Reviews

Sweet Charity

By: Yvonne Hudson
17309529_10155119503499464_6508762438322067663_nThe girl who couldn’t hold on to a guy is the victorious heroine of Sweet Charity, on stage of the equally spunky and iconic Rockwell Theater at the Pittsburgh Playhouse in Oakland. The colorful and groovy Broadway and film hit showcases Point Park University student talent under the savvy direction of returning Michael Rupert in a Conservatory Theatre Company production. The mind-blowing 1960’s are calling! Sweet Charity opened on Broadway in 1969 and has almost been continually produced by leading international companies. At the Playhouse, the spot on professional band, ensconced on the second level of Johnmichael Bohach’s inventive set, is led by frequent Playhouse musical director Camille Rolla. A huge arch echoes both the Rockwell mid-century interior and Central Park’s tunnels while a gritty framework and understage evokes the city’s dark corners and elevated train trestles. Costumes range from everyday to evening wear, so there’s no shortage of flower power, fringe, mini-dresses, sequins, and outrageous wigs in Michael Montgomery’s designs.The Cast of Sweet Charity2 Charity Hope Valentine’s very name reassures us that all will be well and even failed romances and turbulent times are wrought with lessons that strengthen us. The “It Girl” and shining star of Sweet Charity is graduating PPU senior Jasmine Overbaugh. As resilient and charming as the venue itself, Overbaugh takes a classic role of a Times Square “taxi-dance” girl (who provides other “services”) and runs with it from the moment she steps on stage--and almost immediately is pushed into the Central Park lake by male companion who runs away (for the last time) with her cash. Still, she writes off such incidents off as the “fickle finger of fate.” As Charity explores the wilds of New York City, Overbaugh is on stage during most every scene.  Her engaging singing, outstanding dancing, and comic pratfalls connect with the audience and we look forward to what this young artist does next. The Neil Simon book and the 1960’s style of Sweet Charity supports a story as old as (real) time: The girl doesn’t always get the guy. Or perhaps any guy. The story is one of self-exploration and experiences that inform Charity’s life journey. On a first date, she winds up at a “church of the month,” a hippy, cultish group meeting under the Manhattan Bridge. She even stays overnight in the apartment of a dashing Italian movie star between getting dumped. However, she struts and taunts with “If My Friends Could See Me Now.” Despite tumbling into bodies of water--twice--and suffering the sexism, pay inequity, and stereotyping that fueled the “women’s movement,” she picks herself up and starts all over and over again as young single woman trying to find her way. [caption id="attachment_4451" align="alignleft" width="656"]Jasmine Overbaugh as Charity Jasmine Overbaugh as Charity[/caption]   One wants to rewind or request more reprises as the show is so jam-packed with hits by Cy Coleman and Dorothy Fields including “Big Spender,” “There’s Gotta be Something Better than This,” and “I’m a Brass Band.” Choreographer Jim Cooney has an imaginative blast with most all the numbers. On two classics he pays homage to Bob Fosse’s original choreography. He summons the show’s original moves for the iconic “Big Spender” featuring the dance hall  “taxi girls” and the fascinating postures of “Rich Man’s Frug”. The cast expertly executes Fosse’s signature shoulders, wrists and hips with his obligatory knee and ankle angles. Jasmine’s fellow cast members are superb, too, singing and dancing their way to graduation, auditions, and the next show. Gianni Annesi (Helene) and Jane Zogbi (Nickie) both make their PPU musical debuts and stand out in their duet “Baby, Dream Your Dream”. When Overbaugh joins them in “...Better than This,” this triple threat of strong women owns the show with their song and dance acumen. Lauren Lerant, also a senior, leads the cast in “Rich Man’s Frug” with all those Fosse moves and high-style hair swinging. Atiauna Grant steps out of the ensemble as The Good Fairy with some fine attitude as she doesn’t settle on a typical “happy ending” for the ingenue. [caption id="attachment_4452" align="alignleft" width="656"]Nikky Robinson, Lauren Lerant, Kurt Kemper Nikky Robinson, Lauren Lerant, Kurt Kemper[/caption] When the entire 31-member cast is dancing, it’s just delightful with rising stars in the spotlight conjuring their future stage careers. They depict sardine-like straphangers on a subway car, self-absorbed New Yorkers who try not to “get involved,” haughty party-goers, and the city’s working class cops, waiters, as well as the Fandango dance hall girls. Now, here’s to all the boys--solid and charming characterizations and performances by: Michael Joseph Krut as Charity’s boyfriend Oscar; Kevin Gilmond as Charity’s boss Herman; Russell Badalamenti as sauve film actor Vittorio Vidal; and David Gretchko as the Rhythm of Life congregation leader Daddy. Ensemble charmers included Daddy’s assistants Nikky Robinson and Ben Northrup, who also appears as Marvin, a dance hall regular who fancies Charity.   In deference to the entire and almost constantly moving and costume-changing cast, it’s only right to list all the others for their energy, artistry, and many roles here. Caroline Hitesman is cool and classy as Vittorio’s Ursula. Ladies of the ensemble include: Sierra Barnett (dance captain), KellyAnn Coyle (Alice), Halle Mastroberardino (new girl Rosie), Hailie Hagedorn (Frenchy), Sarah Martinez (Carmen), Sophie Ankin, Mackenzie Manning, Maddy Miller, and Kyra Smith. [caption id="attachment_4453" align="alignleft" width="656"]Kurt Kemper, Halle Mastroberardino, William Bureau, Micah Stanek, Jasmine Overbaugh, Ben Northrup, Peter Brannigan, Atiauna Grant Kurt Kemper, Halle Mastroberardino, William Bureau, Micah Stanek, Jasmine Overbaugh, Ben Northrup, Peter Brannigan, Atiauna Grant[/caption] The gentlemen are also impressive in many multiple roles: Kurt Kemper (solo tenor), Eric Freitas (Monte the Cop), Liron Blumenthal, Peter Brannigan, William Bureau, Jared Thomas Roberts, Austin Sultzbach, and Jacob Wasson, and Austin Trynosky (swing). It’s always joyful to again find PPU students still singing and dancing their hearts out. And it’s bittersweet, too, as the university will brand its new Playhouse facility downtown within a few years. (This alumna and writer proudly discloses that I wrote my first reviews for The Globe, the student newspaper there, so the Playhouse is in my DNA, too.) Sweet Charity has five more performances, March 23-26 at the Pittsburgh Playhouse. Take a friend, someone you love, or, better yet, go it alone. You’ll be just fine! Guarantee you’ll dance onto Craft Avenue as you head for home and add the 1969 film version to your watch list. Check out the production details and great ticket prices of $10 to $24 at: PittsburghPlayhouse.com. Photos courtesy of John Altdorfer.

Daddy Long Legs

By: George Hoover
Layout 1The Pittsburgh Public Theater’s production of Daddy Long Legs under the direction of Ted Pappas, once again demonstrates theatre at its best. This subtle and nuanced production is the perfect balance of all the elements of theatre that combine to present in an evening of theatre magic. The story of Daddy Long Legs celebrates the connection of lives brought together by unlikely circumstances. The cast is only two but the connection between the characters fills the stage. It is set between 1908 and 1912 in a time when there was no instant communications by email, text or tweet or phone.  Letters were written and you yearned for a response that sometimes never came. Daddy Long Legs is the story of Miss Jerusha Abbott, the oldest resident of The John Grier Home, a New England orphanage.  When she turns eighteen a mysterious benefactor decides to pay for her college education. There is one condition, she must write him a monthly letter, express no gratitude and not to expect any replies.PPTdaddylonglegs024 Prior to learning her good fortune, she notices from her window a man leaving the orphanage. She sees him in shadows and imagines him to be a very tall distinguished older gentleman. In her first letter, she begins to identify him as Daddy Long Legs and over time treats him more and more as the father figure she has never known. Through her letters we see Jerusha transform from a sheltered and naive orphan girl into a confident and independent college educated woman. As he reads her letters, Daddy Long Legs becomes more enamored with this enchanting young woman. She reveals to “Daddy” a developing relationship with Jervis Pendleton, a well to do younger uncle of one of her roommates. What makes Daddy Long Legs so compelling is what we in the audience have known all along. Jervis is actually her benefactor. His mother passed away when he was eleven and his father is absent from his life.  As Jervis reads her letters aloud we learn he is a surprisingly kind and caring man.  Although their circumstances are very different, he feels a strong connection to Jerusha and yet struggles to tell her the truth of their connection, never replying to her letters until….PPTdaddylonglegs096 Jervis and Jerusha are the only two seen on stage; the other characters in the story are brought to life by her letters.  Allan Snyder (recently relocated to our fair city) and Danielle Bowen are perfectly cast as Jervis and Jerusha.  Snyder is the more accomplished actor and Bowen is early in her professional career, that perspective and their age proximity gives them great chemistry on stage. He gives just the right amount of angst to Jervis as he struggles with what to do about his increasing affection for Jerusha. Bowen's Jerusha conveys the right enthusiasm of a teenage girl along with with the wisdom and longing of a person who has never really been outside of the orphanage her entire life. Ted Pappas once again he proves his directorial skills and sensitivity in Daddy Long Legs. The transformation of Jerusha from eighteen-year-old orphan is subtle and nuanced; a different dress, a different hat, a more confident carriage. The show is two hours, but it seems like we have been with her every day.PPTdaddylonglegs062 The orchestra made up of piano, cello and guitar under the direction of long time Public collaborator Wade Russo perfectly underscores the vocals. The musicians are on stage, and yet you almost forget they are there. The transition into the musical numbers is so natural and easy you almost don’t notice. Be it solos or duets Snyder and Bowens performances are first rate. Pappas uses Michael Schweikardt’s scenic design to its optimum, but subtlety again rules. Jervis’ office is elevated upstage. It is decked out like a proper gentlemen’s library, a safe perch from which he “watches” Jerusha. Hers is an open more simple space, as it would be in the orphanage or college dorm and her letters are what connects them. Theatregoers left the O’Reilly last night reminded of what makes life special, the connection we celebrate that develops between two people. Might as well change the name to Pittsburgh Perfect Theater!  Thanks Ted for another night of theatre magic. Pittsburgh Public Theater’s Daddy Long Legs is playing now through April 9th at the O’Reilly Theatre. Tickets 412-316-1600 or online at https://ppt.org/calendar Photos courtesy of Michael Henninger

Bloody Bloody Andrew Jackson

By: Alex Walsh
BB andrew jThe Duquesne Red Masquers could not have asked for better timing for their production of Bloody Bloody Andrew Jackson. A show about a populist President who rides to power by claiming to represent the will of “The People,” only to find himself in over his head? There’s really no way that could get any more on-the-nose, right? Well… on its opening day, Donald Trump visited Jackson’s grave. And then talked about how he disagreed with a court ruling about people he didn’t want in the country. Although written prior to 2008, the themes of populism and racism explored in the show sometimes feel eerily relevant to the current moment. The Red Masquers actually decided to stage this play before the election, but its result obviously influenced director Jill Jeffrey’s choices in developing the production.DSC_0535 Bloody Bloody Andrew Jackson, a musical satire written by Alex Timbers and Michael Friedman, provides a not-quite-sympathetic chronicle of the life of the seventh President from his origins in rural Tennessee to his clashes with Congress and the courts in Washington. Depicting Jackson as a swaggering rock star, the show embraces the DIY aesthetic and breakneck pace of a punk show. Jackson himself is one of the only constants on stage, portrayed by sophomore Michael Tarasovich. The rest of the cast cycle through multiple characters, donning simple additions to their costumes to identify each one. The effect can be jarring at first – especially as the plot rockets through Jackson’s early life without a lot of recurring characters. But with Jackson’s entry into politics, the show finds a steadier pace and it becomes easy to identify actors with characters. For most of its runtime, Bloody Bloody Andrew Jackson refuses to rest for more than a few seconds. Although the minimalist set remains mostly static, the cast successfully draws attention to one area while the others are being re-furnished to accommodate new scenes. Cast members move into the audience when Jackson is addressing the people, or speak from behind the fence that divides the stage in half (see, I told you it was topical) when breaking the fourth wall is called for. It is only late in the production, when the consequences of the President’s increasingly erratic behavior begin to catch up with him, that the action slows down to dwell on his legacy with the song “Second Nature.” Jeffrey accentuates this moment with images of the modern America Jackson helped to create and the people he hurt along the way.DSC_0879 The Red Masquers are a student theater group at Duquesne University, but Bloody Bloody Andrew Jackson is an alumni show, featuring returning members alongside current students. Although the cast members’ experience levels vary widely, they work well together. “The Corrupt Bargain,” a number featuring the plotting of the Out-Of-Touch Coastal Elite, demonstrates this range:  John Beckas, who plays soon-to-be-former President James Monroe, is a first time actor, while Justin Sines – a hilarious John Quincy Adams – is a veteran of multiple local theater companies and is the Technical Director for the very Genesius theater in which this show was performed. In addition to leading man Tarasovich, who captures the posturing hotheadedness that is Jackson’s defining characteristic here, the show features notable performances from Lauren Gardonis and Katheryn Hess. While individual singers can sometimes get lost in some of the larger ensemble pieces, these two stand out shine in songs that focus on their voices  – Gardonis in the dark “Ten Little Indians” and Hess as Jackson’s wife Rachel in “The Great Compromise.”IMG_2322 This is a lively and relevant show that seems to be as much fun for the cast as the audience. But it should come with a bit of a content warning. Remember, it is a punk show. First of all, there’s a few f-bombs. Some dick jokes. A very-nearly-too-old reference to the Tea Party movement that takes a while to register if you weren’t active on Daily Kos in the early years of the Obama administration. (I guess that’s a dated reference, too? My bad.) But the controversy that has followed this show through multiple productions is its treatment of Native Americans. Bloody Bloody Andrew Jackson is not subtle in its portrayal of its title character as the villain – the phrase “American Hitler” is actually used at one point – but any piece that deals with genocide in a broad satirical tone has to be careful. Especially when relying on simple visual cues to identify characters. Masquers alum Jeff Johnston, who plays Black Fox, the most prominent Native American character, made it clear in a post-performance talkback that the company was very aware of this and did their best to avoid stereotypes. As long as you’re comfortable with all that, the Red Masquers’ production is an enjoyable way to spend an evening. Bloody Bloody Andrew Jackson runs through March 19 at Duquesne University’s Genesius Theater, with shows at 8:00 and Midnight on Friday and Saturday, and a 2 PM matinee on Sunday. Visitors unfamiliar with the Duquesne Campus would also be well-advised to make sure you know where the Genesius Theater actually is. Hint: it’s not at 600 Forbes. I totally knew that. Special thanks to the Red Masquers for complimentary press tickets. For tickets and more information, click here Photos courtesy of Dale Hess and Morgan Paterniti.

Who’s Afraid of Virginia Woolf?

By: Ringa Sunn
16864036_10154948753785797_8467742892383435851_nEver have that dream where you're suddenly in the middle of a play, but it's in someone's living room instead of on a stage and the actors are inches away from you? And then you realize it's not a dream; you're just watching Cup-a-Jo Productions' version of Edward Albee's Who's Afraid of Virginia Woolf? Never had that experience? Just me? Oh. Well, you're in luck, because for the next two weekends you'll be able to live the dream and see a powerful piece of theater while you're at it. If you're not familiar with the play, it's entirely set in a living room and there are only four characters. Cup-a-Jo decided to make the play-viewing experience as real as possible. Or surreal, in some ways. Their version is performed in a living room instead of on a stage. A real, authentic living room, as in someone lives in this house and now you are there watching actors sit on their furniture. It fits the play perfectly, and aside from some initial awkward feelings, I found that it truly benefited the performance.Woolf production8 I've seen many shows with box seating, some extremely small and intimate, but they've always been on a stage somewhere. For this show, there is no "set" because the set is real. Where I'd spend a good deal of time in a different play looking around at the scenery and set pieces, here it was a familiar setting. I got to spend those moments watching the actors instead. My attention was focused on the players, which could have been a bad thing if they hadn't performed so wonderfully. All four actors are significantly practiced thespians. Their experience must have been a delight to director Everett Lowe. Because the whole show is set in one room with the same pieces of furniture, the movement he gave the characters becomes so much more important. Nothing feels forced, and the characters' activity is natural. The discomfort between them is intentional and expertly done.Woolf production4 The most awkward character, Honey, is brought to life by Hilary Caldwell. You start to feel sympathetic for Honey before she even appears onstage, with the two main characters talking about her before she arrives. Caldwell plays up the shy and sweet side of Honey, who really just wants to have a fun night out. Her physical acting is spot on, becoming less stiff and more fluid the more she drinks. And although everyone is an emotional wreck by the end, Caldwell siphons pity from the audience with her facial expressions and reminders that Honey never asked for any of this. Honey's husband, Nick, is more of a straight man. Tom Kolos is excellent in giving Nick an even yet firm personality. You could almost be fooled into thinking he isn't very emotional, until he hits a breaking point. Both Nick and Honey are broken down to places of disbelief throughout their evening. Kolos makes his character's suffering stand out by giving him such control the rest of the time. His reaction to the other three characters is distinct and varied, and while you do feel bad for him, you don't feel that bad for him. Cut to Brett Sullivan Santry, who absolutely shines as George, the manipulative professor and husband. It's often hard to tell what George is up to, but it's not hard to be captivated by Santry's flow and commitment to the character. Sitting so close up to the show, it's easy to notice all the details of fighting, prop handling, facial responses, etc. Santry excels at all of it. You find yourself at war internally over George: hating him and pitying him, finding him disgusting and being impressed by him. Albee wrote George to demand the attention of the other characters, and Santry demands the attention of the audience.Woolf production3 But for me, the most profound performance was that of Joanna Lowe as Martha, George's bitter and brutal wife. The mind games played between George and Martha are nearly scandalous to watch. Lowe acts in waves, throwing out humor, lust, deception, nostalgia, rage, apathy, and grief at any given moment. She's able to transform sentiments like flipping a light switch. Martha is a woman who could take on the world, and a woman who has been utterly destroyed. I don't know how Lowe is able to perform like this every night and not be completely exhausted. All four actors have a palpable bond with their characters, and watching this show will give you feelings. Which is exactly why you should go see it. It's long, each of the three acts taking roughly an hour, but refreshments are provided before the show and during intermissions. Because it's in a private residence, you'll have to make your reservation before you're given the address. But I can promise you, this is not your average night at the theater. Who's Afraid of Virginia Woolf? runs weekends through March 25. For ticket reservations or more information click here for their Facebook page or email cupajo.woolf@gmail.com. Photos courtesty of Ken Kerr.

Dreamgirls

By: Kellie Gormly
dream girlsIf you go to Dreamgirls expecting a biopic musical about The Supremes, you’ll be surprised: The show actually is a fictionalized tale inspired not just by the legendary female trio from the ‘60s, but other Motown-era acts including The Shirelles and James Brown. Still, the look, feel and sound of The Supremes flavor every bit of Dreamgirls, a Pittsburgh Musical Theater production that is playing at the Byham Theater through March 19. The show’s lead trio of women – played by Delana Flowers (Lorrell), Anastasia Talley (Deena) and Adrianna M. Cleveland (Effie) - wear those legendary, sparkly, pizzazz-filled gowns for which The Supremes were known, built by costume designer Tony Sirk. The characters in this band - called The Dreamettes, then The Dreams, in the show - go through at least a half-dozen costume changes throughout the show. One of those costumes, a dazzling sequined blue gown, had such a mirror effect that it briefly created the illusion of blue ocean waves on the walls of the Byham. And the woman wearing this gown – Effie, beautifully played by Cleveland, a Pittsburgh native – may be part of an ensemble-like cast, but she indisputably plays the part that needs the most powerful vocals, and she gets the loudest applause at the end. Cleveland’s feisty Effie can hit and hold notes for an awe-inspiring amount of time at several points throughout the play. The real-life-inspired, but fictionalized Dreamgirls storyline takes the audience through the history and evolution of American R&B music in Detroit. The plot begins with the manipulative Curtis discovering The Dreamettes at a talent show, and claiming the young women and declaring himself their manager. Curtis – played by Monteze Freeland, who trained at Point Park University - arranges for the ladies to sing backup with R&B star Jimmy “Thunder” Early. Of course, a lot of drama ensues, with the women competing for star roles, and having ill-fated love affairs and crushes: Effie falls for Curtis, and Lorrell begins an affair with married man Jimmy. You won’t hear the songs of The Supremes in Dreamgirls, but the show has its own energetic soundtrack with fun, original music. Memorable songs include the title tune “Dreamgirls” and “One Night Only,” sung by Effie, Deena and Lorrell; and the moving, empowering “I Am Changing” from Effie. The funniest musical moment comes when Jimmy – hilariously portrayed by LaTrea Rembert, a Point Park graduate – sings his song “I Meant You No Harm.” The song begins softly as almost a ballad, then dramatically shifts gears into a zany rap where Rembert declares “Jimmy got soul!” Although Pittsburgh Musical Theater productions often feature students from the company’s Richard E. Rauh Conservatory, the cast of Dreamgirls – almost all African-American – is a cast of professional adults. They give a delightful performance that transports the audience back to another era in pop-culture history and bring a new appreciation to this classic R&B music. Dreamgirls continues March 17-19 at the Byham Theater. Showtimes are 7:30 p.m. Friday and Saturday, and 2 p.m. Sunday. Tickets are $9.25 to $54.75. For tickets and more information about Pittsburgh Musical Theater, click here. 

Polish Joke

By: Stephen Arch
16427723_1414233895288023_3891042495884003170_nQuestion: “How do you sink a Polish battleship? Answer: Put it in the water.”  Please, don’t get offended, the David Ives’ play Polish Joke is loaded with “Polish jokes” that are not meant to offend, but to explain a feeling, an emotion, an acceptance of a lifestyle. For example, “How do you get a one armed Polish person out of a tree? Wave to him.”  But this play being performed at McKeeesport Little Theater is much more than a machine-gun litany of Polish one-liners. As the play opens, a very Polish Uncle Roman (Eric Buell) has the audience in stitches sitting in a lawn chair in his driveway with his barrage of “typical” Polish jokes while trying to indoctrinate his then 9 year old nephew Jasiu (Arjun Kumar) as to the reasons that Polish people are doomed to be at the receiving end of some pretty hefty amounts of stereotypes. Why? Because, according to Uncle Roman, the birthright of Polish descendants is to accept the public’s perception of them as lazy and basically not too bright. As he explains, Polish people are prone to sit around drinking beer with eggs and salt, eat blood sausage, and hang kielbasa in their living rooms.  “That’s what Polish people do,” he explains to young Jasiu. However, the response of Jasiu always being a “why does this have to be” is the driving force behind this comedy. Jaisu is determined not to settle into this fate. Hence, the Polish Joke becomes, in actuality, Jasui’s quixotic journey into fighting his own windmills (in this case, his Polish heritage) to become anything but Polish, discovering, along with way, that this is an impossible task. He fools no one. Polish Joke is a “coming of age” ritual of Jasiu’s to purge his ethnicity, at least publically, which moves him into an extremely confused adulthood. He leaves home to explore the world and chooses a variety of surnames and occupations (Jewish, WASP, Irish) hoping to settle on a “heritage” that will be more accepting.  The task of each of the other four actors in this comedy is to become “someone” or “something” different, to teach Jasiu a lesson, which, actually, works well on stage. The real joke is not the expected, actual Polish jokes heard throughout the play, but the fact that it is the understanding toward Jasiu’s adulthood. The joke is actually on him. His “Polish cover-up” never really works. Ives’ play, directed by David Hofmann, itself is produced into small collections of 13 scenes that follow Jasiu throughout his life, returning to the acceptance of his history, and, after (finally and accidentally) settling in Poland and marrying an authentic Polish woman, returns home to explain to his uncle that being Polish is not as bad as he was lead to believe. Kumars angst, which he carries throughout the play, is believable, surrounded by characters of all different cultures ultimately discovering his false attempts to join the “intelligencia” of the world. This leads to soliloquies directed at the audience that beg the question of “who am I, really?”.  It’s actually up to the other characters to discover his true identity – forcing him to accept his Polish fate. The lesson Jasiu learns is that one cannot escape one’s identity presented by Uncle Roman in the first scene of the play.  Kumar’s four cast mates help move him to this reality. Each of the five actors cast in this play take on a variety of roles: sanitation workers, doctors, priests, Irish travel agents, florists, policemen, Yentas, and more and do so convincingly in extremely quick scene changes. Buell, Amanda Anne Leight, and Justin Koffard are asked to do almost the impossible by the continuously changing roles, action, and scenery in this work. They all do a yeoman’s job changing themselves into believable characters transforming every scene. The one aspect of this play that works is that Buell, Haggerty, and Kofford pull off the changes and, through the usual but necessary “willing suspension of disbelief” force the audience to believe that these truly are different characters. However, the witty and eccentric Kate Haggerty very much pushes this comedy along and carries the weight of the real wit and humor throughout the variety of scenes. She portrays the foil to Kumar’s seriousness as he seeks an identity; it is Haggerty who transforms each of the scenes into almost “belly-laugh” responses from the audience.  Her portrayal of a nurse, a Yenta, and a Polish flight attendant are precious. Haggerty captures the comic essence of the six or seven roles she plays help to add the true hilarity Hoffman is searching for in this work.  She’s a funny actress and definitely an audience grabber. It’s difficult to take your eyes off her because she is that adorable and scene grabbing.  She knows shtick. Her portrayal of an Irish travel agent and a Polish Airline stewardess (eventually Jasiu’s wife as he accidentally settles in Poland) is “tears-in-the-eyes” funny. The cozy and inviting McKeesport Little Theater, including director Hoffman, took a chance on this at times fragmented comedy (Ives’ issue, not Hoffman’s), and, for the most part, he and his band of actors pulled it off.  No one in the audience left offended by what the title might suggest.  Polish Joke is no joke. Rather, it’s a journey toward human understanding. Polish Joke runs weekends through March 26, for tickets and more information click here
Forever Plaid
By: Mark Skalski
1984
By: Jason Clearfield
Findings
By: Brian Pope
Patience
By: George Hoover
Ragtime
By: Jason Clearfield
Big Love
By: Stephen Arch
Rust
By: Ringa Sunn
As One
By: George B. Parous
The Pink Unicorn
By: Mark Skalski
The Complete History of America (abridged)
By: Stephen Arch
The 25th Annual Putnam County Spelling Bee
By: George Hoover
Pump Boys and Dinettes
By: Victor C. Leroi
Woody’s Order!
By: Kellie Gormly
Twelfth Night
By: Yvonne Hudson
The Royale
By: Jason Clearfield
The Elaborate Entrance of Chad Deity
By: Mark Skalski
The Hunchback of Notre Dame
By: Kellie Gormly
Cabaret: The Musical
By: George Hoover
Richard the Lionheart (“Riccardo primo, re d’Inghilterra”)
By: George B. Parous
Into the Woods
By: George Hoover
A Christmas Carol
By: Mark Skalski
The Best Christmas Pageant Ever: The Musical
By: Victor C. Leroi
A Musical Christmas Carol
By: Megan Grabowski
The Nutcracker
By: Claire Juozitis
A Good Old Fashioned Redneck Country Christmas
By: George Hoover
The Lion in Winter
By: Isaac Crow
Unbolted
By: Eva Phillips
Lungs
By: Victor C. Leroi
Midnight Radio Holiday Spectaular
By: Kellie Gormly
The Man Who Mistook His Wife for a Hat
By: Mark Skalski
Mr. Marmalade
By: Jason Clearfield
Between Riverside and Crazy
By: Steven Bick
The Rover
By: Mark Skalski
Three Days in the Country
By: George Hoover
The Sea
By: Eva Phillips
The Music Man
By: Megan Grabowski
Hair
By: Jason Clearfield
12 Angry Men
By: Mark Skalski
How I Learned to Drive
By: Meredith Rigsby
The Merchant of Venice
By: Yvonne Hudson
Salome
By: George B. Parous
To Kill a Mockingbird
By: Kellie Gormly
Yankee Tavern
By: Eva Phillips
Giselle
By: Chloe Kinnahan
Feeding the Dragon
By: Victor C. Leroi
Midnight Radio’s Night of the Living Dead N’at
By: Claire Juozitis
Barefoot in the Park
By: Victor C. Leroi
Prometheus Bound: A Puppet Tragedy
By: Yvonne Hudson
A Midsummer Night’s Dream
By: Mark Skalski
Carrie: The Musical
By: Eva Phillips
The Who’s Tommy
By: Isaac Crow
Pride and Prejudice
By: Yvonne Hudson
Jekyll & Hyde
By: Kellie Gormly
An Accident
By: Yvonne Hudson
Trial by Jury and Gianni Schicchi
By: Nichole Faina
The River
By: Mark Skalski
Intimate Apparel
By: Eva Phillips
The Fantasticks
By: Isaac Crow
La Traviata
By: George B. Parous
The Playboy of the Western World
By: Jason Clearfield
Avenue Q
By: Eva Phillips
I’m Gonna Pray for You So Hard
By: Victor C. Leroi
Hand to God
By: Yvonne Hudson
Titus Andronicus
By: George Hoover
The Toxic Avenger
By: Isaac Crow
PNWF Program D
By: Chloe Kinnahan
The Censor
By: Eva Phillips
Next to Normal
By: Mark Skalski
PNWF Program C
By: Victor C. Leroi
Beauty and the Beast
By: Mark Skalski
PNWF Program B
By: Eva Phillips
Wig Out!
By: Isaac Crow
Remains — A One Woman Show
By: Jason Clearfield
Shirley Valentine
By: Yvonne Hudson
The Comedy of Errors
By: Jason Clearfield
PNWF Program A
By: Megan Grabowski
Floyd Collins
By: Nichole Faina
A History of the American Film
By: Eva Phillips
This is Why We Can’t Have Nice Things
By: Megan Grabowski
Loot
By: George Hoover
Driftless
By: Mark Skalski
Peribáñez
By: Jason Clearfield
The Birds
By: Mark Skalski
Seven Guitars
By: Yvonne Hudson
South Pacific
By: George Hoover
Aida
By: Drake Ma
American Idiot
By: Isaac Crow
Jesus Christ Superstar
By: Drake Ma
Julius Caesar
By: Nichole Faina
The Hound of the Baskervilles
By: Isaac Crow
A Pirate’s Tale
By: Megan Grabowski
The Silent Woman
By: George B. Parous
Night Caps
By: George B. Parous
Come Back, Little Sheba
By: Jason Clearfield
Shrek: The Musical
By: Isaac Crow
A Midsommer Nights Dreame
By: Mark Skalski
Julius Caesar
By: George B. Parous
Anything Goes
By: Nichole Faina
Anna in the Tropics
By: Mark Skalski
Eff.UL.Gents
By: Megan Grabowski
Kiss Me, Kate
By: George B. Parous
Damn Yankees
By: Isaac Crow
Krapp’s Last Tape/Not I
By: Jason Clearfield
Church Basement Ladies
By: Mark Skalski
Bloody Hell
By: Mark Skalski
SummerFest’s Tour of “Carmen the Gypsy” is On!
By: George B. Parous
Judgement at Nuremberg
By: Jason Clearfield
Venus in Fur
By: Yvonne Hudson
The Theatre Festival in Black and White, Delivering Fantastically
By: Jason Clearfield
The Consorts
By: Victor C. Leroi
The Spitfire Grill
By: Isaac Crow
The 39 Steps
By: Isaac Crow
Undercroft Opera Sinks Its Teeth into Mozart’s “Don Giovanni.”
By: George B. Parous
The Lion
By: Drake Ma
Assassins
By: Drake Ma
The Giver
By: Yvonne Hudson
Cock
By: Drew Praskovich
Two Tales of Terror
By: Chloe Kinnahan
The Musical of Musicals
By: Drake Ma
Autism and the Arts: Bricolage Creates Sensory-Sensitive Immersive Experience
By: Jack Lake
Spring Awakening
By: Isaac Crow
Tru
By: Drew Praskovich
The Rake’s Progress
By: George B. Parous
Grease
By: Drake Ma
One Flew Over the Cuckoo’s Nest
By: Isaac Crow
Laws of Attraction
By: Chloe Kinnahan
The Last Match
By: Isaac Crow
White Rabbit Red Rabbit
By: Drew Praskovich
The Master Builder
By: Yvonne Hudson
The Flick
By: Isaac Crow
The Barber of Seville
By: George B. Parous
Sister Act
By: Drake Ma
Sex with Strangers
By: Drew Praskovich
The Drowsy Chaperone
By: Isaac Crow
Disgraced
By: Isaac Crow
Miss Julie, Clarissa, and John
By: Yvonne Hudson
The Pirates of Penzance
By: Megan Grabowski
The Bluest Eye
By: Jack Lake
Sister’s Easter Catechism
By: Jack Lake
The Full Monty
By: Drew Praskovich
“27” (“Twenty-Seven”)
By: George B. Parous
First Date
By: Isaac Crow
Saturday Night Fever
By: Drake Ma
Guys and Dolls
By: Drake Ma
Some Brighter Distance
By: Yvonne Hudson
Mother Lode
By: Megan Grabowski
Ciara
By: Isaac Crow
Little Women
By: George B. Parous
The Sisters
By: Megan Grabowski
Oliver Twist
By: Drake Ma
Danny and the Deep Blue Sea
By: Nathaniel Quinn
Macbeth
By: Drew Praskovich
Scared of Sarah
By: Megan Grabowski
Yinz’r Scrooged
By: Nathaniel Quinn
Chickens in the Yard
By: Nathaniel Quinn
The Rocky Horror Show
By: Megan Grabowski
Sunset Baby
By: Isaac Crow
A Servant to Two Masters
By: Isaac Crow
The Wild Duck
By: Drew Praskovich
Così fan tutte
By: George B. Parous
1984 (Midnight Radio)
By: Isaac Crow
Oliver
By: Drake Ma
Brainpeople
By: Drew Praskovich
Into the Woods
By: Drake Ma
The Night Alive
By: Jack Lake
Iolanthe
By: Drew Praskovich
Nabucco
By: George B. Parous
Altar Boyz
By: Drake Ma
Death of a Salesman
By: Megan Grabowski
The Diary of Anne Frank
By: Drew Praskovich
Dulcy
By: Drake Ma
Stand Up Horror
By: John Nau
Choir Boy
By: Isaac Crow
Pittsburgh New Works Festival’s Program D
By: Drake Ma
Pittsburgh New Works Festival’s Program C
By: John Nau
The Winter’s Tale
By: George B. Parous
Games of the Mind
By: Drake Ma
Dead Accounts
By: John Nau
King Lear
By: John Nau
Educating Rita
By: Isaac Crow
Pittsburgh New Works Festival’s Program B
By: Drew Praskovich
Pittsburgh New Works Festival’s Program A
By: Megan Grabowski
Pittsburgh New Works Festival’s Staged Readings
By: Megan Grabowski
Pittsburgh New Works Festival’s Staged Readings
By: Drake Ma
The Light in the Piazza
By: Isaac Crow
Exit Laughing
By: John Nau
Be My Baby
By: John Nau
The Heart of Shahrazad
By: Drake Ma
The Winter’s Tale
By: John Nau
The Merchant of Venice
By: Jack Lake
Kinky Boots
By: Isaac Crow
Outside Mullingar
By: John Nau
It Could Be Any One Of Us
By: Chloe Detrick
Capriccio
By: George B. Parous
The Wedding Singer
By: Isaac Crow
Strength and Grace
By: Chloe Kinnahan
Sharon’s Grave
By: Isaac Crow
Medea
By: Isaac Crow
“New Kind of Fallout” – World Premiere
By: George B. Parous
The Drowsy Chaperone
By: Megan Grabowski
How To Be a GoodPerson™
By: John Nau
Sherlock’s Last Case
By: Isaac Crow
Much Adoe About Nothing
By: Chloe Detrick
Damn Yankees
By: George B. Parous
Gypsy
By: Isaac Crow
The Marriage of Figaro
By: George B. Parous
Brewed
By: John Nau
Rosencrantz and Guildenstern Are Dead
By: Chloe Detrick
Man of La Mancha
By: Isaac Crow
Lucky Guy
By: John Nau
Out of This Furnace
By: Dale Hess
The Ruling Class
By: Chloe Detrick
Mary Poppins
By: Isaac Crow
Buyer and Cellar
By: Isaac Crow
How the Other Half Loves
By: John Nau
The Best of Everything
By: Justin Sines
Knickers
By: Tyler Plosia
Midsummer
By: Corey Hawk
The Last Five Years
By: Isaac Crow
Fences
By: Chloe Detrick
Saints Tour
By: Isaac Crow
Detroit
By: John Nau
American Falls
By: Justin Sines
Someething’s Afoot
By: John Nau
Jacques Brel is Alive and Well and Living in Paris
By: Mara E. Nadolski
“Daughter of the Regiment” (La fille du régiment)
By: George B. Parous
The Whale
By: Sarah Beth Martin
My Way
By: John Nau
Peter Pan
By: Mara E. Nadolski
Othello
By: Isaac Crow
A Streetcar Name Desire
By: Jack Lake
Lunch Lady Cabaret
By: John Nau
Lovecraft’s Monsters
By: Chloe Detrick
All the Names
By: Chloe Detrick
The Rocky Horror Show
By: Isaac Crow
Oblivion
By: Justin Sines
Endless Lawns
By: Tyler Plosia
The Disappearing
By: John Nau
Carmen
By: George B. Parous
How I Learned What I Learned
By: Jack Lake
Animal Farm
By: Dale Hess
Elemeno Pea
By: Jack Lake
The Mikado
By: Mara E. Nadolski
Young Frankenstein
By: Isaac Crow
Ghosts
By: Isaac Crow
The Boyfriend
By: Isaac Crow
The Wiz
By: Chloe Detrick
For the Tree to Drop
By: Jack Lake
Wolves
By: Dale Hess
Boeing, Boeing
By: Isaac Crow
Existence and the Single Girl
By: Justin Sines
Prussia: 1866
By: Jack Lake
Brahman/i
By: Isaac Crow
Mr. Joy
By: Chloe Detrick
My Fair Lady
By: Jack Lake
The Little Mermaid
By: Chloe Detrick
Rodelinda
By: George B. Parous
Or
By: Isaac Crow
Christmas Star
By: Chloe Detrick
Urinetown
By: Isaac Crow
It’s a Wonderful Life
By: Jack Lake
The Santaland Diaries
By: Isaac Crow
A Streetcar Named Desire
By: Isaac Crow
L’Hôtel au Purgatoire
By: Isaac Crow
Evita
By: Jack Lake
Avenue Q
By: Isaac Crow
As You Like It
By: Isaac Crow
Otello
By: George B. Parous
Murder for Two
By: Justin Sines
SCarrie: The Musical
By: Jack Lake
The Last Day of Judas Iscariot
By: Justin Sines
The Small Room at the Top of the Stairs
By: Jack Lake
Outside Mullingar
By: Isaac Crow
The Glass Menagerie
By: Jack Lake
Macbeth
By: Isaac Crow
Sons of War
By: Isaac Crow
Doubt: A Parable
By: Justin Sines
Of Mice and Men
By: Isaac Crow
Bus Stop
By: Corey Hawk
Parade
By: Isaac Crow
Tamara
By: Isaac Crow
Romance
By: Isaac Crow
Fixing King John
By: Corey Hawk
“Ariadne on Naxos” (“Ariadne auf Naxos”)
By: George B. Parous