'Burgh Vivant

By Lonnie The Theater Lady

See a preview here.

Ian Olsen is is frighteningly demonic as he sings Epiphany (Sweeny Todd).He portrays a man whose mind is beginning to crack as he mourns the death of his wife. His malevolent facial expressions, evil tone of voice and tense body posturing are chilling. Well sung. Well acted.

Each and every number Anna Chesney sings is a wonder. The clear, pure sound of her expressive voice is mesmerizing. That coupled with her commanding stage presence is a joy to behold!

The entire company comically performs You Are the Best Thing that Ever Happened to Me (Road Show). Barbara Burgess-Lefebvre, the director, directs an exchange among the company members that has the entire audience laughing. The choices she makes in staging throughout this show keep every number interesting, unique, and often humorous.

The show runs a bit long—just over two and a half hours, but it is a gorgeous  “must see,” not only for Sondheim fans, but for everyone who appreciates remarkable performances by fine vocalists.

By Michael Buzzelli

Amélie Poulain(Britt Dorazio), a waitress in a French cafe, is on a quest to bring joy to those around her, and, in doing so, discovers the joy deep within her in the musical version of the French film, “Amélie.”

There’s a lot of plot and a multitude of characters in this story, but we’re going to stick to the basics.

Strap in!

When her worry-wart father,  Raphael (Patrick Brannan), misdiagnoses Amélie with a heart condition at an early age, he and his wife, Amandine (Meighan Lloyd Harding) shelter her from the harshness of the world by homeschooling her. Unfortunately, during a trip to the Cathedral of Notre Dame, a suicidal tourist jumps from the roof, landing on and crushing her mother.

Raphael plants a gnome in his garden, housing the ashes of his late wife.

Cut to: Many years later, Amélie is working in a French cafe (the very real  Café des 2 Moulins), drifting and daydreaming through her life until she unlocks a small box of treasures (keepsakes and knick knacks from a young boy’s childhood) hidden in her apartment. She sets off on an adventure to find the original owner, and, thus, discovering her own long-buried secrets.

From that point, she is always concocting new and exciting ways to bring people closer together. At one point, she steals her father’s garden gnome, hands it off to her flight attendant friend who takes him with her on her excursions, sending her father photos of the gnome from around the world.

Then she “almost” meets Nino (Evan Krug) who loses his book of photos. Before she reunites him with his book, she falls for him, complicating her life in new and mysterious ways.

Dorazio is cuteness personified as Amélie. She is superb, charming the audience with her faux-French accent and big, bright eyes. Her hair, make-up and costume causes her to resemble the original Amélie, Audrey Tautou (“Amélie,” 2001).

Dorazio has some palpable chemistry with her leading man. Krug shines in his performance as Nino Quincampoix.

There are some stand out performances, mostly from delightful dream sequences that showcase the talents of the other performers around Dorazio and Krug. Most notably, Nathaniel Yost as fish, Gavin Calgaro as Elton John and Ben Nadler as the aforementioned garden gnome.

Don’t ask.

Suffice to say the show is brimming with quirky humor and sparks moments of pure unadulterated bliss.

Note: It might be unadulterated bliss, but, there are some very ‘adult’ situations. Not as many as you’d think, considering that Nino works in a sex shop. Enough to consider keeping the kids at home.

Other notable performances include Erin Bock as Georgette and Cait Crowley as Gina.

“Amélie” is deftly directed by Patrick Cannon, juggling multiple storylines and an enormous cast on a small stage. He capably moved the various plotlines together swiftly and seamlessly, working from the book by Craig Lucas (based on the five-time Oscar-nominated film by Jean-Pierre Jeunet and Guillaume Laurant).

Cannon turns the disadvantages of working in a “theater-in-the-round” stage into great advantage, turning lemons into lemonade.

“Amélie” reminds us that when we spread joy, it can return to us ten-fold. It also encourages us to embrace the miracles in the small moments. There are quite a few great moments and little miracles in this uplifting production.

– MB

“Amélie” runs from May 18 until June 4th at the Little Lake Theatre, 500 Lakeside Drive South, Canonsburg, PA 15317. For more information, click here. 

By Michael Buzzelli

Broadway and television star, Norm Lewis, performed at the O’Reilly Theater on Monday night, May 8, as the season finale of the Pittsburgh Cultural Trust’s Cabaret series. The performer sang iconic tunes from Broadway, starting with, of all things, “My Favorite Things,” from “The Sound of Music.”

In true Cabaret fashion, he shared trivia and personal anecdotes before launching into a each song.

Aside from his booming baritone, the performer was adept at making his audience feel comfortable, even loved. His rapport was enchanting. When Lewis spoke about being Broadway’s first Black Phantom in “Phantom of the Opera,” a woman in the audience shouted, “You were my first Phantom!” To which, Lewis replied, “I hope I was gentle.”

Not only did he share tidbits about his life in theater, and even shared the stage. He welcomed Pittsburgh’s own Billy Hartung to the stage. Hartung and his adult daughter Elizabeth took over for a tune. It was a beautifully rendered song between father and daughter, mere months away from when he will be walking her down the aisle.

When Lewis returned to the stage, he brilliantly belted out Broadway tunes including “Phantom of the Opera,” “Les Miserables” and “Porgy and Bess.”

Side note: He seamlessly blended two versions of “I Got Plenty of Nuttin'” from “Porgy and Bess,” but his songs from “Les Miz” were showstoppers! They were incredibly moving renditions.

Lewis turned “You Got Trouble” from “The Music Man,” into a singalong, when he asked the audience to sing the chorus. A rousing, delightful rendition followed. It seemed like there were some ringers in the seats, because it was expertly done.

Norm Lewis took a dull, Monday evening and turned it into an event. It was a successful end to a successful series.

-MB

The 2023-2024 season begins in October with Mauricio Martinez, returning to a renovated Greer Cabaret Theater, 655 Penn Avenue, Pittsburgh, PA. For more information, click here. 

Claire DeMarco

“Jersey Boys” takes us back to the origin of the boys from Jersey, how they started, their disappointments, failures and successes from both a career and personal perspective.

Tommy DeVito (David Toole), Nick Massi (Quinn Patrick Shannon) and Frankie Valli (Adam Marino) start singing in their neighborhood.  Frankie is just sixteen – the youngest of the group and the lead singer while Tommy is the boss.

At this point they have no original music of their own but rather settle on popular songs of the time or well-known melodies of prior time periods.

Bob Gaudio (Brecken Newton Farrell) is introduced to the group by Joe Pesci (Jeremiah Smith).  Gaudio is a singer/songwriter.  As a new singer in the group he also writes songs that fit their musical style and particularly emphasize Frankie’s voice.

Note:  Yes, Joe Pesci is the kid who later becomes the famous actor.

Around this time the boys we referred to as the group become the Four Seasons.  With Gaudio writing the music and Frankie singing lead, the Four Seasons rise to the top of the charts in the 1960’s with “Sherry,” “Big Girls Don’t Cry” and “Walk Like a Man” and the list goes on.

Fame doesn’t eliminate personal problems.  Frankie has marital problems and loses a daughter. Tommy’s gambling problem only increases as he has more money to throw away.

Tommy leaves the Four Seasons after they pay off his gambling debts (a debt he never pays back).  The group continued on with more hits and concert dates.

Note: Today Frankie Valli is the only original member still performing with a new group of backup singers still called the Four Seasons.

He appeared last week in Pittsburgh. Now in his 80’s he’s still riding high (as are his notes)!

Marino delivers a stand-out performance.  He does a fantastic job at creating the Frankie Valli falsetto singing voice.  He transitions easily from the young sixteen-year-old who wants to sing to a performer intent on success. Marino handles more than the singing and dancing as he shows emotional depth at Frankie’s daughter’s death and with his many marital woes.

Farrell shines as the singer/songwriter responsible for the group’s popularity.  His character develops from a rather quiet (at least quieter than DeVito) and business-like demeanor into a force that pushes the group forward.

As Tommy, Toole has the walk and movement of a tough New Jersey kid.  Toole plays Tommy as volatile, often times pushy.  Toole makes his character easy to be angry with but he also is able to bring out those moments when we actually feel sorry for him.

Shannon’s character is an essential member of the Four Seasons but he remains in the background most of the time.  He comes to the forefront when he powerfully and loudly confronts Tommy. Through his tired voice and physical posture he easily transitions into a worn-out performer who just wants to go home.

Marino, Farrell, Toole and Shannon not only sing well but their dance routines are well-executed.

Elena Doyno has a minor role as Frankie’s feisty wife Mary Delgado. When Frankie starts a F-Bomb tirade in their home with their children present, Doyno lashes out at him. After finishing her argument, Doyno with exact timing turns her head and responds with a vulgarity of her own.

This is a great musical production that showcases Frankie Valli, the Four Seasons and their many hits.

Note:  One minor concern was the occasional sound loss (not lengthy but noticeable).

Excellent direction and choreography by Natalie Malotke.

-CED

 “Jersey Boys” is a production of Pittsburgh Musical Theater and is presented at the Byham Theater, 101 Sixth Street, Pittsburgh, PA. It runs from May 4 through May 14.  For more information, click here. 

By Michael Buzzelli

Young and Innocent Richard Hannay (Ryan Warsing) is framed for the murder of a secret agent, Annabella (Rachel Pfennigwerth in several roles), and he must smash the ring of saboteurs to clear his name in “The 39 Steps.”

When Hannay goes to the theater, Annabella sits next to him. They watch Mr. Memory (Trevor Buda in a multitude of roles) spout facts on a variety of subjects. But Annabella, a foreign correspondent, is filled with suspicion as she sits in the theater. Fearing for her life, she begs Richard to take her home – to his home!

At his apartment (he’s just the lodger), she tells him of the rich and strange Mr. Jordan (Kendall Mason in a variety of roles) who is living in Scotland. He is the key to the 39 steps. Richard tries to seduce Annabella, but she is not a woman of easy virtue. However, in the middle of the night she is murdered – stabbed by some psycho. Now, Richard is framed for murder. He flees north by northwest – to Scotland to discover the secret of the 39 steps.

He meets strangers on a train. One stranger is Pamela (Pfennigwerth again), and she alerts the authorities when she realizes he’s a notorious killer.  Chaos ensues as the cops chase Hannay around the locomotive. He is in a frenzy as he tries to escape the police.

Soon, he’s handcuffed to Pamela and the check into a hotel room as Mr. and Mrs. Smith. The cops show up there, but the farmer’s wife saves them. Pamela begins to have a shadow of a doubt that Richard is innocent. She helps him to catch a thief.

Patrick Barlow takes the novel, “The 39 Steps” and skewers it, poking fun of the Alfred Hitchcock film, his film library and just about everything else.

Scott Calhoon directs a madcap production of the show. It’s frenetic and crazy with a marvelous cast. The getaway action scene on the train is a piece of theatrical genius.

Kudos to Dialect Coach Lisa Bansavage for getting her actors to speak in dozens of accents.

Warsing is delightful as the charming Hannay.

Pfennigwerth is quickly becoming a Prime Stage favorite. She nails several roles with aplomb (and looks amazing while doing it).

Mason and Buda do a lot of the heavy lifting. They play every other role in the play. It’s amazing. Buda’s Mr. Memory is especially impressive when he rattles off a top-secret formula. Mason plays a hilarious villain seemingly inspired by Mike Myers’ Dr. Evil.

Barlow’s fat script could use a diet. While it’s a bit long for a comedy, it has some killer moments – literally and figuratively!

Don’t look for logic in “39 Steps.” As Hitchcock once said, “There is one thing more important than logic. Imagination.” Prime Stage’s version of “The 39 Steps” is nothing if not wildly imaginative.

Note: Take the kids. The might not understand all of the puns that are thrown from the stage, but they will enjoy the whimsical and silly show. It’s fun for all ages.

-MB

“39 Steps” runs until May 14 at the New Hazlett Theater, 6 Allegheny Square, Pittsburgh, PA 15212. For more information, click here. 

by Michael Buzzelli

Khady (Tara Touzie) is leading her college basketball team toward a victory. Unfortunately, March Madness coincides with Ramadan, and Khady can’t eat or drink during the day as her team enters the Final Four in Kareem Fahmy’s “American Fast.”

During the fast, Khady gets hangry and takes it out on the people closest to her; her boyfriend Gabe (Terry Bell), her Coach (Hilary Ward) and her mother (Deena Aziz).

She becomes a world-renowned Muslim-American hero. She’s trending on Facebook, Instagram and Twitter, but all she wants to do is win, even at the expense of her boyfriend, her coach and her mom.  The only people who have her back.

Ironically, the hero with the jump shot has feet of clay and gets caught in a spectacular lie. Her fans turn on her and things get very ugly very quickly.

“American Fast” seems like a play about sports, and while the game of basketball is heavily discussed, it is about faith, religion and relationships.

Khady (Tara Touzie) scores a H in a game of HORSE in “American Fast.” Photo credit: Kristi Jan Hoover.

Britton Mauk’s puzzle box set is delightful. At first, it looks austere and then it folds out and twirls about. It beautifully accents Jason H. Thompson’s projection design, which adds an extra layer to this gorgeous production.

Fahmy’s script sparkles under Jennifer Chang’s direction.

Aziz is superb as the Egyptian mother, Suzan. She is an excellent actor who oozes charm. Aziz delivers her lines with panache. It’s a marvelous performance.

Kudos to Denmo Ibrahim, the dialect coach who empowers Aziz to capture a sharp, Egyptian accent.

Bell’s Gabe is terrific. The actor has appeared in theater and television, including “Howards End” in Chicago.

Why mention that the actor was in a production of “Howards End?” Hold that thought. It will become clear shortly.

Ward does an excellent job as the Coach. She plays a bad ass with a soft side, and Ward nails it on every level.

Khady is not a likable protagonist. She is difficult, arrogant and unable to connect with the people who love and care about her. Touzie plays her with a marked determination and defined skill.

While there was a terrific cast, Khady’s character has difficulty connecting with her colleagues, her coach, her boyfriend and, even, her mother. It makes her a difficult character cheer for.

In E. M. Forster’s “Howards End,” he writes, “Only connect!”

I told you we’d get back to it.

Because Khady is an unsympathetic and nearly unrepentant protagonist, it was hard to connect with her, making her ups and downs on and off the court more a slog, even though it was a well-acted, well-written script with a gorgeous set. The connection is missing.

At the beginning of the play, two of City Theatre’s co-artistic directors, Claire Drobot and Monteze Freeland, tell us that “American Fast” is a work in progress. When Fahmy finds a way for Khady to connect with the audience without changing her character, he will have a hit on his hands.

It’s one revision short of perfection.

-MB

“American Fast” runs through May 23 at the City Theatre, 1300 Bingham Street, Pittsburgh, PA 15203. For more information, click here.

Some people call playwright Ken Ludwig the “reigning king of theatrical farce.” The clever, witty dialog and wacky situations in The Gods of Comedy, justify that title. This show is a mix of madcap mayhem with a little bit of romance. It elicits an abundance of hearty laughter from the audience (including me)! This farce is rich with mistaken identities, disguises and witty plays on words. One of the characters identifies as  being eunuch—oops, they mean unique. Misinterpretations of idioms provide laughs–for example, “pulling my leg.” Just picture it.

By Claire DeMarco

Teenager Evan Hansen (Anthony Norman) lacks confidence and is insecure.  His anxiety and lack of self-worth is greater than the normal angst that many teens feel. Clumsy is also an apt description.  Lonely with no friends, the only relationship Evan has is with his laptop.

Heidi Hansen (Coleen Sexton) is Evan’s mom, a single parent who works and attends classes. Her frequent absence from home only heightens Evan’s loneliness and isolation.

Through sessions with his analyst, Evan is encouraged to write daily letters to himself that have a positive outlook on life.  This seemingly solo exercise becomes the foundation for a series of events that spiral out of control.

His self-addressed letter accidentally falls into the hands of the school’s bully and suspected drug user Connor Murphy (August Emerson).

When Connor commits suicide several days later, Evan’s letter is found in one of Connor’s pockets.

Connor’s sister Zoe Murphy (Alaina Anderson) thinks her brother was a monster. His parents Larry Murphy (John Hemphill) and Cynthia Murphy (Lili Thomas) always had problems with Connor but surprised at the letter’s contents, they take solace that Connor did, indeed, have a friend. It’s their soothing belief (and his crush on Zoe) that Evan doesn’t have the strength to suggest otherwise.

Note:  Even the cast on Evan’s broken arm adds to the ever-growing fairy tale. Connor had printed his name on the cast (in very large letters) since no one else would sign it.

The untruths and embellishments grow exponentially with Evan creating a friendship that never existed.

Fellow classmates Jared Kleinman (Pablo David Laucerica) and Alana Beck (Micaela Lamas) help propel the “story of Connor” to the next level by creating the Connor Project.  The Project is meant to keep Connor’s memory alive.  It also elevates the socially awkward Evan into a social media sensation.

Norman shines as the insecure Evan.  He highlights that persona with his physical movements, facial expressions and eyes always looking downward.   His interaction with Sexton as a never-ending talker (talking about nothing) was both hilarious and sad.  “Words Fail” and “For Forever” highlight his wonderful singing voice.

Sexton’s demeanor changes from the always apologizing mom, continually working or taking classes to the insulted firebrand rejecting money from Connor’s parents.  Her character grows as she becomes the listening, sometimes lecturing mom that Evan needs.  Sexton’s rendition of “So Big, So Small” is touching.

Laucerica’s Jared is conniving, smart and at times funny. It’s easy to believe Laucerica as a con man more intent on making money from the Connor Project.  As the only other person who knows that the Connor Project and the letter are fake, we see Laucerica advance from a mouthy teenager into a person who has no reservations about making money by perpetuating this fraud.

Lamas plays the girl everyone knows and doesn’t like.  She is self-absorbed and she sees this project as a means to elevate herself.  Lamas takes her character’s conceit to the highest level.  Lamas also has a lovely singing voice.

The entire cast is well-balanced with no weak links.

The set is exceptional with the backdrop a social media participant’s dream. Cascading streams of words, lights flashing, faces smiling and tidbits of partial messages keep moving and changing.  The backdrop changes into a background of various snippets of word and phrases when the dialogue dictates.

Dear Pittsburghers:

Don’t miss this exceptional production of the 2017 Tony Winning Musical.

Thanks,

Me.

P.S.  It’s really me!

-CED

 “Dear Evan Hansen” runs from May 2 through May 7 at the Benedum, 237 Seventh Street, Pittsburgh, PA. 15222. For more information, click here.

By Claire DeMarco

Joe (Danny Bernardo) takes two cross country road trips twenty years apart – first with his soon-to-be wife Jenny (Marielle Young) and years later a repeat with his adopted daughter Lucy (Sammy Rat Rios).

Note:  On stage the trips are not sequential but alternate between the first trip with Jenny and the second with Lucy.

Joe’s trip with Jenny from Washington D. C. to Portland, Oregon helps the couple develop a rapport, get to know one another since their pending marriage has been arranged.

One might expect the bride-to-be as shy, demure and quiet but the roles are reversed.  Jenny is more modern, outgoing and relaxed.  Nervous and insecure Joe attempts to hide his awkwardness by talking incessantly.  He never stops rambling even when it is apparent that Jenny has fallen asleep in the car with her head bobbing on her chest.

As the trip progresses the couple learn each other’s strengths and weaknesses.

They finally arrive in Portland, Oregon!

Twenty years later Joe embarks on another trip.  He picks his daughter Lucy up at the Washington D.C. airport.  It doesn’t matter that she had a ticket to fly to Portland (which he cancelled without her knowledge). The trip doesn’t start off under the best of circumstances but Joe is determined to traverse the country with his daughter.  His daughter is college age and Joe sees this journey as possibly the last adventure they’ll have together.

Bernardo is excellent as Joe, portraying him as a timid, talkative young man in his youth to a devoted father twenty years later.  He is more physical and expressive in his later years and his comedic timing is spot on. Trying so hard to remain a part of Lucy’s world, his suggestion that “Maybe later we do some drugs” is hilarious.

Young is enticing as the bold, opinionated and sometimes not very nice Jenny.  She is able to translate that characterization into several comedic scenes and saucy retorts.  She is stronger than Joe.  She knows it and uses it to her advantage!

As the adopted daughter, Rios develops her character from a young girl still under the influence of her father into a determined, ready-to-be adult who definitely has a mind and opinions of her own. She is anxious and determined to be independent.  Rios translates that characterization perfectly.

Afterthought::  Perhaps Joe and Jenny’s American accents are meant to indicate that at this stage of their potential relationship they are speaking in their native tongue.  Twenty years later their accents take on those of immigrants speaking English with a pronounced foreign-born cadence.

Also notable is how their clothing after twenty years reflects their development as immigrants. Joe has dropped his drab clothing, now wearing the most garish, flower printed shirt.  Jenny reverts to her native-born country’s ethnic attire.

The set is minimal, but effective with a backdrop of an open sky with light changes reflecting different times of the day. Most of the scenes take place in the car but the characters are periodically out of the car at rest stops or tourist attractions.

“Young Americans” explores the experiences of immigrants to a new country over twenty years and how those experiences affect them.

Lauren Yee wrote a great play. This world premiere production had a healthy  mix of serious conversations and a large dose of humor.

-CED

“Young Americans” runs from April 26 – May 14 at the O’Reilly Theater, 621 Penn Avenue, Pittsburgh, PA. For more information, click here.

Reviewed by Dr. Tiffany Raymond, PhD and Theron Raymond (4^th grader)

Little Lake Theatre Company invites everyone’s favorite storybook monkey from page to stage in their kid-friendly, adult-acted production of Curious George: The Golden Meatball.

From the opening scene, the energy never flags in this 55-minute production. Director Rick Bryant keeps it tight and lively for the littles as the play is recommended for ages 3 and up. Looking around during the show, both kids and adults were thoroughly engaged. There were even a few sweet moments of unintended audience participation from the youngest audience members trying to help find George.

Jennifer Phipps-Kopach is endearing as George. Costume designer Sylvia Sims-Linkish’s brown hooded, monkey onesie with protruding ears is charmingly sweet and topped by a cowlick (or rather, a monkeylick?). Phipps-Kopach clearly studied our primate relations. She manifests George with joyful, bouncy hops that forefront the monkey’s mischievousness from the outset. She steals bandanas from the actors during the opening song. She also captures George’s “voice” with discernible, yet squeaky, utterings that “match his nature” (in the words of my 10-year-old co-reviewer and kiddo, Theron).

Theron also noted Alex Keplar’s “innovative prop design.” Keplar utilizes a set of colorful wooden boxes with lids. These handy storage crates hide props and stack to create kitchen stoves, provide a pedestal for George when he’s a literal “monkey in the middle,” and “mark” the corners of the stage in this production in the round. Keplar also transforms New York City’s skyline into Rome’s Coliseum with a few panel flips. Quick, almost imperceptible, prop changes keep the tempo moving.

The play’s central tension is a story of old vs. new. Chef Pisghetti (Andy Coleman) is an Italian chef incarnate. He’s round and jolly with a native Italian accent to match that Coleman holds steady, yet also sensitive and emotional about his art.

The threat of the new comes in the form of a Meatball-a-Matic. This whizzing new meatball-making – and flinging – invention sets up across the street, luring away Pisghetti’s customers. It’s like the Doritos Locos Taco has moved in and is competing with the neighborhood taqueria.

The Meatball-a-Matic’s inventor, Phinneas T. Lightspeed (Kayleigh Peternel), is more showwoman than chef. Peternel evokes a 19^th century purveyor of tonics and elixirs as she touts her wonderous, time-saving machine, singing “Who’s got time?” as she confidently strides about the stage rhyming. Even George is awestruck. The gravitational force of well-marketed novelty is undeniable.

Costume designer Sims-Linkish triumphs again. Peternel’s brown suit with tan dots are in fact meatball-sized polka dots. These dots visually reinforce the two-dimensional nature of her cuisine as well as the outer limits of Lightspeed’s skills whereas Pisghetti’s white chef’s jacket is a literal blank canvas for his range of culinary craft.

Taking offense at society’s inclination for fast over traditional, Chef Pisghetti defiantly exchanges his toque for a baseball hat, becoming Mr. Pisghetti. The attempted reconversion of Chef Pisghetti occupies the remainder of the play. George stows away to Rome for the Golden Meatball contest. This triggers a fast follow by the Man in the Yellow Hat (capably played by Christian Jones who adopts the Man’s signature arms akimbo pose) as well as Pisghetti and his wife, Netti (Katy Risotto).

Pisghetti clearly has not returned to his home country in ages as he immediately gets lost in Rome. Hilarity ensues as the hapless Pisghetti notes, “Darn, they moved the Coliseum again.” Bryant thoughtfully utilizes the stage’s four entrances and exits to create the sense of chaos one feels lost in the narrow streets of a European city. Pisghetti’s frantic search for the Coliseum mirrors his own turbulent journey to find his inner chef again.

-TR & TR

Curious George: The Golden Meatball runs through May 7, 2023 at Little Lake Theatre Company in Canonsburg, PA. Purchase tickets online here.