not as well-known as other Gilbert and Sullivan operettas, nor has it been produced as frequently.

Kudos to Music Director and Conductor Guy Russo and the Savoyards Orchestra.

Excellent Direction and Choreography by Robert Hockenberry.

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

-CED

“Utopia, Limited or The Flowers of Progress” runs from October 10^th to October 19^th at the Andrew Carnegie Free Library and Music Hall in Carnegie, PA.  Production by the Pittsburgh Savoyards. For tickets and additional information, click here. 

 

By Lonnie the Theater Lady

Attack Theatre’s “Some Assembly Required” was first commissioned by the Carnegie Museum of Art in 1996. It’s being brought back to celebrate the company’s thirtieth anniversary. Congratulations to the founders of Attack Theatre, Michele de la Reza and Peter Kope, on thirty successful years. This signature Attack Theatre experience is described as, “part performance, part conversation and entirely alive.” It is every bit as intriguing as it sounds!

Be sure to arrive early to enjoy the art pieces in the studio. All of them are a part of the Persad Center’s “Art for Change” collection and are offered for sale to benefit the Center’s mission.

Another distinct advantage of an early arrival is the opportunity to enjoy watching the dancers’ graceful stretches and warm-ups.

The audience is treated to brief demonstrations of several different dance sequences–some of which have amusing names, “Arm Swing Fish,” for one.

De la Reza cordially invites the audience to voice their thoughts and observations about an abstract art piece. Several people, including a young teenage girl, enthusiastically shared their ideas. Those descriptions are all notated by Kope to later be incorporated into creating a new piece of art. The descriptors on this particular day ranged from industrial to bristly and velvety soft and comforting.

Cello Fury cellist, Simon Cummings, brilliantly plays the cello to illustrate music’s ability to create moods and evoke emotions.

An amusing demonstration of improvisational, interpretive dance creates a shape-shifting room, one whose identity and function are clearly identifiable.

These activities set the scene for creating new art. Interpretive dance, music, and observations about the painting all combine to devise a unique new work. The latest work is determined by audience input, ensuring that each of the works is fresh and different from previous ones.

De la Reza suggests people, “Take the time to sit with art and see where it takes you.” That sound advice can be explored at the upcoming (October 16) “Some Assembly Required: Contemporary Craft”, featuring the work of nineteen artists exploring the expressive and technical possibilities of wood.

An exciting opportunity to explore a collaborative, immersive art-making journey awaits you.

LTL

Attack Theatre, October 16, “Some Assembly Required: Contemporary Craft, 5645 Butler Street, Pittsburgh, PA 15201. For more information, click here.