Annie

annie300x300I had high expectations for Stage 62’s production of Annie. Sitting in the audience at the Andrew Carnegie Free Library & Music Hall, I listened dreamily as the orchestra introduced the show with a lively preface to one of the best known children’s Broadway musical score.  As the rich red curtains open to reveal the stage crowded with bunk beds and little girls quickly scrambling into place I am quickly swept into the story.  Annie is heartwarming.  A tale of a girls orphanage in New York City during the  1930’s overseen by an abusive and drunk Miss Hannigan. Annie, a precocious orphan with boundless hope that she will soon be reunited with her parents.  The story unfolds when she is adopted by the wealthy Mr. Warbucks as an act of goodwill for the holidays.  Warbucks quickly warms up to Annie, touched by the story of her abandonment, and agrees to help locate her biological parents.  

Nora Hoyle, Lola Armfeild
Nora Hoyle, Lola Armfeild

The show boasts a sizable cast.   Actors range in age from very young children, portraying underprivileged yet adorable orphans to others whose faces and voices are custom to Stage 62.  Each are boundless with talent.  Nora Hoyle, in the starring role, has a strong voice and maintains the spunk of her character, an innocent and neglected but optimistic orphan, throughout the show.  The orphan ensemble is tireless and animated.  Together this group of young performers, exude charisma.  They especially dazzle during the energetic “It’s the Hard Knock Life” song and dance scene.  Tom Strauman, as Oliver Warbucks has the looks to easily come across as the big named billionaire.  I didn’t feel he clearly revealed the cold and callous side to Warbucks but his mannerisms easily align with a distinguished and wealthy man and his performance during, “Something Was Missing” is incredibly sweet and touching.   It is really Stage 62’s ubiquitous Becki Toth as the heartless Miss Hannigan who steals the show.  She is nothing short of a powerhouse performer.  The pitches of her voice illuminate into the audience and her imitation of sloppy drunkenness delivers a show stopping performance.  She immediately wins the audience’s applause during her rendition of “Little Girls” and portrays her role with pizzazz.

 Candice Fisher, Seth Laidlaw, Becki Toth
Candice Fisher, Seth Laidlaw, Becki Toth

I am particularly pleased by Annie’s set design.  Designed by Andy Folmer, the exhibition of many different places; a dreary orphanage, Miss Hannigans disheveled office, the slums of Hooverville, to name a few, are enchanting.  One of my favorite scenes, the opening of Act 2, The NBC Radio Studio, hosted by Bert Healey, played by Jeff Way and staring the Boylan Sisters, Amy DeHaven, Kaitlin Schreiner and Katie Turpiano, depict the timeframe of the story with sweet sentiment. Folmers highly detailed sets and a smart selection of props offer opportunity for the cast to create an added level to their character.  The comedic moments laced into the fabric of the plot and a glimpse into the lost art of radio media, is a highlight of the show.   

The actors who hold supporting roles, Ashley Harmon as Grace Ferrell, Carmen LoPresti as Drake, Heather Friedman cast as Mrs. Pugh, Nina Napoleone portraying Cecille and Amy LaSota as Mrs. Greer alongside the ensemble wow the audience in “I Think I’m Gonna Like It Here”.  Another stunning performance, “Easy Street”, which features the unmistakable talent of Seth Laidlaw as Rooster and Candice Fisher cast as Lily St. Regis.  Alongside, Toth, this trio complete a fantastic musical number.  The reprise of “Tomorrow”, sung by Annie, Warbucks, President Roosevelt, played by Chris Martin, and cabinet members is another high point in the show.  This scene highlights director Rob James’ focus on creative visuals that propel the audience to become emotionally invested in the characters.

Nora Hoyle, Jeff Johnston
Nora Hoyle, Jeff Johnston

I do have mixed feelings about the use of a puppet to portray Sandy the dog, a stray Annie finds while wandering the slums of NY.  In many instances theater companies hire or train a live animal but Stage 62 chose to use a life sized Marionette whose movements are orchestrated by a puppeteer.  Initially I thought this was clever.  There is an instant bond between Annie and Sandy that is irresistible, yet as the scene progressed I began to feel there was something bizarre about the whole thing.  Perhaps it was the way the puppeteer placed the dogs two front paws on Annie’s shoulders and continually maneuvered it to lick her face and neck.  It quickly lost all allure for me and left me feeling somewhat uncomfortable.  Fortunately, the role of Sandy was used primarily in just one scene and I was relieved to not have to witness too much interaction between Hoyle and the concocted canine .  

Growing up in the 80’s with red hair and freckles Annie was my childhood hero. A neighborhood friend owned the movie soundtrack and we listened to it on her suitcase record player while dressing Barbie Dolls. I loved the record so much I received my own for Christmas, only the one I got was the original Broadway recording.  At first listen I turned my nose up to it, the voices were not the same, the music was different, including songs I didn’t recognize from the film, but after a few plays I fell in love, especially to the overture. Soon I was tap dancing through the house to It’s the Hard Knock Life and You’re Never Fully Dressed Without a Smile.  Annie was probably the show responsible for my lifelong love affair with musicals.  What this all means is I expected a powerful performance. Once again, Stage 62 presents a caliber of talent on and off stage, and the ability to make their art truly come alive for the audience.  Annie is delightful and will certainly entertain an audience of all ages.

Annie runs at the Andrew Carnegie Free Library and Music Hall through November 19. For tickets and more information click here. 

Photos by Friedman Wagner-Dobler.

H.M.S. Pinafore

Pinafore-Website-Banner-Draft-1It’s been three days since I saw Pittsburgh Savoyards’ production of H.M.S. Pinafore, and I’m still singing “I Am the Monarch of the Sea” to myself, which tells you just how catchy Gilbert & Sullivan tunes can be!

Pittsburgh Savoyards marks its 80th season of celebrating the beloved works of Gilbert & Sullivan with their latest production H.M.S. Pinafore, stage direction by Shane Valenzi and music direction by Guy Russo. It’s Mr. Russo’s 20th season as music director and conductor for the company, and the Savoyards have their own special way of marking the occasion during selected performances of Pinafore. If you are interested in seeing what they do, go to a performance on October 19 or 20th; that’s all I’m saying since it’s set up as a surprise.

Director Valenzi has previously directed for the Savoyards in 2009 and 2010. Mia Bonnewell (Cousin Hebe) has been in 10 Savoyards productions, while Connor Halloran (Sailor) is a high school senior making his debut with the company. Concertmaster Laura Leonard has played the violin in every Savoyards production since 2009. Corey Nile Wingard (Dick Deadeye) is returning to the company after an 8-year hiatus. All of which is to say that Pittsburgh Savoyards seems to successfully nurture both long-standing artistic relationships and new, inexperienced talent in their company.

On the community front, Pittsburgh Savoyards has an impressive number of individual donors supporting their work, and I was privileged to speak with an audience member who has been coming to see the Savoyards productions for the last 19 years.

In other words, this is a company entrenched in the life of the community, that has a clear vision of what they do and how they want to do it, and that has succeeded in their mission for 80 years. That alone is a notable achievement.

The Pittsburgh Savoyards proudly claims their status as a community-based, semi-professional theater company, with the majority of their cast and orchestra volunteering their time to the production, and they stand by this identity. As a result, their final product is a bit uneven. The varying skill levels of the performers are obvious, but the overall effect is one of joy. These people love performing Gilbert & Sullivan, and that feeling carries over the footlights to the audience.

There were two stand-out performances that deserve a mention. Anna Lahti sang Little Buttercup with great vocal control and stamina throughout the evening. Sarah Marie Nadler as Josephine was the highlight of the production. With her beautiful soubrette soprano, Ms. Nadler’s voice floated through all of her numbers with delicate precision while still cutting through the orchestra when power was required. She also exhibited a delightful sense of comedic flair in her acting that was always welcome. Ms. Nadler shares the role of Josephine with Caryn Alexis Crozier, who I did not see perform; you can see Ms. Nadler’s remaining performances on October 20 and 22nd.

Also of note was the Pittsburgh Savoyards orchestra, conducted ably by Guy Russo and Edward Leonard. While sounding a little thin at times, this small orchestra put on a beautifully controlled performance, always in support of the singers, never overpowering them. The orchestra played as one, well-conditioned unit.

Misters Russo and Leonard should also be commended for their work with the singers in this production. Diction across the board was excellent, making it easy to understand all of the lyrics and get all of the jokes without really needing to look at the projections above the stage. Likewise, all of the voices were well balanced and the chorus sounded great as a group.

The stage at the Andrew Carnegie Free Library and Music Hall has its pros and cons as  a performing space. On the plus side: it’s a beautiful, traditional proscenium stage with great acoustics. I was thrilled beyond measure there was no, repeat NO, miking of the performers or the orchestra, and all of the singers’ voices carried easily throughout the hall. It was a delight for the ears.

On the minus side: the stage is very shallow, which greatly limits design options and staging options. This didn’t help with the staging of the show, which had a tendency to be too static in general, and then had to contend with there being nowhere for the performers to move during the big, full-company numbers. Lighting positions seem limited as well, which created problematic lighting moments with performers being too much in the dark. And the company really needs at least 2 follow-spots, if they are going to use follow-spots.

A G&S production is always a silly good time with its high comedic style, catchy tunes, and good-natured send-ups of 19th century English society. Whether you’re an inveterate Anglophile or musical theater fan, G&S always fits the bill.

You can catch Pittsburgh Savoyards’ production of H.M.S. Pinafore through October 22, 2017 at the Andrew Carnegie Free Library and Music Hall. Tickets are available at www.pittsburghsavoyards.org.

Pittsburgh Savoyards Celebrate 80th Season!

Pinafore-Website-Banner-Draft-1Audiences can enjoy performances of HMS Pinafore, October 13-15 & 19-22 2017, and the Grand Duke, Spring 2018 this season with the Pittsburgh Savoyards! A testament to the city’s thriving arts scene, the Pittsburgh Savoyards have been a semi-professional, community-based, non-profit theater company funded primarily by local contributions and ticket sales for eighty seasons.

The Savoyards primarily focus on the works of Gilbert and Sullivan. Gilbert and Sullivan are the undisputed masters of comic operetta and the proud parents of the modern musical. That their works are more in demand today than when they were created over a century ago is ample proof of their lasting brilliance.

This season will begin with one of Gilbert and Sullivan’s most beloved shows, HMS Pinafore. Stage directed Shane Valenzi (Gilbert and Sullivan expert), Pinafore will run for two weekends, Oct. 13-15 and 19-22 at the Andrew Carnegie Free Library and Music Hall, 300 Beechwood Ave, Carnegie, Pa 15106. Resident Music Director and Conductor Guy Russo will lead ensemble and orchestra. Mr. Russo spoke excitedly about the show. “I am very excited about this upcoming production of HMS Pinafore for a few reasons.  First, it’s always been on my very short list of G&S works.  Next, we have managed to assemble a tremendous cast for this production, with a very enthusiastic, strong ensemble. We have once again been fortunate enough to have an orchestra full of very fine players who have shown tremendous dedication to the Savoyards.  Finally, our Stage Director for this show, Shane Valenzi, is quite creative and talented, and his vision for this production is exciting, and I feel certain that our audiences are going to be GREATLY entertained!”. All shows begin at 8pm except on Sundays, which begin at 2:30pm.

For the first time, in addition to the regular rates for tickets, the company now offers premium seating at the venue in Rows D, E, and F for an additional $5.00 on the ticket. Those who order tickets by Oct. 9 can take advantage of the special early bird discount.

Pinafore is an age-old story of love! The story takes place aboard the ship HMS Pinafore. The captain’s daughter, Josephine, is in love with a lower-class sailor, Ralph Rackstraw, although her father intends her to marry Sir Joseph Porter, the First Lord of the Admiralty.

Pinafore will be followed in the Spring by the Grand Duke, Directed by Robert Hockenberry.  In the Grand Duke, the curtain rises on the market square of Speisesaal where Ernest Dummkopf’s acting troupe is rehearsing for a production of the Greek tragedy Troilus and Cressida. Beneath the theatrical veneer, a conspiracy is afoot among the thespians to overthrow Rudolph, the Grand Duke.

There are a variety of event offerings this season, including opening night festivities and a catered British Tea. Interested patrons should visit the website to learn about upcoming events and make arrangements to attend at http://www.pittsburghsavoyards.org/wordpress/.

The Pittsburgh Savoyards is a 501(c)(3) non-profit theatre group founded in 1938 whose mission is to honor and perpetuate the works of 19th Century English composing duo Sir William S. Gilbert and Sir Arthur Sullivan. Using funds raised from ticket sales, fundraising events, and donations from generous patrons, the Savoyards perform two Gilbert and Sullivan productions per year, one in fall and one in spring. The shows feature a talented mix of both amateur and professional performers from the Greater Pittsburgh Area. In addition to its stage productions, the group organizes numerous community outreach projects to bring the rich heritage of Gilbert and Sullivan to people of all ages, emphasizing the timelessness of the duo’s whimsical tales and charmingly lighthearted music. A partner of Britsburgh since 2017, The Pittsburgh Savoyards is an ARAD asset and is also supported by the Pittsburgh Foundation.

Spamalot

spamalotI love musicals for the interlude of melodrama and escape they provide from my tragically mundane life. The singing and dancing, costumes, and live orchestra swelling between me and the stage make my heart happy. Opening night of Stage 62’s production of Monty Python’s Spamalot has me beyond excited. This is my first time seeing Spamalot but I am familiar with the zany British sketch comedy of Monty Python and the absurdist humor that forces you to laugh, even if you aren’t sure what you are seeing and hearing is stupid beyond measure or ridiculously hilarious. As I wait for the curtain to rise, I can’t imagine disappointment.

Rob James and Carl Hunt
Rob James and Carl Hunt

Spamalot is a parody of the 1975 film, Monty Python and The Holy Grail. Theatergoers who have never seen the film will not be left in the dark. The musical, ‘lovingly ripped off from the motion picture’, maintains much of the plot of the film, (or what there is of a plot amongst the craziness of smutty French soliders, a killer rabbit, knights who say “Ni” and the impossible task of locating Jews for a Broadway musical). Spamalot takes place in 932 A.D. England, when King Arthur, played by renowned Rob James and the animated Carl Hunt cast as his servant Patsy, traverse the country in search of recruits for the Round Table at Camelot. King Arthur’s first 2 volunteers, Matthew Rush as Robin and Jeremy Spoljarick playing Lancelot are soon followed by a political radical, Sir Galahad played by Chad Elder and Nick Mitchell as Sir Bedevere. After some convincing by, leading lady, Stephanie Ottey as The Lady of the Lake and her Laker Girls the troupe arrive in Camelot. Once there they are contacted by God, the voice of Marcus Stevens, fresh from the Pittsburgh Public Theater’s prominent performance An Act of God, who instructs the knights to locate the Holy Grail. The men receive more encouragement from The Lady of the Lake and set off traveling the land, visiting a French castle, a dark and “very expensive” forest, and a frightfully comic run in with The Black Knight.

L-R Nick Mitchell, Matthew J. Rush, Rob James, Jeremy Spoljarick, Carl Hunt, Chad Elder
L-R Nick Mitchell, Matthew J. Rush, Rob James, Jeremy Spoljarick, Carl Hunt, Chad Elder

The Knights of the Round Table are next tasked with finding Jews for a Broadway musical then Lancelot runs off to rescue a damsel in distress and The Lady in the Lake is ticked off for not getting enough stage time. All of these experiences are expounded through madcap musical numbers, some ripping off other well known musicals. Songs such as “I Am Not Dead Yet”, “The Song That Goes Like This”, “Knights of the Round Table”, “You Won’t Succeed On Broadway”, “Whatever Happened to My Part?” and “His Name is Lancelot” will without a doubt cause laughter. There is so much more hair- brained chaos I would hate to spoil the show by revealing too much, but I assure you, with the help of the audience, the Holy Grail is found and a Broadway-esque musical is successfully performed, nonsensical perhaps but loads of fun.

Stephanie Ottey
Stephanie Ottey

Typical of Stage 62 productions, Spamalot’s cast is bursting with talent. Aside from James and Ottey, each lead is cast in multiple roles, which requires many costume changes and sometimes different accents and it all appears effortless. The cast includes many accomplished thespians, but it is without a doubt James and Ottey who steal the show. Their strong voices and mastered characterization are delightful to watch. Ottey’s diva flourish and Jame’s execution as King, provide moments of side stitching hilarity. The ensemble is a tight bunch, especially The Laker Girls. After seeing several musicals at Stage 62 I am confident in reporting the choreography for Spamalot is by far the best I have ever seen. Hats off to choreographer Devyn Brown for creating routines that are energized and engaging, especially, ”Fisch Schlapping Song”, “I Am Not Dead Yet”, “Knights of the Round Table” and “His Name Is Lancelot”. Becki Toth’s skilled stage direction allows the cast to emanate ease in movements and smooth scene changes on a small stage, all of which translate into a show well done.

I will offer you with a trigger warning: if easily offended by the offensive, if you are uncomfortable with bawdy jokes, parodies, preposterous plots, ‘little boy’ type humor often revolving around flatulence, then perhaps you might lighten up just a bit. This is a summer show you don’t want to miss. Spamalot does not make much sense but that doesn’t matter. The show is for grins, starring a tremendously talented cast and crew who clearly aim for having as much fun on stage as the audience does watching them.

If planning to attend a performance of Spamalot be aware that the venue has a major construction project happening right now and there is no parking on their property. Neighborhood side streets may offer a few spaces. The theater company has a shuttle service that will transport you from the parking lot on Main Street in downtown Carnegie, up the hill to the entrance of their building.

Spamalot runs at the Andrew Carnegie Free Library and Music Hall through July 30. For tickets and more information click here

Special thanks to Stage 62 for complimentary press tickets. Photos courtesy of Friedman Wagner-Dobler.

PITR’s Top 5 Picks for Summer 2017

Let’s dive right into our Top 5 shows we’re looking forward to this summer!

Marcus Stevens (2)#5 – An Act of God – Pittsburgh Public Theater: A relatively new play, premiering on Broadway in 2015, An Act of God is a one-act comedy that originally started out as a series of tweets that evolved into the book of which the play was adapted from. Point Park University graduate Marcus Stevens plays God, joined by his sidekicks: angels Gabriel and Michael (John Shepard and Tim McGeever), in this comedy opening at the Pittsburgh Public June 9. For tickets and more information click here. 

#4 – Mr. Burns, a Post-Electric Play – 12 Peers Theater: Once you catch 12 Peer’s current production of Thom Pain: Based on Mr. Burns ImageNothing starring Pittsburgh’s own Matt Henderson, we’re sure you’ll be itching to see what else they have to offer. Opening August 3, Mr. Burns shoots us some years into the future after the apocalypse where we meet a handful of survivors trying to recreate a particular episode of “The Simpsons”. Fast forwarding into the future for Act 2, and even further for Act 3,  these reenactments become main forms of entertainment and eventually myths decades later. For tickets and more information, click here. 

#3 – Hot Metal Musicals – Musical Theatre Artists of Pittsburgh (MTAP):Since Email-Blast-Image-c.PG-Web1-copyits creation, MTAP has set out to help create and promote new musicals and the artists creating them in Pittsburgh. The incubator was established in 2011 by Erik Schark and is now currently led by executive director Stephanie Riso, managing director Jeanne Drennan, and advisor Steve Cuden. The first Hot Metal Musicals showcase in 2015 was one of our first major events of that year, and after seeing the talents Pittsburgh had to offer then, we’re sure this year’s showcase on July 17 will knock our socks off. For tickets and more information click here. 

#2 – Momentum Festival – City Theatre Company: City Theatre, known as yt17-momentum-featurePittsburgh’s home for new plays, delivers on their promise to keep things fresh and new again this year by finishing out their season with their annual page-to-stage festival: Momentum. Featuring 5 different staged readings, this year’s lineup will include not one, but two shows in progress that will be fully produced in their 2017-2018 season. Hop in for a meet and greet and a staged reading this weekend starting June 1! For more information, click here!

18556456_10155486793559873_589745343035013449_o#1 – WordPlay – Bricolage Production Company: Sure, for the second year in a row, we’ve named Bricolage’s storytelling show WordPlay the #1 show we’re looking forward to this summer. But this time, WordPlay is no ordinary WordPlay. This time, Bricolage as team up with PERSAD CENTER, the nation’s second oldest licensed mental health counseling center specifically created to serve the LGBTQ community. Featuring tunes by Tracksploitation and stories by Nyri Bakkalian, Brian Broome, Cindy Howes, kelly e. parker and Ciora Thomas. And, as usual, hosted by Creator and Co-Producer Alan Olifson. Don’t miss out on this special edition WordPlay this weekend, starting June 2. Tickets and more information can be found here.

Summer Preview 2017

Summer Logo

A Letter from the Editor,

I would like to wish a happy unofficial start of summer to our marvelous readers! Because of you, we made it through another year here at Pittsburgh in the Round! As a special treat, we’ve put together one of our best season previews yet, including updates from old friends like MTAP and the Pittsburgh CLO, new friends like Split Stage Productions, and not one, but two Artist Spotlights!

Summertime is one of the busiest times of year for the Pittsburgh theater community, making it one of the busiest seasons for us here at Pittsburgh in the Round. There will be no shortage of reviews and articles and you may even see a few PITR exclusives!

With the release of this Summer Preview 2017, we’d also like to announce our latest Site Sponsor, the newly renamed Pittsburgh Festival Opera (formerly the Opera Theater of Pittsburgh). To find out more about their upcoming season, keep scrolling! If you or your theater or business would like to be featured in any of our advertising spots, please don’t hesitate to contact us at info@pghintheround.com!

Our team here keeps on growing so we’ll have plenty of content to keep you busy this summer. We would love to take this opportunity to thank all of you who continue to read the content we work so hard to bring you, engage with us on social media, and support all of these local theaters and companies that help the arts grow and thrive in Pittsburgh.

Here’s to another great summer,

Mara E. Nadolski
Editor in Chief, Pittsburgh in the Round


Let’s dive right into our Top 5 shows we’re looking forward to this summer!

Marcus Stevens (2)#5 – An Act of God – Pittsburgh Public Theater: A relatively new play, premiering on Broadway in 2015, An Act of God is a one-act comedy that originally started out as a series of tweets that evolved into the book of which the play was adapted from. Point Park University graduate Marcus Stevens plays God, joined by his sidekicks: angels Gabriel and Michael (John Shepard and Tim McGeever), in this comedy opening at the Pittsburgh Public June 9. For tickets and more information click here. 

#4 – Mr. Burns, a Post-Electric Play – 12 Peers Theater: Once you catch 12 Peer’s current production of Thom Pain: Based on Mr. Burns ImageNothing starring Pittsburgh’s own Matt Henderson, we’re sure you’ll be itching to see what else they have to offer. Opening August 3, Mr. Burns shoots us some years into the future after the apocalypse where we meet a handful of survivors trying to recreate a particular episode of “The Simpsons”. Fast forwarding into the future for Act 2, and even further for Act 3,  these reenactments become main forms of entertainment and eventually myths decades later. For tickets and more information, click here. 

#3 – Hot Metal Musicals – Musical Theatre Artists of Pittsburgh (MTAP): Since Email-Blast-Image-c.PG-Web1-copyits creation, MTAP has set out to help create and promote new musicals and the artists creating them in Pittsburgh. The incubator was established in 2011 by Erik Schark and is now currently led by executive director Stephanie Riso, managing director Jeanne Drennan, and advisor Steve Cuden. The first Hot Metal Musicals showcase in 2015 was one of our first major events of that year, and after seeing the talents Pittsburgh had to offer then, we’re sure this year’s showcase on July 17 will knock our socks off. For tickets and more information click here. 

#2 – Momentum Festival – City Theatre Company: City Theatre, known as yt17-momentum-featurePittsburgh’s home for new plays, delivers on their promise to keep things fresh and new again this year by finishing out their season with their annual page-to-stage festival: Momentum. Featuring 5 different staged readings, this year’s lineup will include not one, but two shows in progress that will be fully produced in their 2017-2018 season. Hop in for a meet and greet and a staged reading this weekend starting June 1! For more information, click here!

18556456_10155486793559873_589745343035013449_o#1 – WordPlay – Bricolage Production Company: Sure, for the second year in a row, we’ve named Bricolage’s storytelling show WordPlay the #1 show we’re looking forward to this summer. But this time, WordPlay is no ordinary WordPlay. This time, Bricolage as team up with PERSAD CENTER, the nation’s second oldest licensed mental health counseling center specifically created to serve the LGBTQ community. Featuring tunes by Tracksploitation and stories by Nyri Bakkalian, Brian Broome, Cindy Howes, kelly e. parker and Ciora Thomas. And, as usual, hosted by Creator and Co-Producer Alan Olifson. Don’t miss out on this special edition WordPlay this weekend, starting June 2. Tickets and more information can be found here

If musicals are more your style, don’t worry, George has our 5 Musicals You Don’t Want to Miss this Summer here. 

Learn a little more about the people you’ve been hearing about for all these years in our Artist Spotlight series. This time around we’ve got two for you! Get the scoop on costume designer Tony Sirk and musical theater actor Quinn Patrick Shannon. 

Our opera expert George is always a regular at the Pittsburgh Festival Opera’s summer shows so he’s got the inside scoop on their upcoming season hereThey’ve even commissioned a new opera they’ll be debuting this year, Nicole went a step further and got us some more information on the new show A Gathering of Sons. 

Throughline Theatre Company has a new home and a new season to tell us about! Ringa even got a sneak peak on their 3rd show, check it out here

If our Top 5 Musicals article wasn’t enough to meet your musical needs, George caught up with Split Stage Productions and the Pittsburgh CLO!

Kinetic Theatre Company has some fun planned for us this summer and fall, check out Stephen’s preview here. 

In preparation of MTAP’s upcoming Hot Metal Musicals this July, reacquaint yourself with the Musical Theatre Artists of Pittsburgh here. 

And last, but not least, a group of young Pittsburgh artists have come together to produce a cabaret night to showcase female talent in the industry to support Planned Parenthood, find out more here. 


 

Missing something? Here are some review highlights from the last few months!

Watch: A Haunting by Real/Time Interventions

The Philadelphia Story at Little Lake Theatre

La Rondine by Undercroft Opera

Anything Goes at McKeesport Little Theater

Falstaff by Resonance Works

The Perks of Being a Wallflower by Prime Stage

Hercules Didn’t Wade in the Water at Pittsburgh Playwrights Theatre

Sive at PICT Classic Theatre

Tarzan by Pittsburgh Musical Theatre

Wife U at Carnegie Mellon Universtiy

The Summer King at the Pittsburgh Opera

What’s Missing?  by Corningworks

4.48 Psychosis at off the WALL

Collaborators by Quantum Theatre

Baltimore at the University of Pittsburgh

Sweet Charity at the Pittsburgh Playhouse

Bloody, Bloody Andrew Jackson by the Duquesne Red Masquers

Who’s Afraid of iVirginia Woolf? by Cup-A-Jo Productions

5 Musicals You Don’t Want to Miss This Summer: 2017 Edition

Our 2017 Summer Musical Preview features a mixed bag of musicals from the interactive Clue, the zany Spamalot to three “serious” musicals exploring life’s purpose; Avenue Q, Pippin and Big Fish.

18766423_1366720196752718_7747244441950438655_oDo you like board games? Then Clue is for you! This interactive musical is based on the popular game of the same name. The plot revolves around solving the murder of Mr. Brody at a mansion that is occupied by several possible suspects.

The audience deduces the solution from clues given throughout the performance. The audience chooses from 216 possibilities incorporating the potential murderers, weapons and rooms! Only one hard-nosed female detective is qualified to unravel the merry mayhem. Even after the culprit confesses, a surprise twist awaits.

Clue: The Musical by the Summer Company. Directed by Justin Sines at the new Genesius Theater on the campus of Duquesne University. Performances run June 15th through the 25th

Tickets: $15 general admission, $10 seniors, $5 students available at the Box Office or online here.

spamalotIf Stage 62’s rollicking production of Peter and the Starcatcher is any indication of their ability to do comedy, then their take on Monty Python’s Spamalot is bound to be a hysterical funfest. Spamalot borrows from, well honestly it actually rips off, Monty Python and the Holy Grail transforming the legend of King Arthur and the Knights of the Roundtable into a classic Broadway musical. Of course there are showgirls, knights, cows and fabulous French people. Did I mention the killer rabbits?

Spamalot presented by Stage 62. Performances Thursday to Saturday, Jul. 20th to 22nd and 27th to 29th at 8 p.m., Sunday Matinees on July 23rd and 30th at 2 p.m.

Laugh until it hurts at the Andrew Carnegie Free Library & Music Hall in Carnegie, PA

Tickets:  Adults: $20, Students/Seniors: $15 available here.

pippinThe Tony Award winning Pippin is the story of a young prince and heir to the throne, who is searching for his own “corner of the sky” as told by a traveling troupe of actors led by the cunning and charming Leading Player. After he returns from college, Pippin searches for a fulfilling purpose in life. The Leading Player encourages Pippin to experiment: dabble in bloody battles, go for licentious and lusty sexual entanglements, and try out savvy political maneuvers. Despite his adventures, Pippin discovers that finding one’s life significance is really way more complicated than he thought. There are as many interpretations as to the shows meaning, as there are productions. Watch and see if you can figure it out.

Carnegie Mellon alumni Stephen Schwartz wrote the now classic show tunes originally while at CMU as a student production. Rumor has it not one word or note from the original CMU production made it to the Broadway version!

Pippin is in residence the Theatre Factory in Trafford, PA with performances July 7th through 23rd at 8 p.m. and Sunday the 17th and 23rd at 2 p.m.

Tickets: Adults $18, Seniors & Students $16, visit www.theatrefactory.com or call 412-374-9200

ave qImagine if Sesame Street was for adults. This is the premise of Avenue Q, a place where puppets are friends, Monsters are good and life lessons are learned. Avenue Q is the winner of three Tony Awards for Best Musical, Best Book and Best Score. The show tells the story of Princeton, a lad just out of college who moves to a sketchy apartment way out on Avenue Q.

Instead of “10-9-8-7-6-5-4-3-2-1” and “One of These Things is Not Like the Other”, Avenue Q serves up “We’re all a Little Bit Racist”, “The Internet is for Porn”, “It Sucks to be Me”, and I’m Not Wearing Underwear Today”. Princeton and his newfound Avenue Q friends, all who grew up as unique people; searching for jobs, dates and their ever-elusive purpose in life.

The Alumni Theater Company is comprised of all Black performers.  Like most musicals, Avenue Q was not written by or for Black people. According to Alumni Founding Director Hallie Donner  “The cast and creative team are working together to bring meaning and relevance to this performance from the perspective of young Black Americans.”

Donner says “Avenue Q is about twenty-something’s finding purpose in life. That couldn’t be more relevant to us. Yet the show’s casual attitude of “just relax” and let life happen to you and it will all work out is very much a viewpoint created through the lens of white privilege.  We look forward to challenging audiences with our take on this theme.”

The Alumni Theatre Company’ production of Avenue Q is located at the New Hazlett Theatre in the North Side with performances on July 28th, 29th, and 30th. For tickets visit https://www.artful.ly/store/events/11504  

big fishFront Porch Theatricals is excited to put Big Fish in the directing hands of Pittsburgh native Spencer Whale, a vibrant young storyteller and Cornell University graduate.

Big Fish is a magnificent whopper of a tale that centers on Edward Bloom, a traveling salesman who lives life to its fullest… and then some! Edward tells incredible, larger-than-life stories that thrill everyone around him. His adult son, Will, is no longer amused by his father’s fantastical tales and insists on a rational rather than an exaggerated account of his father’s life. When Edward’s health declines and Will learns that he and his wife, Josephine, will have a son of their own, Will decides to find out his father’s “true” life story, once and for all.

Big Fish is a heartfelt, powerful, and truly magical musical about fathers, sons, and the stories that we use to define our identities.  Big Fish is a show that’s richer, funnier and BIGGER than life itself.

This will be Whales’s return to musical theatre in Pittsburgh after he won a Gene Kelly Award for Best Actor in a Supporting Role when he was a student at North Hills High School before he attended Cornell University. Billy Hartung plays Edward Bloom and Kristiann Menotiades is his wife Sandra.

Big Fish by Front Porch Theatricals at the new Hazlett Theatre on the North Side. Performances run August 18th to 27th. Tickets: Adults: $30 online; $35 at the door; Students, Groups and Artists; $24 and are on sale now on ShowClix! https://www.showclix.com/event/big-fish

It looks like we are in for an interesting Summer Musical season again this year! Enjoy.

We would love to hear from our readers and follow along with your theater adventures so keep in touch with us on our FacebookTwitter, or Instagram using the hashtag #SummerwithPITR.

And don’t forget to sign up for our email blasts here. 

Peter and the Starcatcher

peterstarcatcher300x300You are correct, there has been a “boatload’ of Peter and the Starcatcher productions this summer, three in fact.  I must confess I did not see Little Lake or the University of Pittsburgh’s productions.

I did see the Broadway national tour in 2014 and the Shaw Festivals production in 2015, both left me with the feeling of “meh”.

This review of Stage 62’s charmingly clever production of Peter and the Starcatcher was for me a voyage of re-discovery.  It was as if I had never really “seen” the show before.

Starcatcher is a comedy with some music, but not a musical. There are the requisite dancing girls, in this case mermaids, played pretty much mostly by boys. The opening number to the second act is hilarious.

Without getting too much into the plot here (You can read about that in Nicole Tafe’s review of the Little Lake production in the PITR archives here) Starcatcher is the prequel to J.M. Barrie’s 1904 novel Peter Pan, about the boy who never grew up.

The story: Lord Aster (J.P. Welsh) has been assigned by the Queen of England to insure safe transport of a treasure chest full of “starstuff” known to give anyone who possesses it the ability to realize his or her dreams.  Aster devises a plan to ship two identical chests on two different ships by two different routes to insure safe delivery. He dispatches his daughter Molly (Casey Duffy), a Starcatcher-in-training, on the ship Never Land and he takes the trunk with the real starstuff on the Wasp. Unbeknownst to Lord Aster and Molly, the trunks are switched by pirates before the ships set sail and Never Land holds the goods.

The Never Land’s crew is actually pirates, led by Black Stache (Brett Goodnack) and in addition to the trunk with the real starstuff. The Pirates also have three orphan boys held prisoner in the bilge of the Never Land.  And so we set sail…..

The thing that makes this production so special is the group of actors, all of them are Pittsburgher’s or graduates from our universities’ theatre programs. A few are in the early stages of their acting careers; many are very experienced having played many roles in multiple companies. What makes it work so perfectly is Spencer Whale’s creative vision and direction. The actor’s comedic timing, gestures and expressions seamlessly integrate together creating an ensemble that is a joy to watch as they are having such fun performing together.

L-R Brett Goodnack, Nate Willey
L-R Brett Goodnack, Nate Willey

Pittsburgh’s brilliant comedic actor Brett Goodnack as the silly and sinister Black Stache leads the ensemble. His stage presence keeps your eyes riveted to him and a smile on your face.

Other standouts in the uniformly strong cast include Point Park graduate Nate Willey as the Boy who becomes Peter Pan. Cody Sweet’s portrayal of Molly’s nanny, Mrs. Brumbrake, captures the sweet caring woman with a beard and a twist who can raise a pirate’s flagpole. J.P. Walsh’s portrayal of Lord Aster conjures up the classic proper British explorer and caring father. Casey Duff’s Molly is an ageless girl full of hopes and dreams, eager to prove her worth and trustworthiness. The entire cast has double if not triple duty. The orphans, Prentiss and Ted, played by Jake Smith and Charles Buescher Rowell keep their characters in perfect sync as they switch back and forth.

Nate Willey and Cast
Nate Willey and Cast

Director Whale called on old friends and colleagues Nathan Mattingly and Ellen Pyne for the set design, reminiscent of ship sails and outfitted with a hoarder’s treasure trove of props, flotsam, and jetsam.  Costume Design also by Pyne is spot on. Where a dozen actors with strong physical characteristics play a hundred roles, the costuming helps us identify their character of the moment. Black Stash’s look reinforces his silly yet frightful pirate nature and Molly’s enhances her character as a young girl just transitioning to a strong young woman.

In the pit, percussionists Tony Tresky and Brendan Higgins work subtly; their background rhythms perfectly match the action without overpowering the actors.

L-R Nate Willey, Casey Duffy
L-R Nate Willey, Casey Duffy

As we were leaving the theatre, reflecting that this was one of the best shows we saw this season, I wondered how three companies had come to choose the same play to present this spring. Perhaps in troubling times, sitting together in a dark room watching silliness and wishing you never grew up is good therapy for us all.

If you haven’t seen Starcatcher yet, this production is the one to see. If you have seen Starcatcher before, by all means this production is worth a visit. Come prepared to smile till your jaw hurts, laugh till your head hurts and be sure listen carefully so you don’t miss any of the great lines.

Stage 62 presents Peter and the Starcatcher at the Andrew Carnegie Free Library & Music Hall, 300 Beechwood Avenue, Carnegie, PA 15106

 Performances Thursday through Saturday, May 11-13 and 18-20 at 8 pm, Sun. Matinees May 14 and 21 at 2 pm Tickets: Adults: $20, Students/Seniors: $15. Click here for more information. 

Our special thanks to Stage 62 for the complimentary tickets.

Patience

15042008_908457625955605_6895723887467380350_oThe Pittsburgh Savoyards open their 79th season with a rousing production of Patience by Gilbert and Sullivan.

Patience is a virtue, but in this case she is a milkmaid and satire on the aesthetic movement of the 1870s and ’80s in England and, more broadly, on fads and crowd mentality.

Imagine if the TV series The Bachelor took place about a hundred fifty years ago. The bachelor in Patience is the self-styled aesthetic poet Reginald Bunthorne. All the rapturous maidens have all become his groupies much to the dismay of the Dragoons, the girls’ macho military boyfriends.

This brings us to Patience, the virtuous village milkmaid who claims to have never loved anyone. But while Bunthorne is infatuated with Patience, she falls for her childhood crush Archibald Grosvenor, another “famous” aesthete who attracts women even faster than Bunthorne. By means of whimsical song, dance and typical Gilbert and Sullivan nonsensical logic, a happy ending is achieved while reminding us that every generation has its own temporary insanity!

Zach Wood as Archibald Grosvenor

Gilbert and Sullivan’s operatic works are clearly not fads. After all, how do you explain the Pittsburgh’s Savoyards mission and a nearly singular passionate focus on Gilbert & Sullivan’s work over the past 79 years?

Patience was the sixth operatic collaboration of fourteen between Gilbert and Sullivan including H.M.S. Pinafore, Pirates of Penzance and The Mikado, all of which retain a nice degree of contemporary relevance by addressing superficiality, vanity, hypocrisy, and pretentiousness while satirizing romantic love and military bluster.

Director Rob Hockenberry has a full stage with a large cast of characters to fill along with the challenge of double casting the leads. There are many well-staged bits and some really nice physical comedy particular in scenes with Bunthorne and Grosvenor. A full orchestra of volunteers under the direction of Guy Russo accompanies this production. Keeping with the period, the show uses no microphones. Supertitles are used above the stage for the songs, which helps when vocals don’t quite cut through as well as revealing the multi-part complexity of the lyrics.

Sarah McCullough as Patience
Sarah McCullough as Patience

The Savoyards show off some excellent Pittsburgh area talent. Some standouts from Saturday night’s performance were Sarah McCullough as Patience with a nice balance of naivety and wisdom along with a nice voice. Michael Greenstein was perfect as the fleshy and pretentious Reginald Bunthorne with a great sense of physical comedy and timing. Deborah Greenstein as Lady Jane singing Sad is a Woman’s Lot drew lots of sympathy and laughs from the women in the audience. Zachary Wood shows off his performance experience and vocal training as Archibald Grosvenor.

The scenic elements are nicely painted with the decorations capturing the era’s fascination with all things Egyptian. The large cast requires a lot of period costumes. I particularly liked Designer Ellen Rosen’s costumes for the four leads.

Deborah Greenstein as Lady Jane
Deborah Greenstein as Lady Jane

Patience originally premiered in London in 1881, and later that year moving to the larger Savoy Theatre.  Henceforth, the Gilbert and Sullivan comic operas would be known as the Savoy Operas, and both fans and performers of Gilbert and Sullivan would come to be known as “Savoyards.” Another bit of interesting theatre trivia; Patience was the first theatrical production in the world to be lit entirely by electric light.

A good measure of any company’s production is noticing the pleasure the actors have in their performance, in other words, are they having fun and enjoying their craft. By that measure and the mission to expose the operas of Gilbert & Sullivan to contemporary audiences, this show is a success and worth of the opportunity to see one of their lesser-known works.

The Pittsburgh Savoyards continue their 79th season in spring with Gilbert and Sullivan’s Patience. Performances continue March 9-12, 2017 at the Andrew Carnegie Free Library and Music Hall in Carnegie. All performances except for the 2:30pm Sunday matinees are at 8pm. Click here for more information. 

Thanks to the Pittsburgh Savoyards for the complimentary tickets.

Photos by Lauren Stanley.

Stage 62 Goes to Camelot, Neverland, and More!

stage62_logoCommunity. This is the word that best characterizes a local nonprofit theater company that traces its inception back to 1962, when it began as an adult education theater project that morphed into much more. Taking residence at Andrew Carnegie Free Library & Music Hall, Stage 62 is an all volunteer-run company that strives to provide the community with quality theater for all ages that is affordable.    This year’s season will feature the plays, “Peter and the Starcatcher,” “Monty Python’s SPAMALOT” and “Anne.” The children’s musical, “Pinkalicious” was also part of the company’s season but closed in mid-February.

This year’s season will feature the plays, “Peter and the Starcatcher,” “Monty Python’s SPAMALOT” and “Anne.” The children’s musical, “Pinkalicious” was also part of the company’s season but closed in mid-February.

A typical season for Stage 62 usually includes a musical in November; a show for children’s audiences in February; a drama/comedy in May and a musical peterstarcatcher300x300in July, according to the company’s website. However, Stage 62’s members play a huge role in the selection of production titles.

“We are completely member-driven, so our membership actually gets to vote on the productions that we do,” Christopher Martin, president of Stage 62 said. “We look for submissions from our group and outside our group. …We take those specific shows to our playwriting committee, and they decide what they think will be best for the organization. [They choose] two shows per slot and vote from there.”

Because volunteers are the backbone of Stage 62, cost and the interest it will attract from the community also heavily influences the selection of production titles.spamalot300x300

“We have to balance what we think will make money and what will be exciting and engaging for our audiences and volunteers,” Martin said.
The members of Stage 62 also try to choose show titles that the company’s volunteers and directors have an interest in producing.

“We sometimes would have something picked but not have someone who had a passion to do the show,” Martin said. “We always try to have a core staff or director in mind for the show.”

Once a season has been narrowed down and show titles have been selected, the artistic direction and vision for the production and how it will be interpreted, is left up to the director.

annie300x300Stage 62’s upcoming production, “Peter and the Starcatcher” is based on a novel by Dave Berry and Ridley Pearson and provides the back story of the well-known children’s movie character, Peter Pan.

“One of the reasons we like the show is it is simple,” Martin said. “A lot of it is done with simple props and imagination.”

For its summer show, Stage 62 likes to put on a “fun-rousing” musical, and that’s where “Monty Python’s SPAMALOT” comes in, a musical comedy  adapted from the 1975 film “Monty Python and the Holy Grail.” Goofy comedies tend to equal success for Stage 62, according to Martin, and the Monty Python title the company selected for this season fits the bill.

For the fall, Stage 62 typically selects a classic film, and “Annie” is about as classic as it gets. With the permission of The Tribune Media Services, Inc., the musical “Annie” is based on the comic strip Little Orphan Annie and will be presented through a special arrangement with Music Theatre International.
Stage 62 has a reputation of providing audiences with stage productions that are well-executed, interesting and fun and accessible to the broader public, and that’s exactly what you will get with the company’s 2017 season lineup.
“Peter and the Starcatcher” opens May 11 and runs through the 21st, followed by “Monty Python’s SPAMALOT,” which premieres July 20, and “Annie,” set for November 9.

For tickets and more information about Stage 62, visit their website, http://www.stage62.com/season/.