Roving Pittsburgher Report - Quest for the Woman He Never Knew: A Review of All the Names, Quantum Theatre's April 12th 2015 Performance

Quest for the Woman He Never Knew
Review of All the Names, Quantum Theatre's April 12th 2015 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  April 14, 2015

With the sound of every eerie gong, the Quantum Theatre’s world premiere of All the Names kept the audience moving towards the light, falling deeper and deeper into the life and mind of Senhor Jose. In this adaptation of Jose Saramago’s Nobel Prize winning book All the Names, translated by Margaret Jull Costa, we are reminded that everyone has a story. Small objective parts of that story are kept in official records and the rest is in the hearts and minds of those we interact with over time.

He said he must know what happened to her. But it seemed more an obsession. And why her? Of “All the Names?” As a clerk at the National Registry, he had seen millions of names pass by, including celebrity names and information that he personally documented for hobby. But her file with discrepant and missing information, led Senhor Jose, played by James Fitzgerald, on a tangled investigation. It was a quest that would challenge the square introvert’s inner sense of purpose and place in the vast world we live in. Answers led to more questions, and more questions started to cut deep and personal. The line between right and wrong became blurred as he justified abusing his access to official documents and avoided being caught by the stoic Registrar, played by CMU Assistant Professor Cameron Night.

As Senhore Jose’s every decision and indecision is weighed out, his conscience is brought to life by actor and writer Mark Conway Thompson. Senhore Jose’s conscience is always with him, like a shadow. As his quest grows more complicated and he becomes more emotionally entangled, it becomes hard to tell whether it is he or his conscience that is at the helm. Along his journey he meets two women, both played by Point Park Instructor Bridget Connors. In the course of providing leads for his investigation both women ruffle his square demeanor and challenge his emotional frailness. We see into one of the women’s mind by her conscience also being personified, not mistakenly played by the same actor as the Registrar.

Actors playing multiple characters, omnipotent narration, and exaggerated sets that were almost like installation art, skewed the hierarchy of exactly which character’s course we were seeing play out. At times the audience spied down on the characters from second floor balcony. We sat across an oversized desk from the Registrar staring down on us, feeling small, inconsequent, and judged, just as Sehore Jose. Other times we were amidst the journey in a huge dark room transformed into a dreary abandoned school, where a cachophony of ghostly whispers chilled the air and walls were covered with names in chalk of those who had been there before – including mine now.

We walked amongst file boxes and documents seemingly suspended in midair. It transported the audience to a dream state where the line between reality and imagination blurred. The vastness and somewhat disorganization of the national registry poured over into the turmoil and chaos of the characters consciousness and the boundless ether of Senhor Jose’s mind –or even one’s own. A trippy talking ceiling really brought the threshold of sanity into question. Becoming Senhore Jose, some audience members were instructed to sit, sit in his place to hear investigation testimonies. This world premiere adaptation of Jose Saramago’s novel All The Names could not have been so exquisitely brought to life without artistic contributions of several talented people. Quantum’s Artistic Director Karla Boos, and Dramaturge Megan Monaghan Rivas, were committed to bringing this complex story to life. Each member of the small cast was intense and commanding. The masterful scenic design in the original Carnegie Free Library by Barbara Luderowski and Narelle Sissons was technically enhanced with lighting effects by Cindy Limauro; fantastic and engaging multimedia projections by Joe Seamans and enriching sound production by Chris Evans and Sarah Pickett.

After staying for the post performance discussion, some audience members shared that they found the work to be akin to Kafka’s works, filled with loneliness, inner turmoil, and the repressive confinement of societal convention. Artistic Director Karla Boos shared the inspiration and evolution of bringing this story to stage and it was clear that this project was an original and creative passion. And one that paid off. My friend Sandra, who went to the performance with me, said the real life little lambs were a nice touch. It is not your conventional play, it is absolutely excellent. The show is mesmerizing!

Additional Performances:

April 15th - May 2nd  |  8 PM  |  Heinz Hall
For more information and tickets visit quantumtheatre.com

By:  Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2015

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 - And the Award for Best Dramatic Backstage Performance Goes To… Review of Noises Off, PPT's June 5th 2014 Performance

And the Award for Best Dramatic Backstage Performance Goes To…
Review of Noises Off, Pittsburgh Public Theater's June 5th 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  June 07, 2014

Upstairs: Garret Long
Downstairs (l to r): Noah Plomgren, Laura Woyasz,
Helena Ruoti, Preston Dyar, Karen Baum
Photo Courtesy: Pittsburgh Public Theater

For anyone who has ever performed on stage, probably the most memorable moments did not occur on stage, but instead at rehearsals and back stage - where there is typically WAY more drama.  The Pittsburgh Public Theater is wrapping up their 39th season with Michael Frayn’s comical farce “Noises Off,” directed by Don Stephenson.  The O’Reilly Theater was roaring with belly-aching laughter at the opening show on June 5, 2014.

Now most businesses have at least one person that is a pro at stirring up workplace drama.  You know the pretty person who somehow skates by on looks and not much more, the annoying over-analyzer, the dinosaur who is way past their prime and barely contributes, or an egotistical, arrogant, condescending boss?  Well in the world of the arts, specifically theatre, those are ALL practically cast staples only amplified – a lot.  “Noises Off” is a hilarious play full of misinterpretations, innuendo, and big personalities that is a window into the world of live stage acting.  Ok, so it may be slightly over exaggerated, that’s what a farce is… but really, only slightly.

Foreground: Helena Ruoti and Noah Plomgren
Background: Karen Baum
Photo Courtesy: Pittsburgh Public Theater

“Noises Off” is a show in a show.  No, “Nothing On” is a show in a show with a cast of actors who play actors in “Noises…”  No, that’s not right either, did the chicken or the egg?  Ok, “Noises Off” is a funny show in another funny show, in which the cast portrays a cast of actors with big personalities.  Explaining this is like those little Russian doll things, Matryoshkas or Babushkas.

Wait no I’ve got this… in the hilarious show “Noises Off” a cast of fabulous professional actors (undoubtedly with big personalities) play a troupe of mediocre British actors with stereotypical theater personalities, in “Nothing On,” a sexy comedic play about characters who, with the tiresome and haphazard orchestration of a sassy house keeper, unknowingly end up in situations that could be misinterpreted and then intertwine the cast into a swirl of humorous and compromising situations.  Whew!  We see the cast of “Nothing On” attempt a dress rehearsal, then see the same show a month into the tour, from backstage and after the cast has become shall we say more “familiar” with each other, and then finally again two months out on tour when the drama from backstage really spills over to the front and the wheels come off.  But the show must go on!

Laura Woyasz
Photo Courtesy: Pittsburgh Public Theater

Just to be clear the wheels didn’t come off “Noises Off.”  It was amazing and so much fun.  The intricate choreography of “Noises Off” to create the impression of not-quite-perfected or mistake-and-accident-prone staging of “Nothing On” was outstanding.  Characters going into closets then reappearing through the wrong door, plates of sardines remaining in the kitchen when they are supposed to be brought out by one person for a different character to play off of in the next scene in a different room, missed lines, preempted entrances, props breaking on stage, were all carefully choreographed to purposefully seem like the hokey mishaps of an Ed Wood movie or Night of the Living Dead.  If “Nothing On” was a movie, the guys from Mystery Science Theater would have a field day.

Led by the accomplished director and actor, Don Stephenson, the cast of Noises off was phenomenal.  Noah Plomgren, Laura Woyasz, Preston Dyar, and Garrett Long were all very funny, as they were creatively corralled by the hilarious Helena Ruoti as the house keeper in “Nothing On”.  The angst of the on stage director trying to coordinate this show was too funny.  Michael MacCauley reminded me of Fred Armisen from Saturday Night Live and Portlandia.  The entire cast was so good and so funny!  “Noises Off” is a must-see, it was so much fun!

Additional Performances:

Show runs through June 29th, 2014 at the O’Reilly Theater

By:  Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - My Favorite PSO Concert!!! Review of PSO's Vivaldi's Four Seasons, Mozart, and Haydn Concert, June 1st 2014 Performance

My Favorite PSO Concert!!!
Review of PSO's Vivaldi's Four Seasons, Mozart, and Haydn Concert, June 1st 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  June 02, 2014

I’ll lead this review off with the tweet that I sent right after the Pittsburgh Symphony Orchestra’s Sunday, June 1st 2014 performance.  “Today was my favorite @phgsymphony concert of the season!  3 great pieces. Ye-Eun Choi was stunning. Loved Loved Loved Nicholas McGegan!”  And, that pretty much sums it up.  In my first PSO concert and review on Jan. 17, 2014 I wrote, “Now of course, I should let on that I’m partial to this era of music and the one before it.  So in my opinion Franz Joseph Haydn and his contemporaries of the first Viennese School hit that sweet spot.”  So you can imagine my excitement about this concert.  Vivaldi, Mozart, AND Haydn, it was like Christmas morning at the symphony.

Ye-Eun Choi

The concert began with Vivaldi’s Four Seasons and got better and better with each concerto.  Violinist, Ye-Eun Choi making her PSO debut played beautifully.  She showcased both energetic virtuosity and lovely lyric lines full of passion.  She is very young and demonstrates the technical capabilities and musicianship that will develop even more with time like a fine wine.  By the middle movement of Autumn the entire ensemble settled into a groove with smiles and acknowledgements to each other that capture the essence and intimacy of chamber music.  The music was gorgeous and full of energy, but it is taken to a whole other level when you can observe sincere enjoyment of the players.  It was fun to listen to and watch – Baroque music is fun and makes you want to dance, not like the electric slide, but you know a Gavotte, Minuet or Chaconne!

Nicholas McGegan

The concert was lead by world-renowned conductor Nicholas McGegan, and for the Vivaldi he did so from the console of the harpsichord.  It was a treat to see the work not only played beautifully but also in this configuration that would more than likely have been how it was performed back in 1725.  The only unfortunate thing was that the big, beautiful Heinz Hall kind of swallowed up the harpsichord.  McGegan evoked both the lush swells of passion-filled themes and clean precision, full of energy, from the small ensemble.  More impressive was his ability to quickly lead the shifts from one style to the other at the manic changes characteristic of Baroque music.

The second half of the concert began with a fun and stately Mozart ditty, Chaconne from Idomeneo, Re di Creta.  It showcased several contrasting sections that were each played with due flair.  The featuring of the woodwinds was really quite lovely.  The concert was capped off with Haydn’s Symphony #103 in E-flat major and was great.  Beginning with its nickname “Drumroll,” the work featured a neat timpani part and great wind passages.  A standout was the violin solo in the second movement by concertmaster Noah Bendix-Balgley.  I love hearing and watching him play; he makes it look and sound so easy.

Did I say I love this style of music?  It makes me feel like Agnes from Despicable Me when she expresses her excitement about the stuffed unicorn, “It’s so fluffy.”  It’s just so fun!  The music was expressive and energetic.  I would imagine the rehearsals were fun and productive, and I would have paid to see them too with McGegan’s commentary.  The PSO rocked it (Baroque and Classical style – you could say they barocked it) and I absolutely LOVED watching Nicholas McGegan conduct!

By:  Stephanie Sue Curtice

Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - "Once" Not Enough, Must See Again! Review of Once the Musical March 11th 2014 Performance

"Once" Not Enough, Must See Again!
Review of the Once the Musical’s March 11th 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  March 12th 2014

From the get-go, Once the Musical had the audience of the Benedum Center captivated and it remained that way the entire performance. Lacking jazz hands, kicklines, hammy acting and spontaneous group song and dance numbers, Once the Musical felt more like an episode of tv sit-com How I Met your Mother peppered with organic radio-worthy music that was somewhere between the style of the Lumineers and Lady Antebellum. It was awesome. I loved it. And you should totally go see it!

Apparently the show is based off of the 2006 movie also called Once, which didn’t fair so well at silver screen box offices. Obviously I didn’t see it. But I’m telling you the musical is terrific. It is a romantic comedy and romantic tragedy in one. Fresh and set present day;  Witty and tender;  If you’ve ever loved, been heartbroken, felt loss, or felt giddy anticipation, you’ll see yourself in the story and music of Once the Musical. Laughter and tears included.

The very organic and intimate feel of the entire production is initiated 15 minutes before the show begins when audience members can join the cast on stage of the Dublin pub set for drinks and music. As audience members are privately asked to take their seats, the cast continues to play another couple of songs and seamlessly transition into the show. The house lights finally go down a solid 10 minutes into the show as the unnamed Czech Girl enters the pub after hearing the moving voice and guitar playing of unnamed Irish Boy.

The typical romantic story unfolds. Stricken by woes of the heart, Boy swears off playing music; classically trained pianist, Girl has Boy fix her Hoover vacuum, Girl helps Boy piece his life back together; annoyed humoring begets a tentative friendship; friendship begets romantic hopes; but there’s always something that complicates things… life, commitment, bad timing. I won’t give away the ending, but will say true love is powerful.  Equally relatable themes are the importance of family and community:  small family business, loss of a parent, the new life as a widow, struggling to advance professionally.

The content of the show was touching, but how it was delivered was unique as well.  Every character plays an instrument.  Not only are they the cast, but the orchestra too.  And to prove it the pub set is lined with framed mirrors, which showcased the piano playing skills of Girl and brought a dimension to the set that pulled you in more.  To create different scenes great lighting was used and encouraged the imagination of the audience, including when they were on top of the set looking out into the ocean.

The whole experience was a fresh take on "going to a Broadway musical" and it was great.  I loved it so much I came home and downloaded the music on itunes and looked up when the show would be in the cities of my parents and siblings and told them that they had to go.  So I'll say to you too, take a break from kicklines and showtunes, not that I don't love me some traditional musicals, this is a show that you don't want to miss!

Additional Performances at the Benedum Center:
Wednesday, March 12th  |  7:30 PM
Thursday, March 13th  |  7:30 PM
Friday, March 14th  |  8 PM
Saturday, March 15th  |  2 PM and 8 PM
Sunday, March 16th  |  1 PM and 6:30 PM

By: Stephanie Curtice

Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - Oh My Stars, Sequins, and Symphony A Review of the PSO’s March 6th 2014 Pops Concert

Oh My Stars, Sequins, and Symphony
A Review of the PSO’s March 6th 2014 Pops Concert
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  March 7th 2014

What I fun concert! I don’t know how else to start this review, other than that. I was seat dancing practically the whole concert and singing like a song bird all the way home. The Pittsburgh Symphony Orchestra and guest conductor Jack Everly presented “All That Jazz”, a musical montage of hits from Cabaret, Chicago, The Act, Kiss of the Spider Woman, New York, New York and more.

Jack Everly
(photo courtesy:
Michael Tammaro)

As the show opened with "Overture", I was thinking, with the Oscars having been just this past weekend, this sounds very movie-musicy sounding. (Yes, I have a music degree and that is a technical term, movie-musicy, well at least it should be.) Anyway, I knew we were in for a treat, because we would hear some of the most well known musicals in robust symphonic stylings. And then out came the singers to join in.

With a proper “Willkomen” from Ron Remke, the musical celebration of the songwriting duo Kander and Ebb was in full swing. Remke was joined by Nikki Renee Daniels, Ted Keegan, Pittsburgh native Kirsten Scott and Tony award-winning Beth Leavel. Though there were only five singers this was no park n’ bark stuffy concert. The audience was both dazzled by the singing stars and bedazzled by all the glitzy costume changes.

Ted Keegan, who has previously sung the role of the Phantom on Broadway, whisked us away with “First You Dream” from Steel Pier. His voice will make you melt. He later showed a light-hearted comical side singing “Mister Cellophane” from Chicago. He is phenomenal!

The girls started spicing things up with “Two Ladies” and “Everybody’s Girl” from Cabaret. One could totally see how Beth Leavel won a Tony. She is a total ham and your eyes will never leave her because she is such an entertainer on every level. The trio of gals kept the heat coming in the second half with “City Lights” from The Act and “Cell Block Tango” from Chicago.

John Kander and Fred Ebb
(photo courtesy:
Pittsburgh Symphony Orchestra)

While most of the music of the evening was upbeat, there was no mistaking the beautiful soaring voices of Nikki Renee Daniels and Carnegie Mellon graduate Kirsten Scott. Daniels beautifully performed one of the more tender pieces of the night, “Go Back Home” from The Scottsboro Boys. Scott sang gorgeously as well as showcased some sizzling and sultry dance moves in “Roxie” and “Hot Honey Rag” from Chicago.

The works of the super successful songwriting team John Kander and Fred Ebb have become contemporary musical classics. Their recipe of steamy and provocative story lines, snappy lyrics, and jazzy orchestration led to 5 decades worth of hit musicals and films.

Orchestras for musicals are normally much smaller, maybe to fit down in the close quarters of the pit. But, the PSO brought a robust and studio recording-like sound to these musical favorites, without sounding clunky. It was a great opportunity to hear snappy character and a jazzy side of the PSO’s playing.

Guest Conductor, Jack Everly made two promises to the audience at Heinz Hall - we would leave the concert happier than when we arrived, and though we would hear both songs we knew and some we didn’t, all would be great. He was absolutely right on both counts.

Additional Performances:
Friday, March 7th  |  8 PM  |  Heinz Hall

Saturday, March 8th  |  8 PM  |  Heinz Hall

Sunday, March 9th  |  2:30 PM  |  Heinz Hall

By: Stephanie Curtice

Good News and Cultural Reporter

PositivelyPittsburghLiveMagazine.com

RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com

(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - Are You a Good Swan or a Bad Swan? A Review of Swan Lake, PBT's Feb 13th 2014 Performance

Are You a Good Swan or a Bad Swan?
Review of Swan Lake, Pittsburgh Ballet Theatre’s Feb. 13th 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  Feb.14, 2014

I have been to many classical performances, yet at this one I found myself as one of those people confused about when to clap. At the symphony, don’t clap between movements. But, at the ballet? I didn’t know. Surprisingly, I had only been to a ballet one other time, as a child when I went for a school field trip to the Nutcracker. This is, of course, another ballet composed by Tchaikovsky. I don’t know why I hadn’t gone more, but I’m glad this was my first “big kid” trip to the ballet. And what better one, than the quintessential Swan Lake? It was beautiful and astonishingly athletic. I was worried that I wouldn’t follow the plot without words or singing, but there was no need. The story line was clear and medium of ballet told it perfectly. I was surprised of how moving the story was. It was truly beautiful.

Julia Erickson

(photo credit: Pittsburgh Ballet Theatre)

So, being the New Girl in the Burgh but a Kansas girl at heart, I’d have to ask. “Are you a good swan or a bad swan?” To which Odette would reply, “Oh, I’m not a swan at all… I’m a princess.” One could tell from the opening night crowd at the Benedum, Swan Lake is a classic fairy tale. There were many tutu and crown wearing little girls gazing in aw of the swan princess ballerina story. Very cute!

The ballet begins kind of like Cinderella. The Prince Siegfried (Robert Moore) at the castle, being told by his Queen Mother there will be a ball. And to that ball all eligible princesses shall attend, each in hopes that he will choose her to be his bride. After planning, the Prince and his friends go hunting in the forest. Then taking aim at a beautiful swan, he sees the most amaizing thing. The white swan magically turns into a beautiful maiden named Odette (Julia Erickson). They quickly fall in love and she tells him of her curse.

Julia Erickson, Robert Moore, and swans

(photo credit: Nick Coppula)

The third act begins at the ball where the Prince is presented several princesses, who showcase dances of their native lands. Though he still has Odette in his heart, he is captivated by Odile, whose likeness is of Odette’s but darkly enchanting as a black swan. As he professes his love to Odile (also danced by Julia Erickson), the evil Sorcerer (Nurlan Abougaliev) exposes his disguise and trickery.

After a second intermission, Odette and the other swans share in their sadness of the curse, turn of events, and impending doomed life of forever living as a swan. The Prince arrives to beg for forgiveness and their true love is reaffirmed. Unfortunately, because the Prince was tricked into falling for Odile, Odette is destined to remain a swan forever. The only way to break the curse and kill the evil Sorcerer at this point is Odette’s death. Together in true love, the Prince and Odette leap to there deaths, off of a cliff, into the lake. The end.

Ok, so maybe instead of fairy tale like, its more Romeo and Juliet like, and the “happily ever after” is more suggested to be restricted to the afterlife. But I think that minor detail floated right over the heads of all of the little princesses in the audience.

Yoshiaki Nakano

(photo credit:

Rosalie O'Connor Photography)

Things I did not know about Swan Lake the ballet:

• There are a few prescribed sets of choreography for the entire show, and the choreography used in this presentation was by Marius Petipa and Lev Ivanov, circa 1895.
• There are multiple possible endings for the ballet.
• Originally Odile was just an enchantress, not a swan/girl like Odette
• The score most frequently used is actually an arrangement by Tchaikovsky’s brother Modeste and Ricarrdo Drigo.
• The “Swan Theme” was used in Dracula, the 1931 film starring Bela Legos, and The Mummy, the 1932 film starring Boris Karloff.

How you might ask do I know these super informative tidbits? Well, that last one was compliments of my sweet boyfriend, who loves old movies. And for the others, the Pittsburgh Ballet Theatre posts a very useful resource for called the Audience Production Guide at their website. If you are a fledgling ballet attendee, like myself, I would definitely recommend checking it out before you see the show.

The evening was full of graceful dancing including the signature “fluttering of wing” by the swans, fun and athletic leaps by the Jester (Yoshiaki Nakano), pristine pirouettes by Odette, and festive dances by the hopeful princess guests in the Czardas, Spanish, Neopolitan and Mazurka styles. Every aspect of the dancing and finely played music was engaging. It was a great first experience at the ballet!

Additional Performances:
Friday, Feb 14th  |  8 PM  |  Benedum Hall

Saturday, Feb 15th  |  2 PM  |  Benedum Hall

Saturday, Feb 15th  |  8 PM  |  Benedum Hall

Sunday, Feb 16th  |  2 PM  |  Benedum Hall

By: Stephanie Curtice

Good News and Cultural Reporter

PositivelyPittsburghLiveMagazine.com

RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com

(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - A Review of Mamma Mia the Musical Feb. 11th 2014 Performance

A Review of Mamma Mia the SMASH HIT Musical on Feb. 11th 2014
From: Roving Pittsburgher and PositivePittsburghLiveMagazine.com
Written By: JoAnn R. Forrester, Host of Empress of Biz  |  Feb. 12, 2014

(photo courtesy: Pittsburgh Cultural Trust)

Mamma Mia…was Fun! Finger snapping, toe tapping, bouncing up and down in my seat fun…And shades of ABBA did I need that to get me through “the Winter That Will Never End Curse” that some evil Cleveland Browns fans has wished upon us.

Part of the fun of the night was to walk into the theater with people smiling who were ready to celebrate with the music of ABBA. As soon as the first scene opened with Sophie played by Chelsea Williams singing “I have a Dream” the audience was wrapped up and jumping on the Mamma Mia Love Boat as portrayed by ABBA.

The play, Mama Mia is about our favorite theme…Youthful rebellion, Youth Looking for Love, Finding love, Misunderstanding, Separation, (21 years) Love Lost, REUNION, LOVE FOUND and LIVING HAPPILY AFTER all played to the 22 tunes of ABBA.

All the familiar scenes played with youthful energy and a little more sexual dash and innuendo than the movie. I did find myself missing the beautiful background of the Mediterranean Sea and wishing that they had more visual scenery or a video of the sea playing in the background.

(photo courtesy:
Pittsburgh Cultural Trust)

The story of reunion plays well… First starting with the three young girls coming together to celebrate the wedding of Sophie , while the friends of the mother, Donna , played by Georgia Kate Haege arrive to lend their moral support to the marriage of their friends daughter. All soon, young and old friends, become involved in keeping Sophie’s secret. She has found her mother’s dairy and read it…and oh my three possible fathers. So what does she do? She invites all of them to her wedding and figuring that somehow she will know who her Father will invite him to walk her down the aisle. Oh my Days of our Lives soap opera played out on a Greek Island.

The dancing troupe was very energetic and pulled you along in a joyous activity. Love the women who played the older friends, Tanya (Gabrielle Mirabella) and Rosie Carly Sakolove who was a great scene stealer.

And of course the men, Harry Bright (Mark A Harmon), Bill Austin (Michaek Colavolpe) and Sam Carmichael, (Jeff Drushal) all were funny, delicious and amusingly perplexed as they discovered they may be the father of Sophie. All the men played and sung their parts well. Although gotta admit in my heart I was half expecting Pierce Bronson to show up.

When the play ended and the cast came out to take their bows and do the well known encore reprise the audience jumped up as one and was ready to dance and sing to all their favorite ABBA songs. And sing in dance we did. When it ended and we left the theater there were still many humming and singing along as they dance walked out the theater…Good time was had by all.

The PNC Broadway Across American series has itself another hit. We are really fortunate here in the burgh…our theater and art’s team consistently produces hits.

Great show…now if I could just stop singing and tapping my toes to the Mama Mia songs in my heard.

Additional Show Times:
Feb 12 - 13  |  7:30 PM  |  Heinz Hall
Friday, Feb 14  |  8:00 PM  |  Heinz Hall
Saturday, Feb 15  |  2:00 PM and 8:00 PM  |  Heinz Hall
Sunday, Feb 16  |  1:00 PM and 6:30 PM  |  Heinz Hall

JoAnn R. Forrester

Written By: JoAnn R. Forrester
Host of Empress of Biz
Anchor Internet Radio Show on PositivelyPittsburghLiveMagazine.com

JoAnn R. Forrester is co-host of the Empress of Biz Talkcast and co-founder, president and partner in S. I. Business Associates, Small Business Solutions, LLC and Celebrate and Share. She is an entrepreneur, writer, business growth specialist, teacher, columnist and award winning writer. JoAnn specializes in helping small businesses grow and prosper. She is the co-developer of the PRICE IT PERFECT™ cost management system for small business, and has secured over 40 million dollars in loans and investment for her clients.

For more information visit Empress of Biz on PPLmag.com

Posted By: Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com, RovingPittsburgher.blogspot.com, TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014