'Burgh Vivant

By Lonnie the Theater Lady

In “Emilie,” the brilliant 18th-century French mathematician/ physicist, Emilie la Marquise du Chatalet (Katie Kerr), mysteriously comes to life to resolve a puzzling issue she often pondered while alive. Does life garner its deepest purpose and meaning through love or philosophy? Engaging flashbacks recreate a series of Emilie’s most significant life events and provide her with data identifying each event as related to either love or philosophy. She organizes the data on a chalkboard –tallying each event under the appropriate heading. Her satisfying conclusion is revealed at the end of the play. Her conclusion is deeply profound, somewhat comforting, and feels much like an explanation of the meaning of life. (No spoilers, other than to say, it evoked deep emotional responses from this audience member).

In these compelling vignettes, Emilie sees her younger self interacting with her romantic partner and intellectual collaborator, Voltaire. (Adam Merulli) From a distance, she observes their intellectual disagreements and flirtatious, loving interactions peppered with competitive repartee. These fascinating, sometimes scientific conversations highlight their cerebral brilliance and deep thinking. A compelling discussion about the nature and propagation of fire is just one of many intriguing conversations between the two.

Kerr delivers a flawless performance as the complex, nuanced Emilie. She weaves Emilie’s passion into her role with a powerful strength and energy. Exceptional!

Radeshak physically resembles Emilie, making her spirited portrayal of young Emilie authentic and believable. She’s well cast, and she performs well.

Merulli’s Voltaire is a boatload of often conflicting emotions–all of which are expertly expressed. There are times when he comes off as a bit of a dandy.

Rounding out the talented cast are Sam Lander and Jen Fitzgerald, who intermittently pop on and off the stage in various roles, often with comedic effect.

The beautiful 18th-century period costumes and spectacular wigs harken back to the days of French royalty. (Lilly Brown, designer) The gorgeous purple set’s patterned floor suggests movement — most likely the shift between time periods. (Sabrina Hykes-Davis, designer) The charming set is enhanced by dim lighting, suggesting candlelight and possibly gas lighting, as would be used in the 18th century. (Eve Bandi, designer)

Sound design (Joe Eberle) is particularly important in this show. It needs to be precisely coordinated with lighting. (It is!) The jolting electrical sound combined with the lighting activity effectively transitions the audience from one time period to another.

Playwright Lauren Gunderson’s “Emilie” is a fresh take on a brilliant historical figure who didn’t get the recognition she deserved simply because she was a woman. (The more things change, the more they stay the same.)

“Emilie” tells an engaging, captivating story of a great thinker whose scientific accomplishments profoundly influenced the scientific community.

The powerful cast brings the extraordinary characters to life in this often humorous dramedy. The noteworthy technical aspects of this show enhance its watchability. South Park has another hit on its hands with this intelligent production.

LtTL

South Park Theatre running through August 1. For tickets and additional information, click here. 

 

 

 

By: Joseph Szalinski

Before TV shows like Love Island, people had to sail all the way to Sicily to try their hands at rapid romance. It’s on this Italian island that we meet the comic characters in Steel City Shakespeare Center’s latest production, Much Ado About Nothing, directed by Jeffrey Chips and Lauren Scheller-Wolf, now running at various locations in the North Hills.

Shakespeare’s classic comedy about matters of the heart, well, one of them, is made clearer by a character breakdown in the program. Featuring a staggering repertoire of roles, this story coasts on the confusion caused by their concocted schemes. Hilarious and heartfelt, it’s easy to see how audiences can still relate to it today.

Actors in this show assume a multitude of identities. Christopher Rone plays both Benedick and George Seacole, employing ample energy and unmatched physicality. Bob Colbert captivates as Claudio and Dogberry, causing a cacophony of chuckles as the second, in particular. Alexandra Hellinger hysterically alternates between Beatrice and Verges, whose pool noodle prop provides plenty of entertainment. Taylor Humenay shows off her skills as Don Pedro, Margaret, and Watch. Caroline Phillips gives terrific portrayals of Hero, Don John, and Watch. Brianne Kessel brings Leonato, Borachio, and Watch to life. Acting interns round out the cast. Abigail Schnur makes easy work of the trio of Antonio, Conrade, and Watch, while Luna Meyers does an excellent job with Ursula, Friar Francis, Sexton, and Watch. Cat Aceto performs an invaluable service as the intimacy director, helping achieve appropriate levels of affection among the amorous pairings.

Summer is best when soundtracked by songs that reflect the season’s carefree and relaxed attitude, with a splash of soul for good measure. Wouldn’t it be nice if the Beach Boys could be incorporated into something Shakespearean? Well, music coordinators Bob Colbert and Michael Kirk agree with the sentiment, and they do just that. From beginning to end, the duo infuses a little fun, fun, fun, combed from the Capitol act’s catalog. Every song choice was excellent. The blend of early, pop hits and mid-60s songs suited the story well. Colbert and Kirk perfectly plumb the overlooked emotional range of the Beach Boys’ discography. Whether the troupe is wonderfully harmonizing tunes outright, or putting their own spin on things, the choices work beautifully. The instrumental of “Chapel of Love” and the repurposed “In My Room” stand out the most. Brian Wilson would be proud. Complementing the music is choreography by Brigita Ruta, with the routine for “Kokomo” being absolutely mesmerizing. You know what they say about dancing? It takes good timin.’

Despite having a minimal number of technical elements, this show wisely uses what it includes. Production designer Hannah Ruth Moss and design intern Mina Aksak cooked up casual costumes and a simple set. Props are used to pronounced effect, especially to supplement the humor. Stage managers Lauren Scheller-Wolf and Leila Belletti tirelessly keep it all afloat, with the former serving as a producer alongside Jeffrey Chips and Racheal Marie Graybill.

The whole world’s a stage…except for the outdoors when there’s an air quality warning. Being equally mindful and flexible, the folks behind this production decided to relocate opening night’s performance to the Ross Township Community Center, where they inevitably hosted the following day’s performance as well. Barring any other inconveniences, the rest of the run should take place at the intended locations. Even though Shakespeare in the Park should be…in a park, this play made use of the secondary space, effortlessly transforming a basketball court into sunny Messina.

Steel City Shakespeare Company tallies another triumph. Further proving their penchant for making The Bard palatable to audiences of all ages. Halfway through their 2026 season, they have two more shows in the fall/early winter that are sure to delight just like this one.

-JS

Much Ado About Nothing continues its run July 24^th, 25^th, and 26^th at Bruno Sammartino Park in Ross Township at 6 P.M., Barry G. Schell “Bronx” Field in West View at 6 P.M., and Ross Community Center Amphitheater at 4 P.M., respectively.

by Claire DeMarco

As he approaches his 35^th birthday, Bobby (Sean Whitney) is still single and unattached.  He hangs out with five married couples and is always the odd man out.  He’s the perpetual 5^th wheel.  He currently does have three younger women he’s involved with – Kathy (Hannah Taylor), April (Grace Phillips) and Marta (Emma Mihok).

His social friends, though, are five couples that have been part of his life for some time.  His lack of commitment is not always the center of conversation, but it usually comes up at some point over the long period of time he’s been associated with them.

Bobby revisits their stories and their relationships through sketches of each couple and their interaction with one another.  He listens to the pros and cons expressed by his friends on commitment and watches their actions.  But this exercise has been going on for some time.

Sarah (Jess Whittington and Harry (Mike Leahy) are in a perpetual contest with one another.  Each one has to have the last word and neither one seems to appear the victor in this one-upmanship environment.

Susan (Anna Gergerich) and Peter (Eric Talotta) appear to be very much in love and Bobby is shocked when he discovers that they are getting a divorce.  Their divorce appears to make them more in love than before as they continue to live together and are still committed.

Jenny (Kristin Welch) acts as the conventional housewife but she definitely knows how to manipulate her husband, David (Allante Walker) who firmly believes in marriage and tradition.

Amy (Joyce Hinnebusch) and Paul (Kevin Rabbits) are as opposite as night and day.  Scared to death on her wedding day and refusing to get married, she makes up the most ridiculous reasons to avoid it.  Paul remains upbeat and positive but finally leaves, only to be wooed back in as the marriage eventually takes place.

As the older couple of the group, Joanne (Joann Spencer) is acerbic while Larry (Jeff Johnston) is more stable and can keep Joanne somewhat under control when those needs arise.

Absorbing the pros and cons of their conversations with him and his observations of their interactions, will Bobby ever make a decision?  Or will he continue to waffle back and forth and never come to a conclusion on commitment?

“Company” takes us through one man’s hesitation concerning commitment. This 1970’s musical introduced a new concept in theater.  There is no plot but a series of stories revolving around dating, marriage and divorce during that time period and the impact and influence they have on our main character.  Add to this formula the exceptional songwriting of Stephen Sondheim and one has a musical that went on to receive fourteen Tony nominations and four Tony awards.

“Company” cast

What a talented, well-balanced cast!  Excellent performances!

Stage 62’s production of “Company” is a must-see show!

Whitney goes through multiple and believable iterations of contemplating commitment or not contemplating commitment with general confusion about both scenarios.  He delivers with “Someone is Waiting” and “Being Alive”.

Leahy has great facial expressions and physical movements as he affectionately banters with his wife.

Welch provides a comic touch as she gives in to her husband’s wish to try marijuana.

Hinnebusch is outstanding as the fearful bride.  Her comedic timing with vocals delivered with machine gun rapidity and physical movements are superb.

As the multi-married and older wife, Spencer sings a powerful rendition of “The Ladies Who Lunch”.

Phillips creates the perfect airhead as one of Bobby’s girls.  Her monotone delivery as the self-described boring person is exceptionally funny.

Taylor, Phillips and Mihok’s rendition of “You Could Drive a Person Crazy” is great.

Excellent direction by Dustin Wickett.

Music Director Andrew Peters and his 10-person band are exceptional.

Choreographer/Intimacy Coordinator Alex Manalo produces precision-like movement in the clever multi-phone scene, the dancing/singing moves of “You Could Drive a Person Crazy” and the bridal gymnastic skit.

Music and lyrics for “Company” by Stephen Sondheim.

Book by George Furth.

 

-CED

“Company” is a production of Stage 62. Performances run from July 16th to July 26th at The Greer Cabaret Theater, 655 Penn Avenue, Pittsburgh, PA 15222.

For more information, click here.

 

 

By Joseph Szalinski

As the Good Book says, one must not discount the cool stuff happening up north. Especially the events. Even the most unassuming small towns host hordes of hardworking and highly regarded artisans who are more than eager to share their efforts with those looking for a good time. And this is exceptionally evident with The Red Barn Players’ production of Fiddler on the Roof, directed by Jessica Patterson and J. Daniel Craig, now running at The Red Barn Theatre in Fombell, PA.

Based upon stories by Sholem Aleichem, this Tony Award-winning play features a book written by Joseph Stein, lyrics by Sheldon Harnick, and music by Jerry Bock. In addition to being the (former) longest-running show on Broadway for an entire decade, it was also made into an Academy Award-winning film in 1971. All that to say, some of the songs might sound familiar. Set in a fictional town in Eastern Europe, the story is concerned with the people who live there and their experiences being Jewish during a time when the occupying Russians weren’t especially keen on such a way of life. Amidst all the tension and conflict is love, life lessons, and lots of musical numbers.

This cast is stacked and the stage is crowded with a score of talented performers. David A. Cary is a quadruple-threat as Tevye. He can act, sing, dance, and kvetch with the best of them. Shelly Cary is a fantastic complement to him as Tevye’s wife, Golde. Their daughter, Tzeitel, receives a remarkable rendition courtesy of Hopi Myers-Arrigoni. Complementing her is Travis Myers-Arrigoni as her love interest, Motel, a role in which he is “sew” good. Filling out the family is Melissa Patterson as Hodel, Mara Ilko as Chava, Lana Holcomb as Shprintze, and Cosette Rotondo as Bielke, Tevye and Golde’s other daughters. Balancing two roles is Katie Donaldson as both the matchmaker Yente and the haunting Grandma Tzeitel. Perchik, an unorthodox religious scholar, is brought to life by Jon Lowery. Gary Patterson has a lot of fun with his portrayal of Lazar Wolfe. Arguably the character with the coolest name, and the most frightening dead wife, Fruma Sarah, played by Danielle Sanche. Austin Almendarez is the life of the party as Mordcha, while Sean Donaldson keeps things kosher as Rabbi. Frank Baker is another talent with dual roles, his being Nachum and Mendel. Not to gossip, but Joey Bellinger does a swell job as Avram. Matt O’Polka maintains order as Constable, while Jerry Hahn as Fyedka, Heather Giammaria as Shaindel, and Maximus Heitger as Sasha, do the dirty work as his muscle. Featured dancers Chloe Kurtyka, Megan Lutz Morgan Stanton, and Maximus Heitger move masterfully under the direction of choreographer Rebekah Sedwick. Rounding out the cast are the engaging members of the ensemble: Andrea Cary-Spaziani (producer), Jonathan Cermak, Bryn Donaldson, Leyna Donaldson, Alena Kucan, Katie Lowery, Bonnie Nolan, Karl Pamer, Amanda Pinto, Shanna Ridgley, Lily Sanchez.

Not only does this show deliver solid performances, but its technical elements are superb as well. The set design by Jessica Patterson, Kathy Patterson, and Austin Almendarez transports the audience to humble Anatevka. Steven Burnworth, Kim Smolka, John Brenner, Paul Brenner, Robert S. Hazen, Tom Bickert, Gary Patterson, J. Daniel Craig, Matthew Patterson, and Jerry Hahn, who comprise the construction team, did a marvelous job making it a reality. Director J. Daniel Craig double-dips with lighting design, which finds an operator in Matthew Patterson. Sound operator Zach Huang and sound tech assistant Oliver Schneider ensure that everything can be heard the way it should. Costumes by Anne Stanton, Kathy Patterson, Betsy Berenson, Jaina Ilko, and Melissa Patterson add another level of immersion to the world being crafted. Absolutely awesome. Stage managers Kathy Patterson and Jaina Ilko did great work making the chaos more manageable throughout the process. Publicity photos by Sarah Campbell beautifully adorn Alena Kucan’s photo display board that greets people as they find their seats.

Musical director Kevin Newton does wonders with the cast and the orchestra. Constituting the latter are Deanna Jacobs on flute, Fred Persi and Tori Petrella on clarinet, Kate Kesecker on bassoon, Andy Zerance on trumpet, Isaac Miller on horn, Jade Kirkpatrick on trombone, Jeremy Miller on guitar, Kim Zerance on bass, Greg Becker on percussion, and Emmett Moore on piano.

The Red Barn Theatre is a great venue. The creativity it houses is matched only by the gorgeous views one can glimpse on its porch before showtime or during intermission. It has certainly attracted a stable of patrons and fans over the course of its existence, and continues to produce shows that enrapture folks who will go on to spend many more summer evenings being awed by art.

The Red Barn Players are halfway through their 2026 season, their 71^st, with two more productions coming up in August and September, respectively. Whether they choose to put on straight plays or musicals; theatrical classics or more obscure titles, they always manage to dazzle and delight. I hope they have the chance to for another seventy-one seasons.

-JS

Fiddler on the Roof continues its run July 15^th-18^th at Red Barn Theatre in Fombell, PA.

By Michael Buzzelli

“All the human race has something between their legs that can be taken”             

– Gene in “David Mamet’s “Henry Johnson 

Henry (John Steffenauer) careens from one disastrous event after another, unaware that he’s the world’s biggest patsy in David Mamet’s “Henry Johnson.”

The play is structured like four interlocking one-act plays, each with a shocking resolution. The four scenes, like violent pieces of a evil jigsaw puzzle, come together with a dramatic and malignant end.

Henry argues with his boss, Mr. Barnes (Cotter Smith) about hiring an ex-con, who is a college acquaintance of Johnson’s. The discussion mines deep, darker desires and, by the end of the first scene, Johnson is hit with a shocking revelation.

In the next scene, Henry meets Gene (a frightening David Whalen), a prisoner with radical ideas and opinions. He delivers a monologue about Snow White where he recants a weird version of the Snow White story that teaches a prescient lesson about power and surrender.

In the final scene, Henry and Jerry (returning Pittsburgher David Butler), a prison guard, play a deadly cat-and-mouse game, which one is the cat and which one is the mouse is debatable until the final moments of the play.

It’s hard to tell if Henry plagued by dark twists of fates, or is he a gullible dupe who believes in the charismatic, but insidious, men in his life, each of whom furthers their own sinister goals with Henry as the hapless pawn to their White King Energy.

Steffenauer does a great job, believing his deceivers without looking like a gullible, toadyish, or spineless cartoon of a human being (RIP Lindsey Graham).

Smith plays Barnes as a cold, calculating company leader without a shred of compassion, though, with hidden reasons that justify his behavior. Barnes is more of an Vulcan (Star Trek reference) psychologist than corporate boss, who digs at the protagonist with a sharpened scalpel.

Whalen is chewing the scenery as Gene, who seems more like a malevolent tent revival preacher than prisoner. He spits and spews his dark theories, manipulating Henry with every twisted sentence.

Butler’s Jerry seems like an affable prison guard, who only wants to clock out and go home, but there are is much more seething under the surface.

Side note: Butler stepped in to replace the late Matt DeCaro, who passed away in the middle of a production of “Ma Rainey’s Black Bottom” at the Goodman Theatre in Chicago. DeCaro was the impetus for the production, and the performance of the show are dedicated to his memory. That said, on opening night, Butler had to hold onto his script during the final (dialogue heavy) scene.

Kimberly Brown’s costumes add a level of realism to the show. She’s outfitted Whalen with a set of temporary tattoos and specialty designed sleeves that mimic two arms-length of ink.

The set, however, is surreal, a square stage reminiscent of a boxing ring, with simple props garnered from Rachel Ferrari Engel, beautifully lit by Andrew Ostrowski.

Additional side note: It’s a Mamet play. It’s all about cis-gender straight (presumably) males, some the characters carry deep-seated resentment for women. In this play, two women are mentioned, a victim of a heinous crime, and a jail-appointed psychologist, who may or may not be another manipulator in Johnson’s life.

Director Andrew Paul manages to get striking performances from his four actors, everyone is on their “A” Game.

The play is hard and cold. A miasma of negative thoughts and emotions, excellently performed, but the brutal truths are hard to stomach as each reveal brings Henry Johnson (the character not the play) toward his inevitable conclusion.

“Henry Johnson” is a particular world view, one where every action has drastic consequences. It’s darker than “Dateline,” the news program about in-depth, true crime murderers and their victims. Don’t expect to come out of the theater whistling a happy tune. If you want to see a masterclass on acting on a Pittsburgh stage, “Henry Johnson” should be right up your darkened alley.

P.S. The final moments of the play are gasp-inducing.

-MB

“Henry Johnson” runs from July 9 to July 26 at the Carnegie Stage, 25 W. Main Street in Carnegie, PA 15106. For tickets or additional information, click here. 

By: Lonnie the Theater Lady

Pittsburgh native Lee Terbosic describes himself as a “proud Yinzer”, and he certainly has every reason to be proud, although he didn’t utter the word “yinz” even once during his show. He’s a talented escape artist, witty comedian, masterful illusionist, and mind reader. He’s well known as a Houdini historian, and unsurprisingly, his work is heavily influenced by Houdini. Many fascinating, little-known facts about Houdini are sprinkled throughout the show.

Terbosic explains that magic works by exploiting weaknesses in the human brain. Magic’s secrets are right in front of our eyes. We don’t know where to look. This is frequently demonstrated with cards, telekinesis, and other illusions. What we see with our eyes and hear with our ears are often quite different perceptions of actual reality.

Terbosic shares the back story of how he became interested in magic at the age of ten. He devoured every book about magic that he could get his hands on in the Carnegie Library. He would perform magic shows for his parents during Steeler television halftime breaks. He performed some of those amusing childhood tricks to the delight of the audience. And, yes, you can try them at home (I did)!

His admiration for Houdini led Terbosic to reenact Houdini’s famous Pittsburgh straitjacket escape. Exactly one hundred years, to the minute, after Houdini’s November 6, 1916, escape, Terbosic was suspended upside down fifty feet in the air at the corner of Wood Street and Liberty Avenue. (The precise location  Houdini occupied) This tribute to Houdini was named “Houdini 100”. The Liberty Magic audience is treated to background information and visuals of this stupefying strait jacket escape event.

The Discovery Channel series, “Houdini’s Last Secrets,” features Terbosic. He was also seen on “America’s Got Talent” among other television appearances. This recognition is unambiguous evidence of and a tribute to his mastery of all things magic.

How fortunate Pittsburgh is to have an intimate venue (Liberty Magic) to bring us a steady stream of artful virtuosos of magic like Lee Terbosic.

“In Plain Sleight” is a wildly entertaining feast of clever comedy (some very punny), astonishing mind-reading, unimaginable illusions, and implausible card tricks. One leaves feeling a sense of wonder and awe. Don’t miss this astonishing, masterfully performed, creative show.

-LTL

Liberty Magic through August 1st at 811 Liberty Avenue, Pittsburgh, PA 15222. For tickets and information, click here.

 

 

By Michael Buzzelli

In a dive bar in the Bronx, two broken humans, Roberta (Shannon Donovan) and Danny (Michael Patrick Trimm), share a passionate night that may mean more to both of them in John Patrick Shanley’s “Danny and the Deep Blue Sea.”

Roberta is filled with coal-black shame, and Danny is so full of rage he could be the poster child for Toxic Masculinity. They are a volatile match; volcanoes of acrimony, but underneath the hate and anger, there might be love – if they can get over the obsidian walls between them.

Roberta coaxes Danny into her bed. Then, things flip, and Danny falls hard for her. At some points, watching “Danny and the Deep Blue Sea” is like a car wreck in slow motion at the Indy 500. You see when they’re going to connect, and you know it’s going to be bad, but you can’t look away.

There’s an ersatz moon, and lots of talk about birds and bees.

Side Note: When the characters mention bees, you might get “Outside Mullingar”/ “Wild Mountain Thyme” post-traumatic stress. John Patrick Shanley has a bumblebee fetish.

After recently relocating back to the ‘Burgh, Donovan bursts onto the Pittsburgh stage with a triumphant performance as Roberta, a mess in a dress. She is magnificent as the broken doll of a person.

Donovan is also the fight choreographer, and the fight between the two characters gets brutal. The hits look very real. It’s gasp-inducing.

Trimm is brilliant as Danny. He has levels of ferocity, layers upon layers like interlocking Matryoshka dolls. When his walls break down, he reveals a heartbreaking childlike innocence.

Alex Keplar’s sets are simple but effective. The broken window in the bedroom radiates with simulated moonlight, a delicious treat from lighting designer Annmarie Duggan.

Director Kelly Trumbull elicits raw, visceral performances from both actors. The tension between her actors is palpable.

“Danny and the Deep Blue Sea” is a dangerous dance between two fractured people, with a heart underneath, and it’s so brilliantly done.

While the Pittsburgh theater scene is changing with closings and rearranging venues, new production companies are popping up with amazing new shows with great actors (the Richard E. Rauh Studio Theatre has hosted this production and recently Jeremy Seghers’ “Hamlet: The Bad Quarto”).

It’s a great time to support local theater.

-MB

“Danny and the Deep Blue Sea” runs until July 19th at the Richard E. Rauh Studio Theatre, Cathedral of Learning, 4200 Fifth Avenue, Pittsburgh, PA 15260. For tickets, please click here. 

by Michael Buzzelli

“I wish I could bake a cake filled with rainbows and smiles and everyone would eat and be happy. “

“She doesn’t even go here!”

When Cady Heron (Abigail Isom) moves away from Kenya, Africa, to a small, suburban town in the middle of America, she has to learn the behavioral patterns of a whole new species, teenagers, in Tina Fey’s hilarious movie-to-musical, “Mean Girls.”

It’s Survival of the Fittest, or, rather, Survival of the Fetchiest at North Shore High. The Queen Bee, Regina George (Landry Champlin), scares students and teachers alike. The prettiest girl decides to bring Cady into her posse, which consists of the completely self-conscious Gretchen (Sydni Moon) and dim-bulb Karen (Kaley Bender), much to the chagrin of Cady’s first friends, Damian (Jack Haroutunian) and Janis (Lyda Jade Harlan). The fledgling nerds, Damian and Janis, hatch a devious plan. Cady is going to be their “Man on the Inside,” and learn Regina’s deep darks.

When Cady meets Aaron (Quincy Hampton) in Calc, she’s suddenly interested in local mating rituals, which include “Acting dumb to get a boy’s attention.” When Regina kisses Aaron at a Halloween party, Cady’s inner Mean Girl rises to the surface, and she wants to take Regina down, lock, stock, and both barrels.

And that’s just the first act!

Before intermission, “Mean Girls” goes a bit long (hit that restroom before the curtain rises). There is a big payoff of laughs in the second act.

The cast, which features college juniors (Pace University’s Brett Barthelemy), seniors (University of Cincinnati’s Haroutunian), recent graduates (Point Park’s Ben Allen Carter), and Pittsburgh natives (Maile Oravitz), among others, is delightful.

Isom does a superb job, acting, singing, and dancing her way through the musical as the lead. She’s even got the comedy chops, though she’s more of the straight man, especially (literally and figuratively) around Haroutunian and Harlan’s characters.

Haroutunian and Harlan are a fantastic comedic duo. They get some of the best lines in the show. Both of them can sing and dance as well.

Bender is laugh-out-loud funny in every line and mannerism; her strut across the stage is guffaw-inducing.

Hampton does a marvelous job as the romantic interest. He has a magnetic stage presence.

CLO Academy Faculty member Jennifer Lybarger is cast in multiple roles. She is spot-on as Mrs. Norbury (Tina Fey’s role in the original movie) and hilarious as Regina’s mom.

Even though he only has a handful of lines, Brady Patsy, another CLO Staff member, delivers his punchlines with precision.

Director Mara Newberry Greer sticks close to the source material, creating an enjoyable evening at the theater.

Side Note: In 2024, a movie version of the musical debuted. Maybe because it’s live and in-person, or the movie was miscast, but this version is better.

Not every song in “Mean Girls” is memorable. Still, Robert Neumeyer, the conductor, and George Hoydich, the musical coordinator, do a great job with the music, and the Pittsburgh CLO orchestra always comes through.

The audience was mostly comprised of teenage girls, and that’s a good thing. It’s great to see a theater filled with young people (and not just on stage). The show, at its heart, reminds everyone to be who they really are and not be caught up with their social status, likes on their Insta, and follower numbers.

Bake a cake with rainbows and smiles and make the whole world happy.

-MB

“Mean Girls” runs until July 12th at the Benedum Center,  Seventh Street & Penn Avenue, Pittsburgh, PA 15222. For tickets or additional information please click here. 

By: Lonnie the Theater Lady

Playwright Aaron Sorkin came up with the idea for “A Few Good Men” after his sister, a JAG attorney, told him about a real-life case she handled. She was assigned to defend a group of military men who followed an order, issued by a superior officer at Guantanamo, to perform a “Code Red” (disciplinary action) on a fellow soldier. This off-the-record hazing nearly killed the soldier. At the time, Sorkin was working as a bartender at the Palace Theater on Broadway. He jotted down most of the story on cocktail napkins during Act I of “La Cage aux Folles.”

“A Few Good Men” is set in 1986 at Guantanamo. Two very young, dedicated Marines, Pfc. Louden Downey (Maddox Cannon) and Lance Cpl. Harold Dawson (Andrew Hughes) are being charged with the murder of a fellow Marine who died after they performed a “Code Red” on him.

Harvard Law graduate Lt. Daniel Kafee (Brian Ferris) is assigned to defend them. He’s known for avoiding trials and agreeing to plea deals. He’s more interested in playing baseball than going to trial. He’s partnered with Navy JAG lawyer, Lt. Cmdr. Joanne Galloway. (Elizabeth Glyptis) Initially, she’s totally unimpressed with Kafee and believes he will not serve their clients well. The disagreements and pervasive tension between the two provide interesting interactions.

They travel to Guantanamo, where they meet the brash, abrasive, insulting base commander, Colonel Jessep. (Art DiConciliis) He insults Galloway’s ability to do the job simply because she’s a woman. He makes fun of Kafee’s Harvard education. He’s instantaneously unlikable.

Kafee and Galloway get to work interviewing the accused murderers and other potential witnesses. Their investigation and quest for evidence leave them with little confidence in an acquittal —if the case goes to trial.

Downey and Dawson, the young defendants, demand to go to trial to prove their innocence: the shrewd prosecuting attorney, Capt. Jack Ross (Arjun Kumar) proves to be a formidable adversary.

The riveting, tense courtroom scene builds to a highly emotional climax.

DiConciliis is brilliant in his portrayal of the volatile, obnoxious good-old-boy Jessep. He’s gruff and odious, and he believes he’s always right. His passionate delivery of the “You can’t handle the truth,” monologue is beyond stunning.

Glyptis brings Galloway to life with a nuanced, layered performance. She highlights Galloway’s intelligence, professionalism, grit, and, conversely, her vulnerability.

Ferris is  captivating as the emerging Kafee. His authentic metamorphosis from an arrogant frat boy to a creative, committed defense attorney is well performed. He exudes a kind of refreshing charm.

Kumar portrays the circumspect prosecutor with a cunning, smooth confidence. Well done.

Cannon and Hughes have little stage time. Yet, it’s enough time for the audience to care about their youth, inexperience, dedication to the military, and bravery. They are convincing in their plight.

To the credit of director   J. Cody Spellman, the entire cast conveys the gravitas of military regulations and discipline. Even their physical stances and postures are ramrod straight as militarily required.

Costume designer Alex Righetti dresses the cast in what appears to be regulation military uniforms. Or, maybe they aren’t regulation. ( Not sure about the shoes and boots.) Either way, the costumes are very official-looking and convincing.

The original music and sound design are notable. The frequent drum cadences and eerie background sounds contribute to both the military feel and the overall suspense of the play (Steve Shapiro, designer).

“A Few Good Men” delves into the theme of duty versus morality. It provides fodder for stimulating discussions. This well-acted, thoughtful view of weighty ethical issues delivers a powerful punch with a thrilling, dramatic climax. Bravo to all involved with producing this impressive, impactful show!

-LtTL

Runs through July 12 at Little Lake Theater, 500 Lakeside Drive, Canonsburg, PA 15317. For more information, click here.