Review: NATASHA, PIERRE & THE GREAT COMET OF 1812 Reinvents Everything at the Benedum Center
Pittsburgh CLO took a huge risk with this one, but the rewards are almost immeasurable.
The latest reviews and critic recommendations from Pittsburgh.
Pittsburgh CLO took a huge risk with this one, but the rewards are almost immeasurable.
Sondheim's backwards tragicomedy may be notoriously prickly, but Daina Michelle Griffith's production shines by emphasizing the humor over the nihilism.
The time period may be ambiguous in the classic Damon Runyon musical, but the laughs are undeniable.
The CLO production proves once and for all that this is the best musical you've never heard of.
After two pandemic years, life has returned, sometimes better than ever, at Pittsburgh's theme park staple.
The summer institution shakes up its image with a lightly sophisticated musical revue.
A heightened comic sensibility makes this old classic feel fresh to even the most cynical viewer (namely, me).
Summer isn't summer until there's a classic farce onstage at Saint Vincent.
Forty years of productions and a Disney movie have made the show cuddly, but this CLO production restores the weirdness and wackiness at the show's edges.
Almost every time you see a major production of Anything Goes, it'll vary in some way from the last one you saw.
The summer institution's season opener effortlessly blends the two genres the venue is most famous for.
William Finn's neurotic queer musical epic isn't necessarily user-friendly, but Pittsburgh's best local playhouse still manages to find the warmth amidst the dysfunction.
Lauren Yee's time-bending new play shows the power of identity, family and a really good mixtape.
There's a reason Patinkin is a legend, and it's because he is so permanently himself and no one else.
This jukebox rocker may not be 'simply the best' in the genre, but its energy and surreal touches make it stand out from the pack.
Go see Beetlejuice.
Justin Emeka's riotous reimagining is the best Shakespeare in Pittsburgh since 'Othello' at the Public.
Pleasantly disorienting, this pseudo-docutheatre raises questions large and small.
A stripped-down presentation and some local grit (plus actual queens) helps this show find its footing in a small production.
This super-sixties musical continues to feel fresh, while also seeming like it's been around forever.
The smartest, stupidest, most beloved Christmas tale of the twentieth century comes to life, and then some, in Michael Berresse's farcical production.
Front Porch announces a season of Finn and Sondheim, in an evening of song and stories.
The gritty folk-opera sensation isn't the second coming of Hamilton, it's the second coming of RENT.
What did our critic think of FRANKENSTEIN at Prime Stage? I'm a lifelong horror buff, devouring the Famous Monsters of Filmland on celluloid and printed page, as well as the artsy, philosophical 'elevated horror' that has become a literary and cinematic movement in the last decade.
Disney's biggest 'princess show' ever is weirder and more fun than you remember.
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