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.

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 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.

RovingPittsburgher Review, It Takes Three to "Tosca"

Te Deum in the Church of Sant'Andrea delle Valle.  

IT TAKES THREE TO TOSCA

By Tamar Cerafici, Esq.

Reviewer’s Note: This remarkable production is available for only three more performances, Tuesday, March 27, Friday, March 30, and Sunday April 1, at the Benedum Center. Performances begin at 8 pm, on Tuesday and Friday. Sunday’s performance is at 2pm.

One of the perks of living in Pittsburgh and writing for this publication is the many chances I get to see Pittsburgh’s finest artistic offerings. I usually manage a hundred words or so, for a production like the Pittsburgh Opera’s latest rendition of Tosca, but I’m have some difficulty getting beyond --

Um, Wow. (Sigh) Wow.

I’m just that washed out by it.

A brief review of the plot might help me get my head straight. Problem is, the plot is complicated and it’s too long for the restrictions of this review. You can find a good synopsis on the Pittsburgh Opera’s Tosca site, http://www.pittsburghopera.org/shows/view/25

Mario Cavaradossi (Hugo Vera) ponders his portrait of Mary Magdalene,
"nothing like his raven-haired, dark-eyed Tosca." Photo: David Bachman 

Let’s just say here that Tosca and Mario love each other to distraction, there’s a lot of gorgeous singing, dramatic irony, and three really juicy death scenes, including a leap from a castle battlement. You’d think this would all be vaguely silly, and if Verdi had written the music it would be. Fortunately, Verdi was too old by the time the libretto came along – in Puccini’s deft hands Tosca is achingly beautiful. There’s a gigantic choral scene, the love duets soar, and the villain gets what he deserves, dying at the hands of the heroine, stabbed to the heart with his own dinner knife.

The lovers:  Tosca and Mario

Did I mention I love Italian Opera? My husband, not so much. He prefers to understand what’s being sung, and came with me only on the promise of supertitles. (This is the level of his dedication: I once made him sit through an entire recording of Turandot without program notes and he still married me.)

Even my husband was satisfied at the end. He actually used the word “like” and hummed a few bars of E lucevan le stella on the way home. Though I doubt I’ll get him to another opera, I have a theory about why he liked this production.

First, it satisfied on many levels. Ercole Sormani’s sets are STUNNING. The scenery was appropriately dark, menacing, and Italian. The grand first act, set in the church of Sant' Andrea della Valle, in Rome, was remarkably detailed and seemed huge. On the other hand, thanks to Andrew David Ostrowski’s lighting design, the action was surprisingly intimate, and never got lost.

Tosca before she leaps to her death

Kevin Glavin’s Sacristan (a Pittsburgh native) gave just the buffo support that the otherwise drab opening needed, and Adam Fry’s Angelotti (later to appear as the Jailor) gave substance to an otherwise dramatically weak first act. Angela Brown’s Tosca and Hugo Vera’s Mario managed to make the huge space sweetly intimate.

Kristine McIntyre’s stage direction was nothing short of brilliant. The famous Te Deum at the end of the First Act was deftly choreographed: although there is no actual dancing, we are seeing two events unfolding – Scarpia’s corrupt manipulation of Tosca, and a papal procession celebrating an apparent Roman victory over Napoleon (“Italy” as we know it today didn’t exist until the 1860’s). It’s complicated, and can be disastrous in the wrong hands. McIntyre deliciously captured the deep ironies in the music and the libretto, and continued to explore those contradictions throughout the performance. Antony Walker managed the orchestra and singers in a delightfully nuanced way.

Normally, such reviews reserve most of the accolades for the tenor and soprano roles. I must say that Vera and Brown were both endearing as Mario and Tosca. Brown’s Vissi d’arte, where she wonders – without losing her faith – why God has placed her in Scarpia’s clutches is breathtaking and deeply moving. Vera’s E lucevan le stella rang clearly through Mario’s heartbreak. Both singers matched each other beautifully in their duets, with a level of chemistry that’s often lost in lesser performances.

But Mark Donovan’s Scarpia was positively Machiavellian, and my favorite of the evening. His manipulation of Mario and Tosca is demonic. His death scene was melodramatic without being silly.  In fact, Donovan’s command of the character dramatically and vocally dominated the entire production.

And that’s how it should be. The opera opens with fateful chords that are Scarpia’s theme throughout. Scarpia and the corrupt government that continues even after his death, IS the driving ambiguity of this drama. Although true love apparently wins as Tosca leaps to her death, Scarpia’s henchmen are the players left on the stage.

On the other hand, as Puccini suggests, maybe art and love are the only things worth fighting - and living - for. Maybe that’s why Mario’s theme ends the opera. And maybe that’s why I cry every time the curtain goes down.

Tosca (Angela Brown) asks God for mercy in the famous aria "Vissi d'arte" 

Whether you like opera or not, you must see this production. You don’t have an excuse. There are supertitles so you understand what the characters are saying. And I bet you’ve sat through a production or two of Les Miz or Phantom of the Opera, so don’t tell me you don’t enjoy people singing at each other over a loud orchestra. Les Miz and Phantoms are operas – the fact they’re in English and on the Broadway tour circuit is not an argument.

If you bought tickets to either of those productions, support this gem of an opera company, and see this powerful show.

Photos by David Bachman, copyright 2012. These images and others are available at the Pittsburgh Opera Tosca Website.

• Author, Consultant at Dominate! How Smart Lawyers CRUSH the Competition
• Environmental Lawyer at Cerafici Law Firm
• Owner at The Barefoot Barrister
• Spent her Pre Law Years at Brigham Young as a drama major.

Attorney Cerafici is an internationally recognized leader and legal specialist in the often complex and challenging nuclear regulatory industry. She has been at the forefront of the industry in building regulatory and policy framework for a new generation of nuclear plants. She was a major contributor to the first Early Site Permit granted under 10 CFR part 52, successfully implementing alternative site analyses that have become the general standard.

She's also an internationally known expert on marketing techniques for lawyers, and other billable-hour professionals, speaking around the world to delighted audiences everywhere.