'Burgh Vivant

By Timothy Ruppert

After his flight was diverted in the hours following the September Eleventh attacks, legendary PSO Music Director Mariss Jansons journeyed from Canada to Pittsburgh in time to lead the orchestra in a memorably powerful performance of Aaron Copland’s Fanfare for the Common Man. This anecdote occurred to me at the premiere of Front Porch Theatricals’ new production of

Irene Sankoff and David Hein’s Come From Away, not simply because the musical revisits those uncertain days of a quarter century ago but because the show sketches out a drama of resilience and fellow feeling, involving ordinary people under extraordinary pressures. Come From Away is a beautiful and complex play that requires empathetic performances from sophisticated storytellers. Front Porch Theatricals gives us that, and more, in this brilliant interpretation.

Strangely enough, a production as splendid as this one creates rather singular worries for a reviewer insofar as the superlatives necessary to discuss it may well reach the point of absurdity. Suffice it to say that if you hear the words “fantastic” or “magnificent” associated with this show, trust that such descriptors are indeed accurate. With Aaron Galligan-Stierle (director) and Douglas Levine (music director) at the helm, Come From Away delivers an authentically transformative experience, making it one of Pittsburgh theatre’s highlights of the year.

Whether evoking the claustrophobic environment of grounded airplanes or the seemingly limitless hearts of the townspeople of Gander, Newfoundland, this cast triumphs in a way that feels personal.

While everyone involved deserves accolades, my favorites include Richard McBride (Bob), whose comedic timing brings tears of laughter, and Mandie Patsy as Bonnie, the protector of several animals on the planes, including the rare bonobos Unga and Kosana. Drew Leigh Williams inspires as Captain Beverley Bass, who, in “Me and the Sky,” recounts her astonishing life as she comes to terms with the fact that “the one thing I loved more than anything was used as the bomb” on that fateful autumn day. Like Williams, Natalie Hatcher sings gorgeously in the role of Hannah, delivering an unforgettably lovely “I Am Here.”

Naturally, these performances impress because the entire cast fashions a milieu of excellence.

Marc Moritz (Claude) does superbly as the small-town mayor whose community suddenly finds a place in the international eye. Christy Rodibaugh (Diane) and Stefan Lingenfelter (Nick) play wonderfully together as two lonely people united by tragedy. Victor Aponte and Shawn Doremus provide a heartbreaking romantic counterexample as the two Kevins. Brad Smoak (Oz), Lisa Ann Goldsmith (Beulah), and Caroline Travers (Janice), who has familial connections to 9/11 in New York, complete this outstandingly talented group.

Conducted by Levine (keyboard), the orchestra distinguishes itself throughout the evening, rendering joyfulness and poignancy with equal success. While Rebecca Neukom (fiddle) and Rich Rayburg (bodhran) are especially prominent, all the musicians merit celebration, including R. J. Heid (percussion), George Hoydich (whistles), Ken Karsh (guitar), Bryce Rabideau (mandolin), and Paul Thompson (bass). A note of praise goes as well to Patsy’s choreography and to the work of dance captain Hope Johnson. As always, Andrew David Ostrowski delivers a perfect lighting design, and Josh Bruton’s sound work is accomplished. Stage manager Katy Click ensures that the evening proceeds to the best possible effect from start to finish.

On a personal note, I found myself fortunate enough to see this show with three of my ’Burgh Vivant colleagues: Lonnie Jantsch, Claire DeMarco, and Michael Buzzelli. Fittingly, a show concerned with people coming together occasioned this too-seldom chance to see so many friends at once. But such is the magic of Come From Away, and of this production in particular. For a superlative evening of top-tier storytelling, please see this show.

—TR

“Come From Away” plays at the New Hazlett Theater, 6 Allegheny Square E, Pittsburgh, PA 15212, through 23 August. For tickets, please visit here.  

 

 

 

by Claire DeMarco

Sir Arthur Conan Doyle would probably be a little more than surprised to see his most famous creations, Sherlock Holmes and Dr. Watson, reimagined as they’ve been over the years.

This latest erudite version of the great detective is Ms. Holmes (Chelsea Davis), a deductive consultant. Her cohort is Ms. Watson (Erin Berger), an American new to London and newly acquainted with Holmes.  Mrs. Hudson (Olivia Long) is the building’s landlady, and Holmes and Watson share a bathroom.

Holmes is determined to pry into Watson, trying to see how she ticks. She is also convincing and, at times, overbearing as she tries to entice Watson to become her deductive assistant in the pursuit of solving crimes.

Inspector Lestrade (Tony Bingham) approaches Holmes for help in a case.  Lestrade, Holmes, and a reluctant Watson reach the crime scene. Is this a crime or a suicide? Further investigation ties this incident to another, and Holmes’ analysis solves both cases.

Watson becomes proficient at participating in crime solving (and now seems to enjoy it totally).  As their work continues, Holmes goads Watson into confiding in her.  Why did she leave the States?  Why is she not practicing medicine?  As Watson discusses her rationale for moving to London, it portends a promising, ongoing relationship with Holmes, the well-known deductive consultant.

Davis is a whirlwind of talent, stamina, and comedic timing as she flits from one side of the stage to the other as the eccentric Holmes. She is frenetic, eccentric and energetic.

As Holmes’ “forced assistant,” Berger’s character changes drastically as she becomes more involved in Holmes’ work.  Many of her funniest moments involve no speech, but her facial expressions, carriage, and physical movements provide the loudest laughs.

As disguised nuns investigating a crime, Davis and Berger are a hilarious duo. Their timing, movement, and Irish brogues are exceptional.

Bingham takes on several characters, but as Lestrade he shines.  He is both timid when first meeting Holmes and Watson, and formal in carriage and interaction.  As he becomes more involved in crime-solving, he is at times enthusiastic, boisterous, and extremely funny.

Glyptis is terrific as Holmes’ enigmatic friend (and perhaps more than a friend) whose dislike of Watson is obvious.  Her actions portray Adler as artificial and cunning behind an ingratiating smile.

Long is both flustered and frustrated as Mrs. Hudson and devious as Mrs. Drebber, the charming widow.

Special recognition to:

• Director Dana Hardy Bingham
• Dialect/Accent Coach Lisa Ann Goldsmith
• Costume Designer Lilly Brown

“Ms. Holmes & Ms. Watson – Apt.2B,” .written by Kate Hamill,  elevates the terms slapstick, farce, and buffoonery to a new level.   Comedy and murder are an odd coupling, but in this production they fit comfortably together.

-CED

“Ms. Holmes & Ms. Watson – Apt. 2B” is a production of Little Lake Theatre Company.  Performances run from August 13th to August 30^th at Little Lake Theatre Company, 500 Lakeside Drive South, Canonsburg, PA. 15317. For more information, click here.

 

 

 

 

 

 

 

 

Reviewed by Dr. Tiffany Knight Raymond, PhD and Theron Raymond (8th grader)

At the post-show Skeleton Key experience at Liberty Magic, magician Jon Tai compared himself to a chef. Chefs didn’t create chicken or plums, but they invent by combining ingredients in unique ways. Tai’s core ingredients in Road Signs are dirt, wood, stones, and light, none of which he invented. However, a memorable culinary experience transcends and can linger long after it’s consumed. Tai’s show also exists in the here and now, but it resonates and reverberates long after the proverbial curtain closes. In the course of his show, Tai innovatively combines his ingredients in ways you’ve never seen, creating astonishment and shared awe.

Before entering the theatre, all attendees are instructed to write a single word on a piece of paper. Jon’s core ingredients are immediately visible when you enter the theatre. On the stage, there’s a mound of dirt with a small wooden platform rising up out of it. A semicircle of stones surrounds the platform. His set is immediately distinctive as it’s devoid of typical magician props. It sets a hushed temple-like mood, as if everyone is gathering in an inner sanctuary. With Christopher Nolan’s cinematic interpretation of Homer’s epic poem, The Odyssey, currently setting box-office records, Tai engenders a similar feeling of gathering in Road Signs. He is the storyteller leading us on an epic adventure through his narrative, but we, too, as audience members are not there just to passively listen but to help guide the story.

Jon shares that the inspiration for the show was his desire to disappear and vanish, which he accomplished by traversing the country on an extended road trip. He references Jack Kerouac’s On the Road and sings a bit of Woody Guthrie’s “This Land is Your Land,” placing himself as an artist alongside other artistic renditions that captured travel.

The theme of journeys is at the show’s heart, and those journeys are layered. While Tai is an artist, he is also a human and helps us reframe our own journeys by speaking of “walking down the street as missed connections.” More than other magic shows, the audience experiences a shared, time-bound journey of being in the theatre together as a completely unique set of audience members, and the show’s narrative connects us all to a journey of self.

Tai layers his show. What potentially feels random or unconnected early on is actually all part of a narrative build. Tai does an extraordinary job of bringing in a wide array of audience members to participate in small and large ways. He thoughtfully connects with each person, making them feel seen, ensuring connections are not missed. By consistently bringing in audience members whose choices guide the show, Tai ensures that we see the show’s outcomes are not pre-determined.

Tai feels like more of a mystic seer than a mentalist. He looks into the distance as he decodes different audience member memories, as if he can envision them forming out of a distant mist.

At one point, Jon asks the audience members to find their pulse and tap it out with their feet. It’s a staccato. After collectively breathing under his guidance, he asks the tapping to resume. It is both slower and synchronized. The rapid transformation is astonishing and fits Tai’s description of magic as “having reality break for a moment.” There is wonder in that transformation that makes you consider the power of human communities. When reality breaks is perhaps when we can break from reality.

Don’t miss Jon Tai in Road Signs through August 29, 2026 at Liberty Magic (811 Liberty Avenue, Pittsburgh, PA, 15222).  While recommended for 18+, there is nothing inappropriate for the age 12 minimum. At 14, Theron was the only teen there, but loved the show.

Liberty Magic offers a Skeleton Key VIP experience to go backstage and meet Jon in an even cozier space after the show. When we attended, the show’s co-creator and director, Alex Gruhin, was there as well. Gruhin enhanced the experience, chiming in and making one think about magic beyond the individual magician and as a larger collective. Jon answered questions, performed a card trick, and offered some exclusive merch, making the Skeleton Key the perfect conclusion to a magical evening.

Purchase tickets online here.

 

 

By Timothy Ruppert

Given the myriad resources—digital, material, and financial—available to contemporary scientific research, the idea of world-altering discoveries made in a tiny room heated by coal (when provided) and lit by two miniscule windows may strike one as unlikely, even chimerical. Welcome to mid-1890s Paris, where the recently finished Eiffel Tower looks over a city at the height of the Belle Époque. Far from the Moulin Rouge and the Jardin du Luxembourg, Pierre Curie (Jordan Moore) and Gustave Bemont (William Lewis) toil in a frigid, ill-lit room to please their supervisor, the self-serving academic Rodolph Chevrier (Keith Kuzmovich), with dazzling steps forward in scientific accomplishment. Enter Maria Sklodowska (Sarah Brunner), a young Polish university student whose blend of perspicacity and persistence will position her one day to win international acclaim as the two-time Nobel Prize laureate, Marie Curie. Now playing at Iron Horse Theatre Company in Ambridge, Ron Clark’s Pierre and Marie explores the human dynamics behind the equations and experiments that, for better or worse, will so profoundly affect shared human knowledge and, consequently, the world’s future course.

Iron Horse’s creative team has some tightropes to walk with this show, principally because Clark’s script has a few notable flaws that occasionally undermine its many merits. Because it levitates between satire and science, particularly in the first act, Pierre and Marie must find ways to reconcile comedy with chemistry while maintaining a verisimilitude in keeping with conventional biographical storytelling. For the most part, Clark succeeds with this sort of narrative legerdemain, interspersing witty exchanges with slapstick-style physical humor (at which Moore especially excels). At times, though, the script settles for a questionable joke, including one early on that involves the topic of sexual violence. Although infrequent, such moments do detract from the script’s general effectiveness.

Cast:  Front row left to right:  Sarah Brunner, Joan Swartz

Second row left to right:  Jordan Moore, Keith Kuzmovitch, Will Lewis

That said, the cast and crew of Iron Horse’s Pierre and Marie, under the direction of Harley Allen and Eric Vollmer, show commitment and intelligence to a challenging undertaking. Brunner performs with élan in crafting a believably human representation of Marie Curie, never losing sight of her character’s imperfections. Moore and Lewis work nicely together, and Kuzmovich plays the jaded academic with a convincing mix of ambition and world-weariness. A special acknowledgement goes to Joan Schwartz as the outspokenly utilitarian nanny, Georgette, whose clearsighted and fearless interventions into the Curies’ talk of theoretical physics sparks immensely important realizations. Schwartz never fails to find the heart in her characters, and, in this latest appearance, she finds the heart of the entire show.

For all its sparseness, Pierre and Marie requires a talented technical crew; luckily, the Iron Horse team exceeds expectations. Credit technical director Alan Hayashi and board operator Lawrence Capozzolo for good lighting and terrific sound. Stage manager Amanda Orr and assistant stage manager Mark Beck anchor the show with joyful attentiveness; their precision ensures that nothing desultory sabotages the drama. Costumer Robin Reilly makes engaging choices, particularly with Lewis’s dandified Bemont in the second act. Note too that the props are superb.

In the hands of Iron Horse Theatre Company, Pierre and Marie proves edifying and thought-provoking. Despite my concerns with aspects of Clark’s text, I hold that this production will appeal to those interested not simply in history or science but in the human stories behind ambitious endeavors and paradigm shifts in knowledge. As this play shows, civilizations may be forever affected by what a handful of people once said and did in cold, poorly lit rooms.

—TR

 

“Pierre and Marie” runs at Iron Horse Theatre Company, 348 Maplewood Avenue, Ambridge, PA 15003, through 22 August.

For more information, click here.

 

 

by Claire DeMarco

Dr. James Sheppard (Christopher Kelly) is discussing the recent death of wealthy townsman Roger Ackroyd’s (Darren Eliker) fiancé with his sister Caroline Sheppard (Sheila McKenna). Caroline goes back and forth – suicide, murder, murder, suicide? She has logical answers for any scenario and is willing and wants to discuss the issue with anybody who’ll listen.

When Roger Ackroyd’s murder follows shortly thereafter, one can imagine Caroline Sheppard’s mind spinning narratives and conclusions.

The Sheppards live next door to recently retired detective, Hercule Poirot (Sam Tsoutsouvas).  His main goal in life is to grow vegetables.

But murder and intrigue seem to attract Poirot like a magnet.  He is pulled into the crime investigation by Flora Ackroyd (Mia Laverne), who pleads for his help. He reluctantly agrees (not really) and is determined that Dr. Sheppard work with him since the good doctor knows the village and its inhabitants.

The late Roger Ackroyd’s estate is the scene of the crime and it’s here that Poirot and Dr. Sheppard try to piece together clues.  What happened and who is responsible?

It is Dr. Sheppard who periodically interacts with the audience throughout the play, narrating and recapping pieces of information we need to know.

The estate’s inhabitants emerge: Parker (James Fitzgerald), Roger Ackroyd’s long time butler, Gertrude Ackroyd (Helena Ruoti), Flora’s mother and the widow of Roger’s brother, Helen Russell (Brandi Welle), maid Ursula Bourne (Jandi Linde) and Major Hector Blunt (David Whalen).

Ralph Paton (Nai’ron Arnett) appears briefly at the play’s beginning prior to his foster father, Roger Ackroyd’s murder.  His disappearance after the murder slants the interest in him as the possible killer.

Christopher Kelly, Simon Bradbury, David Whalen

Inspector Raglan (Simon Bradbury) is the person originally assigned to the case who proves to be inadequate for the job, ultimately relying on Poirot’s expertise.

The emphasis on a murderer shifts from person to person.  Poirot intuitively knows that a cloud of secrets hovers over the entire household and he is determined to expose them. It’s not only murder but blackmail, greed and deception.

With typical Poirot deduction, Hercule unravels each thread of the puzzling mystery, pulling each secret out of each potential suspect, finally identifying the murderer.

So, who did it?  Well, I’m not telling.  My lips are sealed.

This is a wonderful rendition of Mark Shanahan’s adaptation of Agatha Christie’s most exciting mystery (and considering that she wrote about 66 of them, that is quite a feat).

Don’t miss this wonderful production!

Tsoutsouvas is delightful as the clever but odd Poirot as he carefully and deliberately analyzes every aspect of the crime scene and the members of the household, one of whom may be the murderer.  He does not deliver his version of Poirot as a parody of the person we’ve seen many times portrayed by different actors.  He creates a more moderate version that still maintains characteristics of the detective that we know and love.  Tsoutsouvas has a delightful Belgian accent and insight that draws us to this unique character.

It’s hard to limit one’s comments when discussing Helena Ruoti.  What a gem!  Her facial expressions, vocal inflections and eye movements provide any emotion she wants to convey.  Her timing is spot on.  One can almost envision daggers darting from her eyes as she delivers a retort to anyone who attempts to offend her.

McKenna perfectly portrays the town’s gossip.  She does a deep dive into what she believes happened to Roger Ackroyd and his fiancé.  She delivers her suppositions with great facial and comedic moves.

Kelly is both patient, believable and steady as the town’s doctor and Poirot’s assistant.  As the narrator he provides us with more detail and background on happenings before and after the deaths.

Whalen plays Blunt as the big game hunter, loud and forceful.

As his lack of intuition fails him, Bradbury delivers some funny lines as he tries (and fails) to keep up with Poirot.

Sweet and caring at first, Laverne’s self-serving side is on full display when her ultimate goal of financial security is in doubt.

Andrew Paul’s direction completes the package of this fine production.

Johnmichael Bohach’s set was exceptional.  It is beautifully done and extremely detailed.

Lighting by Andrew Ostrowski complements the set design.

Kimberly Brown adds to the production with great costumes specific to the time period.

“The Murder of Roger Ackroyd” was adapted by Mark Shanahan from the original work written by Agatha Christie.

 

-CED

“The Murder of Roger Ackroyd” is a production of Kinetic Theatre Company.  Performances run from August 6th to August 30^th at Carnegie Stage, 25 W. Main Street, Carnegie, PA 15106.

For more information, click here.

 

 

By: Joseph Szalinski

I’ve faced plenty of difficult circumstances on the clock over the years: barely dodging bits of birdshot but being hit in the face by clay pigeons as a teenage trap boy; repeatedly burning myself on ovens and with hot caustic in between baking pretzels, a few months after I graduated college; dealing with immeasurable grief and trauma while working in an outdated office during The Pandemic. None of that holds a candle to teaching middle school. Exasperated educators are just two of the people we meet in The Rage of the Stage Players’ latest production, Worse in Verse: The Loathsome Lessons of Mr. Scratch, written and directed by James Michael Shoberg, now running at the Margaret Partee Performing Arts Center in Bellevue, PA.

Inspired by his own horror poetry, writer/director/producer James Michael Shoberg has penned another satisfyingly sinister script. Featuring a frame story that contains the usual action and dialogue, things get a little weirder with the inclusion of ten lessons, influenced by the fears of friends and that family, which are taught via rhyme. Fans of Edward Gorey and Shel Silverstein are sure to love the smaller stories. Don’t worry, this review won’t rhyme, although such an angle was considered…The dialogue is replete with wit and references. Characters are complex. Plot is well-paced. Each lesson contains brilliant wordplay that assists in enforcing each fable. There’s a musicality to the language; beauty despite the nightmarish narratives.

These worlds are realized thanks to the superb actors in this show. Most of the cast play a primary part alongside a litany of roles within the show’s vignettes, delighting and disturbing the entire time. Holding down the fort as the adults are Christiénne Miller and Bill Herring as Miss Jones and Mr. Lavey, respectively. Wonderful together as well as separately, they captivate from start to finish. What kind of middle school classroom would be complete without its students? Daniel, the most outspoken and obnoxious of the bunch, receives an entertaining portrayal courtesy of Anthony Babeaux, who is similarly engaging in his other iterations. Andrew Beckas is great as Robert, Daniel’s foil of sorts. The remaining classmates are brought to life by a talented trio. Chelsey Gooch is fantastic as Eve. Spurthi Reddy excels as Gretchen. Nicole Brady is excellent as Abigail. All three of them do double-duty as choreographers. Luke Frederick delivers one of the greatest performances seen in some time as Nicholas Scratch. Equally charming and menacing, one cannot help but be mesmerized by his commitment to character. His accents seem natural; his mannerisms and expressions are spine-tingling. He can amuse as easily as he can unsettle. Attention is commanded, not demanded, via nurtured nuance and subtlety. A truly terrific turn as the titular teller of tales.

Working in concert with the cast is the commendable crew, of which certain members operated in many capacities. Overseeing matters is Dylan Baker as technical director and lighting/sound designer, assisted by Rachel Roach as board operator. The impeccable sets were designed by Katrina Kayden, who constructed them alongside Justin Havens, Bill Herring, and Jen James, the show’s technical advisor. Supplementing their efforts was a team of scenic artists comprised of Frankie Rose Alderson, Christie Strub Biber, Chelsey Gooch, and Justin Rogers, headed by scenic charge artist Rachel Roach. Set decoration and props were done by Frankie Rose Alderson, Chelsey Gooch, Rachel Roach, and costumer/producer Carrie L. Shoberg. Props are used to great effect. Scratch’s bottomless suitcase is wild and weird. The bear paws provide plenty of humor in an otherwise gristly moment. Likewise, confetti and such, as stand-ins for blood and guts, are a fun way to make the gruesome elements more agreeable. The most remarkable technical achievement is the ravenous furnace that comes to life in one of the lessons. Really coal stuff. Costumes aid in differentiating the actors’ various characters. Scratch’s wardrobe, on the other hand, is pretty consistent and therefore helps to establish his identity. The schoolchildren all wear Skechers. Great shoes. A strange thing to notice, but in a show full of deliberate details, there’s certainly some sort of significance. Special effects are handled by Dylan Baker, Katrina Kayden, and Carrie L. Shoberg, whereas makeup is the responsibility of production’s mastermind, James Michael Shoberg. None of this could be possible without a competent run crew, which this production definitely has in the form of Frankie Rose Alderson, Barb Sawatis, Diana Smith, and Peter Anthony Vetrini. Backing them are Box office/house crew maestros Dawn D. Anderson, Linda Baker, Justin Rogers, Lily V. Sixx, Jim Steinhoff, and Peter Anthony Vetrini. Dawn D. Anderson and Lily V. Sixx even baked some delectable goodies! Stage managers Rachel Roach and Justin Havens rein in all the chaos. On the promotional side of things, James Michael Shoberg and Joseph Stammerjohn concocted some awesome design, while the former partnered with David L. Wooddell to handle the marketing. Wizard of the Lens, Forrest Cook, tackles photography and videography, with help from Mitt Lisiak with the latter. Damien created the poster artwork. Rachel Roach designed the title logo.

For the last 25 years, The Rage of the Stage Players has been putting on truly unique productions across The Greater Pittsburgh Area. Whether those shows are comedies, dramas, originals, or reimagined staples, no one does it like the Ragers. Projects are cinematic in scope and execution, proving that other companies aren’t limited by technical possibilities but by lack of imagination. Everyone involved in this outfit, cast and crew, juggles various responsibilities to ensure everything is pulled off perfectly. There’s an unwavering dedication to the artform that permeates the collective effort, evident by the fact that so many of them lend a hand play after play. Throughout their history, Rage has cultivated a built-in audience but also manages to attract a fresh crop of patrons with every performance. Who knows what extraordinary feat of theatre they have in store for folks next year?

Situated in the bustling streets of Bellevue, sits the Margaret Partee Performing Arts Center, a hub for arts and culture. Despite its size, it houses multiple theatre companies and a slew of events ranging from improv comedy to slam poetry. Comfy, cozy, and quaint, it’s a great space for live entertainment. With the town poised to become “the next Lawrenceville,” this venue is set to develop into an increasingly important institution in our local theatre scene.

-JS

Worse in Verse: The Loathsome Lessons of Mr. Scratch continues its run August 6-8 and 13^th-14^th at 8 PM, along with a rare 2 PM matinee, followed by a cast and playwright talkback, on Sunday, August 9^th, at the Margaret Partee Performing Arts Center in Bellevue, PA.

by Timothy Ruppert

Albert C. Labriola, a wonderful scholar from whom I took three courses in Shakespeare at Duquesne University some years ago, seldom spoke the Bard’s surname without including “the beloved” as a prefatory honorific. While many of us share my late professor’s affection for this poet and his work, Shakespeare, from the very first, proved a divisive figure. Consider that Robert Greene, an Elizabethan playwright and pamphleteer, called the young Shakespeare “an upstart Crow, beautified with our feathers,” thus indicting him as an overreacher, dilettante, and plagiarist all in one fell swoop. The image of Shakespeare as a narcissistic pilferer gives Wayne Kirkpatrick, Karey Kirkpatrick, and John O’Farrell’s outstanding musical comedy, Something Rotten!, now playing at Paragon Theatre, its central question: How do you solve a problem like Will Shakespeare (Andy Georgiev), the most beloved villain in London?

For Nick Bottom (Josh Plowman) and his younger brother Nigel (Alex Kerr), the answer may be to invent the modern-day musical—or so goes the advice of Thomas Nostradamus (Mark Spondike), a clairvoyant who looks into the future without wearing his glasses. Tormented by a nervous patron (Liam Kilbourn) and a nervy Puritan (Tom Smithyman) yet resolved to make a better life for his wife, Bea (Bethany Tonarelli), and their unborn child, Nick gambles that his only chance to best the Bard is through a song-and-dance spectacular unlike anything a Tudor audience—or any audience, really—has seen before. The resulting play-within-a-play is among the most hilarious twelve minutes in contemporary theatre, a metatheatrical anti-extravaganza that hovers between parody and pastiche as it interweaves English Renaissance drama with Broadway and the West End.

A show of such complexity asks a lot of the company that undertakes its production, and Paragon Theatre meets the challenge with wit and energy. Thoughtfully directed and impressively choreographed by Deborah Metzger, this production of Something Rotten! is witty, vivacious, and cheerful. Plowman plays Nick flawlessly, and his scenes with Kerr and Tonarelli are heartfully crafted. Georgiev endows Shakespeare with the shallow charisma of the Machiavellian strategist. Smithyman and Spondike excel as Brother Jeremiah and Nostradamus, respectively. Sam Cox is memorably terrific as Portia, the Puritan preacher’s longsuffering daughter, and Nigel’s love interest. Jay Evans (Shylock) and Liam Kilbourn (Lord Clapham and Judge) contribute meaningfully, and the Bottoms’ acting troupe, featuring Benjamin Mowrer, John Kiewall, Jack Mangold, Logan Mlecko, and Landon Schmidt, work very nicely together. Dance captain Amy Yatta deserves applause for her achievements here, as the seventeen talented performers comprising the ensemble, tap ensemble, and Puritan contingent are truly exceptional throughout. Congratulations to Alison Marschke and Chris Yakicic for their imaginative costuming, as well as to Amy Peters (stage manager), Scott Metzger (sound), Harry Bolette (lights), and Adam Bolette (music).

To thine own self be true, then, and please see the beloved Something Rotten! at Paragon Theatre today!

—TR

“Something Rotten!” runs at Paragon Theatre, now located at 1321 State Avenue in Coraopolis, PA 15108, through August 8, 2026. Tickets may be purchased here.

 

 

 

 

 

By Michael Buzzelli

When Alice Paul (Maya Keleher) became dissatisfied with the way Carrie Chapman Catt (Marya Grandy) was running (NAWSA), the National American Women’s Suffrage Association, she decided to start a bolder, more rebellious organization to finally win voting rights for American women in Shaina Taub’s “Suffs.”

Alice gets her friend from college, Lucy (Gwynne Wood), to join her organization,  the National Women’s Party. Soon, others rallied behind her, including  Inez Millholland (Monica Tulia Ramirez) and Ruza Wenclawska (Joyce Meimei Zheng). The party organized a march on Washington, with Ida B Wells on horseback marching down Pennsylvania Avenue.

Issues of race complicated the march. In a parallel story, Mary Church Terrell (Trisha Jeffrey), one of the first African-American women to earn a college degree,  founding member of the National Association of Colored Women, and a charter member of the NAACP, squabbled with Ida B. Wells (Danyel Fulton), a Black journalist and another founder of the NAACP.

Alice continued to squabble with Catt and her closest confidante, Mary Molly” Hay (Tami Dahbura). Molly was Catt’s “longtime companion.” Wink, wink, nudge, nudge.

Note: It’s suffragists, not suffragettes. Suffragettes was considered a slur devised by the newspapers to minimize the women’s efforts.

Taub’s story is a history lesson set to music. It starts like a high school assembly. It’s all “Gee Whiz! We’re gonna teach a lesson with song,” but evolves into something so much grittier and real.

All the roles in the show were played by women, including, Brandi Porter, who played Dudley Malone, and Marissa Hecker who played President Woodrow Wilson (on the Wednesday night performance).

Keleher was amazing as Alice Paul, a woman who is never deterred even amidst a four-week hunger strike in a woman’s prison. Keleher brought a fascinating woman back to life. Keleher’s musical ability was top notch.

Fulton was phenomenal as Ida B. Wells. She was giving strong Audra McDonald vibes.

Zheng delivered the best punchlines in the script as sharp-witted comic relief.

Other outstanding performances included (but were not limited to) Ramirez, Dahbura, Wood, and Jeffrey.

The orchestra, a combination of the tour with some Pittsburgh CLO orchestra in the mix, does a splendid job with all of the music.

Taub, who wrote the book, music and lyrics, had some great songs, including “Finish the Fight,” “A letter from Harry’s Mother,” and “G.A.B.”

Side note: “G.A.B.” stands for “Great American Bitch.” The song is hilarious, but makes a sharp point about how women who stand up for themselves are treated differently than men who stand up for themselves.

Sadly, the Patriarchy is still pushing against women’s rights (see the current White House administration for context).

The main message of “Suffs” is not one about winning. The message is about continuing to fight for equality, equity and parity. When Catt and Hay sing the reprise “If We Were Married,” the subject of marriage equality comes to the forefront (it took another 90+ years for that fight to the finish).

Part history lesson, part rollicking good time. “Suffs” is a winner.

-MB

“Suffs” runs from July 21-Sun., July 26 at the Benedum Center, 237 Seventh Street, Pittsburgh, PA 15222. For additional information and tickets, please click here. 

By Timothy Ruppert

After a sea storm, a ship wrecks him on an enigmatic island; Ferdinand, Prince of Naples (Joshua Brelsford), follows the lure of otherworldly voices: “This music crept by me upon the waters” (1.2.390). With their current production of William Shakespeare’s late classic, The Tempest (1610-11), Quantum Theatre brings the uncharted Mediterranean and its cryptic singers to the Carrie Blast Furnaces along the banks of the Monongahela River. The result is a singularly memorable evening and a worthy valediction from Tempest director and Quantum founder Karla Boos, who, having led this ever-innovative company for almost four decades, now says farewell.

The Tempest registers myriad themes and concerns that prove as relevant today as during the reign of James the First: colonial encroachment, political instability, and the questionable wielding of power. While Quantum’s production invites us to engage thoughtfully with these issues, Boos’s interpretation focuses cardinally on the theatricality of human experience. Here, performance and stagecraft are not merely aspects of being in the world; they are pathways to authenticity, forgiveness, and revivification. Thus Prospero (Jeffrey Carpenter), the banished noble and arch-conjurer, seeks to redress the wrongs he has committed while rejecting vengeance for the crimes once done against him. In breaking his staff and destroying his spellbook, Prospero moves beyond the instruments of his theatricality to achieve realness, to become more truly human.

The considerable on-stage talent involved in this production ensures that Boos’s vision of The Tempest succeeds in all particulars. Not surprisingly, the cast excels in conveying grand ideas and passions with terrifically nuanced performances. Carpenter crafts the imperfect sorcerer with humor, alacrity, and, as the play approaches its end, sweeping presence. Carolina Vargas Romero seasons her Miranda with a joie de vivre that keeps her youthful wonderment from succumbing to capriciousness. Tomé Cousin fashions Ariel brilliantly; with their attendant sprites (Jennifer Tober, Adrienne Wehr, and Sandy York), Cousin shepherds along the musical and balletic elements of the show with the sureness of an artist for whom excellence is a matter of course. Julia Silverman (Gonzalo) is, as always, inestimable, endowing Prospero’s long-trusted compatriot with the wisdom and honest integrity that this challenging role demands. Mark Staley (Alonso), Corey Rieger (Antonio), Joseph McGranaghan (Sebastian), and Dave Mansueto (Stephano) do nicely as aristocratic castaways in Prospero’s magical realm. Jerreme Rodriguez gives us a remarkably versatile Caliban, playing the ill-served son of Sycorax with the spirit of an eager revolutionary and the soul of a reluctant poet.

Given that this production takes place outdoors, near well-traveled, siren-loud streets, and in an area not regularly peopled for nearly fifty years, the technical crew merits higher praise than my mandated word count will allow. Suffice it to say that, as a low-vision person with imperfect hearing, I feared that I would struggle to see and hear the show with the precision that it deserves. The tremendous skill of the production team soon dispelled my apprehensions. While I will mention Stephanie Mayer-Staley (scenic designer), C. Todd Brown (lighting designer), Joe Pino (sound designer), Cory F. Goddard  (stage manager), Alicia DiGiorgi (assistant stage manager), James “Cubbie” McCrory (technical director), and Anthony Del Grosso (technical specialist), please know that scores of highly skilled artists and indefatigable volunteers contributed to this piece. The best way that I have to honor their work is to encourage you to attend a performance and witness it firsthand.

Beautifully realized and emotionally engaging, Quantum Theatre’s version of The Tempest qualifies as must-see theatre. Hurry, please, before these revels end.

—TR

The Tempest is playing at the Carrie Blast Furnaces, located in Rankin, PA, Tuesday through Sunday at 7:30 pm through August 23, 2026.  Tickets may be purchased here.  Please note that all names are spelled according to the biographies, not the cast list.