40 Years of Theater; PPT’s 2014 season opens with an American classic: The Glass Menagerie.

40 Years of Theater; PPT’s 2014 season opens with an American classic:  The Glass Menagerie.

Review by Megan Grabowski

Fall has officially arrived in Pittsburgh.  This means, the Pittsburgh Public Theater (PPT) is opening their doors for another season.   On October 9, 2014 I stepped inside the wide windowed atrium of the O’ Reilly Theater on Penn Avenue anticipating an evening of escapism at its’ finest.   This performance of the Tennessee Williams play The Glass Menagerie will surely clutch the strings of the collective hearts of Pittsburghers- expressly those who have supported the success of the PPT since its inception 40 years ago.  Yes, that’s right; this is the 40^th anniversary of the PPT.   What better way to commemorate the achievements of the theater than by producing, Menagerie, mirroring the theater’s first season.  

The evening began when  Producing Artistic Director, Ted Pappas, bestowed upon the eager audience an honorable introduction, which included a gracious recognition of PNC and their long withstanding commitment, not only to the achievements of PPT  but to the arts as a whole in our region. Then the lights dim-

The show begins with an overview of the period by Tom Wingfield, played by Fisher Neal. Neal, a

Fisher Neal as Tom and Lynne Wintersteller as Amanda.

seasoned actor is making his Pittsburgh debut in Menagerie.  Williams writing is a vessel for Neal’s eloquence. His voice grants the audience a glimpse into the lives of his family in 1937.  As narrator, Neal reminds us, with the reflective and introverted tone, utilizing the intellect of a poet, that this story is not real; it is a memory and intended to be interpreted as such.  The show proceeds with the remaining characters, Cathyrn Wake, as Laura Wingfield, Lynne Wintersteller staring as Amanda Wingfield and Jordan Whalen cast as Jim O’Connor. Each actor shares with the audience a moment in time, a snap chat of memory and most unfortunate, the immense cruelty and weight of disenchantment that can accompany said remembrances. 

Cathryn Wake as Laura and Jordan Whalen as Jim.

The plot, centers on Laura, a painfully shy and childish young woman.   She suffers from a defect causing her to walk with a pronounced limp. Tom, Laura’s brother, is obliged to play the role of family man since their father left 16 years prior.  Amanda, Tom and Laura’s mother, is a loquacious Southern woman who possesses a parenting style which is nearly suffocating both them both.  Amanda cannot accept her children for who they are. Tom, a poet at heart, works a dead end job in a warehouse, forced to, ‘rise and shine’ day after day, in order to earn a meager wage.  Laura suffers from disillusionment and appears perfectly content to live without ambition.  She spends her time tinkering with a collection of glass figurines, her menagerie, a tactic used to elude her future and any associations with the outside world.  With no plans and no prospects for life on her own, Laura is at the mercy of her mother.  Amanda is becoming increasingly desperate to secure some manner of care for her fragile daughter.  She schemes, and then introduces Tom to a plan to find Laura a gentleman caller.  Tom invites an acquaintance from the warehouse to dinner.  Amanda, irrationally optimistic, believes this gentleman caller, the dinner guest, is Laura’s opportunity to secure a husband. Jim O’Connor, the gentleman caller, accepts Tom’s dinner invitation; totally unaware of any ulterior motives.

Fisher Neal as Tom

Wintersteller’s performance as the high strung and excitable Amanda was unquestionably authentic. Amanda’s incessant criticisms of her children followed by over simplified solutions to their shortcomings in rapid and continuous chitchat was as natural as any neighbor. The rate of her dialogue is sometimes disorienting yet entrancing, as lifelike a character to ever stroll a stage.   Neal presents Tom as astute and withdrawn. His character personifies the struggling artist; a visionary who must break free from the familiar order in to enable the growth of his creativity. Neal naturally captures his place amidst the family dynamics through his portrayal of Tom. The arguments that swell between Tom and Amanda provoke a sense that is unique to familial conflict. His cool mannered narration preserves Laura’s memory and a minute of the past, for all to take in. 

Wake portrays the meek and innocent Laura.  She is quiet and reserved, and very aware of the future unfolding before her.  Nearly a hermit, she has no goals and no self-esteem.  When Amanda announces Laura is to open the door upon Jim’s arrival she is nearly paralyzed. The anguish in her voice as she pleads with her mother not make her open the door is gut wrenching.  Then dinner is served.  Laura is summoned to the table; she collapses in a heap onto the floor.  This moment, Wake’s finest scene in the play, produced gasps and compassionate sighs from the audience.   It was during this scene I felt the burden of humanness.  Wake’s depiction of Laura awakened the memory referred to in the opening narration- Laura’s display of anxiety rings true; it is something primal. Who hasn’t, at one time, frozen with fear?  She is petrified; stifled by her own self judgment and inadequacies.    Wake’s small stature helps give rise to the young Laura.  Her shakiness, limp and near inaudible single word responses to Jim’s inquisition further enhances the model of a weakly young woman. Whatever ails sweet Laura, Wake invokes.

Whalen, cast as Jim O’Connor, the handsome has-bin with natural magnetism, incites Laura.  As a man of many talents, O’Connor excels in reading people’s dispositions.  It is this particular skill that he uses to begin coaxing Laura out of her shell.   His voice and gestures communicate a man on a mission; he’s going places.  Not just in the role of Jim O’Connor the warehouse worker by day, public speaking student at night; destined for something bigger and better than the warehouse, but as a renowned actor sure to make many more appearances on stage across the country.

PPT’s 3^rd rendition of The Glass Menagerie reminds us, “Time is the longest distance between two places”. Pittsburgh in the 1970’s, and St. Louis, Missouri in the 1930’s couldn’t be more different, yet, the expertly attuned direction from Pamela Berlin captures the memory of the Wingfield’s troubles through moving dialogue and staging.  The actors make it easy for the audience to suspend their own feelings of disbelief and become swept up into the unfolding drama. But it is Williams’s words which give us an honest glance into the enduring complexities of humanity.

  The Glass Menagerie is a classic 20^th century American drama and can be seen from now through November 2, 2014. Purchase tickets here: http://publictheater.culturaldistrict.org/production/40790

Reviewed by Megan Grabowski

Professional writer, Social-Media Junkie, Community Fundraiser and Pittsburgh Enthusiast.

And the Angels Sang--Celtic Woman

And the Angels Sang!

Celtic Woman 

"A Christmas Celebration--The Symphony Tour"

by Roving Pittsburgher Zineb Outnouna

Celtic Woman “A Christmas Celebration--the Symphony Tour” was simply amazing. The concert was incredible. The presentation from the lighting to the sound to the instrumentation was flawless. This was beyond what I had hoped to experience.

The concert, as expected, was a collection of popular Christmas carols; but even though I had heard those thousands of times before, the angelic voices of Chloe, Lisa and Susan, accompanied by the sheer talent of Mairead breathed a new life in each song, and gave it a complete new dimension. Their performance of 

‘‘O Holy Night'' ended the first half of the show bringing the house down. In the second half, these amazing singers continued to stir our deepest emotions thanks to songs like “You Raise Me Up”, "Danny Boy” and of course the magical “Ave Maria”, which was absolutely breathtaking and won Chloe a sincere standing ovation.

The evening was PERFECT! Watching these ladies on PBS is nothing compared to watching them perform live. Their unbridled passion for singing is as captivating as it is powerful.

I feel privileged to have had the opportunity to enjoy such magnificent show, and would recommend it to anyone who has ever wondered about how angels might sound like.  

There are still some great seats available for tonight's performance, December 4, 2012 starting at 7:30 PM.

Celtic Woman is performing tonight at Heinz Hall, 600 Penn Ave in Downtown Pittsburgh,  For tickets: www.pittsburghsymphony.org/ 

If you cannot make it tonight, all is not lost, the ladies announced from the stage that they would return to Pittsburgh in June of 2013,

Zineb Outnouna

CEO and Founder

412-537-1525

zineb@atlasdreamslanguages.com

www.atlasdreamslanguages.com

Atlas Dreams Languages, LLC teaches foreign languages to clients of all ages and educational background. Whether it is for pleasure or business, ADL helps you become fluent in the foreign language of your choice. We tailor the content of the lessons to fit your purpose and skill level. For your convenience, we offer flexible hours and meeting locations.  

Roving Pittsburgher Review “THE PRIESTS” DELIGHT AND INSPIRE

“THE PRIESTS” DELIGHT AND INSPIRE 

Byham Theatre, Sunday April 29, 2012, Pittsburgh Cultural Trust

By Tamar Cerafici

Yinz missed a great concert last night if you weren’t at the Byham Theatre last night.

Fathers Eugene and Martin O’Hagan,
and Father David Delargy 

Fathers Eugene and Martin O’Hagan, and Father David Delargy, collectively singing as “The Priests,” blended pop and classical style with affable grace. The trio of two tenors (Fathers Eugene and Martin) and a baritone (Father David) did it with the help of local musicians and good friendship (37 years, beginning in a Belfast, Northern Ireland, boarding school).

“Affable” and “grace” were the operative words of the evening.   

The “Byham Ensemble,” led the program with a balanced and interesting arrangement of Handel’s Royal Fireworks music and provided interludes. (The group, a pick-up quintet of local musicians, was led by The Priests’ music arranger at the piano. I want to say Fergus Mackenzie, but the program sadly provided no information, and I was too stunned by the power of the first set to take careful notes. I do know that his first name was Fergus, which is a name more associated with the Highlands of Scotland than the Emerald Isle.) The ensemble accompanied the group throughout the program, and one never got the impression that they had probably had time for a sound check and a quick run-through of the program order before the performance.

Appropriately, the trio’s work began with “Laudamus Te” (rough translation: Glory to Thee) from Vivaldi’s Gloria I.  I was happy because I know the piece well, and could sort of sing along. I couldn’t resist, such was the joy of the performance. There followed in quick succession a series of well-arranged Latin religious pieces, including a lovely Ave Maria. The Fathers continued the religious theme with an absolutely stunning version of Amazing Grace, along with a short history of that lovely hymn.

A minor quibble directed to the Pittsburgh Cultural Trust: Though each of the pieces was introduced with a delightful if overly rehearsed patter, I found the lack of a printed set list distracting. My brain is foggy from allergies; I wanted something to help remember the concert besides the album the Fathers were hawking. I realize they are on a whirlwind tour, and this was the 6^th concert in 7 days for them. But I can’t believe that the order of the program wasn’t so set that you couldn’t provide a loose piece of paper or something. Now I have that off my chest.

I admire The Priests’ use of local musicians. They not only gave well-deserved credit to the Byham Ensemble (they name each group after the theatre in which they perform), but they introduced me to the lovely soprano voice of Leah Edmonson Dyer. Dyer is currently pursuing an Artist Diploma from Carnegie Mellon U, and was a 2011-2012 winner of the Pittsburgh Concert Society Major Auditions. Her solo with the Fathers as well as her solo set were clearly and powerfully sung. I admired her “O Mio Bambino Caro,” and “Wishing You Were Somehow Here Again,” which are both difficult to sing. Dyer’s maturity and passion made both pieces (rather too-much-done in the soprano repertoire for my taste) seem fresh and original. Her final “Somewhere Over the Rainbow” was a powerful anthem to hope in hard times. I’m so glad she sang the verse, which is left out of the 1939 movie. When “all the world is a hopeless jumble,” it is nice to wonder if there’s another world, accessible and in Technicolor.

The Priests themselves are an entertaining trio – you can hear for yourselves at their blog, thepriests.com, where they give their own thoughts on the concert – scroll past the concert dates to hear it. By themselves, they have powerful voices – evidenced by the short solo turns each of them took in the second half. Together they are excellent representatives of the impish mood that infuses Irish folk singing and performance. The lighter second half was simply entertaining, mainly because the Fathers had gotten the serious religious stuff out of the way, and could get personal. My great-grandmother was from County Armagh, but I rarely feel the pull of the motherland like I did last night. I appreciated the Fathers’ sincere dedication of each of the solo and folk tunes to teachers, parents, and culture.

These guys are, if anything, sincere. They believe in their work as musicians. They believe in their call to serve God and His children. They believe deeply in the work that their success has allowed them to perform, including building schools in Third World countries, supporting retired priests, and working in their own parishes. They ingratiated themselves with this audience by sincerely wanting to relate to it: Father David was a youth priest with the Ulster Project in Ohio and visited Pittsburgh often; the O’Hagen Fathers have family connections in Ohio; their Irish-accented “yinz” was a highlight. This sincerity only infused the evening with a casual sweetness that I rarely see in other, more overly produced and less entertaining, products of the classic-pop trend (see, Andrea Boccelli or Andre Rieu).

The evening was filled with grace. The audience was receptive and encouraging. The Fathers shared their faith with friendly enthusiasm. Although they are polished performers (Fathers Eugene and Martin have been performing together since Father Martin could walk), enduring a marathon six vocal concerts in 7 days, they still performed with the grace of supremely talented priests entertaining in the hall for a night of parish entertainment.

And for that, I am grateful.

Tamar Cerafici is an environmental lawyer whose national practice includes nuclear power and sustainable development consulting. She is the author of “Dominate: How Lawyers Use 4 Strategies to Crush Their Competition,” and the founder of The-Barefoot-Barrister.com as well as LegalShoe, and The Lawyer’s New Clothes, new media channels on PositivelyPittsburghlivemagazine.com that teach lawyers how to build enterprises and find balance in their practices without selling their souls.

Roving Pittsburgher Report, Coppelia, Pittsburgh Ballet

Coppelia

April 13 to 15, 2012

Benedum Center

by Jo Ann Forrester

Alexandra Kochis and Christopher Budzynski
rehearse for Coppelia. Photo taken by Aimee Waltz

Friday the 13^th a lucky night for me to go see the world class Pittsburgh Ballet Theatre perfrom Coppelia with the Pittsburgh Symphony orchestra.  Unfortunately as we watched the ballet, our Pittsburgh Penguins were not winning and their performance was not as top notched  as the ballet. 

Now as I write this review you must understand I am not well versed in all the ballet terminology, I am just someone who likes to watch the ballet and follow the story line.  Coppelia is a  light hearted ballet, filled with excellent dancing, standard boy/ girl romance, usual mix up of boy & girl, then makeup and then marriage.. AND happily ever after, oh the happily ever after, my favorite part. 

Act 1 the hero (Franz) , found himself attracted to this quiet serious young woman who sits in the toymakers window (Dr. Coppelius) ,  Franz is engaged to Swanhilde a charming and captivating and somewhat rambunctious young woman..but finds himself intrigued by who is not responding to him.  The role of Franz was danced by Christopher Budzynski who is quite enjoyable to watch, has great body language and plays the  role with great enthusiasm, skill and a flair for comedy.

Pittsburgh Ballet Theatre's Coppelia.
Photo by Rich Sofranko

Our heronine, Swanhilde, danced by Alexandra Kochis is delightful, not only for her dance expertise, but she has a personal spark that brings fun and charm to the role.    

So the mixup occurs..girl is mad at boy..boy tries to make up and is spurned. So of course, he has to go drinking and then decides to find out about this “unknown woman and sneak into the toymakers home.

There are two intermissions great for people watching.   During the first intermission I noticed men huddled off in a corner with their smart phones..getting the score for the Penguins game. They were happy…surely we would  win..right?

I enjoyed also watching the number of little girls who were there to see Coppelia. They get more dressed up than the adults.  Wish the adults would take a cue from them. 

Act 2. 

The toymaker is gone, Swanhilde  and girl friends are exploring his house and toy shop.  Franz is hidden.  Suddenly toymaker comes back and chaos breaks out.  Most of the friends escape except for Swanhilde and Franz.  The plot thickens  Dr. Coppelius tries to make his beloved toy doll(daughter in his heart) come alive through magical incantations.  Energy enthusiasm, comedy and  trickery abound.  Finally Franz and Swanhilde escape the clutches of Dr. Coppelius and a celebration occurs.

Intermission 2.. The little girls were all giggles and smiles…they loved it.

But those men who were huddled in the corner were not.  Penguins were now tied.  What happened?…Score was now Penguins 4  Flyers 5.  Bell rang ending intermission and our male audience returns reluctantly  and heavily sighs as they sit down. 

Act 3.  Wedding, celebration, fantastic dancing by troupe, principals, Dr. Coppelius good actor and dancer! 

Conclusion… a wonderful  ballet, orchestra outstanding, a treat for all ages and  a wonderful way to spend a winning evening!

Post conclusion:  Penguins lost 8 to 5.  Ballet much happier ending!

Moral of this story, guys you can tivo the game but you can’t tivo romance.  Your time would be better spent taking your wife, girlfriend or significant other to the ballet.  The Pittsburgh Ballet Theatre is probably the most taken for granted and under-participated in cultural event in our city, we certainly need to change that. Even if you don’t know what a pirouette is you can watch one and it will probably make your heart sing.

JoAnn Forrester is the Host of Empress of Biz, Reinvent in Rugged Times, a business Talkcast syndicated on PPLMag, Pittsburgh's First Internet Radio and TV Network.  You can hear JoAnn at Business friends every Thursday at 9 AM on the TalkShoe network or archived later at:  http://pplmag.com

Roving Pittsburgher Review, "Do You Hear the People Sing?" Pittsburgh Symphony Orchestra

Roving Pittsburgher Review, "Do You Hear the People Sing?" Pittsburgh Symphony Orchestra

by

Pittsburgh Good News Reporter, Al Levine

Last night, April, 12, 2012,  The Techno Granny, Good News Reporter, Joanne Quinn-Smith sent me to Heinz Hall for the opening performance of "Do You Hear the People Sing?" This was the Pittsburgh Symphony Orchestra's PNC POPS! Thursday performance. Marvin Hamlisch is the Principal Pops Conductor.

Conductor Jack Everly returned to Heinz Hall with a talented group of vocalists. They included Eric Kunze, Terrence Mann, Jennifer Paz, Kathy Voytko (a Johnstown native), Marie Zamora, The Carnegie University Concert Choir and Director Robert Page.

Go to http://pso.culturaldistrict.org/production/27893/do-you-hear-the-people-sing you will enjoy their award winning resumes. I am sure that you will recognize these World Famous Performers.

They performed songs from the Tony Award winning Les Miserables. Broadway Legends, Claude-Michel Schonberg and Alain Boubil collaborated to create this great musical. A few of the songs from Les Misarables were "I Dreamed a Dream", "Bring Him Home" and "One Day More".

We also enjoyed the Tony-nominated Miss Saigon hits "I'd Give My Life for You" and "The American Dream". They also performed many of the other Broadway songs from Claude-Michel and Alain.

The Conversations that Conductor Everly and the Vocalists shared with us after almost every song provided great Insights and Information that the audience enjoyed. There is an intermission of fifteen minutes after the fourteenth song. After the Performance, there was a Post-Concert Pops Talk on Stage with Conductor Jack Everly.

There will be Performances on Friday at 8PM, Saturday at 8PM and Sunday at 2:30PM. If you haven't heard the Pittsburgh Symphony Orchestra lately, they also performed at their usual High Standard. The Carnegie Mellon Concert Choir was fantastic too. My Girlfriend and I enjoyed our great seats and the World Class performance. 

  

Al Levine, Better known as "The Talking Machine" is one of the hosts of Pittsburgh Sports Line on the Bethel Park Public Access Channel.  He is also the

webmaster and "Pittsburgh Gaming Guru" at http://pittsburghgamingnews.com

and Community Relations and Development Director for PositivelyPittsburghLiveMagazine.com's upcoming

Hug-A-Thon Pittsburgh on September 6, 2012.

Roving Pttsburgher Report, Review of Perpetual Potential Workshop

Review of Perpetual Potential Workshop

by Al Levine

Bob Stearns

The TECHNO GRANNY sent me to the DOUBLETREE Hotel in GREENTREE this week. Your GOOD NEWS REPORTER AL Levine, attended the PERPETUAL POTENTIAL event. The PITTSBURGH BUSINESS TIMES sponsored this INSPIRING event. 



BOB STEARNS put on a DYNAMIC and POWERFUL presentation. YOU must buy his BOOK "Perhaps a Man can Change the Stars" or go to one of his EVENTS. Your PERSONAL and  BUSINESS life will be improved.

BOB answers the question: What is PERPETUAL POTENTIAL? Your HIDDEN, FORGOTTEN or LATENT talents that you can CHOOSE to DEVELOPE. You should not limit your POTENTIAL.

There are only TWO POWERFUL handouts for you to TAKE home. BOB'S inspirational story will TUG at your HEART and PROPEL your mind for the SUCCESS that you seek.

BOB  LOST his 21 year old SON (ERIC) in an AUTOMOBILE accident in GREECE. He chose to HONOR ERIC with a CAREER change.

Instead of SULKING, he tapped into his POTENTIAL to INSPIRE himself and others. BOB already had a couple of AWARD winning CAREERS under his belt. Being a BALDRIGE AWARD WINNER is impressive too. He was able to SAVE his company over $50 MILLION. I will let BOB tell YOU how HE did it.

He gives you THREE LIFE LESSONS to help YOU.

Tackle Tough Challenges, NEVER QUIT!

FOCUS on what YOU DO HAVE not what you don't have.

CHANGE the STARS.

Here is one more of BOB'S LESSONS that I will SHARE:  ONE PERSON CAN change the culture and direction of a company.

It was also nice to meet MARIANNE and STEPHEN. His wife and son are GREAT people to KNOW. I had a 35 minute conversation with my NEW FRIENDS, Marianne and Stephen after the INSPIRING EVENT in GREENTREE.

GO TO his sites now. Don't put it off! GO NOW! www.perpetualpotential.net  then go to,

www.extraodinaryperformance.com  IT will be TIME WELL SPENT!

Al Levine, Better known as "The Talking Machine"

is one of the hosts of Pittsburgh Sportsline on the 

Bethel Park Public Access Channel.  He is also the

webmaster and "Pittsburgh Gaming Guru" at http://pittsburghgamingnews.com

and Community Relations and Development Director for PositivelyPittsburghLiveMagazine.com's upcoming

Hug-A-Thon Pittsburgh on September 6, 2012.