Roving Pittsburgher Report, "Beauty and the Beast" of Smorgasbord of Elegance and Style

Pittsburgh Ballet Theater, Beauty and the Beast of Smorgasbord of Elegance and Style

by Good News Reporters, Joanne Quinn-Smith and
Anaiyah Thomas

A quiet Saturday afternoon, little girls in party dresses, monkeys dancing on stage and a beauty and a BEAST, oh my! Beauty and the Beast had in all, five scenes and 92 costumes designed by Jose Varona.  The costumes alone were a high point of the overall performance adding tremendously to its style, and vibrant sense of whimsy, fantasy and stagecraft.

What a smorgasbord of visual elegance and style.  The beginning of the ballet was ensemble performances by very effective might looking stags complete with horns and beautiful graceful nymphs and other Forrest Creatures.

I am telling this review from my six year old granddaughter Anaiyah's point of view.  When I asked her what she liked best about the ballet, she said, the monkey dance and the bluebirds.

Photos by: Rich Sofranko

 At first she was worried that The Beast was going to be very scary but when she actually saw him come onto stage he had the desired impact of getting her to feel just a little sorry for him.

She was on the edge of her seat most of the time and while other young children were asking why there was no talking and singing, her precocious six year old self, got the sense of the story even without words.

Photos by: Rich Sofranko

For my personal preference I loved the rosebushes co-ordinated to match the scenery and loved the humor brought to the stage by Beauty's sisters, Olivia Kelly and Maris Grywalski.  I found them very under appreciated.

Photos by: Rich Sofranko

Anaiyah's favorite scene was however when the Beast (Prince) and Beauty came out in their long capes and crowns.  And always she loved the pas de deux.

Photos by: Rich Sofranko

Once again the Pittsburgh Ballet Theater stars and corps, costume and set designers have put on another production of grace and style and grandeur.  

Only selfie in existence of grandma Joanne Quinn-Smith and
partner reviewer granddauther Anaiyah Thomas

Joanne Quinn-Smith, publisher PositivelyPittsburghLiveMagazine.com, host of PositivelyPittsburghLive with PPL Kidz Korner partner reviewer granddaughter Anaiyah Thomas known for being six year old fashion police and precocius six year old symphony and ballet reviewer.

Gizelle at Pittsburgh Ballet, Beauty, Drama, Precision

Review of Pittsburgh Ballet's Gizelle

by Martin Thomas and Helene Vidovich

The Wilis ensemble in the forest, Act 2

Music: Adolph Adam
Libretto: Jules Henri Vernoy de Saint-Georges and Théophile Gautier
Staged at PBT: Terrence S. Orr and Marianna Tcherkassky

It has been said that music is the international language. One may argue that so is ballet or corporeal mime. However, when combined, they exponentially increase their impact. With no libretto to reference or language to interpret, there is only sound and the interactions of those on stage, the set designs, lighting and costuming. Masters of these elements dedicate their lives to perfecting their craft and teaching the next generations who will perpetuate their traditions. Pittsburgh Ballet's rendition of Giselle was a window into this long lineage of masters.

The music, written by Adolphe Adam, who also wrote,"O Holy Night," was masterfully played by the Pittsburgh Symphony. The music, from the mid-19th century, was Romantic, programmatic, and of course, dealt with the supernatural. But, unlike most orchestral work of 1841, it included harp and timpani. There were leitmotifs to help guide us and music scored to expose the subtle timbres of the harp and woodwinds.

The first set in full fall harvest colors, complete with a grape wagon, village cottages and a bridge to the outlying forest, transported us back to feudal Europe. The costumes were lush with color, texture and fabric. Tricks of lighting, corps movement and costuming transported the audience into the epoch. A big surprise was the appearance of a great pyrenees walking along in a group scene. The dog had to be persuaded to sit while members of the ballet alternately performed. Clearly, much of the audience focused on the dog!

During the second act, after the death of Giselle, the transformed set and costuming, combined with the dance and music, to create an ethereal effect of the hereafter. Were the actors/dancers dreaming, or was it a rainy or moonlit night?  Were our eyes playing tricks on us, or was it the cast and crew?

There was so much to observe that we could have watched it again. The dancers conveyed the story quite effectively and even made us forget there where no words spoken. Given the grand effect of these "fine arts," it makes one wonder why they are not pursued by more of the public.

Martin Thomas, Musician, Troubador
Helene Vidovich, Freelance Reviewer