'Burgh Vivant

 

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

The Lion King is a show that can travel with you through time. When the animated film came out in 1994, I saw it on a date at a charming one-screen movie house. Julie Taymor brought The Lion King to the stage in 1997, and I attended the musical with my then-roommate at the Pantages Theatre in Hollywood in fall 2002. The “Circle of Life” continues present day seeing The Lion King at the Benedum with Theron, my 14-year-old son and co-reviewer.

Considering the 24-year gap between my first and second viewing of the show, I was astonished and impressed by how well I remembered it and how relatively little it has changed. What was more impressive this time were the large-scale animal puppets. Given its cost-efficiency, digital projection is now highly utilized for visual effects. Digital has its own beauty, but it makes this 20th century show feel almost anachronistic with its delightfully solid physicality. Seeing life-sized puppets of elephants and rhinos lumber down the aisles for the opening number and actors onstage on stilts as giraffes is an unforgettable, multi-dimensional visual feast for the eyes. Colorful birds hypnotically fly on poles from the balconies, aisles, and stage that are expertly navigated by actors who sing as they perform puppetry. The show’s stunning visuals keep you turning in your seat for a full 360 effect that you don’t want to end. This is all made even more immersive by the show’s well-choreographed musical numbers that advance the plot.

Representing the kiddo crowd, Theron was particularly impressed with the actors playing Young Simba (shared by Aaron Chao and Josiah Watson) and Young Nala (shared by Journey Compass and Marley Gomes). They flawlessly project their lines and bring a delightful energy to “I Just Can’t Wait to Be King” as they ride around on huge puppets. Their youthful sense of wonder mirrors that of the kids in the audience.

The king’s major domo, Zazu the hornbill, truly comes alive in the hands of the mesmerizing Nick LaMedica who deftly maneuvers Zazu’s expressive features. This is most apparent when Scar (Peter Hargrave) traps Zazu in a cage of bones reminiscent of the elephant graveyard. LaMedica is obscured by the bones comprising the cage. This scene turns out magically, as it is one of the only times where a puppet is isolated from the hand behind them in such a way, and LeMedica captures the hornbill’s descent into defeat as Zazu’s beak droops.

 

The musical’s Hamlet heritage is most prominent when Scar pushes Mufasa (David D’Lancy Wilson) to his death in order to ascend the throne. The fall is visually stunning and heart-wrenching thanks to the slow-motion made possible by invisible fly lines. Wilson’s face evolves from the horror of his brother’s betrayal to the reality and fear of leaving his son fatherless.

While Mufasa might have worried Simba wouldn’t be able to get along without him, he manages remarkably well thanks to his fortunate and opportunely timed introduction to good friends and laugh-out-loud comedians, Timon (Nick Cordileone) and Pumbaa (Danny Grumich). Timon is a cool-headed meerkat with an attitude who teaches Simba to enjoy a good life. Timon’s cartoonishly exaggerated features lend his scenes to his characteristic sense of good-natured goofiness. Timon is slender and bouncy, making Pumbaa the stocky warthog a perfect foil to his best friend. Grumich gives Pumbaa an unwavering energy and perfect comedic tone, and their pairing on “Hakuna Matata” is irresistible as the audience can’t help but sway along.

The production’s nimble, movable Pride Rock serves as the place where Simba is first thrust into the sky by Rafiki for “Circle of Life.” However, it is also the commanding central throne of Mufasa’s kingdom of “everything the light touches.” Mufasa is the light, but the elephant graveyard beyond the kingdom is the darkness that defines Scar’s reign. Scar is a temper tantrum throwing leader who whines that “nobody loved me” whereas Mufasa teaches Simba to “respect all the creatures” and that “everything is connected.” It’s a reminder of how the leaders shape the nation. Mufasa’s reign of light and community is countered by Scar’s reign of darkness as the elephant graveyard infects the lion’s kingdom. Scar’s hyena henchmen are crass sycophants with shallow loyalty.

The kingdom seems resigned to wait out its fate. Nala (Aja Simone Baitey) goes to Scar for help, but he tries to force her into marriage instead. Scar snarls “one way or another, you will be mine.” Nala affirms control with an echoing “never” and leaves the kingdom to save it. The encounter is particularly empowering as Baitey is the first nonbinary actor to play Nala. Even as it turns thirty, The Lion King reinvents itself and evolves forward.

In the “Circle of Life,” I’ve gone from young Nala to Sarabi, Simba’s mother, but The Lion King remains gripping, relevant and inspiring. Start your journey – or rejoin the safari – but don’t miss the chance to see The Lion King while it’s here in Pittsburgh.

-TKR, Ph.D. & TR

Purchase tickets online for The Lion King through September 27, 2026, at the Benedum Center, 237 7th Street, Pittsburgh, PA, 15222.

by Claire DeMarco

Will Bloom (Timothy Macuski) is about to be married.  He approaches his dad, Edward Bloom (Evan Krug), with a request, a plea, not to inundate his bride, Josephine (Hopi Myers-Arrigoni), with his outrageous tales.  Edward’s tendency to embellish life with fairy tale stories and magical events has plagued Will from his youth.

Edward is a successful salesman, an ambitious man whose life doesn’t exist entirely in this fairy-tale world.  He sees these magical moments as a means to make life a little more interesting and exciting.

Will is a reporter, a realist.  He’s looking only for the facts.  Having been subjected to his father’s tales for years, he is adamant that he wants no more of what he conceives as nonsense as he pursues married life.

To counter Will’s wishes, Edward begins a trip down memory lane, reliving his wonderful fairy tales and exaggerated characters.  He tries to entice Will to remember the stories he told.

Memories and real life intertwine as we relive those stories Edward told his son and travel between the present and the past.  Edward’s magical dreams blend fiction and truth, and many of his creations are composites of friends and family, sprinkled with a dash of fairy dust.

We see magical and real-life characters through Edward’s eyes – The Witch (Maddie Kocur), Karl the Giant (Trenton Antill), antagonist friend, Don Price (Mike Good), and school chum and former girlfriend Jenny Hill (Mairead Roddy).

“Big Fish” dissects the relationship between a father and son whose vastly different outlooks on life reflect their relationship.  As Edward faces serious health issues, his magical memories are especially poignant.

What a stellar performance from Krug.  He weaves comedy between huge emotional swings as his life changes. His transition from one time period to another is smooth, as are the many physical movements that the role requires.  His vocals are excellent, and he and Eveland sing a lovely rendition of “Daffodils”.

Macuski does a great job balancing his frustration and sometimes anger at his father with his never-ending attempts to figure out what makes Edward tick.

Madison Eveland (Sandra Bloom) is the steady, stable, supportive spouse and Ed’s anchor.

Roddy delivers as Jenny Hill, a role that requires a drastic change in character.  She changes from a young girl enamored with Edward to an aging, lonely, sad, and sullen adult.

Andy Coleman plays ringmaster Amos Calloway as a sharp-witted, devious figure, adding a hint of sarcasm to the mix—great comedic timing.

Praise to the entire cast!  Job well done.

Kudos to Choreographer Caroline Connell on the wonderfully done choreography design and dance movements.

A special acknowledgment to Costume Designer Alex Righetti not only for the sheer magnitude of the production’s costumes, but for their detail and creativity as well.

Excellent music provided by Ben Brosche, Gavin Nist, Aldo Diianni and Kamran Mian.

Music and Lyrics for “Big Fish” by Andrew Lippa with Book by John August.

“Big Fish” was based on the novel by Daniel Wallace and the Columbia Pictures motion picture written by John August.

-CED

“Big Fish” is a production of Little Lake Theatre, 500 Lakeside Drive South, Canonsburg, PA 15317.  Performances run from September 10th to September 27^th. For more information, click here.

 

 

By Timothy Ruppert

With their current production of William Shakespeare’s The Merry Wives of Windsor (1599), the redoubtable Pittsburgh Shakespeare in the Parks company presents a must-see mélange of anachronisms, allusions, and non sequiturs delivered with the speed of the USS Enterprise traveling at warp nine. The outstanding creative team misses no opportunity to get the most out of this grand Elizabethan farce, and their joyousness and talent make Merry Wives one of the absolute best comedies that I have seen this year.

Pittsburgh Shakespeare in the Parks has provided much more than pleasant afternoons beneath the canopies of elms and maples in the late-summer sun. Time after time, Artistic Director Jennifer Tober takes intrepid theatrical risks with the Bard’s canon and succeeds brilliantly. I have long admired Tober’s gift for bringing together remarkable, resourceful artists, and this production exemplifies that claim. Cat Aceto—who has very quickly become one of my favorite interpreters of Shakespeare in the city—directs a terrific cast through an expressly inventive take on Merry Wives. We find ourselves in a fascinatingly rendered temporal continuum that encompasses both the era of the Tudors and the age of MTV (as it was in those faraway days when the channel actually played music videos). Songs and dances abound, with the numbers ranging from Donna Summer, Sade, and Cyndi Lauper to Culture Club, Miami Sound Machine, and the Go-Go’s. Moreover, numerous references to Pittsburgh and its environs are peppered throughout, including mentions of Bloomfield, the Liberty Tubes, and the Monongahela River, into which John Falstaff is rather unceremoniously thrown. In lesser hands, such a production could fall victim to its own competing absurdities. This creative team, however, ensures that the revisions are purposeful and that the silliness never overwhelms the story.

Much of the mirth and vibrancy owes to the high-heartedness of the eight performers who comprise the cast. Cassandra Hackbart as Mistress Alice Ford and Christopher Rone as Mistress Margaret Page make hilarious foils to Joanna Getting’s ever-scheming, seldom-victorious Falstaff. Rob Masterson (Mister Ford and Shallow) and Álvaro Muñoz (Mister Page and Simple) are both excellent; note that Muñoz speaks most of his lines in Spanish, adding even more distinctiveness to a keenly original production. Allie Burns (Slender, Fenton, and Doctor Caius), Meredith Kokur (Anne Page and Mistress Quickly), and Ivy Mackinson (Pastor Evans, Pistol, and Maid) enthrall in their inexhaustible vivacity. Matt Calvetti leads the outstanding musical performances; Ricky Lyle provides wonderful costumes; and Samantha Kuchta makes sure that a troll doll and Mr. Potato Head find their way into one of Shakespeare’s happiest works. Lauren Scheller-Wolf (Stage Manager) and Alexandra Hellinger (ASM) see to it that a complex show carries forth flawlessly (including the immensely entertaining scene when the ‘fairies’ attack the luckless Falstaff).

After The Merry Wives of Windsor plays a second weekend at Highland Park, the show will migrate to various green spaces around the city, including Frick Park (September 18-20), Hazelwood Green (September 25-27), Riverview Park (October 2-4), and Westinghouse Park (October 9-11). Don’t allow autumn to arrive without seeing this beautifully illogical, fearlessly innovative farce.

—TR

For more information on Pittsburgh Shakespeare in the Parks’ production of “The Merry Wives of Windsor,” please visit here.

 

 

 

 

 

 

 

By Lonnie the Theater Lady

Liberty Magic’s current production, “Michael Misko in I Laugh in the Face of Magic,” is aptly named. Not only does the audience heartily laugh throughout the show, but Misko himself frequently laughs with (at?) audience members who make unexpected comments. He connects well and often with the audience. His sharp, edgy humor is a kinder, gentler version of the legendary Don Rickles’ style. His acerbic, biting, comical ad libs never quite cross the line to insulting. Numerous, slightly naughty innuendos are cleverly phrased in a way that suggests they might just be perfectly innocent, innocuous statements. It is easy to see why Misko identifies as a “cracker of wise.” Brilliant!

Misko’s magic blends innovative material with creative modifications and additions to evergreens like the “cups and balls” and “rope” tricks, making them ingeniously fresh. At one point, he borrows a wedding ring from an audience member. He makes it disappear and later reappear where it couldn’t possibly be. Yet, whoops, there it is!

Misko shares a touching personal story remembering his childhood interactions with his grandfather, who regaled him with magic tricks using a small marble egg. When his grandfather passed away, his grandmother gifted him with the precious egg. Michael was inspired to practice his magic skills using the egg. He still uses the much-treasured egg in his act. Another peek into Misko’s personal life is a video he shows of his three beautiful, young daughters experiencing the magic of everyday life seen through a child’s eyes. Heartwarming!

The act concludes with yet another surprise in a night full of surprises. In a rich, strong voice, Misko belts out a song made popular by the Brian Setzer Orchestra. Thus, demonstrating another kind of magic in a show that Misko describes as “a comedy show with magic.”

The audience is treated to a show featuring a talented comedian, masterful magician, and first-rate vocalist all wrapped up in one. This enjoyable evening overflows with hearty laughter, astonishing tricks, and an unexpected, lovely serenade. Delightful!

LTL

“Michael Misko in I Laugh in the Face of Magic” runs through September 26 at Liberty Magic, 811 Liberty Avenue, Pittsburgh, PA 15222. For more information, click here.

 

 

 

 

 

 

by Michael Buzzelli

A granddaughter, Sky II (Kat Bruce), uncovers a Black Queer past as she delves deeper into her family history in a.k. payne’s “BURNBABYBURN.”

Sapphic themes are abound. The play opens with Myrna (Aisha Jordan Gunter) singing Bessie Smith when her daughter, Sky (Hope Anthony), proclaims that she is moving to California with her husband, Will (Anthony Grace).  While Myrna sings about “not messing with no men,” it isn’t clear if Myrna likes a little sugar in her bowl like her daughter.

Sky is determined to find a new life outside of Pittsburgh, but she is reluctant to leave her “friend,” Char (Destiny Nwafor). There relationship, while taboo in their time, isn’t a secret, but Sky has a son with Will named, Joyner (DeVaughn Robinson), and she wants her child to have a better future.

Meanwhile, closer to the present, Sky II, Sky’s granddaughter, finds a box of photos from her departed grandmother and begins reconstructing the past as she looks to her own future.

Like the title, payne’s script burns with intensity. It is a lyrical exploration of Black Queerness, starting with Bessie Smith, the prominent blues singer often associated with themes of sexual freedom and empowerment. The playwright also weaves in the poetry of Phillis Wheatley, who is considered the first African American author of published Black poetry. One particular stanza is repeated throughout the play:

“Twas mercy brought me from my Pagan land,
Taught my benighted soul to understand
That there’s a God, that there’s a Saviour too:
Once I redemption neither sought nor knew.
Some view our sable race with scornful eye,
“Their colour is a diabolic dye.”
Remember, Christians, Negroes, black as Cain,
May be refin’d, and join th’ angelic train.”

“BURNBABYBURN” is subtitled, “the american dream,” reflecting Sky’s journey from Pittsburgh to California to back again while chasing her dreams. The Pittsburgh Boomerang Effect is real. There is a magnetic pull to the denizens of the Steel City.

The cast in this production was outstanding.

Anthony is triumphant as Sky, a woman who is strong but sympathetic. She is aflame with desire to realize her dreams, but her passions are conflicted and nuanced.

Gunter’s portrayal of Myrna is powerful. While the character does not appear in many scenes, her presence looms large over the entire production.

Nwafor is terrific as Char, an equally multifaceted character who burns with desire and flares with anger as her dream is also deferred.

Grace and Robinson are equally strong in smaller roles.

Cheryl El-Walker’s costume, hair, and make-up are extraordinary. It’s as if the characters stepped out of time. Sky II’s look also has a timeless quality. Think: Granola, veganism, and Berkeley, California.

While the characters are shaded with varying gradations, the stage is not. Latrice Lovett’s lights are brilliantly bright. Depending on where you sit, there may be a little bit of glare (consider the advice of Corey Hart and wear your sunglasses at night).

While payne’s play moves fluidly through time and space, it’s important to pay strict attention to the proceedings. Sky II’s discovery can be viewed as metaphysical or, more simply, a reimagining of past events.  The message is important. One that should resonate more strongly with Black and/or queer people.

Side note: When notating a story about an American Dream deferred, another Black poet, Langston Hughes, comes to mind. His work inspired another Black playwright, Lorraine Hansberry, with her work “A Raisin in the Sun.”

While “BURNBABYBURN” could use a slight trim, especially in the first act, director Karla C. Payne keeps the action frenetic and fast-paced. The characters never stay in one spot too long, which works out perfectly because Mark Clayton Southers created a stage set smack dab in the middle of August Wilson’s backyard with the audience on every side.

August Wilson’s home has become hallowed ground. Setting “BURNBABYBURN” in his backyard is a magnificent tribute to Pittsburgh’s past. It’s the perfect place to set a play that looks back while pointing toward tomorrow.

-MB

“BURNBABYBURN” runs from August 25th to September 13th, 
Outdoors at August Wilson House, 1727 Bedford Avenue, Pittsburgh, PA. For additional information, click here. 

By Michael Buzzelli

On August 22, an extravaganza of talent from Pennsylvania and Ohio merged in the middle (Youngstown, Ohio, barely across the PA border) with “Bang Bang,” a variety show starring sisters Ingrid and Jewel Ullrich and a plethora of performers.

“Bang Bang” is a Cabaret Soleil; part cabaret, part circus act, with a smidgen of burlesque. It’s bawdy and a bit risqué, but teeters on the line without going over it. However, the Emcee pushed the line as far as he could. 

The show opens with a Master of Ceremonies, Vaughn Man (Vaughn Hudspath, the aforementioned Emcee), who, throughout the evening, has more costume changes than the dancers. He was a cowboy, cop, and a leather daddy, practically all of the Village People. Hudspath has near-scandalous interactions with the audience, riffing with theatergoers, spitting out sometimes shocking off-the-cuff remarks. One well-timed barb could put him in the orbit with Lucy Darling, Jessica Kirson, and Matt Rife, making him nearly meme-worthy. One bad barb could put him in orbit with a punch in the mouth, especially when mocking Elliot Thornburg, Ullrich’s beau, a ju-jitsu instructor.

The show really begins when Ingrid Ullrich and Jennifer Milgram strut their stuff on the stage. The opening dance is beautifully choreographed.

Jewel Ullrich, Ingrid’s sister, is a powerhouse. Her voice is unmatched as she sings Broadway standards mixed with pop ballads. The Ullrich sisters sing a few duets that are highlights of the show.

Another dancing duo, Tycen Gardner and Judah Boyd, captivated the audience with their moves.

Featured guest artists (the Cleveland contingent) included Dr. Dan Wasdahl, a juggler balancing ten glass bowls on rods; aerial artist Julia Rabbit, gyrating above the ground on a spinning hoop; and Ayton Barrett and Erica Henrichsen, an acrobatic duo whose act incorporated hand-to-hand balancing and Icarian-style acrobatics.

Note: Icarian acrobatics is a traditional circus discipline in which one acrobat (the flyer) is tossed, caught, and juggled by another (the porter) using only their feet.

Multi-hyphenate producer Ingrid Ullrich selected an incredible bunch of performers, but make no mistake, she doesn’t just gather a coterie of talented performers; she shines as one herself.  Ullrich is a terrific dancer, whether she’s a solo star, teaming up with Rabbit, or partnering with Gardner and Boyd.

Her sister Jewel is a phenomenal Broadway belter. She sings “Big Spender,” songs from “Chicago,” and the titular song, “Bang Bang.”

Watching Wasdahl balancing glass bowls is thrilling. If he doesn’t get your heart racing, Barrett and Henrichsen’s act surely will. Rabbit may stir similar feelings as she writhes around on her hoop.

There are some priceless audience interactions, a chair dance, a dance off and various tricks and treats for attendees.

Note: While Saturday’s show had an all-ages audience, it’s probably best to leave the kids at home if you’re unsure about the content. Variety is the spice of life, and “Bang Bang” will keep things spicy.  

-MB

You can catch the next iteration of “Bang Bang” on Saturday, October 3, 2026, at The Strand Theater, 119 North Main Street, Zelienople, PA 16063. For tickets and additional information, click here.

 

by Michael Buzzelli

“Only Connect” – E. M.  Forster 

A Balladeer (Asher Alcantara) summons America’s most infamous ne’er-do-wells, presidential assassins (including some almost assassins), onto a stage as they recount their tales (manifestos) in Stephen Sondheim and John Weidner’s off-Broadway “Assassins.”

Playwright Charles Gilbert Jr. revolves his play around a malevolent cabal of notorious villains, which include John Wilkes Booth (Allan Snyder), Charles J. Guiteau (Connor Bahr), Giuseppe Zangara (Anthony Marino), John Hinckley, Jr. (Corwin Stoddard), Lynette “Squeaky” Fromme (Mae Ryness), Sam Byck (J. Alex Noble), Sara Jane Moore (Zanny Laird), Leon Czolgosz (Griffin Frye) and Lee Harvey Oswald (Alcantara in a duel role).

All of these sad assassins are looking to connect. Unfortunately, they use violence and murder instead of finding more socially acceptable ways to express their opinions. In the shooting gallery (our stage), the public enemies get to redress their issues through monologues and song. Not all of these crackpots were crack shots.

For example, Sam Byck, a South Philly dropout, sent recorded tapes to Leonard Bernstein delineating his plan to crash a plane into the White House in the hopes of killing then-president Richard M. Nixon. “Assassins” turns the recordings (or the idea of the recordings, since they aren’t completely canon) into madcap monologues, brilliantly recited by Noble. Byck was arrested before he could complete his mission.

In the song, “The Ballad of Booth,” wherein John Wilkes Booth, laying the entirety of the Civil War at Lincoln’s feet, laments, “Damn you, Lincoln,
And damn the day. You threw the ‘U’ out Of U.S.A!”

In “Assassins,” timelines converge and overlap, and Booth gives a speech to Oswald in the book depository. Squeaky Fromme and Sara Jane Moore bond over a shot-up bucket of KFC.

The actors are on point here, doing amazing work. Everyone in the ensemble gets their shot in the spotlight.  It’s a high-caliber cast, including the ensemble. If you rifle through the digital program, you can grab the names of your favorite cast or crew members.

Alacantara is shooting toward stardom with his nuanced portrayal of a conflicted Lee Harvey Oswald.  His job as the Balladeer is strong, resonant, and beautiful. His rendition (along with Snyder) of “The Ballad of Booth” is mesmerizing.

Snyder’s Booth is a stately, measured man who wants the world to regard him as a hero, but, sadly, he goes into the annals of history as a notorious gunman yelling “Sic Semper Tyrannis!” after slaying the Log Cabin Republican.

Noble is firing on all cylinders as Byck. He gets to have several rambunctious rants throughout the play, peppering his monologue with pop-culture aphorisms, all while dressed as a deranged Kris Kringle in a disheveled Santa suit. He’s killing it as the attempted murderer.

You can’t muzzle Bahr. His over-the-top rendition of Guiteau contains genius, madness, and magic. It’s a delightfully loony performance.

Laird brings the far-out hippie chick vibe to the proceedings as the granola-crunching attempted murderer Sara Jane Moore. Laird and Ryness have great chemistry together (both Moore and Fromme attempted to kill President Gerald Ford within days of one another).

Stoddard does his personal best as the Jodie Foster-loving Hinckley.

Frye gives an excellent performance as Leon Czolgosz. He, along with Alacantara, are faces to watch.

Without an intermission, the musical barrels to a conclusion with rapid-fire pacing from director Michael McKelvey. McKelvey designed sound. He draws out brilliant work from most of his actors.

The set is a beautifully constructed carnival arcade shooting gallery game, and the masterful period costumes from Sydney de Haan are exquisite touches to the whole production.

There are some Trigger warnings (figurative and literal); aside from the very loud gunshots, themes of child abuse, murder, racism, and suicide are woven into the DNA of “Assassins.” It’s no secret that John Wilkes Booth is a racist, but it’s easy (rightfully so) to recoil from the character when you hear a white man shouting racial epithets.  Please note: There are unnerving moments when the guns are pointed out into the audience.

Musicals like “1776” and “Hamilton” focus on America’s bloody history with people regarded as famous heroes. “Assassins” swings in the opposite direction and takes a deep dive into history’s villains. The show starts with a bang and never lets up. It’s a total blast.

Some people will tell you that the arts in Pittsburgh are diminishing. While some great venues may have been paved over, flowers are blooming between the cracks. Rogue Artists Theatre of Pittsburgh & Doctuh Mistuh Productions burst forth from the concrete with a beautiful, black bouquet.

If you like dark, mad musicals with a whimsical and sly sense of humor, you might be the target audience for “Assassins.” You should get a rea bang out of it.

-MB

“Assassins” runs until Sunday, August 23, at the Greer Cabaret Theatre, 655 Penn Avenue, Pittsburgh, PA 15222. For additional information and tickets, click here. 

Reviewed by Dr. Tiffany Knight Raymond, PhD

South Park’s production of Marc Camoletti’s 1960 play, Boeing, Boeing, is a madcap farce that flies faster than the new Boeing jet that uproots the careful timetables Bernard (Johnny Terreri) has constructed his life around.

Director Jeanie Cygrymus leans into cheeky humor from the outset. The typical pre-show voiceovers about silencing one’s phone and emergency exits are given in the format of a pre-flight safety briefing as if we’re all aboard an aircraft. Thankfully, the journey is free of turbulence, at least for the audience, who gets plenty of opportunity to laugh out loud witnessing Bernard’s relationship hijinks.

Terreri brings a casual, ne’er-do-well confidence to Bernard, a Parisian playboy juggling three fiancées. Each one is an “air hostess” for a different international airline. All three of their names start with G, which Bernard proudly notes makes it easier for monogramming and that “fiancées are much friendlier than wives.”

The other male cast member is Robert (Brent Feitl), a friend of Bernard’s from Wisconsin who visits unexpectedly. Thanks to Cygrymus’ steadfast direction, Feitl’s initial country mouse vibes quickly fall away as he becomes an unwitting co-conspirator in managing misadventures with the fiancée trio.

Since Bernard juggles three fiancées, the views we get of them are superficial, as seen through his lens. The first fiancée we meet is Gloria (Carina Iannarelli). Iannarelli captures the confident, hair-tossing American whose red lipstick is as vibrant as her TWA uniform. Thanks to dialect coach Lisa Bansavage, Amanda Weber’s Italian accent never wavers as Gabriella from Atitalia Airlines, and Weber embodies fiery Italian beauty. Completing the fiancée trio is Lufthansa’s German air hostess, Gretchen (Jess Uhler). Uhler brings a no-nonsense, high-caliber German intensity to all of Gretchen’s actions.

Costume designer Casey Ciocco-Thompson keeps it simple for Bernard – and the audience – by relegating each fiancée’s wardrobe to the signature colors of her corresponding airline. Between TWA red, Atitalia blue, and Lufthansa yellow, the three women also represent the three primary colors. Interestingly, Ciocco-Thompson costumes both men in green.

There is one mainstay lady in Bernard’s life, his French housekeeper, Berthe (Stacey Rosleck). Rosleck imbues Berthe with exaggerated facial expressions that speak volumes. At the same time, she dutifully changes out framed photos and makes sure to purvey and serve the correct foods for each rotating lady of the house.

The fiancées are country-level stereotypes for Berthe. Gloria loves ketchup, which Berthe witheringly refers to as “red stuff,” while Gretchen requires sauerkraut. In keeping with Ciocco-Thompson’s differentiated color palette, Berthe is costumed in black and white, an outward marker of her disparaging view of Bernard’s life in the gray.

Berthe often refers to the fiancées by their countries with phrases like “America is flying out.” Bernard keeps it simple and strategic. His generically saccharine endearment of “darling” applies to all three, so he can’t go awry, regardless of which G he’s with.

The play’s comedic delights are structured around the anticipation, subsequent waver, and inevitable fall of Bernard’s carefully constructed house of cards. Set designer April Beiswenger makes the living room of Bernard’s flat singularly 60s with its mustard-colored sofa bookended by mid-century modern chairs. Beiswenger amps up the comedy with seven doors off of the living room. Thanks to Cygrymus’ Swiss-clock precision timing, seven holds as a lucky number, but no lucky number holds forever. The effortless timing of the doors opening and closing is heart-racing. Unlike the air hostess fiancée’s, the audience is in on the narrow escapes from discovery and experiences breathless moments as Bernard and Robert try to stave off mayhem.

Lest one fear the play’s plot line is dated, Camoletti’s play represents a 1960s version of today. 21st-century dating apps enable multiple relationships with more ease than the book of flight timetables Bernard must endlessly consult. In fact, one feels Bernard would surely thrive juggling multiple profiles and matches across Tinder, Hinge, and Bumble.

Buckle up, get to South Park, and see this lovable, laughable romp before it’s Boeing, Boeing gone!

-TKR, Ph.D.

South Park Theatre’s production of Boeing, Boeing runs through August 29, 2026, at South Park Theatre, South Park Township, PA 15129. Purchase tickets online here.

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.