Theatre Review: ‘Oh My God’ at Jewish Repertory Theatre

The cast of “Oh My God” at Jewish Repertory Theatre.

This evening I attended the Western New York premiere of “Oh My God” by Anat Gov at the Jewish Repertory Theatre. Ms. Gov was one of Israel’s premiere dramatists with scores of plays and television programs to her credit. Like all Israeli students, Ms. Gov studied the Bible throughout her school years. As an adult, Gov founded a Bible study institute.

. . .a very careful and studied production of a philosophical play.

The play takes place in a therapist’s office in modern day Tel Aviv. God is feeling so depressed about His relationship with the people on Earth that He is considering suicide and needs psychological therapy.  Ella, the loving Jewish lady who He has selected for His therapist, has just one hour to convince God not to destroy Himself and all of creation. The therapist is the single parent of a preteen who has autism, and so she has lots of challenges of her own. The heart of the play is the therapy session that takes place in Ella’s office.

There is very little action in “Oh My God.” It’s cerebral – more like theological dialogue than a true play. Perhaps the translation from Hebrew to English is partially to blame. Many of the lines seemed stilted and were delivered in a stagey fashion that seemed odd in such an intimate setting.

This is a  confident and well oiled production of a wordy, difficult piece that has been mastered with aplomb by the cast, Todd Benzin and Lisa Ludwig, who obviously took this assignment very seriously and gave it 100%. For this, they are to be congratulated. Congratulations also to director Saul Elkin for this smooth and well paced production.

One challenge is in the casting. God is described in the play as being impressive and frightening with a deep voice. Mr. Benzin, although he gives this his best effort, just isn’t majestic or mature enough for the role. In fact, in this production, God comes across as younger and less powerful than Ella, the therapist. Ms. Ludwig plays Ella who the play describes as being warm and empathetic. Instead, in this production, Ella seems more enthusiastic about proving her points than she is about giving of herself to God and humanity.

There is a lot of yelling onstage – God is frequently exasperated and Ella is agitated. Potential moments of poignancy, amazement, connection, and humor were rushed through – perhaps in an effort to keep the pace brisk.

Max Goldhirsch does a lovely job as Ella’s son.

Production values are fine throughout. Perhaps if Ms. Ludwig has been costumed in slacks, instead of heels and a skirt, she could have been freer with stage movements. Ella’s office is part of her home, after all, so one wonders why she’s so dressed up. She looks more like Beaver Cleaver’s mom than like a modern day therapist. 

And, it’s quite possible that this is indicated in the script – but there were inexplicable short sudden schmaltzy musical passages throughout the evening. They were more distracting than atmospheric.

This is a very careful and studied production of a philosophical play.

“Oh My God” is 90 minutes with no intermission.

“Oh My God” runs until November 17, 2019 and is presented at Jewish Repertory Theatre. For more information, click here.

Theatre Review: ‘Freaky Friday’ at Niagara University

Freaky Friday is one of those story people don’t realize they know. For my generation, the movie starring Lindsay Lohan and Jamie Lee Curtis brought the story to life. For this generation, we have the Kitt, Yorkey, and Carpenter tuner that starred Emma Hunton and Heidi Blickenstaff which became a Disney Channel Original Movie.

I feel badly about this, but my generation had a significantly better version. Tom Kitt and Brian Yorkey have already won their Tonys, so if Freaky Friday doesn’t necessarily live up to the lyrical brilliance of Next to Normal, we can forgive them. The show is a little clunky despite numerous rewrites, but the Niagara University production is anything but.

It’s refreshing to see young actors play so honestly, and that’s what we have in this production. Director Steve Braddock and choreographer Terri Filips Vaughan have given the outlines, but they’ve left it up to the cast to color inside them. An expertly directed band by, sequestered down the hall, is directed by Dr. Bridget Moriarty. Both her musical ensemble and the ensemble on stage sound terrific.

As angst-ridden and misunderstood teen Ellie, Lindsey Pastuszynski ably illustrates the difficulties of being a modern-day teen. As her busy bread-winning mother Katherine, Sonia Angeli manages to keep the “plates all spinning” (that’s a Next to Normal reference). It’s when the infamous “switch” happens that these two performers shine. Both ladies are great in their roles, but Angeli in particular shines. The book is thoughtful enough that it gives Angeli’s character an emotional act two moment which she does not take lightly. It’s an incredibly mature and aware turn for her.

I’ve mentioned the strength of the ensemble, but the real standouts come by way of Caleb Paxton, Ricardo Garcia, and the young Teddy Hibbard. As Katherine’s soon-to-be-husband Mike, Paxton delivers a touching performance, particularly in Act One’s “Vows.” Garcia is a special surprise; I had the pleasure of his talented older brother Alex as a classmate. He brings a very human touch to the criminally underdeveloped Adam, Ellie’s love interest and the high school’s hero. He also brings a dynamite singing voice. Finally, Nichols eight-grader Teddy Hibbard is an unbelievable treat. He’s handling a very difficult role with ease, puppets and all. It’s a real pleasure to watch, and I’m sure he has a bright future in performing if he so chooses.

All in all, this is the type of show a college should tackle. It should, and I believe did, teach valuable lessons about bringing truth to performances while keeping the integrity and spirit of the script intact. Instead of ad-libbing lines they thought were funnier, or winking at the material for a cheap laugh, the entire cast as a whole chose to embrace the piece, warts and all. And that’s fitting, because the show has a similar message. So excuse me while I wipe the tears from my eyes; it may be cheesy sentimentalism, but this excellent Niagara University production of a slightly below excellent piece has heart and truth to spare.

Freaky Friday  runs until November 3, 2019 and is presented at Niagara University. For more information, click here.

Theatre Review: ‘The Rocky Horror Show’ at Lancaster Opera House

Lancaster Opera House debuted its first musical of its first season completely in residence last weekend with cult classic “The Rocky Horror Show.” Richard O’Brien’s creepy, hilarious and sometimes insane show is well performed by a talent-ridden cast, featuring plenty of fresh faces.

A celebration of a cult classic…

We open with, what else, “Science Fiction Double Feature,” which is sung live by an usherette and hints at some of the bizarre events our main characters are about to experience. I doubt there’s ever been a version as good Megan Mahaney’s, which was a great start to the show.

We are immediately introduced to newly engaged Brad (Angelo Heimowitz) and Janet (Madelyn Teal), whose car breaks down on the way to visit their former science teacher to share their happy news. Once they reach a nearby castle, they are welcomed in by Riff Raff (an unbelievable Matthew Rittler), Magenta (a sassy Heather Reed) and Columbia (a lively Kate Mulberry), who lead them in “The Time Warp,” kicking off a night they’re sure to remember.

Soon after the “Time Warp,” on struts Dr. Frank ‘N’ Furter (Joe Russi). Russi, simply put, is a star. His range is unbelievable, as is his ability to strut the stage in heels and a corset. Russi brings depth to a character that might appear one-dimensional, captivating every audience member to the point where each of his songs garnered long applause and cheers.

While I love Barry Bostwick and Susan Sarandon as much as the next person, you can’t deny that the stars of the movie aren’t the strongest singers. With director David Bondrow’s cast, every song is taken to new heights and is impeccably performed by the cast, especially Russi, Teal and Rittler. Timmy Goodman’s choreography is interesting and appropriately simple at times, and the quintet of Phantoms/Transylvanians is perfectly haunting and humorous throughout the show.

The Opera House stage is known for being small, but David Dwyer utilized the theater’s back brick wall in his two-level design, which made a huge impact on the stage’s size. It felt larger than usual with room to breathe; so much, in fact, that I bet a few more ensemble members could have fit comfortably.

This production is a true celebration of a cult classic and is being performed (rightfully) at the spookiest time of year. If you’re a Rocky Horror fan, you’ll love every minute.

Running Time: Approximately one hour and 45 minutes including a 15-minute intermission

“The Rocky Horror Show” runs through November 3 at the Lancaster Opera House. For more information and tickets, click here.

Theatre Review: ‘Detroit ’67’ at Blackfriars Theatre

Set in July 1967, a time which would become known as the Long Hot Summer as race riots plagued American cities such as Newark, Buffalo, Rochester, Boston, Chicago, Milwaukee and of course, Detroit, Dominique Morisseau’s play Detroit ‘67 leaves the audience with a lot to reflect upon.

. . .an amazing performance. . .

The play opens in the basement of siblings Chelle and Lank’s house. They’ve buried their father six months prior and now that the will has been settled, are ready to start getting their lives back to normal. Normal includes after hours parties in their basement to help pay the mortgage as well as tuition for Chelle’s son to attend the Tuskegee Institute. They both agree the inheritance they received will be used primarily to pay for tuition, but once Lank’s friend, Sly informs him a local bar is being sold soon, Lank’s view of where this money should go to changes. As Lank and Sly try to convince Chelle the bar is a way to have a legitimate business of their own and a steadier income, tensions between the Detroit police and the African American communities continue to mount.While the violence in the streets rises to a fevered pitch, Lank and Sly bring more tension to the basement setting when they bring home Caroline, an unconscious white woman. Having found her disoriented and badly beaten in the streets, Lank insists on bringing her home in case whoever did this was coming back to finish the job. Chelle and Sly both argue this decision is foolhardy and will only bring trouble to the family, but Lank’s compassion for Caroline’s humanity eventually rules out and Chelle agrees to allow her to stay for a week if she helps them with their after hours parties. On the surface this proves to be a good idea since their revenue from parties increases significantly, but as more comes out about Caroline’s back story (some of which is provided by Chelle’s close friend, Bunny who has her finger on the pulse of the neighborhood’s information line) conflict continues to rise between the characters mirroring the violence that is increasing in the streets outside of the safety of the basement walls.

Detroit ‘67 covers obvious topics of race relations, police violence and class struggles, but also delves into topics of love, family connections, the desire to make a better life for oneself, make your mark on the world and keep those around you safe. Chelle and Lank struggle with their conflicting viewpoints – Chelle wanting the safety of what she has and only willing to look as far as tomorrow; Lank wanting something more for himself and to have a future more secure than it’s been. Chelle is the realist, viewing things as they are. Lank is the dreamer, seeing things as what they might be. Throughout, the one constant is their deep love for one another as family and their commitment to stand by one another no matter what. “We stuck together at the root.” as Chelle says to Lank at one point. 

Punctuating the play and enhancing the underlying themes is a steady stream of Motown music. With such well known groups as The Temptations, Marvin Gaye, The Four Tops and Martha and The Vandellas, the music helps to set the atmosphere of the time. Lyrics which many of us sing without a second thought, become so much more poignant when set against the action on stage. 

As powerful as Ms. Morisseau’s play is, it’s the actors in this production who truly bring it to life, forcing the audience to confront the harsh truths which are presented. Ashona Pulliam as Chelle puts on an amazing performance bringing the full range of emotions of the character to the stage. Chelle’s internal struggle with the desire to support her brother’s dreams and the need to keep him safe in the reality of the world they are living in and the violence that is erupting around them is palpable to the audience. Pulliam’s talent shines as the audience watches Chelle fight to keep her heart safe from further hurt while being pulled toward the love that Sly offers. Tahina McPherson as Bunny offers the audience a much needed comic relief in a play filled with heavy, emotional topics and helps bring the self-assured character to life. McPherson’s Bunny acts as a softening in some ways to the intensity of Pulliam’s Chelle. The two actors work well together on stage, building off of each other’s emotions and creating an ebb and flow the audience can relate to. Aceyon Owens’ Sly, much like McPherson’s Bunny often adds an element of comic relief to a scene. In addition, Owens helps bring to life the struggle Sly experiences trying to make a living for himself as an African American man living in the ghetto of Detroit – trying to make ends meet, the struggle to get a foothold in life and the intense frustration at being blocked by white authorities (often crooked police) at every turn. Laron Dewberry’s Lank and Melanie McBride’s Caroline provide an idealistic view of what the world could be. Dewberry brings an intensity to Lank’s desire to make a better life for himself as well as a softness to Lank’s view that maybe the world can be a different place than what currently exists if we can see the humanity within each other. McBride’s Caroline brings the conflict of the streets into the family dynamics of Chelle and Lank, and forces the audience to question their own beliefs of what reality is.

Detroit ‘67 runs at Blackfriars Theatre until November 3rd. See it while you can. It truly is an amazing performance, and make sure to leave some time after for much needed discussions on the many topics this play brings up which continue to be relevant today.

Run time: 120 minutes with one intermission

Deals with adult themes and topics

Detroit ‘67 is playing at Blackfriars Theatre until November 3rd. Get your tickets at

Theatre Review: ‘Come From Away’ at Shea’s Buffalo Theatre

The National Touring Cast of “Come From Away.”

I was in 5th grade on that day that the world stopped. I remember that no one told us anything in school, but the teachers in the hallway were all talking. There was some crying. There were some screams. My friends and I sat there wondering what was happening. We were 10, so we were not the first ones to get information. Even if we did get information, we wouldn’t have understood. It wasn’t until later that night when I got home from school that I learned about the tragic events that occurred in New York and Washington. Years later, I have had the opportunity to visit memorials at the World Trade Center and at The Pentagon. I can’t even imagine witnessing those events first hand. 

. . .the best story ever told. . .

“Come From Away,” the Broadway smash hit, tells the story of a small town in Newfoundland called Gander.  In it, there is a huge dilapidated airport where planes coming from Europe would stop to refuel at. Since the jet engine was created, planes can cross the ocean on a single tank of fuel, so there really isn’t much need for the airport anymore. That is until the US Airspace is closed on September 11, and 38 planes from all over the world land there. Seven-thousand people from around the world are brought to Gander against their will, and those on the planes have no idea where they are. What happens? People open their doors to their own home to help these people who are stranded for five days. Humanity at its finest.

This is the second time I have seen this show, and it will definitely not be the last. The last time I saw it was at the Royal Alexandra Theatre in Toronto in 2018. I was blown away by this production, and since then, the show has been extended two or three more times. It’s pretty much printing money at this point. It’s not a phenomenon. It is just fantastic storytelling and I believe that this might be the best story ever told. The music, the blocking, the vocals, and the pacing keep this story rolling. There is no intermission, and at no point are you bored or itching to get out of your seat. 

The show is an ensemble piece, where the actors seamlessly portray numerous characters. Newfoundlanders, Plane People, and other characters are all present in this story. The actors are so incredibly talented, and they give this story their absolute all. To name anyone specifically would be a disservice to the entire cast because each one of them is just absolutely captivating. It is also great to see a veteran cast of all shapes and sizes. This isn’t one of these shows where the cast is young, ripped, and all similar. This cast is full of character actors who give strong and enjoyable performances. I could watch them perform all day. 

The scenic design by Beowulf Boritt is so brilliant for this show. It would appear to be a minimal set, but with a story like this, you will have no problem filling in the blanks. Your imagination will run wild.

Christopher Ashley has directed a production that will live on in the memories of all those who see it, just like the memory of 9/11 stays with all of us who were there. Irene Sankoff and David Hein have crafted a musical that takes all the wonderful aspects of humanity and shows that people are truly, inherently, good. It has also put Gander on the map. My girlfriend and I are talking about going to visit!

Do yourself a favor, go see this show. 

Running Time: 100 minutes, no intermission.

“Come From Away” runs until October 20, 2019 and is presented at Shea’s Buffalo Theatre. For more info, click here. You can also see it in Toronto, running until March 1, 2020. Click here for info.

Theatre Review: ‘Superior Donuts’ by Road Less Traveled Productions at Shea’s 710 Theatre

To start its 2019/2020 season, Shea’s 710 Theatre has partnered with Road Less Traveled Productions to present “Superior Donuts”, a show from acclaimed playwright Tracy Letts (of “August: Osage County” fame) that tackles topical sociopolitical issues like race and gentrification, but more importantly, spotlights a friendship between an aging hippie who’s stuck in his ways, and a young black man desperately trying to bring him into the 21st century. 

. . .funny and touching. . .

“Superior Donuts” tells the story of Arthur Przybyszewski (Steve Jakiel), the owner of the decrepit donut shop from whence the play gets its name; it’s a staple of Chicago’s Uptown neighborhood, which has been in Arthur’s family for 60+ years. Finding himself in need of a new assistant, Arthur hires Franco (Jake Hayes) a young college-aged African-American man who, as we come to learn, is desperately in-need of a job in order to continue supporting his mother, and to pay off steep gambling debt to a local bookie.  With the donut shop struggling financially, Franco makes suggestions for improvement and modernization to the often-reluctant Arthur, who punctuates the story with regular monologues about his daughter, ex-wife, and past as a draft-dodging hippie.

Jakiel and Hayes absolutely shine in the leading roles of Arthur and Franco, with Jakiel masterfully playing the grumpy curmudgeon who is surprisingly educated and open-minded, and Hayes playing the enterprising young Franco who has a gift for writing. The chemistry between these two actors is organic and palpable, one that either comes naturally or was honed through hours and hours of intense rehearsal (or both). Regardless, it’s completely magnetic and is the foundation of this production. 

Rounding out the cast are a handful of smaller supporting roles, all of which add color and context to the setting of “Superior Donuts.” Most notable are Max Tarasov (John Profeta), the flamboyant Russian owner of the DVD shop next door, Lady Boyle (Tina Rausa), the bag lady who frequents the shop, and Officer Randy Osteen (Lisa Vitrano), the neighborhood cop with a sweet spot for Arthur. 

Even though it’s only 10 years old, it’s striking how remarkably well “Superior Donuts” has aged. Our culture is awash with well-intentioned plays and films that attempt to heavy-handedly address important racial themes, and end up coming across as a little too “white savior-y” (one need look no further that 2018’s Oscar-winning “Green Book” for a prime example). Tracy Letts had the foresight to not lead “Superior Donuts” down that road; there are no white saviors, and at the end of the show’s two acts our main characters haven’t tidily solved racism. “Superior Donuts” gently explores themes of class and, yes, sometimes race (there’s an impactful moment where Arthur actually concedes that he probably harbors some implicit racism), but it’s mainly about two new friends who learn to challenge and protect each other.

I listened to a podcast recently in which the hosts were discussing the film “The Shawshank Redemption”, and they described it as “not so much a prison movie as a romance movie about two best friends.” At the time it struck me as a curious description, but upon further reflection I realized that it was absolutely spot-on. Fans of “Shawshank” know that prison is certainly the backdrop, but the movie is really about the deep, meaningful friendship that unfolds between Andy and Red over the course of their years behind bars together. The podcasters were making the point that this storytelling format is more common with romance movies than in prison thrillers, and it occurs to me that “Superior Donuts” could be summarized the same way; “a romance movie about two best friends.” Sure, “Superior Donuts” flirts with issues like race, gentrification, and even the protest movements of the 1960’s, but the real thematic weight lies with the friendship that develops and grows between Arthur and Franco during the course of the play, and how that friendship becomes a saving grace in both of their lives. To Arthur, Franco becomes an adopted son of sorts, someone to encourage and protect, but also to help pull him and his shop into the 21st century. 

“Superior Donuts” is a funny and touching production, and a thoughtful collaboration between two of Buffalo’s finest theatre institutions. It’s also an important play to revisit, given the cultural and political backdrop of 2019. 

“Superior Donuts” is playing at Shea’s 710 Theatre until October 27th. For tickets and more information, click here

Theatre Review: ‘The Firebugs – A learning-play without a lesson’ at Niagara University

Why would Gottlieb Biedermann allow arsonists to stay in his attic?   

Because Biedermann, with his eager desire to do good and help seemingly less fortunate souls can’t seem to see into those souls.  He’s philanthropic to a fault, at the edge of noble, the guy who’s accommodating to those less fortunate than his own middle-class self.  He ignores what seem the obvious truths. He’s not an altogether nice guy, but there’s a blind faith-guilt tugging at him that says he needs to be.  

Well intentioned though he is, Biedermann, played by Ashton DeCaro in Niagara University’s production of The Firebugs, possesses all of the needed characteristics of a person who would allow firebugs to live in his attic, and believe that it would turn out well.  He’s a well-meaning sort, and DeCaro touches the simplicities and intricacies of Biedermann in a charmingly flowing, matter-of-fact ease.  

What Biedermann is not is a subversive, yet there’s something engagingly subversive going on in The Firebugs.  With its frequent presence of a chorus of firefighters in the wings, warning us that that there is trouble on the horizon, the play treks forward through Biedermann’s series of bad moves. 

It’s the two would-be arsonists, a former wrestler and a former waiter, played by Tyler Olson and Andrew Salamone respectively, who are the ones bringing all the trouble to Biedermann’s house.  They come off as a pair down on their luck, so Biedermann allows them in. He’s his own worst enemy.  

But the pair of troublemakers have charm.  They’re friendly, worldly in their own ways, and seemingly amiable.  Salamone, plays his waiter/firebug with a captivating wickedness, the zeal of carnival barker with a smoke and mirrors edge.  But more than that, his persona is animated and purposefully funny, and not-so deceptively evil.  

So there’s that space between where you think: I get this, and then: No I don’t.  There’s allegory in that space, the unclear clues, faintly shone at both sides of the space, but not in a definitive this-thing or that-thing sort of light.  The choruses’ leader, played by Marley Judd, gives hints at what’s afoot, and where Beiderman is going wrong, what’s the matter with Biedermann’s decisions, signaling the impending woe.  Judd delivers her lead with the surety of a firefighter captain, knowingly experienced and dramatically convincing, amusingly attempting to warn us of an inescapable conclusion.

But while the answers to Biedermann’s folly might be in there, the play itself is even more animated, purposefully and amusingly unconventional like Biedermann’s actions, while at times surprisingly entertaining in its overall character.  Niagara University’s production aims to capture its playbill subtitle — “A learning-play without a lesson” – and it does so. Having been written in mid 1900’s, its apparent intent was a jab-like statement about a rising middle-class. But if there’s a “lesson” or statement being made, that’s a moving target at best.  The temptation may be to label the play a simple statement to a naïve middle-class to beware the flashy, deceptive hucksters. But that would not be full disclosure.    

As a “learning-play” it fits its billing to a tee, and it’s a success on every level.  It leaves you thinking a bit about its “lesson,” or lack thereof depending on your bent, and so you leave with a feel for the redeeming quality of the experience, and it’s the production itself.  Because what Niagara’s student cast and crew put on display this night was seemingly without troubles, not a single miscue, zero botches of any kind. A learning-play? Perhaps. And perhaps if there were any particular details of delivery or inflection or stage movement, that’s for the students and their instructors to work out.  None could be found from the environs of NU’s Leary Theatre.  

What was found was a dedicated, well-learned and enthusiastic cast and crew at every level.  It’s impressive execution on display — from the choruses’ flawless execution and pitch, to a stage with its pleasingly lit scheme and nicely crafted single set, to a group of both promising and already accomplished actors.  It seems the production could not have been more finely tuned and learned.  

Running Time: 2 Hours with a 15 minute intermission.

“The Firebugs” is almost two hours minutes with its 15 minute intermission. It runs through Monday, October 7.  More information is at

Theatre Review: ‘Summer: The Donna Summer Musical’ at RBTL Auditorium Theatre

The cast of “Summer : The Donna Summer Musical.” Photo by Matthew Murphy.

“Summer: The Donna Summer Musical”, which began its national tour in Rochester, NY this week, starts out with a diva-level performance and a bass beat that you feel in your heart. The opening number, “The Queen is Back”, promises that this is going to be a hard-driving performance—but changes gears to be much more subtle through the middle and then changes back again at end.  

The show follows the footprint of jukebox musicals such as “Beautiful: The Carol King Story”, and “Mama Mia” which use the star’s portfolio of hit songs to tell the story of their life. “Summer” takes the audience through Donna’s childhood in the 50’s which were grounded by a loving family and church; her early career in the 70’s where she had a ground floor seat creating the disco genre with songs like “Love to Love You Baby” and “MacArthur Park”; and culminating in her diva years when she develops the strength to take better control of her career and her life. The part of Donna Summer is played by three actresses—one for her childhood (Olivia Elease Hardy), one for her mid-career (Alex Hairston) and one for her diva years (Dan’yelle Williamson). There were scenes in which the director craftily put multiple Donnas on stage to sing duets and trios together. All three actresses had powerful voices that filled the Auditorium Theatre to its dome but it was diva Donna, and her powerful command of her instrument, who was arguably most reminiscent of Donna Summer.

The emphasis on Donna’s irritation at being associated with her first hit, “Love to Love You Baby,” and being known as the “Queen of Disco”—as she shot up the charts and began to live a life in luxury—seemed a bit hollow. On the other hand, the treatment given to Donna’s childhood sexual abuse at the hands of a church member, mid-life physical abused by her first husband, and the devastating mishandling of her finances seemed to deserve more gravitas than was given. There was a very brief mea culpa moment in the show that revisited anti-gay statements made by Donna during a performance in 1983 that garnered strong public backlash. This incident was actually a protracted story at the time that stained the icon’s image, especially among some of her biggest fans in the gay community. The story also included little-known or forgotten tid-bits about the star’s life like when her managers originally wanted to have Cher record “Bad Girls” and Donna’s lukewarm attempt at acting in “Thank God it’s Friday”. 

The vocals, disco-funk music (Music Director, Amanda Morton) choreography (Choreographer, Sergio Trujillo), and costumes (Costume Designer, Paul Tazewell) will thrill any Donna Summer fan. The final two numbers, “Hot Stuff” and “Last Dance” sent the audience out the doors dancing and singing their way to their cars (I know I wasn’t the only one).

Run Time: 1 hour and 45 minutes with no intermission

Age Recommendation: 12+

 “Summer: The Donna Summer Musical” runs until October 5, 2019 at the Rochester Broadway Theatre League Auditorium Theatre. For tickets and more information, go to


Buffalo Theatre Guide LIVE Launches!

Buffalo Theatre Guide has joined the Live Podcast world! Managing Editor John Szablewski will host Buffalo Theatre Guide LIVE! a podcast about local theatrical events and news, and opinion pieces! Be sure to SUBSCRIBE to us on Youtube. Our first episode talks about the National Tour Launch of “Mean Girls” which opened in Buffalo. You can read John Szablewski’s review here.