Theater | Pittsburgh City Paper
Kinetic Theatre Company's <i>An Octoroon</i> is not for the faint of heart

Kinetic Theatre Company's An Octoroon is not for the faint of heart

It's a wild play, to say the least, constantly challenging both the actors and the audience

I thought The Gun Show was going to be very bad, and I was wrong

It's a svelte 60-minute storytelling performance helmed by a charismatic lead and packed with some delightful little surprises

Backstage with props master Rikkilee Rose

Who, or what, is healing whom?

Mark Clayton Southers’ Savior Samuel addresses those and many other issues for former slaves in 1877

University of Pittsburgh looks at a lost era of Black history with Flyin’ West

Based on a true story, the play follows African-American women settlers in 1898

An Elvis impersonator finds success as a drag queen in Florida in barebones productions’ 2019 season opener

The Legend of Georgia McBride marks the theater's first production with musical numbers, dance, and drag

Backstage with operations manager Joanna Obuzor

“There is an art to the administration of the arts.”

Backstage with technical director Aaron Tarnow

'Work fast,' and other advice

At 101, Ernest Hemingway's friend and biographer finishes his adaptation of The Old Man and the Sea

The play had its world premiere at Pittsburgh Playhouse on Feb. 1

Etty finds new meaning in Holocaust victim’s diaries

New off the WALL show delves into the short, but fascinating life of Etty Hillesum

Pittsburgh Public Theater makes The Tempest feel new again

Tamara Tunie leads a truly spectacular take on Shakespeare's magic tale.

Brian Quijada shines in Where Did We Sit on the Bus?

Switch your phones to airplane mode for the new one-man show at City Theatre (you'll see why)

Tamara Tunie stars in Pittsburgh Public Theater’s reimagining of The Tempest

New PPT leader Marya Sea Kaminski makes local directorial debut with all-female take on Shakespeare’s classic tale.

Backstage with costume designer Suz Pisano

“The costume enhances the movement; it doesn’t create it.”

In The Heights is nice, but a little too tame for its own good

Though revolutionary at the time of its release, the musical doesn't feel particularly challenging or unique these days

One-man show Where Did We Sit on the Bus? is about art, family, and Latino identity

“It's kind of an explanation of what it means to be a storyteller trying to make a professional living doing what no one in our family history has ever done before.”

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