Typically, productions at the Pittsburgh Playhouse follow a familiar structure: full-scale musicals or plays with large casts, elaborate staging and a clearly defined narrative arc.
However, during the weekend of March 4-8, the Highmark Theatre at the Playhouse offered something entirely different.
“Forbidden Broadway’s Greatest Hits” broke from that traditional format, presenting a fast-paced, cabaret-style parody show in which each number poked fun at Broadway classics and stars.
The four-person cast featured juniors Marshall Benton, Eric Acosta and Jamie Spurrell, along with sophomore Autumn Papczynski. With such a small ensemble, both the performers’ individual strengths and their collective chemistry stood out. The production was accompanied live onstage by pianist Douglas Levine.
The 90-minute production unfolded over two acts and featured more than 20 musical numbers.
The first standout moment followed the opening, which set the comedic tone for the evening. In the number, Spurrell compares Bob Fosse’s famously slinky choreography to a game of Twister, with back up dancers Benton and Acosta getting twisted together.
This parody immediately established the show’s central premise: dissecting what makes Broadway hits successful while making fun of what defines them.
For devoted musical theater fans, the show is packed with niche references that make each number feel especially rewarding. Yet even for those less familiar with Broadway, the absurd takes on mainstream shows still made the audience laugh.
Following “Glossy Fosse,” the show moved quickly through a series of musical numbers, each highlighting the performers’ versatility.
Papczynski delivered sharp impressions, including Lin-Manuel Miranda, Cynthia Erivo’s “Defying Gravity” belt and a spirited characterization from “The Lion King.” Acosta drew laughs with a “Dear Evan Hansen” parody and a hilariously accurate physical embodiment of a character from “Cats.”
Benton showcased remarkable range, transforming from youthful, absurd characters such as “Book Of Mormon” creator Matt Stone and an “Avenue Q” puppeteer to older figures like Stephen Sondheim and Mandy Patinkin. Spurrell impressed with her vocal accuracy as Idina Menzel’s Elsa and her charismatic take on Liza Minnelli.
Group numbers added another layer of humor. “One Day More” from “Les Misérables” became “One Tour More,” while “Tradition” from “Fiddler on the Roof” was performed with its familiar choreography but rewritten to repeat the word “rejection,” poking fun at the struggles of aspiring actors.
The set of the show was simple but enhanced through props, scenic elements and lighting design by Katie Mikula-Wineman and Cat Wilson. Costumes and quick changes were as active an element of the show as the performers themselves.
In musical numbers like the “Annie” song “Tomorrow,” reworked as “Revive Me,” Papczynski appeared in a raggedy, outgrown Annie dress with an unbrushed wig and cigarette. Before she could even begin singing, the audience was giggling.
The production proved to be a crowd pleaser, drawing laughter from audience members across generations. “Forbidden Broadway’s Greatest Hits” also attracted attention beyond the university, earning coverage from Pittsburgh arts outlets including TribLive, onStage Pittsburgh and Burgh Vivant.
“Forbidden Broadway’s Greatest Hits” was a holistic display of brilliance. Director Marcus Stevens strategically timed and ordered the comedy, allowing the performers to excel while the staging remained consistently captivating.
What makes the show especially impressive from a student perspective is the abilities of the performers, handling rapid transitions, full vocal commitment and dedication to the physical comedy in the show. This was a professional-level performance.
