'Burgh Vivant

By Claire DeMarco

Oklahoma in 1849 was still a territory, not yet a state. One can only imagine the turmoil that existed in this wild and semi-stable land.

Lawrence Ebitt (Garbie Dukes), a free black man and his wife Eula Ebitt (Robin R. McGee), still enslaved, live in Oklahoma in a relatively calm environment. People who use Lawrence’s services didn’t fight, argue or even complain. Lawrence is a coffin maker.

When bounty hunter Evan Wainwright Hollister (Randy Kovitz) descends into their world, they are thrown into situations that defy calmness and peace. Hollister just killed fugitive The Dead Man (Brandon St. Clair) and deposits his body in Lawrence’s care, demanding that the corpse be prepared for burial with a two-day deadline.

This seemingly routine demand spirals into a turbulent situation, throwing Lawrence and Eula’s world upside down.

Dukes is effective in using his facial movements (eye rolls, tilt of the head) and subtle body moves. We know exactly how and what he is feeling without any vocals. His silent deliveries are golden. When he does speak, he becomes a caring but sometimes sparring husband or a man with a plan willing to adjust to any situation.

McGee is outstanding as the religious wife who accepts her fate as an enslaved human as this is the only world she knows. McGee runs the gamut of human emotion. She is combative with Lawrence (in a loving and at times nagging way), serious when the situation warrants. Her comedic timing is spot on. She has a lovely singing voice on the few occasions when she feels the need to seek solace with song.

The chemistry between Dukes and McGee is palpable!

Hired to photograph a corpse, Connor McCanlus characterizes Buchannon as naïve, almost oblivious to the situation he’s in. His humor is enhanced by his physical movements and posture.

Kovitz plays a stereotypical white man of that time who without hesitation barges into Lawrence and Eula’s home and lives. He is believable as the cocky and belligerent man with a gun as his support system. He emanates weakness without the gun.

St. Clair relays emotionally, passionately and powerfully on the evils of slavery and those who support it. He compares his current situation to the heritage of his proud ancestors and his denigration as an enslaved human being. His performance is strong.

This is a wonderful play with the right balance of pathos and comic relief set in a time when slavery was prevalent in certain parts of the country. Slavery affected three of the characters in different, profound ways.

The monochromatic set design with various shades of brown and tan wood by Tony Ferrieri is striking. Subtle suggestions of color exist in the bedroom set on the second floor of the building.

Lighting Designer Latrice Lovett complements the set design through her brilliant use of lighting and shade.

Monteze Freeland does an excellent job in his directorial debut at the Public.

Kudos to Pittsburgher and playwright Mark Clayton Southers for writing such an insightful play. There is not a better way or better venue to celebrate its premiere debut than in Pittsburgh at Pittsburgh Public Theater!

-CED

“The Coffin Maker” is a production of Pittsburgh Public Theater. Performances run from May 29th – June 16th at the O’Reilly Theater. For more information, click here. 

By Lonnie the Theater Lady

Comtra Theater was transformed into a Las Vegas style cabaret this past Friday,(May 24). Ingrid Ullrich, an international performer and Point Park dance school graduate produced and performed in “Bang Bang,” an energetic, glamorous, snazzily choreographed, musical showcase.

The choices for the musical numbers cover several decades. The eclectic variety of songs has something for everyone to enjoy. Prince, Elvis, The Weathergirls, Broadway show tunes, old classics,(Big Spender) are all part of the mix! Audience members couldn’t resist singing and clapping with many of the numbers.

Vaughn  Hudspath, the emcee, has almost as many costume changes as the cast of “Greater Tuna.”  His costumes are as sexy and glitzy as the women’s are. His humor adds to the overall celebratory tone of the show. He’s especially comical in the audience participation segments of the show. His  Improvised comments and ad-libs are truly hilarious.

Ullrch is an amazing performer. Her dance moves are fluid, graceful, funky, and spirited, in turn. Every one of her movements demonstrates an awareness of how her entire body is moving through space. Such perfection seen in a small venue is breathtaking. Sophia Tinstman and Viviana Rocca, the other dancers are exuberant, effervescent and a delight to watch, as well.

Ullrich is also a well accomplished vocalist, with a melodious voice that conveys a wide range of emotion. The other vocalists, Michelle Johnson and Claire DeArmitt truly rock the house. When Johnson sings, she powerfully belts it out—- eliciting shouted encouragement and enthusiastic vocal approval from the audience! DeArmitt has impressive vocal skills and a powerful stage presence coupled with real charisma.

All of the colorful costumes are gorgeous! Adorned with sequins, glitter, and beaded fringe that whirls right along with the dancers.

It was announced that this spectacular show is soon to be performed on Carnival Cruise Line ships. I’m certain that the passengers will be delighted to see these lively, explosive performers and they’ll agree that this production truly lives up to its name!

-Lonnie the Theatre Lady

For more information about upcoming events at Comtra Theatre, click here. 

By Claire DeMarco

Matthew Morrison came to Pittsburgh to play, sing, and entertain!

Indeed, he did on Monday, May 20^th.

Morrison is a multi-talented actor and singer, nominated for Tony, Emmy and Golden Globe awards (just to name several).

A few of his many television appearances include “The Good Wife,” “Grey’s Anatomy” and “Glee.”

With his pianist, Brad Ellis (both “Glee” alumni), Morrison regaled the audience with a multitude of vocals from an eclectic mix of songs.  Included were “On the Street Where You Live” from “My Fair Lady”, “Rocket Man” by Elton John, “The Music of the Night” from “Phantom of the Opera”.

Note:  Ellis has been Morrison’s music director for most of his shows world-wide.

Especially moving were Morrison’s renditions of “Send in the Clowns” from “A Little Night Music” and “Smile” written by Charlie Chaplin.

He accompanied some of his songs playing a ukulele.

Morrison had a genuine and immediate rapport with the audience, engaging them throughout his performance.  They were so comfortable with his interaction that it was not unusual to hear a friendly shout out occasionally from a member of the audience, indicating their support.

His talk often centered on how he got started in the business, some of the projects he’s been involved in, plans for the future.  His main topic centered on his wife, Renee Puente and their two children.  Renee accompanied him to Pittsburgh and Morrison brought her on stage.  Puente is a wonderful singer and the couple sang several songs together.  It was delightful to watch them and marvel at their talent.

Morrison was called back to the stage for an encore and with the audience’s suggestion, he went through a litany of songs from “Hairspray.”

What a wonderful evening with a great talent!

-CED

 “Matthew Morrison” is the last production of the Trust Cabaret Series for the 2023-2024 season.  Check out the wonderful lineup for the 2024-2025 at Trustarts.org. For more information about other upcoming events, click here.

 

By Claire DeMarco

Billie Holiday, famous jazz and swing singer/songwriter was born as Eleanora Fagan. She had a problematic childhood, grew up poor, was forced to work at a very young age. A major relief that helped allay this troubled environment was her exposure to black entertainers like Louis Lanie Robertson’s musical play tells Billie Holiday’s (Gabrielle Lee) life story. Based on stories about the famous icon and the selection of some of the songs she made famous, we have a perspective of the turbulent life she led. This musical play was based on one of Holiday’s last performances before her early death.

Note: Longtime musical partner, Lester Young, gave Holiday the nickname Lady Day.

Lee shines as Holiday. She has total command of the stage. Interspersed with the songs is the verbal walkthrough of Holiday’s life from her turbulent childhood to encounters with racism to drug and alcohol abuse. Lee subtly develops the transition in her character from a singer with a bit too much to drink to a totally intoxicated woman as she continues her life story.

Lee’s performance is anything but static. She often interacts directly with the audience, coming down from the stage, talking to them, pulling them into her world.

Her excellent acting is complimented by a beautiful singing voice. What a delight to hear her renditions of songs like “When a Woman Loves a Man”, “Somebody’s on My Mind” and “God Bless the Child” (a song she wrote for her mother) and “T’ain’t Nobody’s Business if I Do,” Lee’s delivery of “Strange Fruit” was especially poignant.

Kenney Green-Tilford plays Jimmy Powers, Holiday’s pianist and longtime confidant. Green-Tilford is also the musical conductor for this production.
Bow Wow to Scrappy Mason making his on-stage debut as Holiday’s canine companion, Pepi!

“Lady Day at Emerson’s Bar & Grille” is a fantastic start to Pittsburgh CLO’s 78th season.

Musical play by Lanie Robertson.

Scenic Designer Holly M. Fleischer captures the essence of a well-worn nightclub with a massive brick wall as the backdrop. The use of minimal physical props allows the attention to rest solely on Lee.

Great job by Director Tomé Cousin.

-CED

“Lady Day at Emerson’s Bar & Grill” is a production of the Pittsburgh CLO. Performances run from May 17th – June 30th at the Greer Cabaret Theater. For more information, click here. 

[Please note the following from Pittsburgh CLO: Gabrielle Lee will perform the role of Billie Holiday for all performances May 17th-31st and then starting on June 1st through June 30th, she will share the role with Ayana Del Valle. Beginning on June 1st, Ayana Del Valle will perform the role of Billie Holiday on Wednesday evenings and Saturday Matinees while Gabrielle Lee will continue to perform all other performances]

By Michael Buzzelli

In 1983, a musical revue (with some comedic sketches) premiered under the name, “A… My Name is Alice.” The title was taken by the ABC game/rhyme, frequently sung on playgrounds across America. Now, Joan Micklin Silver and Julianne Boyd are back with “A…My Name is Still Alice,” a sequel of sorts…i.e. another musical revue (with some comedic sketches).

Side note: There is a follow-up called, “My Name Will Always Be Alice,” which is a combination of the two previous revues.

Five actors, Natalie Hatcher, Kristiann Menotiades, Delilah Picart, Saige Smith and Becki Toth play various roles (the two understudies Michaela Isenberg and Maya Fullard show up in the grand finale).

The mood and theme shift with each song, from laugh-out-loud funny to melancholy and back again.

While there’s no plot. There is a point. It’s a poignant and humorous look at women’s roles in the 90s. One scathing sketch has Toth playing a doctor who treats a problem men might have with the condescension and flippancy a male doctor would treat a genealogical illness. It’s hilarious and brilliant, and Toth ekes out every scrap of humor in her portrayal.

The five stars of the show are amazing.

The aforementioned Toth shines in every role. Her comedic timing is flawless, and her singing is noteworthy.

Smith is charismatic and charming, lighting up the stage every time she trods the boards. There is a powerful moment where Smith and Toth play mother and daughter facing a crisis in the song, “What Did I Do Right,” that is particularly moving.

Menotiades shines in “A Lovely Little Life.”

Hatcher is another gifted comedic actor who is an accomplished singer. While she is delightful in every scene, she brings the house down in the finale like a Broadway Belter.

Picart is delightfully madcap, especially in a song called, “Sensitive New Age Men” where she pulls Doug Levine and the band into the action.

Levine and company, Paul Thompson and Lindsey Lamagna are fantastic musicians who work tirelessly throughout the show.

Nancy McNulty McGeever makes her directorial debut with Front Porch Theatricals. She does an amazing job, putting her actors everywhere on the stage, utilizing every inch of the scenery.

“A…My Name is Still Alice” is giving off a distinct 90s vibe. Jonmichael Bohach’s scenic design is Glendale Galeria meets “Saved By the Bell,” complete with turquoise and purple swirl found on cineplex soda cups, t-shirts and whatnot (Google Designer Gina Ekiss of the Sweetheart/Solo Cup company if you want to spiral down a bizarre 90s-themed rabbit hole).

While some of the show is unnecessarily prop heavy, there is brilliant moment in the song, “Wheels,” where Smith pulls a cloth headband from her hair and uses it to simulate handlebars on a bicycle.  McGeever and choreographer Ashley Harmon infuse the scene joyous abandon, and Smith plays it with childlike exuberance.

The show is PG-13. The one F-bomb was mimed silently on opening night, but the case can be made for bringing your children to see this show. In a world where ‘Roe v. Wade’ is being repealed, and football players are giving reprehensible graduation speeches about keeping women barefoot and pregnant, “A…My Name is Still Alice” might be the elixir we need.

-MB

“A…My Name is Still Alice” runs from May 17 to May 26 at the New Hazlett Theatre, 6 Allegheny Square East, Pittsburgh, PA 15212. For more information, click here.

By Gina McKlveen

When Helen Clay Frick was a young girl living in Pittsburgh, her father, Henry Clay Frick, the famed (for better or for worse) industrialist who founded a local coke manufacturing company, H.C. Frick & Company, and chaired much of the region’s steel manufacturing business that eventually developed into the U.S. Steel conglomerate, asked Helen what she wanted as a gift to celebrate her becoming a debutante, to formally introduce herself into society, she requested that her father make a land donation to the City of Pittsburgh, which would eventually become a public park, better known today as Frick Park. Years later, long after her father passed away, Helen commissioned the building of an art museum next to this park where she kept her vast and personal art collection. This art museum is The Frick Art Museum at The Frick Pittsburgh.

Prior to founding her own art museum, Helen oversaw the establishment of Henry’s personal art collection, who bequeathed his Fifth Avenue mansion in New York City and numerous Renaissance artworks and other early 20th-century European masterpieces to the public, forming The Frick Collection. This year, The Frick Collection is closed while it undergoes its first comprehensive upgrade since the 1930s, allowing for a once-in-a-lifetime opportunity for Henry and Helen’s art collections to conjoin for the first time ever under one roof at The Frick Art Museum in Pittsburgh from now until July 14, 2024.

The exhibit entitled, “Vermeer, Monet, Rembrandt: Forging the Frick Collections in Pittsburgh & New York,” is only on view for a limited time, but is a must-see, more than once if you can, because in the words of The Frick Pittsburgh’s Executive Director, Elizabeth E. Barker, “[I]t’s a project unlikely ever to be repeated.” Why? The Frick Collection’s Curator, Aimee Ng, explains, “During this exceptional period in The Frick Collection’s history—as we renovate the historic Frick house in Manhattan…[we have been able] to share our collection,” which is rarely done under normal conditions because these artworks are rarely, if ever, loaned to other museums.

Thus, fortuitous is the timing, as the title of the exhibit suggests, the exhibition showcases more than 60 works of art from the collections of both The Frick Collection (Henry’s art collection) and The Frick Pittsburgh (Helen’s art collection), including works by Monet, Degas, Whistler, and El Greco. Other paintings featured from the collections include: Rembrandt’s iconic 1658 Self-Portrait, Sassetta’s The Virgin of Humility Crowned by Two Angels, Ingres’s Comtesse d’Haussonville, Titian’s Man in a Red Cap, Frans Hals’s Portrait of a Man, Jean-François Millet’s Woman Sewing by Lamplight.

The piece that steals the show and the attention of its audience, is Johannes Vermeer’s Girl Interrupted at Her Music, which is one of only 36 known works by this artist. This was the first painting of Vermeer’s that Henry acquired during his lifetime. He later acquired two others, Officer and Laughing Girl and Mistress and Maid, owning a sizeable fraction, one-twelfth, of all the Vermeer’s in the world. In 1936, after Henry passed away and Helen took over his collection, The Frick Collection had an opportunity to purchase a fourth Vermeer, but Helen declined. She felt three would suffice.

During Henry’s lifetime, Vermeer’s Girl Interrupted at Her Music hung at the Frick family home in Pittsburgh, called Clayton, which is where Helen grew up with her mother and older brother, Childs, and which she eventually inherited and preserved along with the property at The Frick Pittsburgh. Girl Interrupted at Her Music returning to Pittsburgh is somewhat of a full-circle moment after being featured just last year in the Rijksmuseum’s sold-out landmark Vermeer retrospective in Amsterdam, The Netherlands.

While the exhibition is as much about the world-class acclaim of the art, it is every bit as connected to the Frick family. An endearing part of the exhibition is a painting titled House and Piers by none other than Childs Frick, Henry’s son and Helen’s older brother, which like the Vermeer, hung in the halls at Clayton.

The exhibition is also more than the museum. The Frick Pittsburgh’s Director of Learning & Visitor Experience, Amanda Gillen, developed interactive programs that complement the art with curators’ conversations, concerts featuring French Impressionist and Dutch Baroque music with Pittsburgh’s Symphony Orchestra and Daphne Alderson, guided evening exhibition tours, a day-long symposium, and multiple full-day programs at Clayton, Carrie Blast Furnaces National Historic Landmark, and West Overton Village in Westmoreland County. According to Amanda Gillen, “Our art museum is her art museum. Helen spent her life caring for her family’s possessions and works of art as well as furnishing her father’s legacy. She was instrumental in a quiet background kind of way, but this exhibition is bringing Helen to the forefront.”

However, unlike Helen’s response to acquiring an additional Vermeer, visiting this exhibition just three times will not suffice, it is one to see over and over and over again. Once more, “Vermeer, Monet, Rembrandt: Forging the Frick Collections in Pittsburgh & New York,” is on display at The Frick Pittsburgh from now until July 14, 2024. For more information and to secure tickets to the exhibition and its other programs, visit https://www.thefrickpittsburgh.org/.

-GM

By Gina McKlveen

The old adage, “It takes a village to raise a child,” is similarly apropos for starting a local public arts program. Public Art Bridgeville was something like the brainchild of Guy and Elizabeth “Bitsy” Bellaver. The husband-and-wife team were originally from the Greater Pittsburgh area, hailing from Mt. Lebanon and Upper St. Clair, respectively, then moved to the mid-west to chart their illustrious careers in the arts and business worlds.

Prior to the COIVD-19 outbreak, Guy and Bitsy returned to Allegheny County, settling in the Borough of Bridgeville. Shortly thereafter, at the height of the pandemic, Guy, who is a nationally recognized sculptor and artist in his own right, asked, “Who was hurting the most?” His answer, “The arts.”

From there, Guy said he and Bitsy began to brainstorm, “Was there anything we could do to help the arts? Well, we could have shows where we could pay artists to come here [to Bridgeville]. Then, let’s see if the government in Bridgeville wants to support that [and] see if we can get public donors to support that.”

Bitsy likened the idea to the iconic line, “Hey kids, let’s put on a show,” featured in Judy Garland and Mikey Rooney films such as “Babes in Arms,” “Babes on Broadway,” and “Strike up the Band.” So, she suggested, “Hey, let’s put on a sculpture show! We can do that!”

Assembling Sculptures

At the time, Guy and Bitsy also connected with the Bridgeville Borough Manager, Joe Kauer, who was exploring other public arts options through commissioning a mural on a deteriorating bridge as a means to bring the arts into this community. After various conversations and collaborations throughout 2020 and 2021, Public Art Bridgeville was eventually born.

Virginia “BJ” Bott Schneider is the current President of Public Art Bridgeville, and similarly was instrumental in the development of the organization, including establishing its board members, Bert Chery, Justine Cimarolli, Pat DeBlasio, Annette Kirkpatrick, and Kayla Lawrence, each of whom regularly support the presence of public art around the Borough.

Bridgeville Borough contributed to the establishment of Public Art Bridgeville and the Bellavers’ vision. The Borough agreed to help put in concreate pads [where the sculptures would be installed] and allowed us to use portions of their parking lot to put the sculptures,” noted Guy.”

To this day, Borough employees play a critical role in the efforts behind Public Art Bridgeville. Bitsy described one particular instance where a Maryland-based artist was arriving to the area after a show to pick up his multi-part sculpture “made from railroad ties that were shellacked and carved” and Borough employees had carefully “lined up, exactly, in equal distance, top to bottom” with the meticulousness of a seasoned museum professional. Another instance Bitsy recalled when Borough employees went above and beyond to help assemble one of the sculptures was a 20-foot tall sculpture, titled “Red Dancer,” by Pittsburgh-born, internationally recognized sculptor, Gary Kulak, which is currently seated outside the Bridgeville Public Library.

“The Borough has done really a terrific job of just getting it clean, putting in some things like some trees and bushes, working with the building owners. It’s still a work in progress, but it’s just so vastly improved even in the few years since we’ve been here,” Bitsy said.

Building Bridges

Public Art Bridgeville also established a committee to help make some of these placement decisions, to figure out how many pieces will be exhibited and where. Guy is a key voice on this committee, knowing both the aesthetics of sculpture as well as the organizational aspects from previous experience working with Public Districts in Illinois.

“The first year we had six pieces. Once we had those six pieces around town, there was a general consensus that we need more,” Bitsy commented.

So in between the first year of exhibiting sculptures around Bridgeville and the second year, Bitsy spent months developing an artist database from the network of sculptors Guy had crossed paths with and beyond. “I tried to expand the exhibition by contacting more artists, hundreds of artists. I looked for every single sculpture exhibition I could find in the United States of America,” she said. Bitsy also reached out to places Guy had exhibited his own work in Colorado, North Carolina, South Dakota, Illinois and even universities like Appalachian State University, and local colleges where Guy’s sculptures are also displayed or exhibited namely, Indiana University of Pennsylvania, Clarion, Washington & Jefferson, and Saint Vincent College.

“When you develop that database over time, whether it’s outdoor artists or indoor artists, but the bulk of them are sculptors and you just know then you have a huge database,” Bitsy acknowledged. Compared to the first year when they essentially “tapped people on the shoulder” to ask for pieces, the second year, approximately “60-70 pieces, or more were submitted,” she stated.

“The second year, we expanded over to Dewey Avenue.” Guy said. “We were two years into the pandemic, most artists weren’t sure when they would get a sale, so they were glad to have us talking to them. As an artist you want to create. So, you create, but you can’t show. It’s in that stagnation where you need an incentive to create and you realize there’s a lot of incentives to be at these shows, but also to create something new.”

Now, every year Bridgeville looks forward to the addition of new sculptures arriving to its sidewalks and parks and the artists who exhibit their works here are exposed to new audiences and opportunities.

“When we started out, I went looking for who else is doing one of these. From Ohio and northeast, I did not find one single community doing one of these. There is not another one in Pennsylvania like it. We are the only show like this,” Bitsy continued, “We wanted this idea of using public art as a way to attract people to a community. This is one of the interesting things about Bridgeville: ‘From Bridge to Bridge’ is its motto, and [Public Art Bridgeville is now] literally from bridge to bridge.”

“Crossing Paths”

This year, Public Art Bridgeville’s third-annual outdoor sculpture exhibition includes ten pieces, including seven new sculptures. One of those must-see sculptures is located just outside La Bella Bean along Washington Avenue by the famous artist and Johnson & Johnson family member, Seward Johnson titled “Crossing Paths,” depicting two elegantly dressed ladies sitting on a park bench in Johnson’s recognizable trompe-l’oeil painted bronze style.

 

Bitsy aptly remarked that this sculpture is “very Pittsburgh,” in the sense that the women depicted in “Crossing Paths” remind her of the women of her mother’s generation. Growing up in Upper St. Clair, she remembers her mother getting dressed up to go to the grocery store, or run errands, something that was expected of the 1950s generation, but completely unheard of in today’s day and age.

Public Art Bridgeville has showcased previous works by Johnson, including “The Whittler,” “Waiting to Cross,” “Hell, Time to Go Fishing,” “Best Seller,” and “Inner World, Outer World.”

This year, in addition to “Crossing Paths,” Public Art Bridgeville has also selected Johnson’s sculpture of a mailman, titled “Special Delivery,” which in both aesthetics and name is reminiscent of Mr. McFeely of Mister Rogers’ Neighborhood. Once again, another sculpture that is classically connected to the Greater Pittsburgh area.

Other artists currently on display with Public Art Bridgeville’s 2024 outdoor exhibition include, Peter Calaboyias, David Boyajian, Gary Kulak, Dan Droz, Bob Doster, and of course, Guy Bellaver. An indoor exhibition of various artworks by artists from Pittsburgh’s Society of Sculptors is also on display inside Bridgeville’s Public Library until May 17th.

-GM

by Dr. Tiffany Knight Raymond, PhD

The second production in Little Lake Theatre Company’s 76^th season is “Wait Until Dark” – the 2013 Jeffrey Hatcher adaptation of Frederick Knott’s 1966 play. Knott’s original play was also adapted as a 1967 film starring Audrey Hepburn, which earned her an Academy Award nomination for Best Actress.

This suspenseful thriller traces a coordinated home invasion against a blind woman named Susan Hendrix (Kerry McGrath). The criminals seek to regain a drug-filled doll that, unbeknownst to him, was slipped into her husband Sam’s briefcase for safe transit. Much like her cinematic predecessor, McGrath also serves up an award-worthy performance under the capable, guiding hand of director Sunny Disney Fitchett. Fitchett is a local legend, particularly in the hallowed barn of Little Lake where she served as artistic director for 23 years.

McGrath is utterly convincing as a blind woman, and Fitchett provides flawless direction. When descending the couple of stairs into her garden-level apartment, McGrath unfailingly reaches out, anxiously grasping for physical contact with the railing. As Susan, she never makes direct eye contact, looking towards others as they speak, but never at them. Reading faces and eyes instinctually helps decode communication, so it’s a testimony to both Fitchett and McGrath that she never deviates to a direct gaze.

Any flaws belong to Hatcher’s adaptation. At one point, Susan opens a closet door, and a heavy item is temporarily hanging on the back of the door. Susan notes her “other senses work overtime” since she became blind 18 months prior, so it seems unlikely she wouldn’t haven’t noticed a substantive weight difference when swinging open the door.

Vivian McGregor plays Gloria, an upstairs neighbor girl and helper to Susan. The Hendrix apartment clearly provides refuge from what we discern is a troubled home life. Gloria comes and goes at will, and Susan and Gloria emulate a feisty mother/daughter relationship. McGregor captures the seesawing emotional valence of adolescence. Gloria yearns to be older, whining “I’m not a kid,” yet also stamps around and throws silverware on the floor, demonstrating she’s more child than adult. Costume designer Sarah Boice visually reinforces Gloria’s childhood status with a long plaid-printed dress underlaid with a white, Peter Pan collared shirt, solidly anchoring Gloria in the dim trappings of childhood.

Sound designer Laura Thurman opens the play with eerie, ethereal instrumentals and fierce violins that immediately conjure the shower scene in Hitchcock’s Psycho and signify a world set wrong. This sound cue is actualized when two criminals sequentially break into the Hendrix apartment.

The first one, Carlino (Jim Kiley), immediately establishes himself as a sloppy criminal; he’s not even wearing gloves. His examination of the apartment blends the strategic (hiding a knife) with the base (helping himself to leftovers in the fridge). Costume designer Sarah Boice visually supports his disheveled lack of attention to detail as one hem of his button-down shirt is perpetually untucked.

When Carlino calls out he’s a cop to the second entrant, Roat (Patrick Daniel) immediately calls his bluff because Carlino didn’t pull a gun. It’s a nuance that brings to mind the saying you can’t con a con man.

Roat’s more discerning nature is evidenced by his gun statement and glove wearing and establishes him as the de facto leader. He also lacks self-awareness as he unironically asserts, “I cannot operate in an atmosphere of mistrust” after Carlino fails to disclose the brass knuckles he’s carrying.

However, the two men collaborate and think they can con Susan, seeing her blindness as a weakness to exploit. With the recent rise in popularity of psychological thrillers, this revival of “Wait Until Dark” is timely. But just when we think we have it figured out, the ground shifts yet again, plunging us all into darkness.

“Wait Until Dark” runs through May 26, 2024 at Little Lake Theatre Company in Canonsburg, PA.

by Joseph Szalinski

We’ve all overslept at some point in our lives. Some of us have been late to work or class, others have found themselves staring at the Statue of Liberty with talking apes. Stories about getting a little extra shuteye have existed since people stayed awake long enough to write them down. The most famous fictional sleepyhead is Sleeping Beauty, a cursed princess who hibernates until her true love kisses her. Retold countless times, most notably by Disney, this adaptation, the closer of The Pittsburgh Savoyard’s 86^th season, is written and directed by Andy Hickly, and now running at the Margaret Partee Performing Arts Center in Bellevue, PA.

The King (Michael Menendez) and Queen (Priyanka) have just had a baby girl, who they name Rose. She is cursed by the Wicked Fairy (Ell Connally Thomas) because her parents picked The Good Fairy (Kelsey Walls) to be her fairy godmother instead. Rose grows up normally, meeting and becoming friends with Princeling (Stephen Wilson) at one point but still focused on finding her true love. Unfortunately, the Wicked Fairy slyly pricks Rose’s finger with a spindle and sends her into a century-long sleep.

Rose (Rebecca Radeshak) and Princeling (Stephen Wilson) are tremendous leads. Their blends of charm and humor captive and humanize their respective characters; they transcend the fairy tale tropes and create more nuanced iterations. Scenes are tackled with a refreshing energy and enthusiasm.

The Wicked Fairy (Ell Connally Thomas) and the Good Fairy (Kelsey Walls) maintain an entertaining dynamic throughout the show, in addition to being great separately. Aside from her portrayal of the Good Fairy, Kelsey Walls also serves as the show’s dance choreographer, showing off her talents by masterminding the exceptionally enjoyable dance scene. It’s in her physicality that Ell Connally Thomas really shines as the Wicked Fairy, demonstrating her prowess in a combative scene near the end. Perhaps her biggest and most honest accolade comes courtesy of one the small children who peppered the audience, “She’s scary!”

Michael Menendez and Priyanka Sinha are delightful as the King and Queen. They do a fantastic job of showing how power and wealth cannot spare people from the paranoias and desperation of parenthood. From hastily banning spindles to volunteering to take the “Rip Van Winkle Powernap” along with their daughter, seeing how they existed solely for her was touching. Watching them evolve from overly protective parents into ones with a loosened grip is both funny and sentimental.

Don Gudenburr, Phil Hayes, and Samwise Riley do double duty as guards and suitors, with their performances as the latter being their more exceptional work. Combining comedic chops with spirited physicality, especially in regard to Riley’s dance moves, these three are a hoot anytime they’re onstage.

Kathryn Morosky (who also made the program), Lindsay Surmacz, Elisa Stuver also juggle multiple roles. While they are fantastic comedic foil during the dance, they are also terrifically terrifying as the Wicked Fairy’s guards. Morosky and Surmacz stand their ground in their other role as Briar Hedge, the nearly impenetrable barrier between the castle and the outside world. However, Stuver stands out as an impassioned peasant who’s not willing to surrender her spindles and such to the authorities, as she attempts to evade capture by running around the stage.

This show excels technically, with direction overseen by Robert Hockenberry (who’s also production manager) and Matt Lisiak. Elise Brown does a phenomenal job helping bring everything to life with light and sound. Leah Klocko does marvelous work with the costuming while Andy Hickly expertly handles production design and fight choreography.

Margaret Partee Performing Arts Center is a splendid venue that enriches the community it calls home. While not the largest space, it does promote an intimacy that provides productions with an extra punch. Nestled in the burgeoning suburb of Bellevue, this theatre is guaranteed to not only continue to keep bringing quality productions to the area but help spearhead an increased interest in the arts as the town grows.

“Sleeping Beauty” continues its run on Friday, May 10^th with a show at 7:30 pm and Saturday, May 11^th with shows at 2:30 pm and 7:30 pm at the Margaret Partee Performing Arts Center in Bellevue, PA.