A look back at the best in Pittsburgh theater in 2024
In the world of musicals and plays, 2024 was a hilarious, heartfelt and enlightening year in the city of Pittsburgh. From eye-opening world premieres to fresh interpretations of old favorites to jaw-dropping touring productions, this was a great year in theater. Take a glimpse at some of the highlights.
Top 5 best overall productions
“Radio Golf” (Pittsburgh Playwrights): This awe-inspiring rendition of August Wilson’s final play was a triumph from beginning to end. From the small cast’s incredible intensity to the nostalgia-inducing accuracy of the 1997 office set, every aspect of the show was on point. “Radio Golf” takes place almost three decades ago in the Hill District, and its characters’ struggles between development and history remain relevant today.
“POTUS Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive” (City Theatre Company): With a hilarious all-female cast, this election season charmer was searing, profane and uproariously funny. It perfectly encapsulated a sense of frustration and hope that many feel in the midst of current events while provoking nonstop laughter. Every member of the cast got her chance to shine as the plot of this West Wing-set farce careened toward international disaster.
“The Importance of Being Earnest” (Pittsburgh Public Theater): Throwing it back to the late 19th century, Pittsburgh Public Theater staged Oscar Wilde’s classic satire in the spring. The light-as-air comedy was flawlessly executed with excellent acting, directing and music. A standout production of a frequently staged play is always a treat, and PPT pulled this one off in 2024.
“Bandstand” (Front Porch Theatricals): This musical is already an emotional, delicate show to put on, but it also requires an extra layer of talent, upping its difficulty even more. In “Bandstand,” a group of returned American veterans from World War II — already facing difficulties readjusting to post-combat life — form a band to enter a patriotic song contest. Not only do the actors need to navigate anger, grief and PTSD, they need to be able to play their instruments onstage. The result of a lengthy casting process and some masterful music direction was a production that practically blew the doors off the New Hazlett Theater.
“A Moon for the Misbegotten” (Quantum Theatre): This show was immersive in a way that few others were this year, taking the quiet, rural setting of Eugene O’Neill’s play to the Long Vue Club and carrying out the character-driven scenes as the sky darkened and the moon rose. Getting to sit so realistically and viscerally within the world of the characters was a rare and lovely experience.
Also notable onstage
Most dazzling shows: On two very different ends of the spectrum, this year had the touring production “MJ the Musical,” presented by the PNC Broadway in Pittsburgh Series, and Pittsburgh Shakespeare in the Parks’ “Twelfth Night.” The former had massive, glittering set pieces, dance numbers and special effects that wowed the audience with their production value. The latter turned Pittsburgh’s parks into tropical locales with pool floats and noodles, beachwear and Jimmy Buffett tunes — even offering leis to audience members upon arrival.
Best musical number: Pittsburgh Musical Theater’s “Million Dollar Quartet” brought together Johnny Cash, Elvis Presley, Carl Perkins and Jerry Lee Lewis for a tale of historical fiction scored by some of the greatest rock music of all time. But the true musical magic happened at the show’s 15-minute finale, when essentially a concert broke out, with the four actor/musicians giving their all in a no-holds-barred musical extravaganza.
Incredible performances: This year showed off the wealth of incredible acting talent that we’re fortunate to enjoy in Pittsburgh.
For example, Brandon St. Clair gave a riveting and powerful performance in Pittsburgh Public Theater’s “The Coffin Maker” that won’t be forgotten anytime soon. Playing a man dead set on revenge, St. Clair radiated an anger and righteousness that was palpable throughout the whole theater.
In the aforementioned “POTUS,” Tami Dixon was also a force to be reckoned with as the president’s chief of staff. She was authoritative, intense and often the perfect straight man (or woman) to the rest of the wacky characters. But she also got to be the powerful driving force behind the play — and rose to the challenge exceptionally.
Tear-jerking scenes: This year’s visit from the national tour of Stephen Sondheim’s “Company” at the Benedum Center was overall great, but lead actor Britney Coleman made things a bit misty with her performance of the second-act closing number “Being Alive.” And, frankly, the second act of the national tour of “Hamilton” was mostly seen through a blur of tears for this reviewer.
Laugh-til-you-cry scenes: Speaking of national tours, the cast of “Book of Mormon” filled the Benedum Center with constant laughter, but the musical was particularly hilarious during the obscene first act number “Hasa Diga Eebowai” and Act Two’s showstopping “Spooky Mormon Hell Dream.”
What will make us laugh, cry, think and feel in the theater in 2025? We can’t wait to find out!
Alexis Papalia is a TribLive staff writer. She can be reached at apapalia@triblive.com.
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