In a bold celebration of artistic inclusivity and civic unity, Pittsburgh Public Theater is set to unveil one of the most ambitious productions in its five-decade history. William Shakespeare’s beloved comedy “Twelfth Night,” reimagined through a modern musical lens and infused with the voices of over 80 local performers, promises to be more than just a theatrical event—it's a testament to the transformative power of community collaboration. From senior centers to martial arts studios, this production has drawn talent from across the city’s diverse neighborhoods, blending professional actors with everyday citizens in a vibrant tapestry of song, storytelling, and shared experience.

Where Shakespeare Meets Street: A Musical Celebration of Community and Identity

A New Vision for a Timeless Tale

Shakespeare’s “Twelfth Night” has long been cherished for its witty wordplay, mistaken identities, and enduring themes of love, loss, and self-discovery. Yet the Pittsburgh Public Theater’s adaptation goes beyond mere homage—it reinterprets the classic through a contemporary cultural lens, transforming it into a dynamic musical spectacle that resonates with today’s audiences. Conceived by Kwame Kwei-Armah and Shaina Taub for New York’s Public Theater, this version retains the original plot’s charm while infusing it with fresh energy, modern aesthetics, and an original pop-inspired score.The story follows Viola, a young noblewoman who, shipwrecked on the shores of Illyria, disguises herself as a man named Cesario to navigate a world of courtly intrigue and romantic entanglements. But here, the setting feels unmistakably present-day, with costumes and staging evoking urban life rather than Renaissance opulence. The dialogue, too, has evolved—Taub’s lyrical reinterpretations breathe new life into Shakespeare’s words, with songs like “Is This Not Love” and “You’re the Worst” capturing the emotional complexity of the characters in a way that feels both familiar and innovative.What sets this production apart, however, isn’t just its creative vision—it’s the people behind it. By weaving together a cast drawn from across Pittsburgh’s cultural mosaic, the show becomes more than a performance; it becomes a reflection of the city itself.

Building Bridges Through Artistic Inclusion

At the heart of this endeavor lies Public Works, the Public Theater’s groundbreaking initiative designed to dismantle traditional barriers between professional theater and community participation. For Pittsburgh Public Theater’s artistic director Marya Sea Kaminski, this project was not only a fitting finale for her seven-year tenure but also a deeply personal mission. Under her leadership, the theater embarked on a year-long outreach effort, partnering with five local organizations—including the Vintage Senior Center, Mount Ararat Community Activity Center, Sarah Heinz House, Filipino American Association of Pittsburgh, and Bhutanese Community Association—to offer inclusive performing arts classes for residents of all ages.These workshops weren’t simply casting calls—they were incubators of creativity, spaces where individuals with no prior stage experience could discover their own artistic potential. The result? Dozens of community members joined the professional ensemble, contributing to a final production that boasts an impressive 80-person cast. From children as young as four to seniors well into their golden years, each participant brought a unique perspective and a personal story to the stage.“It’s a big deal for the community,” said Leilani Mears of the Filipino American Association, whose group contributed 11 performers to the production. Many of these participants had never even attended a live theater performance before being cast. Now, they are center stage in one of Pittsburgh’s most anticipated shows.

From Classroom to Curtain Call: The Journey of Collaboration

The road to opening night was paved with dedication, coordination, and countless hours of rehearsal. Over six weeks, seasoned actors and first-time performers alike worked side by side under Kaminski’s direction, learning choreography, harmonizing vocals, and mastering lines—not just for themselves, but for the collective success of the show. This process wasn’t without its challenges, but it proved to be a powerful exercise in mutual respect, teamwork, and shared purpose.Local groups such as Big Storm Performance Company, Hill Dance Academy Theatre, Dynamic Defenders ATA Martial Arts, and Iron City Circus added specialized flair to the production, incorporating dance, acrobatics, and aerial work that elevated the visual spectacle. Each organization’s contribution reflected not only their individual strengths but also the broader ethos of collaboration that defined the entire project.For many involved, the experience transcended the stage. Participants formed lasting friendships, gained newfound confidence, and discovered talents they never knew they possessed. As Kaminski observed, “It was gratifying to see the various communities intermingle and bond during the course of the show’s development.” That sense of unity, she believes, is the true magic of Public Works—a program that doesn’t just bring people together temporarily, but leaves a lasting impact on how communities view art, identity, and inclusion.

A Star-Studded Ensemble Rooted in Local Roots

While the community cast brought diversity and authenticity to the production, the lead roles were entrusted to a mix of Broadway veterans and Pittsburgh-based talent. Chelsea Zeno portrayed the resilient and resourceful Viola, navigating the chaos of Illyria with grace and wit. Michael Campayno, a familiar face on the national stage, played Duke Orsino, delivering a nuanced performance that balanced regal authority with romantic vulnerability. Housso Sémon brought depth and charisma to the role of Countess Olivia, embodying a character torn between mourning and desire.Pittsburgh favorites also took prominent roles, reinforcing the production’s commitment to local representation. Garbie Dukes, known for his commanding presence and comedic timing, brought Sir Toby Belch to life with exuberant mischief, while Caro Dubberly offered a soulful interpretation of Feste, the play’s enigmatic clown. Perhaps most notably, Pittsburgh native Conor McCanlus stepped into the pivotal role of Malvolio, the pompous steward whose misfortunes provide some of the play’s most memorable moments. McCanlus described the experience as a fulfillment of Public Works’ core mission: “It feels like we are accomplishing the mission of the Public Works program, which is to make this stage accessible not just for the union actors but for kids and even adult performers.”

The Emotional Resonance Beneath the Comedy

Though “Twelfth Night” is often categorized as a lighthearted romp, its emotional undercurrents run deep. Beneath the surface of mistaken identities and romantic misunderstandings lie profound questions about identity, perception, and what it means to be truly seen. Garbie Dukes, reflecting on his portrayal of Sir Toby, noted that “there are parts of it that really tug at your heart, and make you think about your life and everyone else’s life.” Kaminski echoed this sentiment, emphasizing that the production’s central theme revolved around self-discovery: “What it takes to take off your mask and become your full self.”This exploration of authenticity resonated particularly strongly within the context of the production itself. Many community members found parallels between the characters’ journeys and their own experiences of stepping out of comfort zones, embracing vulnerability, and expressing themselves creatively. Whether through song, dance, or spoken word, each performer contributed to a narrative that celebrated individuality while underscoring the importance of collective belonging.Kaminski described the final product as “honestly, the perfect farewell”—a culmination of her artistic vision and a tribute to the city that had embraced her leadership. As she prepares to transition into academia, leaving behind a legacy of innovation and inclusion, she expressed pride not only in this landmark production but also in the ongoing investment in Pittsburgh artists. Playwrights like Mark Clayton Southers, Rob Zellers, and Alec Silberblatt have benefited from the theater’s commitment to nurturing local talent, ensuring that Pittsburgh’s voice remains central to its artistic future.

Funding and Future Implications: A Model for Sustainable Community Theater

Realizing a project of this scale required substantial resources, and the Richard King Mellon Foundation provided crucial support through a generous grant. This financial backing enabled the extensive outreach efforts, training programs, and logistical coordination necessary to bring so many disparate elements together seamlessly. Without such institutional backing, initiatives like Public Works would remain aspirational rather than actionable.Yet even with this success, the broader landscape of regional theater faces significant challenges. Like many performing arts organizations, Pittsburgh Public Theater has struggled to regain pre-pandemic audience levels. The company recently announced a downsized 2025–2026 season, featuring just four productions instead of the usual six or more. While this shift reflects economic realities, Kaminski remains optimistic about the theater’s evolving role in the community. “We’re trying to figure out what the right size is in terms of people’s appetite for theater and in terms of what we can afford to produce,” she explained.Still, the impact of “Twelfth Night” suggests that large-scale, community-driven projects can serve as both artistic triumphs and sustainable models for the future. By leveraging partnerships, fostering inclusivity, and securing strategic funding, theaters can continue to create meaningful experiences that resonate with audiences beyond traditional demographics.

A Farewell That Feels Like a Beginning

As Kaminski steps down from her role as artistic director, she leaves behind a legacy defined by bold experimentation, civic engagement, and a deep belief in the democratization of art. Her leadership helped usher in a new era for Pittsburgh Public Theater—one where the boundaries between professional and amateur, stage and street, performer and spectator blur in service of something greater: a shared cultural experience rooted in empathy, creativity, and joy.“Twelfth Night” stands as both a capstone to her tenure and a blueprint for what theater can achieve when it opens its doors to the public in the truest sense. It is a reminder that stories, especially those told collectively, have the power to transform not only individuals but entire communities. And in a time when division often seems more prevalent than unity, this production offers a hopeful message: that through art, we find connection—and through connection, we rediscover ourselves.