Sunday, August 17, 2014

Roving Pittsburgher Report, Yanni Brings Agape, "Love" to Benedum


Yanni Brings Agape, "Love" to Benedum 

YANNI: WORLD TOUR 2014August 16, 2014 | 8 p.m. | Benedum Center

by
Good News Reporter, Joanne Quinn-Smith

Yanni GRACED the Benedum Stage last night with his mesmerizing smile and consummate rapport with the audience who were raucous and appreciative and never faltered in their unity with the performance. The audience was captivated as Yanni took the stage and seemed to say, "Excuse me while I make love to my piano and you can watch and listen as I am accompanied by my 'United Nations' of musicians."

For those few who do not know who Yanni is.  He is a Greek pianist, keyboardist, composer and music producer who has spent most of his adult life in the United States while managing to still travel the world and appear in such historic places as the Acropolis, the Taj Mahal, China's Forbidden City, Russia's Kremlin, Puerto Ricco's El Morro Castle and last night, the world famous Benedum in Pittsburgh, Pa.

Yanni photo by Krystal Ann
Yanni continues to use the musical shorthand that he developed as a child blending jazz, classical, soft rock, and world music to create predominantly instrumental works. As this genre of music was not well suited for commercial pop radio and music television, Yanni achieved international recognition by producing concerts at historic monuments and by producing videos that were broadcast on public television.  That was my first experience with Yanni on PBS, "Yanni, Live at the Acropolis," which by the way yielded the second best-selling music video of all time.

I must tell you it is nothing like sitting in an orchestra seat in a theatre as intimate as the Benedum which, Yanni mentioned how cool it was to be so close to the audience and he took full advantage in engaging and interacting with the audience throughout the evening.  At least fourteen of Yanni's albums have peaked at No. 1 in Billboard's "Top New Age Album" category and two albums (Dare to Dream andIn My Time) received Grammy Award nominations.

Yanni photo by Krystal Ann
Yanni's musicians represent 11 different nationalities including England, Germany, Venezuela, Cuba, Paraguay, China, Canada, USA, Russia, Armenia and Greece.  The talents from each member surpass anything you can imagine prior to attending a performance, and they are all brought to you on one stage under the guidance of a true modern day orchestrator.  The first thing you notice about this orchestra is how much fun they are having and the smiles on their faces. 

The music is at once uplifting, calming, romantic and often intensely sensual and erotic. My nephew had not even heard of Yanni when I asked him to attend at the last minute but became an instant fan coming away from the concert slightly hoarse from cheering.

My nephew Josh (an engineering student form WVU) and I immediately zeroed in on Victor Espinola, the harpist from Asuncion Paraguay.   We were amazed at the octaves that his Paraguayan harp was able to reach with its 36 strings and also excited to discover with research that the harp is Paraguay's national instrument.  His World Electronic Acoustic Music brings a blend of flamenco and gypsy style to the music of the Yanni orchestra.

Yanni, photo by Whit Padgett.
About half way through the concert Yanni features Alexander Zhiroff from Russia on the cello.  We decided that we never knew that the cello could issue such sounds and be such "fun."  The solo was an experience in pure, light-hearted amusement.

From amusement to the international language of music,  Samvel Yervinyan, Violinist from Yerevan, Armenia clearly knew how to make his instrument speak and have it understood in any language. He shows all the signs of beginning his studies at the age of 7 and graduating from Tchaikovsky’s Music Conservatory, perhaps inheriting Tchaikovsky's penchant for gypsy melody.

From the bigness reminiscent of Tchaikovsky to the sounds of the the violin played by the diminutive Mary Simpson, Violin, Virginia, USA who brings a touch of bluegrass to Yanni's orchestra.  From row E we could see her constant smile and hear her making her violin smile also.  Her hi-lighted performances were both energetic and musically endearing.

Other Hi-lights of the concert:


Yanni describes this song as something he wrote about the learning that took place rather than initial reactions like frustration and anger.


Charlie Adams brought down the house with his drum solo.  We weren't timing it but it seemed at least ten minutes long without a hint of boring the audience.  Charlie with his Steeler t-shirt and "Pittsburgh Coffee" used his high energy stage performance and stamina in what was probably the best drum solo the audience had ever heard.

Yanni, photo by Whit Padgett.

Played with the orchestra bathed in red light, you could feel the agape love that Yanni speaks of in his introduction about his mother knowing about "healing" love.  The music wraps around you like a mother's arms and encourages the audience to at once feel loved and excited to be alive.

Santorini
This rendition is so LARGE that it makes you feel as though something epic is about to happen not only from the stage but in your life and at times let you languish in the victory. This piece puts you in the mind of running through open fields, ascending the mountain and then triumphantly observing the beauty of the view.

Yanni didn't tell the story but the world knows he was inspired to help protect giant pandas after he “adopted” a two-month old panda cub at the Chinese Chengdu Research Base of Giant Panda Breeding in October 2011. Yanni was the first western artist to be given the honor of symbolically adopting one of Chengdu’s pandas (a privilege reserved almost exclusively for nations, rather than personalities). He named the panda “Santorini” after one of the most beautiful islands in his native Greece.

Lauren Jelencovich joins Yanni for 'Nightingale' with its oriental theme with her effortless soprano very realistically portraying the song of the Nightingale which Yanni says has the sweetest song of any bird in the world.

The concert was just too full of too much to talk about and after this review is published I will remember more dynamic moments.  I should not neglect to mention outstanding solos by Jason Carder; Trumpet from Arizona and moments of grandeur from Yoel Del Sol; Percussion, Cuba and the duets of Yanni with keyboard player,  Ming Freeman, Taiwan; and also some very unique runs and scales from Gabriel Vivas, Bass from Caracas Venezuela.

There is just not one musician in the group who is not a consummate professional and cannot or has not shown brightly on their own on the international music scene.  I attended the concert under physical duress coming straight from my new daughter-in-law's bridal shower which I had been preparing for three days.  I had told my nephew to nudge me if I fell asleep.  Fat chance!  I arrived exhausted and spent and from the time the orchestra hit the stage began to revitalize.  I left like all of the rest of the audience with a feeling of absolute joy and elation at hearing "art" personified in music with passion, verve, compassion and style.



Joanne Quinn-Smith, Award winning internet radio broadcaster, blogger, author and internet radio and TV network editor and publisher. Joanne is the owner and CEO, Creative Energy Officer, of Dreamweaver Marketing Associates, a successful Pittsburgh-based marketing company. She is a grandmother and great grandmother, an unlikely trendsetter for online journalism and broadcasting. Joanne is internationally known as the “Get Your Google On” Gal. But better known as Techno Granny™ to over one million accumulated online listeners worldwide. Joanne has created a revolutionary online NEW MEDIA platform in Internet broadcasting, blogging and other social media participation that represents the new second generation of World Wide Web interactions, known in technology circles as Web 2.0. JQS is the online publisher of PositivelyPittsburghLiveMagazine.com, an online community magazine to disseminate the Positive News for Positive Pittsburghers. PPL Mag is Pittsburgh’s First Internet radio and TV network with syndicated channels and online radio and TV capabilities. 

Tuesday, August 5, 2014

Family Night at the Symphony is a Home Run Review of Triple Play the PSO's Aug. 2nd 2014 Performance


Family Night at the Symphony is a Home Run
Review of Triple Play the Pittsburgh Symphony Orchestra's Aug. 2nd 2014 Performance

From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  Aug. 02, 2014


The Pittsburgh Symphony Orchestra closed their 2014 summer season on Saturday, August 2nd, with a concert entitled Triple Play.  For a baseball loving family, we thought the concert was a home run.  With my partner’s children visiting for the summer, this was a great concert to take the whole family to.  It featured opera and operetta overtures in the first third, a stunningly played piano concerto in the second, and for the final third movie music from some of our favorite action blockbusters.  Now I normally report mostly on the music and just a little on the experience, but for this review I will share how fun it can be to take the whole family to the symphony.

We have only been here for a year, so this was the first opportunity to bring the kids to Heinz Hall and it was so fun to see their reaction walking into the beautiful hall.  They were in aw just as we were the first time.  But the most quote of the evening came as we were getting seated.  We had two sets of seats: two media seats fifth row/stage left, and four towards the back/center section/isle seats - still main floor mind you.  First, we got Dad (Mike VanStipdonk), Martin (15), Josie (13), and Quinn (10) seated and then Nina (7) and I proceeded to find our seats.  After we at least located them I asked Nina if she wanted to go back and hang out with the rest of the family until the concert started.  She replied, “No I don’t think I want to go way back there.  These seats are WAY better.”  And with that we now have a seven year old, prime seating connoisseur.  Instead we practiced reading the concert notes, which proved to be very good concert preparation even for her.

Christian Capocaccia
(photo courtesy: PSO)
With a countdown of the side stage doors closing one by one, we were tuning up for our first family PSO experience.  As a result of her pre-concert reading, Nina was able to point out the evil dwarf played by the basses in Glinka’s Overture to Russlan and Ludmilla.  Next was one of my favorites of the evening, Franz Von Suppe’s Overture to The Beautiful Galatea.  Nina thought she might have been familiar with the third piece, Intermezzo and Barcarolle from The Tales of Hoffmann.  But at its conclusion, said “Maybe I know one of his other songs, because I did not know that one after all.”  To close out the first section of the concert, the PSO played Rossini’s Overture to William Tell.  Guest conductor Christian Capocaccia playfully reminded us that we should also recognize it from many cartoons, like Looney Tunes.  During this piece Nina nudged me and perceptively pointed to the words thunderstorm, countryside, and triumphant return during each of the respective sections.  During the first intermission we met up with the rest of the troops for a leg stretch and work out the wiggles walk.  Quinn noted that he heard lots of cymbals during the Bugs Bunny song.

Xiayin Wang
(photo courtesy: PSO)
Next on deck was Ravel’s Concerto in G major for Piano and Orchestra.  As we readied for the second part of the concert and enjoyed a rootbeer barrel, Nina noted how beautiful the pianist Xiayin Wang is and that she studied from another person named Nina (Svetlanova).  Miss Wang played exquisitely.  The program notes used the perfect words to describe each of the movements, the first sparkling, the second graceful, and the third whirling.  Wang’s care in how she played each note was stellar and her interaction and balance with the PSO was perfect.  As we got up for the 7th inning stretch (yes, exactly after seven movements) Nina again pointed out how primo our seats were and that we could actually see Miss Wang playing each note even in high heals and a pretty purple dress with sparkly gems.

Reluctantly Nina, shared her great seats with Martin and Josie for the last section of the concert.  Leading off was a Medley from Pirates of the Caribbean by Hans Badelt and then Hans Zimmer’s Music from Batman: The Dark Knight Rises.  And finally, as maestro Capocaccia pointed out, no movie music section is complete without John Williams.  The concert concluded with Suite from Star Wars including The Imperial March, Princess Leia’s Theme, and the Main Title.  Watching the older kids from afar made Mike and me smile to see how engaged they were enjoying the music.

As we were exiting the concert hall we got many compliments on how well behaved everyone was and that we brought them at all.  As a note to other parents who might be thinking this all happened in the twilight zone of perfection… the evening was not without little reminders to not have our feet in the chairs or that you can read the program but not whip it around like a fan.  We took potty breaks, exploration walks, and had a piece of hard candy before the show and at each intermission.

There was something for everyone in the family at our night at the symphony.  Other than the music being “very pretty” and the PSO being “really good,” the kids noted the hall is beautiful, the 12 chandelers are “very sparkely,” the main stair case is “really old and cool,” and the small round red couch in the ladies lounge is “so fun.”

On the ride home, we went around the car and all shared our favorite pieces from the concert.  Here are the final stats:
Nina (7) – Overture to William Tell AND Star Wars: The Imperial March
Quinn (10) – Star Wars
Josie (13) – Medley from Pirates of the Caribbean
Martin (15) –  Music from Batman: The Dark Knight Rises
Dad – Ravel Piano Concerto and Star Wars: The Imperial March
Miss Stephanie – Overture to The Barcarolle and Ravel Piano Concerto

So if you are on the fence about taking your children or grand children to the symphony, our advice is to take them.  It is an experience they will always remember, and you will too.  The PSO has two great series that are extra family friendly PNC POPS! And Fiddlesticks Family Concerts presented by Macy’s.  As for our experience, we all thought our evening at Heinz Hall with the Pittsburgh Symphony Orchestra was an out of the park home run.


Fiddlesticks Family Concerts presented by Macy's – Recommended for children ages 3 to 8
Introduce your children to music at these special Saturday morning concerts with your world-class Pittsburgh Symphony Orchestra!  During the pre-concert DISCOVERY TIME ADVENTURES, children will have the opportunity to sing, dance, create a take-home craft, meet musicians and listen to stories – all unique to each concert.  PittsburghSymphony.org

PNC POPS! – Rated E: For Everyone
Welcome to a season of big pictures, accompanied by big sounds. Popular movies, beloved Broadway musicals, animated Disney adventures, successful television shows and award-winning jazz artists take front and center stage in the 2014-2015 season of PNC POPS! It's entertainment for the ages. For all ages.  PittsburghSymphony.org

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

Thursday, July 24, 2014

Roving Pittsburgher Report CATS, Benedum Theater A FOUR STAR MEOW



CATS, Benedum Theater
A FOUR STAR MEOW
JoAnn R. Forrester, Empress of Biz. 

Elizabeth Stanley as Grizabella
Millions of people have seen Cats since 1981 and have just purred over the Jellicle cats and their salute to immortality.  The performance of this weekend at the Benedum Theatre was purrfect.  The audience was immediately in love with the performance from the very talented Broadway quality cast.  They were singing joyfully and dancing exuberantly.  In a nonstop musical acrobatic, twisting, somersaulting, cartwheeling performance that put permanent paw prints of joy into everyone hearts. 


We all know the  favorites Mr. Mistofeles' and 'Memories'., but
Jenna Nicole Schoen as Demeter, Lily Emilia Smith
as Jellylorum and Ashley Chasteen as Bombalurina
wait what about Old Deuteronomy,  Grizabella, the Glamour Cat, once a real looker and now a faded raggedy cat…and MaCavity the bad boy cat.  All amazing performances and a musical wonder to see

Andrew Lloyd Weber musical masterpiece will go on forever just based on the music, memorable songs and outstanding  choreography, with the wonderful them of  presenting  the captivating story of the Jellicle cats
. 
My view of the play was fantastic.  We were seated in the Directors Circle, second floor.  Where we could look down at the
Will Porter as Mungojerrie and
Mara Newbery as Rumpleteazer
performance and just soak up the energy that flew up from the stage. Amidst that incredible view I found myself developing a different perspective.  In the midst of all the joy and exuberance I was reflexing on the tales of the cats and their possible human counterparts.  There are people I know who, I could swear their lives were being portrayed right on stage…for better or worse. 
Ken Prymus as Old Deuteronomy






Hmmm….I wonder if anyone asked the shows originators who were the models for your cats?   



Anyways, as always excellent quality from the Pittsburgh CLO and Kudos to all those who work so hard to bring the best of the musical theater to our part of the world.  We are so fortunate to have you.



And as a human being who is owned by Ginger the Cat…I am instructed to tell you the rating is a four meow rating…the highest praise a cat will give.



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

Wednesday, June 25, 2014

Roving Pittsburgher Report, Lose Your Blues at Footloose.



Lose Your Blues at Footloose.

Pittsburgh CLO's Footloose.

June 24, 2014

By Megan Grabowski

Pittsburgh's debut of Footloose brings to stage  idyllic, youthful and perpetually  poignant  teenage strife with a musical score that is toe tapping and finger snapping.  So long as there
Stephen Wilde, Christine Laitta, Patrick Cassidy,
 Betsy Lawrence and Jeffrey Howell
are teenagers, there will be rebellion, a question of  authority and a free- spiritedness that teeters between innocence and blind stupidity for years at a time.  This message plays without a hiccup on the stage of the Benedum Center from June 24 through June 29, 2014.

Kristen Martin as Ariel, Dee Hoty as Vi Moore
 and Patrick Cassidy as Rev. Moore
The story begins when an average teen, Ren McCormack, moves from the big city of Chicago, to the small country town of Bomont.  His mother chooses to relocate after her husband, Ren's father, abandons them.  Once in Bomont Ren meets Rev. Shaw and quickly learns about a town law banning dancing.  The no dancing ordinance was passed, 5 years prior, after a horrif accident took the lives of 4  Bomont teens who had been out dancing and drinking.  In the beginning Ren struggles to make new friends but soon gains support from his peers  as he attempts to convince the town council and Rev. Shaw that a ban on dancing is not helping anyone, but rather trapping them in the pain of the past.  

Barry Ivan,  director/ choreographer,  is no stranger to the
Manuel Stark as Ren
Benedum Center and CLO. He is attentive to  what Pittsburghers expect and he undrestands what we have grown to demand from CLO productions.  Musical director, Tom Helm, ensures the audience never misses a beat of beloved 80's  top 40 hits;  “Let's Hear it for the Boy,” “Almost Paradise” and of course, the title song, “Footloose”.  The talented and accomplished orchestra duplicate these well known  hits, originally made popular by the 1984 film Footloose, with the same spunk and charm I recall from the radio play of my youth. Together, Ivan and Helm execute another enjoyable night of musical theater in Pittsburgh.

Manuel Stark as Ren and Kristen Martin as Ariel
From the opening number, I quickly caught on to the obvious cast chemistry, which works wonders  with the tightly synced choreography.   The amount of energy emmeniating from the stage throughout this rendition of Footloose is invigorating.  Lead,  Manuel Stark as Ren McCormack, is a showcase of all around talent from the moment he graces the stage.  In scence 2 when the audience is introduced to the troubled young Ren, his mannerisms, depicting an angst filled teen, are spot on, proving he is an exceptional actor and can offer the audience more than just a good voice- he is the whole package.  This is again evident  in scene 4 as  Stark accomplishs numerous dance combinations while simultaneously displaying an superb vocal range.  Opposite Stark, female lead Kristen Martin as Ariel, the teenage daughter of Rev. Shaw,  continually portrays a relatable and resonant adolescent.  Despite my initial disappointment in her vocal performance during scene 3, “The Girl Gets Around”, Martin quickly reverses  my impression.  In scence 6, “Learning to Be Silent”, Martin's performance highlights  the dynamic role she is challenged to play.  I give her much credit for  animating an adolescent  with authentic vigor and impertinence . In Act II scene 4, Ren and Ariel's delivery of “Almost Paradise” is full of the enchantment I love about musical  theater.  Their presentation  further confirms my initial sense of cast chemistry.
Cast

Rusty, played by supporting actor Jessie Hooker, belts out song after song with effortless breaths.  Her strong stage presence and infectious smile light up the stage.   Hooker's  melodious voice and skillful  harmonizing are carried out with ease, most notably  in scene 5, “Somebody's Eyes”. “Hear it for the Boy”, another of Hooker's shining moments, is the most memorable musical number from the show.    
 
A rock solid ensemble is a necessary foundation for any musical.  Footloose's ensemble  is uplifing, talented and vivacious.  Even
Jessie Hooker as Rusty and Billy Hartung as Cowboy Bob
during  the more serious scenes  they keep the audience cheerful and sincerely entertained. 

From the opening scence in a  Chicago night club to the final “Footloose” number in the high school gymnasium, Footloose retains its momentum.  The dancing is  fun to watch and  the music encourages the audiene to bounce their knees in their seats.

The show opens with high energy dancing and singing and ends on
Kristen Martin as Ariel and Manuel Stark as Ren
the same note.  A fun performance from start to finish.  Footloose mingles song and dance with a story encompassing the multi- generational  struggles of adult vs. juvenile with a lighhearted mood and just a hint of nostalgia. 
Through June 29, 2014
For  information, on ticket purchase and show times  please visit HERE.
Reviewed by Megan Grabowski
Professional writer, Social-Media Junkie, Community Fundraiser and Pittsburgh Enthusiast.

Wednesday, June 11, 2014

Roving Pittsburgher Report, Samuel Beckett’s Sardonic Lament on the 20th Century, "Waiting for Godot."


Waiting for Godot

Samuel Beckett’s Sardonic Lament on the 20th Century

PICT Classic Theatre..JoAnn R. Forrester, Empress of Biz.


Good theater, a play well acted, leaves an impression with the audience for a couple of hours, or maybe  a day or two.   A great play well acted,  stays on one’s mind for days and often leaves haunting lingering questions.   Such as it is with the PICT and their presentation of Waiting for Godot”.
James FitzGerald, Martin Giles


 Samuel Beckett's play, Waiting for Godot, is  purposefully designed to tease, taunt and torment an audience with its dark humor and confusing plot laced with  sardonic laments of its main characters, Estragon and Vladimir.  Two friends, caught  in their own world of forgetfulness and sometimes shared memories.  They wait...they complain, they wait...they're hungry,they wait...they're bored...they wait.   They wait cemented together in their refusal to break free of the interminable waiting. 
Then aha...a break comes-Pozzo, ( Alan Stanford) the pompous “rich man” carrying a whip and loaded with the burden of his self importance and Lucky (Ken Bolden),the human mule,dying inch by inch from the lack of expectation.  The interplay between the two created a strong reaction in me.  I wanted to stand up and yell, “Stop being his human mule, his jackass,  kick him, bite him, leave him wallowing in his own self indulgence.”  Great acting gentlemen. 

Martin Giles, Ken Bolden, James FitzGerald, Alan Stanford
 Our two main characters, Estragon (Martin Giles) and Vladimir (James FitzGerald) play exceptionally well off one another.  They reminded me of a despairing and doomed version of Laurel and Hardy, forever caught in a confusing  no-mans land.  Two friends bonded together for 30 years.  They are at the end of their road, depleted, weak, fading memories and poverty stricken and yet they cling to one another without remembering the rhyme or reason of the bond.   Each act at the end has a slender shred of hope dangled by the young boy (Elliott Pullen)  who appears delivering the message that Godot cannot appear today--but please wait for tomorrow.

Often during the play I found myself wanting to stand up and shout, “Hey, wait a minute...what the do you mean by this? What
Martin Giles, James Fitzgerald
do you think audience?  Let’s discuss this."  After the play, my friend and I had a lengthy conversation  on the meaning of the play.  We both had different spins on the play and what we thought Samuel Beckett was trying to create.  Was it to whine in despair? Or to explain the last 20 years of war and insanity? Or was it to wail a lament on dire conditions of mid 20th century mankind,  or was it  to challenge , to prod to make us move and examine out lives of quiet desperation?
Kudo’s to the PICT, its director, Aoife Spillan-Hinks, and the fine crew for presenting this thought provoking performance of Samuel Beckett's play.  The only thing I wish would have been different, that I  could have stood up and yelled hey and started asking questions of everyone and how the play spoke to them. Aha...maybe next time!

PS…I just loved that Alan Standford, had to keep his promise of shaving off his famous trademark beard if so much money was raised.  Thank you for your sacrifice and fine leadership of Pittsburgh finest Classical Theater.

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

Tuesday, June 10, 2014

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

Monday, June 2, 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
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