By GUILHERME MELETTI YAZBEK
A community theater production marking Bruce Zewe’s debut as a playwright, with a simple and honest script well worth seeing.
Last night, I went to see Coach and Mrs. Jagoff, the new production by Iron Horse Theater Company, written by Bruce Zewe. The show, which premiered just yesterday in the company’s charming space in Ambridge, in the Pittsburgh metropolitan area, marks the group’s foray into the universe of realism. Bringing a “slice of life” (tranche de vie, as the French realists of the late 19th century would say) to the stage, the company sets up theater as a mirror of reality—something that can be fascinating but is also challenging and difficult to execute.
Coach and Mrs. Jagoff tell the story of a high school football coach who lives with his wife in the fictional small town of Fisk, where he has led the school team to a nearly two-decade-long career of professional success. But this is only what we know of his past through the voices of the characters. What we see in the present (yes, the drama unfolds in the here and now) is a moment of professional and personal crisis—and while it’s the story of Coach Jake Sebastian, it could be the story of so many others out there.
What caught my attention was a kind of double movement in the play, regarding its characters and dramatic action. On one hand, there is a strong sense of regionalism and a connection to the culture of Pittsburgh and its surroundings—particularly in the local lexicon, with heavy use of the terms “yinz” and “jagoff” (the latter even featured in the play’s humorous title). On the other hand, Zewe’s text presents interpersonal conflicts that address situations far beyond Pittsburgh, Western Pennsylvania, or even the United States: alcoholism, power dynamics, and socioeconomic disparities.
The play’s text is highly fragmented, even though it follows a chronological order. On the small Iron Horse stage, we see extremely short scenes, each introduced by a projection at the back—a device inherited from Epic Theater—indicating a when (a specific date or cues like “two weeks later”) and a where (home, Lions Club meeting, commencement, etc.). On one hand, this directorial choice helps the audience keep track of the narrative; on the other, combined with numerous scene changes, it makes the piece feel somewhat drawn out (running over two hours).
What bothers me most about the scene changes is the lack of definition in their nature: are they part of the theatrical play or not? Always accompanied by music and dim lighting (though the stage remains clearly visible), these transitions are neither swift and precise—as if playfully saying, “You’re not seeing this,” happening in the blink of an eye—nor fully embraced as part of the performance. Perhaps it would have helped to make it clear that these transitions were part of the theatrical game, allowing the audience to see the actors enjoying themselves while setting up the next scene. Instead, what we repeatedly see are tedious movements to swap out a few sparse props (which are, incidentally, quite generic and used in an indicative rather than scenographically rich way).
I lost count of how many times the actress playing Lynn Sebastian—the coach’s wife—entered carrying a tablecloth to lay over the only fixed scenic element: a rectangular table that served as dining room table, office desk, pulpit, and so on. The strategy of using a single scenic element could have been great fun, as we follow its transformation from scene to scene, but in my view, it loses its potential due to a lack of playfulness. The actors should be aware that we can see them during transitions, and rather than pretending we don’t, they could play with the fact that it’s all just a big game. Yes, theater is a game! “This simple table will now be the dining room table of a wealthy family. And now it’s the pulpit at a graduation ceremony!” And so on… Theater is a convention, an agreement between artists and audience; a game, a give-and-take.
Coach and Mrs. Jagoff is Bruce Zewe’s debut play and deserves applause and full houses during its run, without a doubt! The dramatic arc does not rely on big twists, climaxes, suspense, or surprises. We witness the daily life of the coach, his marriage, his professional relationships, and the lives of those around him (characters who act as indices of community life). While the play does depict the dynamics of power and favor between people, its greatest antagonist appears to be alcoholism—certainly a personal issue, but also a social and historical one. The work also flirts with social critique, as if it could be placed in the tradition of Brechtian Epic Theater or workers’ theater. However, the debut playwright falls short by not delving deeper (or even daring to dig in and provoke) into the issue of socioeconomic disparities inherent to the capitalist system. Merely pointing to the problem risks being a disservice, as if to say, “That’s just how it is.” Yes, but what could be done?
If the dramaturgy falls short in the social sphere due to its lack of depth, it succeeds in the dramatic arc of its protagonist: a redemption story of the white male provider who didn’t know how to talk about his feelings. (You’ll have to see the play and draw your own conclusions about this plot.)
As a work of community theater, I happily rise at the end and applaud warmly the involvement of everyone in the process—from the brave playwright and the dedicated director, to the creative and technical teams, to the diverse and deeply committed cast in this “pretend” game that is the theatrical event. In a few moments, the length of the text did seem to cause some confusion for the actors—perhaps due to opening-night nerves. (It might be worth trusting more in the meaning of the dramatic action and less in the precise order of the words.)
It is, however, a pleasure—and I must say this—to watch Adam Merulli, Joan Schwartz, and Ellen Kalik come on stage to have fun, as well as Lynne O’Meara‘s calm presence in her short but precise lines. At the center of the plot, the couple Jake and Lynn Sebastian are played by Eric Vollmer and Amy Sikora Baschnagel: certainly, a huge challenge. While their lines tell us that the marriage is going very well, thank you, what we actually see are bodies not so in love after 13 years of marriage (as the text reminds us more than once). Yet, if the passion doesn’t appear much on stage, it is in one heated argument scene that we witness the true complicity not only of the fictional couple, but of the two performers. That scene is a masterclass in acting—bravo!
What will remain in my memory after seeing Coach and Mrs. Jagoff at Iron Horse Theater Company is the power of theater as a collective craft. In this sense, the fictional plot and the tangible reality of community theater intertwine, reminding us that the social is built collectively—and if that’s where the challenge lies, that’s also where all its power and beauty reside. I stand and applaud this production with joy! And I will continue to follow Iron Horse and its relevant community theater project. If you’d like to be part of a theater process but aren’t sure how, the company works with volunteers in many areas. Get involved!
Guilherme is a theater actor, director, and educator currently pursuing a PhD in Theatre and Performance Studies at the University of Pittsburgh.
TICKETS AND DETAILS
Iron Horse Theater Company’s production of Coach and Mrs. Jagoff and the Redemption of the White Man Who Didn’t Know How to Talk About His Feelings has performances with available tickets on August 15, 16 and 22, 2025. The August 9, 17 and 23 performances are sold out. For tickets visit: https://ironhorsetheatrecompany.ticketleap.com/coach-and-mrs-jagoff/
Categories: Arts and Ideas, Reviews
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