Review: COME FROM AWAY Humanizes Tragedy at Front Porch Theatricals
While some have accused it of being too twee, this musical docudrama provides hope and humanity in a time when both are hard to come by.
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While some have accused it of being too twee, this musical docudrama provides hope and humanity in a time when both are hard to come by.
Launching a new theater company is always a leap of faith, but 2nd Floor Theatre Company lands on solid footing with its inaugural production of Grease.
The (maybe) final show in CLO's history, this tour stop still has a lot to say.
Ever heard the joke about how you know you're old when the songs of your childhood get played in grocery stores? As a lifelong Westmoreland County resident, I've long been a fan of Saint Vincent Summer Theatre.
Just because the music speaks for itself in this jukebox musical, doesn't mean the stories aren't worth hearing.
I've always been a comics guy, ever since I was five years old and discovered my dad's shipping crate full of seventies and eighties cult titles like Howard the Duck and Doctor Strange.
This Pittsburgh-centric update of the seventies cult musical bridges the gap between the old world and the new.
The genderqueer indie rock cabaret staple has lost none of its bite, and found two definitive interpreters.
Though the show is (intentionally) corny, there's a lot of heart and humor in this new country musical.
If I told you I spent an evening last week watching a surrealist dramedy about performers in a circus run by a needy, codependent and violent ringmaster with bipolar disorder, you'd have two options to choose from.
Never underestimate the power of hiring the full orchestra
Unlike most works of historical fiction, the vibes in this new dramedy are so good, you almost don't need the biographical tie-ins at all.
The only constant is change, as anyone will tell you, and Front Porch Theatricals has always epitomized that.
Amazingly, some things never DO go out of style.
Pittsburgh CLO's The Rocky Horror Show strips the cult classic back to its 1973 origins — and the results are surprisingly moving.
Michael Frayn's legendary farce returns, in the Public's most go-for-broke physical comedy yet.
Here's a fun fact about me: I have never played one of the Four Plaids, but I have been in many, many productions of Forever Plaid.
When it comes to Stephen Sondheim, people often have very strong opinions on 'blue-book Sondheim' (the first half of his memoirs is a blue book covering his origins through Merrily) versus 'pink book Sondhiem' (the second half, a pink book, covers Sunday through Bounce).
If you saw Very Berry Dead at Big Storm last year (and I hope you did), you probably had some idea what to expect with actor/writer José Pérez IV's latest show, To Battle.
One of the biggest debates in the world of theatre is over the genre of Anton Chekhov's masterpiece of early modernism, The Seagull.
A refreshingly non-replica production design breathes new life into the sometimes-overexposed property.
Stripped-down production values but a game cast make the Pythonesque musical fly.
If any company in the area can be said to have a formula for its seasons, that is a fair assessment of Saint Vincent Summer Theatre's usual years: a farce, a revue of pre-rock songs from stage and screen, and then a Roger Bean style nostalgic jukebox musical.
If you don't know the capsule plot of Back to the Future yet, close this review and go pull it up for streaming, or check TBS (Back to the Future is almost always running on TBS these days).
Marya Sea Kaminski ends her tenure at the Public with her most ambitious and open-hearted production yet
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