'Burgh Vivant

By Michael Buzzelli

City Theatre takes another trip to Pemberley in “The Wickhams: Christmas at Pemberley,” a sequel to “Miss Bennet: Christmas at Pemberley,” which is itself an unauthorized sequel to Jane Austen’s iconic “Pride & Prejudice.”

While “Miss Bennett: Christmas at Pemberley” is a tale told upstairs in the sitting room, “The Wickhams: Christmas at Pemberley” is the same holiday weekend told in the kitchen.  Playwrights Lauren Gunderson and Margot Melcon are doing a Jane Austen version of “Downton Abbey.”

Full disclosure: I am a Janeite, a die-hard Jane Austen fan. I have read the books and seen the movies and television miniseries.  I even have a weird soft spot for Lady Susan Vernon (from an unpublished novella and a film called, “Love and Friendship”).

Cassie (Anna Bakun) is a new maid to the mansion. She has to report to Mrs. Reynolds (Shammen McCune) and work alongside her childhood friend, Brian (Evan Vines), a footman. It’s obvious from his first interaction with her that he’s crushing hard.

The lord and lady of the palatial home, Fitzwilliam (Juan Rivera Lebron) and Elizabeth (Melessie Clark) stop into the kitchen occasionally to make sure everything is going smoothly.

Hint: It’s not.

The rakish, roguish George Wickham (Brett Mack) shows up to retrieve his wife, Lydia (Alex Sheffield, reprising her role from last year’s show). If you’re a fan, you know the sort of trouble he brings. If not, sit back and watch Mack’s George exude evil charm (the actor is brimming with charisma).

Fans familiar with “P & P” know that once George is on the scene, trouble is sure to follow. While being a knowledgeable Austen fan helps, it’s by no means necessary to figure out what’s going on at Pemberley.

Gunderson and Melcon write a redemption arc for the brattiest Bennet, and there is moment near the end of the play that may elicit cheers.

The plot to watch is the slow-burn love story between the maid and the footman.

The character to watch is Mrs. Reynolds.

McCune is glorious as the stoic head of household. Every line is delivered with verve. Much like the ever-present kettle on the stove, Mrs. Reynolds, simmers, boils and even bubbles occasionally. Underneath her character’s hard exterior is a soft center.

Bakun is terrific as the newest member of the Pemberley staff. Vines has an infectious smile. Bukun and Vines have chemistry together. They’re cute and you will want to root for them.

Sheffield’s Lydia shows more emotional depth in this version of the story, and she does a fantastic job.

Clark and Lebron make a marvelous couple, especially as lord and lady of the manor.

Director Kyle Haden directs with sense and sensibility.

Anne Mundell’s set is fantastic, and her projection design adds to the magic of Christmas. She is aided by Carrie Anne Huneycutt’s creative costumes that perfectly fit the scene.

“The Wickhams: Christmas at Pemberley” is a delightful show filled with Christmas cheer.

Miss Bennett and the Wickhams are part of a trilogy of Christmas at Pemberley stories. Perhaps next year we will be treated with Georgiana and Kitty’s tale.

-MB

“The Wickhams: Christmas at Pemberley” runs from November 30 until December 22, 2024 at the Pittsburgh City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. For more information, click here.

By Lonnie the Theater Lady

“Every Christmas Story Ever Told (and Then Some)” is a fast-paced, lighthearted show that is chock full of puns, and often surprising, always funny dialogue. Interesting, odd, worldwide holiday traditions are sprinkled in between poking fun of just about every Christmas story known to man.

Jim (Johnny Terreri) dressed as Scrooge begins to perform “A Christmas Carol”. He believes this Dicken’s classic is the obvious and only choice. Sam (Carina Ianarelli) and John (Ray Cygrmus) strongly oppose that choice. They believe it’s overdone and trite. Jim does everything he can to coerce them into doing “A Christmas Carol”. Sam repeatedly pulls the play in other directions by campaigning for any Christmas story other than the Dicken’s classic. John just goes with the flow and runs off and on the stage in various costumes, carrying  absurd props. Very funny.

Kudos to all three of the actors for their unflagging energy and uninhibited silliness. All of them appear to be having a great time as they play a multitude of different characters, some of different genders.

Terreri, clearly exasperated is nonetheless persistent. He shines with his entertaining Jimmy Stewart impersonation.

Ianerelli uses lots of facial expressions, body posturing and vocal nuance to maximize the comedic aspects of her characters. Her comedic timing is impressive.

Cygrmus is hilarious playing his roles. His female roles are particularly funny! He throws himself fully into each of his characters.

Director, Lorraine Mszanski is to be commended for keeping up the rapid pacing of the dialogue and action.

There are a couple of magical moments when the theater  transforms into a virtual Christmas wonderland. Beautiful! Another high point is the Macy’s Thanksgiving Day Parade. Over the top funny!

-LTL

“Every Christmas Story Ever Told (and Then Some)” runs from December 5-15 (but changes venues). For more information, click here.

By Michael Buzzelli

Tom Stoppard’s “Arcadia” is a reference to two famous paintings, one by Nicholas Poussin and the other by Giovanni Francesco Barbieri, more commonly known as Guercino. The painting depicts the same events, retold by different artists.

In Stoppard’s play, the past and the recent past comingle in Sidley Park, one large country estate in Derbyshire.

In 1809, a roguish Septimus Hodge (Elija Corbin) tutors young Thomasina Coverly (Emma Delaware). Hodge gets himself in trouble with Ezra Chater (Colin Villacorte). Hodge has been caught in the gazebo with Chater’s wife.

In 1993, the pompous Bernard Nightingale (Riley Nevin) journeys to Sidley Park and meets with the current Coverly family, Valentine (Ayden Freed), Chloe (Julia Resnick) and Augustus (Rayhan Khimji).  Once on the property, he encounters Hannah (Lorna Lominac), an author he panned in a scathing review years earlier.

Stoppard’s play is about time, life death, but it’s also about mathematics, poetry and the pursuit of love and sex. If it sounds highbrow, it is, but it is also has some deliciously funny moments.

There’s also a moment when Chater wishes to kill Hodge for giving him a bad review. There’s a lot of talk about how hurtful criticism can be (you have to wonder if the playwright was lashing out at a bad review of his own).

No one needs to worry about a bad review of this production.

Corbin is wonderful as the ne’er do well tutor. He shines every moment he’s on stage.

Lominac delivers a terrific performance as well. She exudes confidence on stage, in character and as an actor.

Jocelyn Stoffel’s Lady Croom is another fine performance. While she plays the imperious matriarch, she shows some softer sides, a nuanced vulnerability.

Delaware is charismatic and oozes joy. It’s a beautiful but stirring contrast to her character’s tragic fate.

Thomas Smith infuses droll humor into the role of Jellaby, the butler. He has a huge presence in a small role.

Michael Montgomery’s costumes are top notch. The Regency costumes are so good, they look like they were stolen off the set of “Bridgerton.”

Emmaline Naud’s scenic design is a beauty to behold. The tall marble-esque Doric columns and faux atrium arches create a classical look, with the barest hint of the pastoral garden beyond the doors.

Philip Winters gets some excellent work out of his actors. Though, some of the dialogue seemed rushed, and there are a few moments when the actors sit with their backs to the audience a little too long. It’s the curse of the thrust stage.

You don’t have to understand Fermat’s Last Theorem, Latin, or any advanced study to enjoy “Arcadia.”

-MB

“Acadia” runs from December 4 – 8, 2024 at the Highmark Theatre inside the Point Park University Theater,  350 Forbes Avenue, Pittsburgh, PA 15222. For more information, click here. 

By Michael Buzzelli

The great Cindy Lou Who (Lara Hayhurst) makes an appearance right here. By here, I mean the cabaret called Greer.

Cindy’s  grown up but she’s kind of punk. With Christmas plans canceled, she’s in a bit of a funk. Cindy comes to the ‘Burgh to tell us a very long story. Her tale is funny, but it’s somewhat gory (You won’t want the facts about what happened to Max).

Cindy grew up, married the Grinch, and then hit the skids. By the way, this Seuss story is not for the kids.

Cindy Lou is a scamp. Maybe even a tramp.

There are references of other characters from the doctor named Seuss, even a shout out to Thidwick, the Big-Hearted Moose.

The story you may have guessed is told in rhyme, it’s hilarious mostly, but it wears thin after a time.

“Who’s Holiday” is a tour de force for one Lara Hayhurst.  She is blisteringly funny, in a quick, bright burst.

We last saw Hayhurst in that hilarious Fillinger play. She’s was fierce there and also in this one, “Who’s Holiday.”

There are costumes designed by Alexander Righetti. I liked the red sequin dress with straps like spaghetti.

Travis D. Klingler does Lara’s makeup and hair. He does it with panache, brilliance and care.

Bryce Cutler created the scenic and projection design. It’s genius, why it’s way more than fine. It’s quite exquisite. You simply must pop down to the cabaret for a visit.

If this rhyming cadence doesn’t annoy, “Who’s Holiday” will bring you much joy.

The director is a Compton named Trey. He does a marvelous job with this little play. But Hayhurst is the reason to celebrate with the Who’s this holiday season.

-MB

“Who’s Holiday” runs from December 1 to December 31 at the Greer Cabaret Theater, 719 Liberty Avenue, Pittsburgh, PA 15222. For more information, click here.

By Claire DeMarco

“MJ the Musical” centers on Michael Jackson’s 1992 “Dangerous” tour, a point in time thought to be Jackson’s high point creatively.  The musical was nominated for ten Tony Awards and won four in 2022.

Note:  Michael Jackson’s role in this production is carried by various actors as we are introduced to MJ (Jamaal Fields-Green) and travel back in time to meet the youthful Little Michael (Josiah Benson, Bane Griffith) and the Michael (Erik Hamilton) of “Thriller” fame.

Preparing for the upcoming tour, Rob (Devin Bowles) works with MJ on its details.  We learn upfront that MJ is never satisfied but is constantly looking for perfection.

This perfection dates back to father Joseph Jackson (Devin Bowles).  Once Joseph Jackson realizes the talents of his sons (The Jackson 5) and most especially Little Michael, he pushes him relentlessly.  Songs from the early days like “ABC” are highlighted in flashbacks to the Jackson 5’s beginnings.

As little Michael matures to Michael (Erik Hamilton) he becomes the more prominent member of the group and eventually leaves to pursue a solo career.  He is crowned the “King of Pop.”

Slight suggestions, hints and innuendoes crop up around this time to pill use.

As he prepares for the “Dangerous” tour, he is MJ – in his final physical transition and at the height of his creativity.

MJ – one of a kind. Unique, talented, child-like, an enigma.

Phenomenal performance by Fields-Green.  His voice, tilt of his head, facial expressions, excellent dance movements totally capture the essence of MJ.  He is convincing as the perfectionist in all his creative endeavors, never losing that early push for perfection by his father.  Fields-Green’s delivers with “She’s Out of My Life.”

Hamilton as Michael moves us from Young Michael to a point in time when Michael’s confidence enables him to speak out and move on as an independent performer.  His delivery of “Thriller” is riveting.

Anastasia Talley portrays Jackson’s mom, Katherine Jackson as supportive and nurturing.  She is firm but gentle.  “I’ll Be There” highlights Talley’s beautiful voice that she sings with her son.  The lyrics confirm their special relationship.

As both MJ’s Tour Director and his father, Joseph Jackson, Bowles easily transitions from the sensible tour director to an overbearing, pushy father.

Benson and Griffith both take on the role of Little Michael.  What gifted young actors.  Their singing and dancing are exceptional.

A round of applause to the entire cast of actors, dancers and singers.

What an exciting show!!!

Note:  There are approximately 50 songs in “MJ the Musical”, many, of course, presented in abbreviated form. “Billie Jean,” “Black or White,” “I Want You Back,” “Man in the Mirror,” and “Stranger in Moscow” are just a few songs from that extensive list.

The set and lighting optics are overwhelming.  Technical displays are sharp, colorful and seamless, often bursting on the stage like fireworks.

Hats off to Scenic Designer (Derek McLane) and Lighting Designer Natasha Katz, and a salute to the orchestra under the direction of Nathanael Wilkerson.

Excellent work by Christopher Wheeldon (Director and Choreographer).

-CED

“MJ the Musical” performances run from November 19^th – December 1 at the Benedum Center, 7^th & Penn, Pittsburgh PA 15222. For more information, click here. 

By Michael Buzzelli

Imagine you’re at a subterranean bar below Bleeker Street in NYC’s NoHo neighborhood, listening to hip, jazzy renditions of popular Broadway songs, sipping an aged, single-barrel bourbon, and you have an evening with Jason Robert Brown.  His residency at SubCulture was precisely that.

Brown, whose bio reads like a “Who’s Who on Broadway,” is not just an award-winning composer and lyricist but a sonorous-voiced singer.

He started the late night cabaret (one of two shows, a 7:00 PM and 9:30 PM), with “Hope.” A song he wrote back in 2016, after the presidential election, as he tried to summon up the emotion after a disappointing loss. Sadly, history repeats itself. A reprise. The song evoked several emotions, moving my seat mate to tears.

Note: Brown is not overtly political but made his feelings about which side of the aisle he sits on.

Things liven up by the time he sings, “I love Betsy,” a jaunty tune from “Honeymoon in Vegas.” The song is packed with detail and it’s a joyous rendition.

Following the song’s conclusion, Brown addressed the audience, confessing in an academic tone that he entered the song too late. The self-effacing humor received raucous laughter and a thunder of applause.

He had us in the palm of his hand.

The evening flowed from funny anecdote to gorgeous melody.

He treated the cabaret audience to two songs from his upcoming musical, “Less,” an adaptation of the scintillating satirical novel from Andrew Sean Greer (no relation to the venue).

At one point, he brought the house lights up and answered questions, delivering droll responses. A young woman asked, “I have to write a song for my college class. How do I do it?”

“Don’t. I don’t need the competition.”

It was a hilarious remark, that he immediately contradicted his posture and gave some solid advice, ending with, “Every college kid wants to write a sad, soulful song. Try to write something that brings you joy.”

Just as Brown brought joy to a packed house.

Additional note: The 7:00 PM show was sold-out, but there was a little room left in the 9:30 PM show, but less than you would expect for a Monday night.

Brown was accompanied by two terrific musicians. When Todd Reynolds plays the fiddle, it is exquisite. Reynolds gets a beautiful moment, a violin solo from “Parade.”

Randy Landau is a virtuoso with a martini-dry wit.

Reynolds and Landau could lead cabarets of their own. There was a tremendous amount of talent on the Greer Cabaret stage.

Toward the end of the show, Brown admitted that it had been some time since he had been in Pittsburgh. He was last here over 20 years ago for a production of “Parade.” He said, “I’ll have to come back.”

When he does, get tickets right away.

Next up for the Cabaret Series is Christopher Jackson on Monday, February 10, 2025.

-MB

The Trust Cabaret Series performers can be found at the Greer Cabaret Theater, 655 Penn Avenue, Pittsburgh, PA 15222.  For more information, click here. 

By Joseph Szalinski

For many, theatre is largely well known musicals and an occasional straight play that people are aware of from its film version. However, there is a significant amount of theatre that subverts these conditions in favor of showcasing something unusual and raw. Something that provokes conversation and reflection in a way that conventional productions cannot. This is certainly the case with Vigilance Theater Group’s adaptation of 4:48 Psychosis, directed by Harper York and Brooke Echnat.

Playwright Sarah Kane’s final work before she passed, 4:48 Psychosis is a hauntingly lyrical meditation on suicide and similar subjects. Absent of the traditional elements of a play, this piece of theatre simultaneously unsettles and enlightens through content and form. All-too relatable for some and equally alien to others, this show paints an unflinching portrait of an artist’s afflicted mind and soul.

The entire cast (Bradleigh Bell, Allie Lampman Sims, Ivy Mackinson, Marisa Postava, Anne Rematt, and Abbie Siecinski) deliver riveting performances. Their ability to commit to the demands of their respective roles is astounding. From the required physicality to the audience interaction to the actual lines they have to deliver—a difficult feat due to the substance of the text as well as the lack of narrative context to remember when and what to say—their skill is undeniable.

Technical elements are a huge part of this production, hence the immersive aspect. Director Harper York utilizes light, sound, costumes, props, and set in a way that really brings audiences into the world. The space itself is brilliantly utilized. This adaptation sets itself apart from others with the immersive choices it makes, allowing anyone to leave with not just a better understanding of Sarah Kane’s struggles, but of mental health issues overall. Vigilance’s entire creative team crafts an engaging and entertaining production that is still sincere and respectful of the source material.

Vigilance continues to push the envelope with their unique immersive experiences. Whether they’re presenting an original work or interpreting someone else’s, their influence is impossible to ignore. Doing what most other companies can’t or won’t do puts them in an incredible position to bring unparalleled productions to the Pittsburgh area.

-JS

“4:48 Psychosis” continues its run through November 24th in the Point Breeze Neighborhood. For more information, click here.

By Claire DeMarco

1933 Atlantic City felt the Depression as did the rest of the country.  The city’s Steel Pier offered some respite from the gloomy economy.  Not only did its dance marathons provide participants some escape, but it also provided a means to earn much-needed cash.

Rita Racine (Bella Bilandzija), has been on the marathon circuit for some time and vows that this marathon will be her last.

Her husband Mick Hamilton (Will Chadek) thinks otherwise but cajoles her into believing that this will be her last marathon. But he’s said that many times before.  He is a hustler and a conniver.  Their marriage is a secret.  Hamilton is in charge of the marathons and having Racine participate ups the chances that she’ll take home the coveted cash prize.  It’s up to her to find a dance partner.

A stunt pilot (Bill Kelly) whose plane crashed near the steel pier approaches Racine, asking her to be his dance partner.   She declines.  He persists. She declines again.  He persists again.  When unable to find a partner, Racine finally agrees.  Unfortunately, he can’t dance but he gradually improves.

Kelly is drawn to Racine from the start and it’s apparent that as time passes, Racine is falling for him, too!

Will this be Racine’s last dance marathon or will Hamilton con her again to continue this charade?  What happens to Racine and Kelly?  Is their dance over?

This production’s choreography is spectacular and the dancers superb, agile, gymnastic, graceful.

Bilandzija is fantastic as Rita.  She has a beautiful voice and is a wonderful dancer and actor.  We see Bilandzija take her character from a frustrated, marathon dancer anxious and unable to leave that world into someone garnering the strength to try.  Her voice is especially highlighted in her rendition of “Running in Place”.

Chadek’s Hamilton is sleazy and particularly manipulative with his wife.  He controls her plus all the participants in his never-ending quest for money and the next marathon.

As the stunt pilot, McFalls has an innocence about him that is endearing.  His gentle mannerisms with the fact that he initially can’t dance draw us to him.

Julianna Ramos, a marathon participant, knocks it out of the park with “Everybody’s Girl”.   Her comedic timing and physical mannerisms along with a powerful voice are impeccable.

Playing a ditz requires perfect timing and execution and Charlotte Jensen, marathon participant, comes through.  Her physical gymnastics and facial expressions are highlighted in “Two Little Words”.  Her character’s squeaky voice changes into opera-quality with that song.

The set fits the play as most of it occurs in the background to allow ample room for dancing.  One clever scene involved the creation of plane wings made of wooden planks with a moving propeller suggesting that the bathing beauties riding the wings were actually airborne.

Praise to Conductor Camille Villalpando Rolla and the Pit Musicians.

Amazing work by Co-Choreographers Tomé Cousin (also Director) and Eileen Grace.

“Steel Pier” Book by David Thompson, music and Lyrics by John Kander and Fred Ebb.

-CED

“Steel Pier” is a production of Pittsburgh Playhouse (Conservatory Theatre Company), 350 Forbes Avenue.  Performances run from November 13th – November 17^th.