'Burgh Vivant

by Lonnie the Theater Lady

The much-anticipated world premiere of Mark Souther’s play, “The Art of Wise”, the fifth in his 19th Century Collection, set in the 1820’s on a cotton plantation in Alabama does not disappoint. It explores several themes through the eyes of two families (both having the surname Wise) living on the same plantation under radically different circumstances. The white Wise family are the plantation owners who own the black enslaved Wise family.

Samantha (Maddie Kocur), daughter of plantation owners, Jonathan (Joseph McGranaghan) and Sarah (Jenny Malarkey), is less than enthusiastic about taking the private painting lessons that her parents foist upon her. They’re thrilled about what they believe is her exceptional artistic talent, at such a young age.

Conversely, Amale (Adjoa Opoku-Dakwa), a young house slave, relishes observing the painting lessons. Amale and Samantha develop a tenuous friendship based on keeping each other’s secrets.

L-R – Karla C. Payne, David Minniefield, Joseph McGranaghan*, Adjoa Opoku-Dakwa, Maddie Kocur and Justus Payne.

Photographer:  J.L. Martello/18ricco 

Bendoo (Sheldon Ingram) the strong, loving patriarch of his enslaved family, wife Oni (Karla C. Payne), son Albert (Justus Payne) and daughter Amale, yearns for his family’s freedom so he can fulfill his dream of returning to his beloved village in Africa with them. It appears that art could be the ticket to their freedom.

Sheldon Ingram and Adjoa Opoku-Dakwa

Photographer:  J.L. Martello/18ricco

It would be a spoiler to reveal any of the shocking situations that occur in this intricately written gripping script. Suffice it to say that it addresses many weighty themes—-betrayal, revenge, deception and the immorality and brutality of the slavery system. The serious themes are counterbalanced by the themes of familial love, devotion, friendship and their power to bring light into difficult situations. Several beautiful, dreamlike, lighthearted scenes accompanied by music, depict a perfect existence and lighten the mood.

The entire cast impresses with their unflagging emotional authenticity.

Ingram touchingly portrays Bendoo’s strength, resolve and love for his family.

Karla C. Payne’s poignant portrayal of Oni is genuine and at times heart wrenching. Her love for Bendoo is palpable.

McGranaghan expertly embodies the brutal, smug, self-important, idealogue. He is convinced of his own superiority and makes it easy for the audience to dislike Jonathan.

Malarkey’s Sarah radiates intelligence and an empathy that her husband lacks. She’s convincing as a loving woman who’s somewhat limited by the social mores of the times.

Kocur creates a sympathetic Samantha, boxed in by her own deceptions and youthful indiscretions.

David Minniefield’s remarkable embodying of severely abused Campie is soul crushing.

Adjoa Opoku-Dakwa, a ninth-grade student and Justus Payne, an eighth grader are current and I predict future, stage stars. Their youth in no way limits their accomplished performances. Both delivered their lines perfectly and gave emotionally natural performances.

Kudos to the dynamic team of Mark Southers (playwright), Monteze Freeland (director) and Tony Ferrieri (set designer) for working together to produce this achingly beautiful, exceptional production.

Not only does “Art of Wise” tell a riveting, gripping story but it’s a consequential glimpse into what once was. Don’t miss this brilliant production.

LtTL

“Art of Wise”, a Pittsburgh Playwrights production, runs through May 4 at the Madison Arts Center.

For more information, click here.

By Claire DeMarco

“Jesus Christ Superstar” is a 2000 plus year old story based on Christ’s life during his final earthly days.  It’s a Biblical history with a bit of a twist!  Jesus (Brecken Newton Farrell) is the main character, but Judas (Treasure Treasure) and Mary Magdalene (Kamilah Lay) are prominent co-stars in this rock opera (performed without dialogue).

Based loosely on the Gospel and the last days of Jesus, this slightly revised history debuted in 1971 with lyrics by Tim Rice and music by Andrew Lloyd Webber.  Nods to costumes and various modern slang reinforce that time frame.

This re-imagining of the Gospel concentrates specifically on Judas and his relationship with Jesus, his concerns, his frustrations and fears.

Mary loves Jesus, is his greatest support but there are subtle suggestions that something more possibly exists (from her perspective).

Judas is concerned that Jesus’s popularity might cause a problem with the Romans who control the country.  He is always advising, arguing and lamenting that Jesus is straying from the intent of their mission and what he is doing will only aggravate the Romans.

Judas’s small fractures in his relationship with Jesus finds him reaching out to Caiaphas the Jewish High Priest (Paul Lutty III).  Caiaphas and his fellow priests also find Jesus a threat. Judas’ betrayal begins.

Jesus’s supposed crimes come before the Roman governor Pontius Pilate (Paul Binotto) and we all know how this story ends.

Pittsburgh Musical Theater’s production of Jesus Christ Superstar is visually electric and vocally outstanding!

What a talented group of actors who can sing, dance and play musical instruments.  Kudos to the entire cast!

Hold on to your seats!  The music might just propel you right out of them!  If not during the show, then definitely when the highly charged jam finishes off the evening after curtain call.

Treasure Treasure as Judas and Brecken Newton Farrell as Jesus.

As Christ, Farrell is multi-dimensional.  He succeeds as the loving Savior, the angry man who kicks the vendors out of the temple, the doubting Son facing a known ending. His performance covers a wide range of emotions. “Poor Jerusalem” and “Gethsemane” highlight his singing skills.

Treasure is a treasure – outstanding as Judas with movements graceful, yet strong.  Tense emotion is expressed through Treasure’s strong facial expressions and powerful voice.   “Heaven on Their Minds” and “Damned for All Time/Blood Money” are examples of vocal excellence.

“I Don’t Know How to Love Him” is one of the most popular songs of “Jesus Christ Superstar” and Lay’s delivery is excellent.  Her interpretation of Mary conveys both strength and gentleness. She is also a gifted violinist.

Lutty’s voice is deep, strong and powerful!

With a strong beautiful voice, Justus Wheatley carries the song “Simon Zealotes” to a new high.

Making a brief but memorable appearance as King Herod in a Liberace-like costume, Taylor Isaac Gray provides comedy relief as the silly, singing and piano playing ruler.  His rendition of “King Herod’s Song” hits the mark.

“Jesus Christ Superstar” lyrics by Tim Rice and music by Andrew Lloyd Webber.

Lighting Designer Forrest Trimble and Scenic Designer Todd Nonn compliment one another’s work as the set and lighting work seamlessly together.  An impressive two story-high lighted cross showcases their work.

Excellent orchestration under Music Director Dr. Francesca Tortorello.

Impressive direction and choreography by Danny Herman, Rocker Verastique and Lucas Fedele.

-CED

“Jesus Christ Superstar” is a production of Pittsburgh Musical Theater.  It runs from April 3^rd – April 13^th at the Byham Theater, 101 6th Street, Pittsburgh, PA

For more information, click here.

By Michael Buzzelli

Take four Hallmark rom-coms, squish them together, add some hummable tunes, a hippie aesthetic, and you have Shaina Taub and Laurie Woolery’s magical musical adaptation of William Shakespeare’s “As You Like It.”

Note: There are two productions of “As You Like It” running concurrently. This is the University of Pittsburgh’s musical production. This production is closer in tone to “Hamlet: the Musical!” in  Dee Caruso and Gerald Gardner’s season 3 episode of “Gilligan’s Island,” a brilliant episode of one of the world’s stupidest sitcoms.

We begin with the melancholy Jacques (Shea Sweeney) is working on the famous “All the World’s a stage,” soliloquy, only this time the famous speech is set to music.

After a meet-cute at a wrestling match, Orlando (Kerragan Kurtz) falls head over head over heels, or rather hood over poulaines, for Rosalind (Olivia Tran-Speros).

But Oliver (John Papadimitrou) banishes his benign brother Orlando to the woods. Meanwhile, Duke Senior (Andy Levin) banishes Rosalind to the woods. She dresses up as a boy and takes off with Duke Senior’s daughter Celia (Virginia Keister) and Touchstone (Cade Teribery) the clown.

Being banished to the woods has never been more fun.

In the forest of Arden where we lay or merry scene, things get complicated quickly as love blossoms all over the freaking place!

There’s a love triangle between the disguised Rosalind/Ganymede with a shepherdess Phoebe (Stefania Di Michele) and Silvia (Marie Southall). Touchstone falls for Andy (Evan Knott). The previously banished Duke Frederick (Landon White) doesn’t recognize his daughter in boy drag.  Rosalind in her disguise tries to test Orlando’s love for her/him.

Don’t worry. We’re assured of a happy ending early on.

The cast is exuberant,  jubilant. It is delightful to see these men and women as they make their entrances and exits on the stage, players with woeful ballads and strange oaths.

Kurtz is tremendous. He has the swagger and the charisma to charm the fair Rosalind.

Tran-Speros is an excellent Rosalind.

Side note: Very little effort is made to disguise her as a boy. It’s evident that while very talented, she would not win a Drag King competition.

White’s banished Duke Frederick and Sweeney’s Jacques are particularly fun, especially when sparring together.

Other standouts include Teribery’s Touchstone, Southall’s lovestruck Silvia, and Keister’s Celia.

There is fantastic work by conductor Ben Brosche and his band, consisting of Victoria Murphy, Aldo Dilanni, Kamran Mian and Samuel Couch.

P.S. This reviewer cackled every single time Duke Senior and his cronies made their musical entrance. Think “Darth Vader’s Imperial March,” but with giggles.

Britton Mauk’s light and airy set matched with Maya Jones’s bohemian wardrobe plopped us right in the center of the Age of Aquarius.

In a world where Diversity, Equity and Inclusion have become political buzzwords, this musical adaptation of “As You Like It” is filled with queer joy.

The cast is having a ball, and you will too. If you’re in the mood for mindless fun, this production will be just as you like it.

-MB

“As You Like It” runs from April 4 to 13 at the Charity Randall Theatre, 4301 Forbes Avenue, next to the Cathedral of Learning, Pittsburgh, PA 15213. For tickets and additional information, click here.

By: Joseph Szalinski

Much like cities in England, Pittsburgh is a wet and gloomy place where people talk funny, so it makes sense that British comedy has some fans here. While most are familiar with the work of Shakespeare or Monty Python, there are other important works that have shaped the genre. Audiences in the north hills now have a chance to familiarize themselves with an aforementioned hallmark of humor, thanks to Hay Fever, a production from Community Theatre Players, directed by Hannah Dearborn, now running at Community Presbyterian Church of Ben Avon in Ben Avon, PA.

Written by theatrical multihyphenate, Noël Coward, Hay Fever is an uproarious farce riddled with eccentric characters, notably the Bliss family. This comedy of manners manages to satirize the narcissism and other ills of the wealthy and upper class while maintaining a silliness that captivates from beginning to end, especially thanks to the performers involved.

The performers in this show are wonderful on their own and with their fellow castmates. Employing whimsical physicality, clever dialogue, plenty of chemistry, and the like, they bring this hilarious world to life. Sorel Bliss is expertly embodied by Carly Chotiner. Calvin Brookins does a wonderful job as Simon Bliss. Mace Porac, Ellen Kalikand Todd Foose entertain as Clara, Judith Bliss, and David Bliss, respectively. Adam Merulli is great as Sandy Tyrell, as is Mary-Cait Cox as Myra Arundel. Eric Rummel and Heather Johnson Smith round out the cast as Richard Greatham and Jackie Coryton.

Assisting the performers in realizing this story are a slew of technically talented folks. Jeff Cieslak’s work with lighting and sound elevates the immersive qualities of the production. Costumes by Amy Sikora Baschnagel, Fran Halley, Alisha Mehlo, and Mace Porac help flesh out the characters. Director Hannah Dearborn crafts sublime sound design. Fran Halley has designed a phenomenal set that has been beautifully constructed by an army of artists.

Community Presbyterian Church is quite the cozy venue. It’s large enough to accommodate a decent-sized stage and ample crowd, but small enough to retain a degree of intimacy that works to its benefit. Having the opportunity to see a show here is something every fan of community theatre should take advantage of.

Community Theatre Players are a group of driven individuals dedicated to putting on tremendous live events. Despite not getting a chance to do too many shows in a season, they are determined to make each show they perform an incredible experience. Invaluable to their community and to community theatre in Pittsburgh as a whole, it’s exciting to think of what they might have in store for their next show. I’m sure it’s bound to be something fun.

-JS

Hay Fever Continues its run April 4^th & 5^th at Community Presbyterian Church of Ben Avon in Ben Avon, PA. For tickets and additional information, click here.

Reviewed by Dr. Tiffany Knight Raymond, PhD

The Pittsburgh Cultural Trust and Liberty Magic continue their 2025 show series with Swedish magician Malin Nilsson. She’s an award-winning, third-generation magician who brings her show, Magic: Unplugged, to Pittsburgh for a 5-week run.

Malin is a stage name and acronym inspired by her love of magician Max Malini, standing for “Magical Alternative Lavishly Ignoring the Norm.” Interestingly, Malini was not Max’s given name as the Polish immigrant was born in 1875 as Max Katz Breit, so it’s some meta-meta layering.

Like her idol, Malin is also a street magician, which means she performs close-up magic with common objects. Her favored tools of the trade are rings, ropes and cards. In fact, she replicates one of Malini’s famous card tricks, paying homage to his work while bringing it into the 21st century. Malin inculcates the everyday with newfound power, helping us see common objects in transformative ways. She accomplishes this most magnificently and memorably with a simple loose-leaf tea infuser.

Malin is a showwoman. Dressed in a black tulle skirt, she keeps her wand tucked into her boot and dons the quintessential magician’s black top hat, which she often utilizes as a prop. She dramatically enters and exits through a curtain of metallic gold streamers. This lends both a fantastical air to her performance and levity given the audience can see her on the other side of the curtain’s frame. Malin frequently tosses confetti throughout her performance, reminding us of the power and importance of celebrating small moments and joys.

Street magicians are also hype people who cultivate audience response. Malin fosters interactivity as she brings audience members on stage. However, most of her magic is performed to music, so transitions sometimes feel awkward and forced. This may be due to the fact English is not her native language, so bantering in English while performing may be a Pittsburgh bridge too far. She is self-aware and self-deprecating in this regard, even noting at one point that she is not a “mistress of suspense,” giving the audience the freedom to cheer for her.

The Swedish have a strong connection to animals, and accordingly, have some of the strictest animal welfare legislation globally for both pets and farm animals. Malin translates that love transatlantically. Animals and natural forms are a key theme within her show. Malin demonstrates an authentic, gentle whimsy with animals as she taps into her actual hat and transforms the classic magician/rabbit relationship. The figure of the rabbit becomes a touchstone across the show.

Malin’s show takes viewers on a journey that gains power as it unfolds. Her acts of magic become progressively more impressive, and the audience’s oohs and aahs rise in tandem. At one point, she quotes Max Malini who famously affirmed, “I am the show.” One can sense him nodding across the time-space continuum at his protege as that statement also applies to Malin Nilsson.

-TKR, Ph.D.

Unplug with Malin Nilsson through May 4, 2025 at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA, 15222.  Liberty Magic offers a VIP experience to go backstage with Malin after her 70-minute show. Purchase tickets online here.

by Michael Buzzelli

With a sprinkle of fairy dust and plenty of happy thoughts, we’re off to Neverland in a slightly more modernized version of Sir J. M. Barrie’s iconic classic “Peter Pan.”

Wendy Darling (Aubrey-Mei Rubel) thinks she’s old enough to care for her younger brothers, John (Owen Suarez) and Michael (Zaynn Arora), instead of the blink-and-you-miss-her babysitter, Liza (Hannah Schmidt), her parents (Shefali Deshpande and Cody Garcia) have hired.

The moment Mr. & Mrs. Darling step out of the room, Peter Pan (Kruz Maldonado) flies in [It’s a high-flying spectacular entrance, complete with sparkling fairy dust shimmering over the set].

Soon, after a bit of business with Pan and his ornery shadow, Peter convinces Wendy and her siblings to fly off on an adventure.

Sci-Fi Side note: The journey to Neverland (beautifully rendered with projection design by David Bengali) is a phantasmagorical, reminiscent of Ant-Man’s plunge into the Quantum Realm in the Marvel movies. Neverland even has a time dilation like the Quantum Realm.

Pan and the Darlings arrive in Neverland, which is filled with Lost Boys, a displaced tribe of the 500 nations, fairies, pirates and crocodiles. 

Peter battles and then befriends Tiger Lily (Bailey Frankenberg). Then, the Lost Boys team up against Hook (Cody Garcia in a dual role) and his dysfunctional and dimwitted band of pirates.

Side note: This band of pirates is even gayer than the pirates in HBO Max series “This Flag Means Death,” which is quite a rainbow-colored accomplishment.

This production is magical. There’s a double entendre or two, even playful sexual innuendo, but most of those jokes will fly higher over the young audience’s heads higher than Pan himself.

Malonado is a marvelous Pan. He prances, dances and displays exquisite aerial acrobatics. He has a sonorous singing voice and can crow with the best of the Pans.

Hook is the one to watch. Garcia is chewing up Anna Louizos’ beautifully constructed scenery. Every entrance is an instant giggle.

His right-hand man, Smee (Kurt Perry), is delightful. He’s simpering and cowering. A cross between Charles Nelson Reilly’s Claymore Gregg on “The Ghost and Mrs. Muir,” and Jonathan Harris’s Dr. Zachary Smith in “Lost in Space.”

Arora is adorable as Michael.

The aforementioned projection design and the scenery make this a must-see “Peter Pan” production. It’s captivating from Pan’s glorious entrance until the croc swallows Hook (we don’t call Spoiler Alerts on 120-year-old stories).

There’s some terrific fight and dance choreo by Paul Rubin and Lorin Latarro. There’s only one hummable song, “I Won’t Grow Up,” but the other songs are fun, jaunty tunes, wonderfully executed by Jonathan Marro’s orchestra.

Director Lonny Price goes full on tongue-in-cheek, over-the-top spectacle, and its theatrical nirvana.

Larissa Fasthorse revised and updated the story from Barrie’s original. The playwright makes some bold choices in the beginning with some modern updates (Wendy wants to be a TikToker, and tries to go to bed with her iPad at her side), but makes a wise decision to leave out Nana the dog and replace the canine (sometimes a person in a costume) with an actual babysitter.

There’s a weird “Tricks are for Kids” sort of ending, where Wendy, as an adult, is too old to fly off with Pan. Peter takes her daughter Jane (Zanie Love Shaia) instead.

During the entire production, Peter Pan is pulling on your inner child and screaming, “Come out to play!” It’s a magical ride for children and for those of us who refuse to grow up completely.

-MB

“Peter Pan” runs April 1 to April 6 at the Benedum Center for Performing Arts, 7th and Penn Avenue, Pittsburgh, PA 15222.  For tickets and additional information, click here. 

By: Joseph Szalinski

Count your sheep and grab your friends to see everyone’s favorite pastoral comedy, As You Like It, in a production from Steel City Shakespeare Center, directed by Jeffrey Chips and Alexandra Hellinger, now running at West View Hub’s Hubworks in West View, PA.

A humorous commentary on court and country life, As You Like It follows a slew of characters as they navigate life, love, and the messiness that comes with it. Along the way there is betrayal, conflict, humor, song, and plenty of romance. Boasting a cast of actors who each assume multiple roles; this production is brimming with talent.

Bob Colbert gets to show off his physicality and comedic sensibilities with his roles as Touchstone, Oliver, and Duke Senior. Michael Kirk, in addition to serving as music director, plays Jacques, Adam, Duke Frederick, Lebeau, and Silvius. His commitment to the physical intricacies of each character is astounding, and a thrill to watch as he bounces between characters. Alexandra Hellinger plays Celia, Phebe, Amiens, and Charles. Despite the fact that Celia is the best demonstration of her abilities, her other portrayals allow her to show off her comedic side, particularly Charles. Lauren Scheller-Wolf, who is also one of the show’s producers, does double duty as Rosalind and Audrey, delivering solid performances as each character. Trevor Buda plays William, Corin, and Orlando, employing plenty of humor and charm, especially as the lovesick poet. Anastasia McDermott and Adelaide Schmich do an amazing job filling out the remainder of the roles.

In addition to being versatile actors, the cast is also musically talented. At various points during the show, they dart offstage to grab their instruments for lively jam sessions. Comprised of traditional tunes like, “Wayfaring Stranger,” “Scarborough Fair,” and “Blow, Blow Thou Winter Wind,” the intermittent concerts add even more variety to this production. To make things even more interesting, the actors seamlessly swap instrumental and singing duties with each song.

On a technical level, this production is relatively minimalistic. Lighting and sound are left alone in favor of creative costuming and props, masterfully handled by production designer Hannah Ruth Moss. Costume changes appear effortless, which helps the flow of scenes and assists the audience in differentiating each actor’s various characters. The most ingenious use of a prop in the show is when the performers create an impromptu ring for a scuffle, which is executed beautifully, a cool mix of props and choreography.

Hubworks offers an intimate space for performances of all sorts. While theatre is typically hosted there, the space has seen events and workshops that range from music to robotics. An indispensable resource not just for the community, but for anyone visiting West View, the West View Hub, as a whole, does a tremendous job of providing opportunities for people of all ages.

Steel City Shakespeare Center is a wonderful theatre company that puts on phenomenal productions. They do a great job of curating seasons and choosing interesting shows to perform, being knowledgeable of their regular actors’ strengths while selecting plays that interest outsiders as well. Chalk full of creatives who continue to bring new ideas to well-seasoned stories, SCSC is a company that is destined to become the default for quality theatre just north of the city.

-JS

As You Like It continues its run April 4^th, 5^th, and 6^th at West View Hub Hubworks in West View, PA. For more information, click here.

by Lonnie the Theater Lady

Christopher St. Pierre’s  creative adaptation of the script and his funny lyrics in “Speed: The Musical,”  satirize the 1994 movie, “Speed”. The movie plot is closely followed and (in my opinion) enhanced with an original musical score rife with catchy melodies and comical lyrics. The entire cast harmonizes beautifully in several numbers.

The plot revolves around a disgruntled retired bomb squad police officer, Howard Payne (Eric Bernat), planning to exact revenge on some of his former coworkers whom he believes have wronged him. His diabolical scheme begins with him detonating a bomb in the elevator of a tall building. The inventive use of puppetry in this scene whimsically softens the horror of people being slaughtered. Payne continues his revenge tour by planting a bomb on the underside of a public bus in Los Angeles. The device will explode if the bus reaches a speed below fifty miles per hour. The job of preventing this explosion falls to police officers Jack Traven (Alexis Cromer) and Detective Harry Temple (Fred Brown) assisted by Lt. “Mac” McMahon (Tenly Schmida). When Sam, the bus driver (Will Weiner), is shot (in a scene that is very funny– due to a costuming decision), passenger Annie Porter (Aubrey Thompson) takes over driving the speeding bus. Hilarity ensues!

Cromer’s role is particularly physically demanding, and her energy never wanes. She pleases with her strong vocals. She and Thompson shine their sweet, touching “Meant for this World” duet.

Brown not only skillfully and amiably plays a detective, but he composed the music in the show, and he also directs this fast-paced extravaganza of constantly moving, cleverly designed, huge set pieces and props—picture a nearly life-sized front end of a bus.

Bernat’s portrayal of a madman delves deeply into his psyche, making him somewhat sympathetic- but not for long. He makes it easy to dislike and fear his evil character. The surreal musical number “The Whim of a Madman,” performed by Bernat and several other cast members, is simultaneously chilling and funny.

Thompson, the ingenue tasked with driving the bus, personifies Annie’s sweet innocence wrapped in toughness and grit.

Schmida’s Mac flies off and on the stage IN and AS a helicopter. Brilliant, hilarious prop/costume work! And, when she rescues passengers from the bus— beyond hilarious.

Nick Stocks has some wonderful musical moments as he sings the witty, poignant number, “The Life of a Bus.”

Without exception, everybody in the large cast throws themself into their roles with wild abandon. Every role demands great physicality, and this cast delivers it!

The band is effective in creating different moods, ranging from suspenseful to uplifting and joyous. The talented musicians never overplay the vocalists. That is notably difficult to do in a small venue. Well done.

The realistic sound effects, well-designed lighting and simple but effective special effects are noteworthy for their contributions to the overall action and setting various moods.

This campiest (is that a word?) of all campy shows is a delicious mix of Monty Python, Laugh In, and Saturday Night Live with a twist of Lucille Ball as a garnish.  It’s delightfully, smartly silly, but it never stoops to goofy. I hope this show is produced again. Its rapid-fire introduction of many unexpected humorous elements makes it one that can be enjoyed multiple times.

I believe “Speed: The Musical” has all the makings of an enduring cult classic. That’s a cult I’d love to join!

LtTL

“Speed :The Musical” a DYI production completed its run at the Glitter box Theater on March 30, 2025.