The Shaker Archives - Page 55 of 77

March 12, 2015

Three cheers for horns: FOUR HORNS highlights Pittsburgh Symphony horn section

PITTSBURGH – The Pittsburgh Symphony Orchestra welcomes guest conductor Andrés Orozco-Estrada for his Heinz Hall debut in “Four Horns,” A BNY Mellon Grand Classics concert weekend, March 27-29.

Colombian-born Orozco-Estrada makes his debut with the “rock stars of the Pittsburgh Symphony Orchestra,” the members of the orchestra’s sensational horn section. The horn section, led by William Caballero and featuring Robert Lauver, Mark Houghton and Joseph Rounds, will be highlighted as soloists in Robert Schumann’s Konzertstück, a tour de force for four French horns and orchestra. Orozco-Estrada, the newly appointed music director of the Houston Symphony, then leads Brahms’ First Symphony, a towering masterpiece 20 years in the making. The program opens with Mason Bates’ The Rise of Exotic Computing, which was commissioned by the Pittsburgh Symphony for the Mercury Soul event and will be receiving its Heinz Hall premiere during this concert.

Each BNY Mellon Grand Classics concert is part of the Explore & Engage program, which includes pre-concert talks, exhibits, display boards and interactive activities that illuminate the music, composers and the time in which they were created. A pre-concert talk, open to all ticket holders and led by Resident Conductor Fawzi Haimor, will occur on stage one hour prior to each concert.

The concert begins at 7:30 p.m. on Friday and Saturday and at 2:30 p.m. on Sunday. Tickets, ranging in price from $25.75 to $105.75, can be purchased by calling the Heinz Hall box office at 412-392-4900 or visiting pittsburghsymphony.org.

The Pittsburgh Symphony would like to recognize and thank BNY Mellon for its 2014-2015 title sponsorship of BNY Mellon Grand Classics. Fairmont Pittsburgh is the official hotel of the Pittsburgh Symphony. Delta Air Lines is the official airline of the Pittsburgh Symphony.

Andrés Orozco-Estrada, born in Colombia and trained in Vienna, is one of the most sought after conductors of his generation. At the start of the 2014-2015 season, he will took up the positions of music director of the Houston Symphony Orchestra and chief conductor of the Frankfurt Radio Symphony Orchestra. Orozco-Estrada first came to international attention in 2004, when he took over a concert with the Tonkünstler Orchestra Niederösterreich at the Vienna Musikverein. Numerous engagements with many international orchestras followed and since then Orozco-Estrada has developed a highly successful musical partnership with the Tonkünstler Orchestra, one of the most important institutions of traditional Austrian musical culture. Since the beginning of the 2009-2010 season, Orozco-Estrada has been the music director of the Tonkünstler Orchestra, a position that he will relinquish in summer 2015. Between 2009 and 2013, Orozco-Estrada was also principal conductor at the Orquesta Sinfónica de Euskadi (Basque National Orchestra). He has made highly successful debuts with the Gothenburg Symphony Orchestra, Verbier Festival Orchestra, London Symphony Orchestra, Rotterdam Philharmonic and La Scala Philharmonic Orchestras. Following his debut with the Vienna Philharmonic Orchestra in autumn 2010, Orozco-Estrada was hailed “a brilliant stand-in” (Wiener Zeitung) for Esa-Pekka Salonen and celebrated as an “eminent talent” (Die Presse). In November 2012, Orozco-Estrada stepped in once again at short notice to replace Riccardo Muti with the Vienna Philharmonic in the Musikverein. Highlights of the current and coming seasons include debuts with the London Philharmonic Orchestra, Royal Concertgebouw Orchestra, Royal Stockholm Philharmonic, Oslo Philharmonic, Pittsburgh Symphony Orchestra, St Louis Symphony, Philadelphia and Cleveland Orchestras. Born in 1977 in Medellín, Colombia, Orozco-Estrada began his musical studies on the violin and had his first conducting lessons at the age of 15. In 1997, he moved to Vienna where he joined the conducting class of Uroš Lajovic, pupil of the legendary Hans Swarowsky, at the renowned Vienna Music Academy and completed his degree with distinction by conducting the Vienna Radio Symphony Orchestra at the Vienna Musikverein. The emphasis of his artistic work lies in the Romantic repertoire and Viennese classics. At the same time, Orozco-Estrada shows a keen interest in contemporary music and regularly performs premieres of Austrian composers as well as compositions of Spanish and South American origin. Orozco-Estrada currently lives in Vienna.

The 2014-2015 Pittsburgh Symphony Orchestra season is William Caballero’s 25th year as its principal horn. Before joining the Pittsburgh Symphony in May 1989, Caballero held principal horn positions with the Houston Symphony, Houston Grand Opera and Hartford Symphony. He held third horn positions with the Montreal Symphony, Montreal Opera and acting third horn with the Boston Symphony and Boston Pops. He also performed as guest principal horn with the Philadelphia Orchestra, the Los Angeles Philharmonic and the St. Louis Symphony. Born in New Mexico and reared in Wisconsin, Caballero’s early horn studies included working under Larry Simons, Barry Benjamin and Basil Tyler, as well as studying the piano and pipe organ. Caballero graduated from New England Conservatory in Boston where he studied with Richard Mackey and Thomas Newell of the Boston Symphony. Caballero is the associate teaching professor of horn at Carnegie Mellon University School of Music. Previously, he held teaching positions at Indiana University Bloomington, Rice University in Houston, Texas and Duquesne University and has presented master classes throughout the world. The past two summers, he joined the faculty of the Aspen Music Festival as performer and teacher, and for the previous seven summers, Caballero was on the faculty and performed at the Pacific Music Festival in Japan. In 2012, Caballero began collaboration with the Internet music teaching company ArtistWorks.com. His teaching website was released in September 2012 as the only complete horn teaching curriculum available via the internet. Caballero is in demand as a chamber musician collaborating with musicians such as violinists Gil Shaham, Joseph Silverstein and Philip Setzer, and pianists André Previn, Christoph Eshenbach, Orli Shaham and Andre Watts. He is a member of the Pittsburgh Symphony Brass. Recent chamber music performances include performing Brahms’ Horn Trio in E-flat major with Gil and Orli Shaham in Zankel Recital Hall, Carnegie Hall, New York and appearing several times live on National Public Radio’s “Performance Today.” This season is Caballero’s second appearance as soloist with Manfred Honeck. His first solo collaboration with Honeck was in September 2012 performing the Pittsburgh Symphony premiere of Strauss’ Horn Concerto No. 1. Previous solo performances with the Pittsburgh Symphony have included Richard Strauss’ Horn Concerto No. 2 in E-flat with Lorin Maazel; Mozart’s Horn Concerto No. 2 in E-flat with Andre Previn; Mozart Concerto fragments with Pittsburgh Symphony Concertmaster Andrés Cardenes; Britten’s Serenade for Tenor, Horn and Strings with Stanislaw Skrowaczewski and tenor Anthony Griffey; Schumann’s Konzertstück in F, for four horns and orchestra under the baton of Sir John Elliot Gardener; and the John Williams Horn Concerto with Leonard Slatkin. Other recent solo appearances included performances in Montenegro with Ronald Zollman and with the Carnegie Mellon Philharmonic at New York City’s Carnegie Hall. In 1992, Caballero premiered Benjamin Lees’ Concerto for Horn and Orchestra with the Pittsburgh Symphony under the baton of Lorin Maazel. Following the performances in Pittsburgh, he performed it in Spain, Germany and England with the Pittsburgh Symphony on tour. In 1996, Caballero recorded the concerto for New World Records. Caballero holds the Anonymous Foundation Principal Horn Chair.

Robert Lauver joined the Pittsburgh Symphony Orchestra horn section in the 2000-01 season. Previously he was a member of the horn section of the Saint Louis Symphony since 1992, as well as the St. Louis Symphony Brass Quintet. The Columbus Symphony, Alabama Symphony, Austin Symphony, Chicago Chamber Brass and Baltimore Symphony are among the orchestras with whom Lauver has played. He attended Northwestern and Western Michigan universities.

Mark Tennyson Houghton was awarded the position of 3rd horn with Pittsburgh Symphony Orchestra in June 2014. Previously, he was principal horn of the Harrisburg Symphony Orchestra, the Phoenix Symphony and, most recently, the Fort Worth Symphony Orchestra. Houghton was born in Long Beach, Calif., and raised in Keller, Texas. After some basic piano training, he began playing horn at age 12. His parents — who are professional horn players and teachers — were his first instructors. Advanced studies yielded a Bachelor of Music degree and Performer’s Certificate from the Eastman School of Music as a student of W. Peter Kurau. Other notable teachers and mentors include Gregory Hustis and William VerMeulen. Houghton has appeared with the Mimir Chamber Music Festival, Arizona Musicfest, Basically Beethoven Festival, The Hall Ensemble, Eastman Virtuosi and the Rochester Philharmonic Orchestra. He has toured domestically with the Eastman Wind Ensemble and abroad with the Eastman Horn Choir. In addition to his previous full-time principal horn positions, Houghton has performed as principal horn with the Dallas Symphony Orchestra, the Van Cliburn International Piano Competition and the Dallas Wind Symphony. He has been a featured soloist with the Fort Worth Symphony Orchestra, the Phoenix Symphony, the Greater Dallas Youth Orchestra, the Wichita Falls Symphony Orchestra and the East Texas Symphony Orchestra, and will perform Schumann’s Konzertstuck in F for Four Horns and Orchestra, Opus 86, in March 2015 with the Pittsburgh Symphony and its internationally acclaimed horn section. Houghton was a prizewinner in the American Horn Competition and the International Horn Society’s John Hawkins Memorial Solo Competition. Houghton is part owner of Houghton Horns, a family business that specializes in high-quality instruments, services and accessories for horn players.

Horn player Joseph Rounds grew up in a musical family in a small town in Missouri where his father taught trumpet at Northwest Missouri State University and his mother taught piano. He earned a Bachelor of Music degree from the Eastman School of Music, his mother’s alma mater, where he studied horn with Verne Reynolds. Studies continued with James Decker at the University of Southern California. Since 1987 Mr. Rounds has been a member of the Pittsburgh Symphony Orchestra serving as Assistant Principal, second and fourth horn. Previously, he held positions with the Sacramento Symphony and the Sacramento Chamber Orchestra. Mr. Rounds currently holds a third degree black belt from the Young Brothers Tae Kwon Do Institute under the guidance of Grand Master Young Bo Kong.

A native of Berkeley, California, violinist Nathan Olson is co-concertmaster of the Dallas Symphony Orchestra, a position he assumed in 2011. In 2013, he was appointed adjunct faculty at the University of North Texas College of Music. Prior to his appointment with the DSO, Olson held the position of concertmaster with the Canton Symphony Orchestra and CityMusic Cleveland. Currently concertmaster of the Breckenridge Music Festival, he has participated in the Mainly Mozart Festival, the Bravo Vail Music Festival and the Amelia Island Chamber Music Festival. Olson is a graduate of the Cleveland Institute of Music’s prestigious Concertmaster Academy, where he studied with William Preucil and Paul Kantor. He has soloed with the Dallas Symphony Orchestra, the Canton Symphony Orchestra, the Breckenridge Music Festival Orchestra, the Cleveland Pops Orchestra, CityMusic Cleveland and the San Francisco Chamber Orchestra. An enthusiastic chamber musician, Olson served on faculty at the Innsbrook Music Festival and won the silver medal at the 2005 Fischoff International Chamber Music Competition. As a member of the Baumer String Quartet, he is on faculty with the Monterey Chamber Music Workshop and the Crowden Chamber Music Workshop. In recent seasons, Olson has appeared as guest concertmaster with the Symphony Orchestras of Toronto, Omaha and Tucson, and as principal second violin with the St. Paul Chamber Orchestra.

Four Horns performs

Friday, March 27 at 7:30 p.m.

Saturday, March 28 at 7:30 p.m.

Sunday, March 29, 2:30 p.m.

Heinz Hall
PITTSBURGH SYMPHONY ORCHESTRA

BNY MELLON GRAND CLASSICS: FOUR HORNS

ANDRÉS OROZCO-ESTRADA, conductor

WILLIAM CABALLERO, horn

ROBERT LAUVER, horn

MARK HOUGHTON, horn

JOSEPH ROUNDS, horn

NATHAN OLSON, guest concertmaster

Mason Bates The Rise of Exotic Computing for Sinfonietta & Electronica

Robert Schumann Konzertstück in F for Four Horns and Orchestra, Opus 86

I. Lebhaft

II. Romanze: Ziemlich langsam

III. Sehr lebhaft

Mr. Caballero

Mr. Lauver

Mr. Houghton

Mr. Rounds

Johannes Brahms Symphony No. 1 in C minor, Opus 86

I. Un poco sostenuto – Allegro

II. Andante sostenuto

III. Un poco allegretto e grazioso

IV. Adagio – Piu andante – Allegro non troppo, ma con brio

March 12, 2015

DINAH brings back the “Queen of the Jukeboxes” at Pittsburgh Playwrights

“Dinah,” a play about Dinah Washington, featuring Pittsburgh songstress Delana Flowers in the title role, will run from March 13 through April 5 at Pittsburgh Playwrights Theatre Company.

Ernest McCarty is both director and playwright of this lively musical set during the last year of the short life of the legendary blues singer. “Dinah” features over 25 songs from the Great American Songbook and biographical vignettes.

This show provides insight into the tragic and often controversial life of one of the most popular African-American singers of the 1950’s.

Washington, born Ruth Lee Jones, was known as “Queen of the Jukeboxes.” Her seventh husband, football great Dick “Night Train” Lane discovered her nearly lifeless body on December 14, 1963. An autopsy revealed she died at the age of 39 after taking a deadly combination of secobarbital and amobarbital. Her death was ruled accidental. It was known that she used prescription medicine for dieting and insomnia, among other things.

Legendary composer and record/ TV producer Quincy Jones in his 2001 biography Q recalls Washington’s unique vocal styling saying she “could take the melody in her hand, hold it like an egg, crack it open, fry it, let it sizzle, reconstruct it, put the egg back in the box and back in the refrigerator and you would’ve still understood every single syllable.”

Pittsburgh Playwrights Theatre Company was founded by Mark Clayton Southers in 2003.

Pittsburgh Playwrights Theatre Company is committed to developing and showcasing the works of local playwrights; from accomplished masters like August Wilson and George S. Kaufman to promising new talents. Pittsburgh Playwrights seek to nurture a racially and culturally diverse community of playwrights, directors, actors and technical specialists to hone their craft and to network creative opportunities.

“Dinah” performs at Pittsburgh Playwrights Theater, 937 Liberty Avenue, Pittsburgh PA 15222, on the 3rd floor. For tickets and more details, visit www.pghplaywrights.com.

Cast:

Delana Flowers (Dinah Washington)

Ijasneem (reporter and Symphony Sid)

Leo Beatty (Dick “Night Train” Lane)

Cheryl El Walker (LaRue Mann)

Stephanie Akers (Alice Jones – Dinah’s mother)

Les Howard (Brook Benton)

Dinah schedule:

(Preview night) Friday, March 13 at 8 pm

Opening night Saturday, March 14 at 8 pm

Sunday, March 15 at 3 pm

Thursday, March 19 at 8 pm

Friday, March 20 at 8 pm

Saturday, March 21 at 8 pm

Sunday, March 22 at 3 pm

Thursday, March 26 at 8 pm

Friday, March 27 at 8 pm

Saturday, March 28 at 8 pm

Sunday, March 29 at 3 pm

Thursday, April 2 at 8pm

Friday, April 3 at 8 pm

Saturday, April 4 at 8 pm

Easter Sunday, April 5 at 3 pm

* The Monday March 23 at 8 pm performance is Pay-What-You-Can at the door only

March 12, 2015March 12, 2015

CORNINGWORKS celebrates 5th anniversary with AT ONCE THERE WAS A HOUSE

(Pittsburgh, PA) CORNINGWORKS, directed by Beth Corning, opens its celebratory 5th anniversary season with the world premiere of Pittsburgh’s 7th annual GLUE FACTORY PROJECT — AT ONCE THERE WAS A HOUSE, starring a multidisciplinary cast of local Pittsburgh celebrities including critically acclaimed actor JOHN GRESH, Squonk Opera’s JACKIE DEMPSEY, Attack Theatre’s MICHELE DE LA REZA, former PBT principal dancer TAMAR RACHELLE TOLENTINO, and YOAV HADDAR, former dancer with the companies of José Limón, Paul Taylor, and Pilobolus Dance Theatre among others. Co-presented by, and performed at The New Hazlett Theater, March 25 – 29, 2015.

In 2010, after serving as the Executive Artistic Director of the Dance Alloy Theater, Corning returned to her roots of creating, performing and directing her own company. With the encouragement of the local and national community (both public and philanthropic) CORNINGWORKS was founded as a vehicle for Corning to develop her unique style of dancetheater works that explore not only issues of importance to more “mature” audiences, but also engages internationally & nationally renowned “mature” performers through her unique series THE GLUE FACTORY PROJECT.

Initiated in Minneapolis in 2000, THE GLUE FACTORY PROJECT is the umbrella for Cornings’ full-evening length dancetheater productions created for critically renowned performers over the age of 40. Works that explore mature themes and subject matter, highlighting the mastery of mature renowned artists, who bring nuance, subtlety, and a deep sense of humanity to each work. Engaging a diverse cast of critically acclaimed performers from the performing arts that include stars from TV, music, theater, and dance, these full-evening works transcend age and address universal issues of the human condition with Corning’s signature dry wit, lush movement, theatrical inventions, and seasoned point of view.

In March 2010, this innovative series premiered in Pittsburgh with A SEAT AT THE TABLE, garnering rave national and local reviews. This was followed in 2011 by the critically acclaimed world premiere of ARE WE THERE YET? The 2012 production of THE LIFE & DEATH OF LITTLE FINN was a sold out event, and voted #4 in the Pittsburgh Post Gazette’s 2012 Top Ten Dance Performances, (which includes both local and national companies performing in Pittsburgh) and in June 2013, Corning’s one woman show REMAINS garnered standing ovations with headlines claiming “Masterful… Astute Observations… A tour de force.”. Again the Pittsburgh Post Gazette’s voted REMAINS as one of their Top Ten Dance Performances of 2013, and City Paper called it “one of SEVEN TRANSFORMATIVE DANCE PERFORMANCES of 2013”. In January 2014, RECIPES OUR MOTHERS GAVE US won rave reviews and played to 5 sold-out houses, and the recent September 2014 production of PARALLEL LIVES, was noted by the Tribune Review, as one of “the latest in a string of touching and masterly pieces” and was noted as the Post Gazette’s Top Ten Dance Performances of 2014.

Now Celebrating it’s 5th Anniversary Season, Corning presents AT ONCE THERE WAS A HOUSE , a zany theatrical ride that explores the question of “whatever happened to Dick & Jane?” a series of vignettes that range from the humorous to the poignant, from the comical to the disturbing. In 2005, Corning was commissioned by GROUNDWORKS DANCETHEATER in Cleveland to create AT ONCE THERE WAS HOUSE. Created specifically on the personalities and talents of those highly trained dancers, this 30-minute version of the work won both public and critical acclaim.

“The irony is thick…an astonishing work…there is no guessing what comes next, and while there are lots of laughs in the piece, they’re balanced by poignant moments that make it thoughtful and persuasive.” — Akron Beacon

A year later, Corning “re-fitted” the work for the dancers of Dance Alloy Theater, changing the piece to fit the specific talents and personalities of the dancers of that company. Again, the work won public and critical acclaim.

” A psychological thriller, full of vivid portraits that both delighted and discomforted. This was not only compelling dance, but compelling theater!” — Pittsburgh Post Gazette

Corning chose the opportunity of CORNINGWORKS 5th Anniversary celebration to look back at some of her prior works and “re-discovered” HOUSE. Now fully immersed in the GLUE FACTORY series she saw an opportunity to further expand this prior work — not to re-create it per se, but to further develop it, using the original version as a foundation, exploring and creating new layers with a seasoned and mature group of artists. This is a truly rare opportunity for both Corning and Pittsburgh audiences.

HOUSE is built on a series of characters, each specifically drawn from the performers themselves. Working with “seasoned” adults, rather than the “young” adults (upon which the original was created), Corning sees a rich chance to implement skills honed and borne over the past decade, to explore the deeper concepts and conceits of this deeply psychological work – a work that explores hidden lives – the secrets we consciously choose to either reveal or conceal. Jettisoned to life via the deeply political and psychological metaphors of 1950 elementary school educational icons DICK & JANE – the perfect WASP family – perfect wife, perfect husband, perfect children, perfect dog, perfect life. And then?

Along with Corning, this seasoned, multi-disciplinary group of performers include:

Jackie Dempsey musician, performer, composer, founder of SQUONK OPERA
John Gresh, noted actor, educator, and director, including PICT, barebones productions, Quantum Theatre
Yoav Kaddar, former dancer with Pilobolus, the companies of Jose Limon, and Paul Taylor among others
Michele de la Reza, dancer, choreographer, founder of ATTACK THEATRE
Tamar Tolentino, former principal dancer with PBT, and national ballet companies & choreographersCorning has long been noted for her vivid multi-disciplinary dance-theater work that combines sophistication, clarity of theatrical concepts, lush movement vocabulary, and dynamic musicality. Humor co-exists with serious examination of such issues as art and myth, gender and aging – intimate slices of the human condition. In all her work, Corning strives to provide a high-quality artistic experience for both artist and audiences, to constantly explore new structures and modes of expression, and to open doors through which we might communicate, and reveal new images of ourselves.

AT ONCE THERE WAS A HOUSE performs March 25 through 29th. Wednesday: 7pm. Thursday: 8pm, followed by a moderated post performance talk back with audience and cast led by twenty-year veteran of New York’s Off- Broadway scene, local actor & educator SHARON BRADY. Friday: 8pm, with specially priced tickets for Corningworks 5th Birthday Bash -party with the performers and crew for a post-performance “champagne & dessert” with live music. Saturday: 8pm. Sunday: “Pay what you can admission,” available only at the door with regular reserved tickets available online. The New Hazlett Theater, 6 Allegheny Square, Pittsburgh PA. $30 general admission, $25 senior/student. Friday night performance and party: $50. For tickets: www.showclix.com (CORNINGWORKS) or call 1-888-718-4243, www.corningworks.org or call 412-320-4610.

March 12, 2015March 12, 2015

Hiawatha Project debuts JH: MECHANICS OF A LEGEND at the New Hazlett

Pittsburgh – Hiawatha Project, a Pittsburgh-based theatre company in its fifth year dedicated to creating new and original performances exploring specific social questions, is proud to announce its next theatrical work: JH: Mechanics of a Legend – based on the haunting American Folk Tale of John Henry – is the story of a young, black veteran of the Union Army, caught in the confusion and fury of a nation still battling itself. A work-in-progress presentation will run one night only at the New Hazlett on Thursday, April 2nd at 8:00pm as part of their CSA (Community Supported Art) Series. The show is suitable for adults, and tickets can be purchased through the New Hazlett’s website and cost $20 (www.newhazletttheater.org).

JH: Mechanics of a Legend is written and directed by Hiawatha Project Artistic Director and co-founder, Anya Martin. “I first became interested in the legend of John Henry as a child – I remember singing the song in 4th grade – and thinking how sad it was that he died with a hammer in his hand – and yet we sang the song so triumphantly in class – belting out the “Lawd Lawds” above the piano in class.” Martin’s childhood fascination in the story of John Henry was rediscovered when she moved back to Pittsburgh in 2008, and heard a radio broadcast about the legend of John Henry. “Many versions of the legend tell that JH died at the Big Bend tunnel in WV just 90 miles away from Pittsburgh,” Martin recalls. “Ghost hunters say that you can still hear his hammer ring underneath the earth.” Through her original work exploring the story of John Henry, Martin seeks to measure the myth, the man, and the machine, revealing a poetic and dangerous truth inside the machinations of history, rooted in the economics of slavery.

Martin joined forces with a diverse group of Pittsburgh-based artists to create JH: Mechanics of a Legend, including a dynamic ensemble cast featuring Monteze Freeland, who plays the legendary man, John Henry. “I bring many people’s stories under the guise of John Henry because in many ways every man of color in this country is John Henry,” says Freeland, Founder and Artistic Director of The LAB Project, and JH: Mechanics of a Legend cast member. “Sometimes you just want to start from the beginning and build from the ground up. It makes me feel as though I have stake in what is being presented.”

The JH: Mechanics of a Legend ensemble also features Kyle Bostian, a theatre artist and educator who specializes in the development and staging of new works including work by Pulitzer finalist and Tony nominee Arthur Kopit and Oscar nominee Lucy Alibar, a dynamic vocalist and newcomer Delana Flowers from Lancaster, PA, and recent Point Park University graduate Tom Driscoll of Chicago, IL.

Carnegie Mellon scenic design MFA graduate Britton Mauke is the set designer, and Wendy Arons, an Associate Professor of Dramatic Literature at Carnegie Mellon University, serves as script advisor.

The New Hazlett Theater CSA presentation represents the culmination of an intense creative development process over the last year. JH: Mechanics of a Legend is not only supported by the New Hazlett Theater, but is also sponsored in part by Pennsylvania Council on the Arts as well as private donations through Hiawatha Project’s fiscal sponsors, the New Hazlett Theater and Fractured Atlas. Please contact Hiawatha Project about opportunities to cover and document this exciting and unique process—and mark your calendars for the performance on April 2nd, which will culminate in an artistic conversation after the show, inviting the audience to play the critical role of helping shape this compelling new work. For further information, please contact Hiawatha Project marketing at pr@hiawathaproject.org, or Anya Martin at anya.adel@gmail.com, 412-715-6968, www.hiawathaproject.org.

About JH: Mechanics of a Legend
The legend of John Henry, the only African American tall tale is based on the story of a real man. The truth imbedded in the dawn of a new nation and the American machine age. His legacy left to us in song by early American minstrels and echoed today by Harry Belafonte, Johnny Cash, and Bruce Springsteen; the mighty railroad man, John Henry, races a steam drill to his death and leaves his fabled hammer to Polly Ann, his mysterious lover. JH: Mechanics of a Legend melds the language of mechanics, century old ballads and primary historical records to explore the legend of John Henry.

JH: Mechanics of a Legend explanation from writer/director Anya Martin

“John Henry famously races a steam drill and wins – but then tragically dies – so how much does he win? The steam drills was the great technology of the time. So many modern interpretations of John Henry play upon the ideas of man vs. machine – and I wondered – what are we racing against now? What are the hammers in our hands that we are so happy to have – and yet may kill us – or at least we may die with?

At that time I envisioned the show to be about technology and modern life – schedules, iPhones and the pressure to produce in a capitalist system. However, while researching the show I came across Scott Reynolds Nelson’s groundbreaking best seller Steel Drivin’ Man: John Henry, The Untold Story of an American Legend and my work and the project took an about face. Nelson had ‘found’ the real John Henry. And the real John Henry was racing against machines more cruel and violent towards humanity than any steam drill…The play became about a man racing another kind of “machine” – the machinations of white power and privilege rooted in the economics of American slavery – a machine of oppression that was rebuilt during the Reconstruction era – and the silent gears of which still influence our economic and criminal justice system today.”

About Hiawatha Project

Hiawatha Project creates devised theatrical projects about specific social questions through the use of myth, movement and collective creation. Founded in 2010, Hiawatha Project’s inaugural work Camino, written and directed by Anya Martin, was a poetic exploration of current immigration policy and praised as “courageous” and “smart, sharp and witty” (Pittsburgh City Paper) with “scenes of imagination and poetic insight” (Pittsburgh Post Gazette).

About the New Hazlett’s CSA Series

The Hazlett Theater was transformed in 2004 into the New Hazlett Theater with the support of the local arts community. Today the nonprofit theater is a thriving and active community asset that presents a variety of performance art disciplines to the Pittsburgh community. The New Hazlett Theatre is located at Allegheny Square East, Pittsburgh, PA 15212.

The Community Supported Art (CSA) program is an exciting subscription series that supports local artists in the creation of new work and establishes new relationships with local patrons. Based on the Community Supported Agriculture model, New Hazlett’s CSA series allows patrons to support local artists by purchasing a ‘share’ and in turn receive access to fresh, new works of art.

March 9, 2015

The “Buzz” from Buzzelli: Pittsburgh’s Top To-Do’s THIS WEEKEND (3/13 – 3/15)

by Mike “Buzz” Buzzelli, ‘Burgh Vivant.

Here are the Top Five Things to do in Pittsburgh the weekend of March 12 to15.

Bad Girls

Want to come face to face with history’s most duplicitous women? You can at Professor Eldritch’s Asylum for Uncanny and Extraordinary Women. Uncumber Theatrics and Devious Maid Productions present a new all-female immersive experience at an undisclosed location. The show runs from March 13to April 4^th….somewhere. For more information, go to http://www.deviousmaid.org/prof-eldritchs-asylum.html

Grown Man Business

Aaron Kleiber was voted Pittsburgh Magazine’s Best Comic in 2012 and 2013. This weekend you can see him headlining at the Pittsburgh Improv March 12 thru March 15. Two other local funny men, Sean Collier and Matt Light will be showing up as well. Everyone will be laughing at the Pittsburgh Improv, 166 East Bridge Street, Homestead, PA 15120. For more information, go to http://pittsburgh.improv.com/event.cfm?id=360220

Monster Mash

Pittsburgh based actor David Crawford portrays H. P. Lovecraft in a one man show, “Lovecraft’s Monsters.” It’s a must for any horror aficionado. Cthulhu demands your presence, at The Maker Theater, 5950 Ellsworth Avenue, Pittsburgh, PA 15232. For more information, go to http://www.12peerstheater.org/2015-season

Marxist Remarks

Long dead socialist Karl Marx comes back to see our super-capitalist (expialidocious) society in “Marx in Soho,” a one man, one-act play by Howard Zinn performed by American actor-activist Brian Jones. Philosophies clash at the Frick Fine Arts Building, 650 Schenley Drive, Pittsburgh, PA 15260. For more information, go to http://isopittsburgh.blogspot.com/2015/01/heads-up-marx-in-soho-coming-march-21st.html

Artists and Models

An artist is creating a triptych of black womanhood tenement above the chaos of a Harlem race riot in “Wine in the Wilderness.” His muse will deconstruct his notions of black women in a discussion about race and women that ultimately changes his work. Head down to the Trust Arts Education Center, 805-807 Liberty Avenue, Pittsburgh, PA 15222. For more information, go to http://trustarts.culturaldistrict.org/event/8503/wine-in-the-wilderness

-MB.

March 9, 2015

The ABCs of Elemeno Pea at City Theater

Review by Mike “Buzz” Buzzelli, ‘Burgh Vivant.

A luxurious beach house becomes a battleground in Molly Smith Metzler’s “Elemeno Pea.” When Devon (Ariel Woodiwos) comes to visit her sister, Simone (Robin Abramson) at the aforementioned beach house on Martha’s Vineyard, the day after Labor Day, they chip away at the veneer, and we’re not talking about the original wainscoting.

Simone is enthusiastically grateful to her boss Michaela (Kimberly Parker Green) for lending her the home, but Devon is already suspicious of Michaela’s largess. When Simone dresses down a disgruntled handyman Hos-B (Tony Chiroldes), Devon sees that her sister has adopted the worst traits of her elitist employer. Simone then informs Devon that she is dating a 1 Percenter named Ethan (Anthony Comis). It’s almost more than Devon can bear. She watches her sister submerge herself into the lifestyles of the rich and affluent, unaware that she isn’t really one of them. Simone is secretly drowning at that glorious beach house and Devon doesn’t know how to save her.

Suddenly, Michaela’s life explodes and she runs to her assistant for help, ruining the sister’s weekend. Boy, does she ruin things! “Elemeno Pea” is a comedy of Schadenfreude, most of the humor comes from the laughing at the misfortune of the characters. There’s plenty of misfortune and, therefore, plenty of laughs. There’s also a cathartic moment when Hos-B sticks it to the “Man” or “Woman” in this case.

Michaela appears to be the biggest, richest villain this side of Cruella De Vil, but she has a soft, vulnerable center. Parker Green gives her the requisite nuanced performance the character deserves. It’s a blast watching her smack down Devon with backhanded compliments.

Though Devon quickly gets the upper hand. Woodiwiss is particularly adept at delivering sarcastic bon mots.

Abramson shines. The woman has charisma oozing from every pore. She’s even able to pull off a Shamrock green and Pepto pink ensemble. Costume Designer Robert C. T. Steele gets a good deal of jokes in with the wardrobe, particularly Ethan’s “Saved by the Bell: Bayside goes to the Beach” outfit.

This is mostly the women’s show. Comis and Chiroldes have minor roles, but they handle them with flair. Listen to Chiroldes carefully. Bilingual audience members are in for a special treat.

There is sort of Pop Culture Twitter-speak poetry to Metzler’s words, and Director Tracy Brigden does a superb job with them.

“Elemeno Pea” have a superior cast, but the real star of this show is the set. Scenic Designer Tony Ferrieri steals the show with the most beautiful beach house in Pittsburgh (probably the only beach house in Pittsburgh). An elegant pad with a wall of windows overlooking a turquoise sea and azure sky. After the show, many audience members remarked, “I want to live in that house.” It’s a true testament to Ferrieri’s talent.

This Cape Cod comedy is the perfect thing to break Pittsburgh free of the winter blues. You don’t even have to take a ferry to get there (just hop on the 48 Arlington/South Side).

(“Elemeno Pea” runs through March 22 at the City Theater, 1300 Bingham Street, Pittsburgh, PA 15203)

– MB.

March 2, 2015March 2, 2015

The “Buzz” from Buzzelli: Pittsburgh’s Top To-Do’s THIS WEEKEND (3/6 – 3/8)

by Mike “Buzz” Buzzelli, ‘Burgh Vivant.

Here are the Top Five Things to do in Pittsburgh, March 5 through 8.

Posing with Posehn

Friday, March 6 comedian Brian Posehn will come to the Rex Theater on the South Side. Posehn was a series regular on “The Sarah Silverman Program” and was one of the original tour members of the “Comedians of Comedy.” Local comedian, Gio Attisano, will open. Funny things are happening at the Rex Theater, 1602 E. Carson Street, Pittsburgh. For tickets, go to http://bit.ly/BrianPosehnPGH

Learning Curve

August Wilson’s final work, “How I Learned what I Learned” comes home. The show explores Wilson’s days as a struggling young writer in Pittsburgh’s Hill District and how the neighborhood and its people inspired his amazing cycle of plays about the African-American experience. Learn about Pittsburgh’s greatest playwright at Pittsburgh Public’s O’Reilly Theater, 621 Penn Avenue, Pittsburgh. For more information, go to http://trustarts.culturaldistrict.org/production/40795/how-i-learned-what-i-learned

Putting on the Ritz

Dr. Frankenstein aims to fulfill his grandfather’s legacy by bringing a corpse back to life in “Young Frankenstein!” With help and hindrance from servant Igor, buxom assistant Inga and needy fiancée Elizabeth, his experiment yields success and unexpected consequences. It’s a musical based on the hilarious Mel Brooks film of the same name. Put the candle back at the Byham Theater, 101 6^th Street, Pittsburgh. For more information, go to http://trustarts.culturaldistrict.org/production/42315/young-frankenstein

Quantum Leaping and Dancing

There are two ways to party on Saturday March 7 at the Quat’z Arts Q Ball. You can go for the $175 VIP ticket and sample delicious food from E2 and listen to the C Street Brass, OR you can fly economy class and get the $35 ($40 at the door) dance party tickets. Either way, it’s a going to be a guaranteed ball! Get your dance shoes and join us at the Energy Innovation Center, 1435 Bedford Avenue, Pittsburgh, PA 15219. For more information or tickets, go to https://quantumtheatre.secure.force.com/donate/?dfId=a0ni0000006l7TxAAI

Ladies who Lunch

March 6, marks the world premiere of “Lunch Lady Cabaret.” Friday night in the North Hinterland High School cafeteria, and lunch ladies Gladys, Agnes, Mavis, and Doris are letting their hairnets down for an evening of song, dance, and irreverent entertainment served up hot. The oven’s on until dawn, as Soapy the Janitor hosts an evening of hilarious musical satire sizzling with parodies of Broadway, Pop, and Rock & Roll favorites. The ladies will be serving laughs by the ladle at the McKeesport Little Theater, 1614 Coursin Street, McKeesport, PA. For more information, go to http://mckeesportlittletheater.com/

-MB.

March 2, 2015

No boos: A review of GHOSTS at Off The Wall Productions

by Mike “Buzz” Buzzelli, ‘Burgh Vivant.

The ghosts of Ibsen’s “Ghosts” are metaphorical not ectoplasmic. They are the memories that haunt us. Those thoughts and feelings that creep sideways into our lives. For Helen Alving (Virginia Wall Gruenert), the ghosts surround her.

The widow Alving has chosen to build an orphanage in the memory of her late husband. For the grand occasion, her son, Oswald (Shaun Cameron Hall) returns to the Rosenvolde estate in Western Norway.

The play starts in a dubious manner. In theater, one usually fears a maid brandishing a feather duster. It invariably means that there’s going to be a huge info-dump at the top of the play, but Ibsen was a masterful craftsman. He eschews the cliché and goes for an abrasive confrontation between a father and daughter. He still manages to get out a good deal of exposition while the maid, Regina (Sarah Silk), argues with her devious dad, Jacob (Weston Blakesly), as she continues to clean.

A local religious leader, Reverend Manders (Ken Bolden) arrives to dot i’s and cross t’s. When he meets his old friend Helen, all hell breaks loose (the hell is metaphoric as well). There’s a whole thing about venereal disease that would have been believable in Ibsen’s time, but, now, not so much. It doesn’t matter. Just as you don’t have to believe in the Greek gods and goddess to enjoy “Medea” or “Antigone,” you don’t have to believe the antiquated notions in this play. Suffice to say, secrets and lies are revealed.

There’s a plethora of secrets and lies in “Ghosts.” Like Norway itself, play goes into some dark, dreary places. Don’t be afraid of it. It has a few, light moments. It’s commentary on morality is witty, subversive and downright genius. At one point, Mrs. Alving lays it all out to the uppity Reverend Manders, and I wanted to jump up and yell, “Stick it to him, girl!”

Ibsen exposes a barrage of hypocrisies with a Gatling gun of truth. It’s interesting to watch Bolden’s Reverend Manders twist and turn things so the outcome always favors the patriarchy. No matter where Alving goes, Manders counters her with pious platitudes all designed to keep women down.

The Off the Wall Theater has always championed female empowerment. Choosing to perform a play by a 19^th Century Norwegian playwright would, on the surface, appear to stray from their mission, but it does not. This is Helen Alving’s story and Gruenert is firmly planted at the steering wheel (Gruenert adapted the work as well as stars in it). She adds the requisite gravitas to the meaty role of Helen Alving.

Director Simm Landres does a magnificent job of keeping things moving. The play runs 95 minutes with no intermission. Though the play is dialogue heavy, it moves briskly.

Silk does a marvelous job playing Regina, a woman determined to guide her own fate. Spoiler alert: the odds are stacked against her. Oswald straddles the line between man and boy, and Hall plays him deftly.

While the entire cast performs admirably, special mention must be made of Blakesly. He is riveting as Engstrand. The actor commands the stage as a corrupt and contemptible man who easily gives in to his baser natures. He’s a joy to watch. There is a moment when Silk’s Regina verbally lacerates him and you almost begin to feel sorry for the wretch, but he smiles wryly and you know he’s almost indestructible in his villainy.

Aside from a terrific and talented cast, Rich Preffer makes the most of the set. The scenic designer’s Victorian drawing room seems expansive in the intimate space. The gorgeously rendered wooden lattice set goes a long way to making the space feel bigger and broader than it is.

(“Ghosts” runs through March 14 at the Off the Wall, 25 W. Main Street, Carnegie, PA 15106. For more information, go to www.insideoffthewall.com )

-MB.

February 25, 2015

SEX WITH STRANGERS from SUNSET to NIGHT: City Theatre announces first three plays of 2015 – 2016 season

Pittsburgh, PA – City Theatre Artistic Director Tracy Brigden has announced the first three plays of the 2015-2016 season, scheduled to kick-off October 10, 2015. City’s 41^st season will feature six exciting new works as well as one special event. New and returning subscribers can receive over 25% off regular prices and the first opportunity to purchase. “Our loyal subscribers continue to be the lifeblood of our organization,” commented Brigden. “They allow us to program boldly and bravely and they truly embrace the exciting journey of a full season of new plays. The three plays we are announcing today represent the best work of these terrific contemporary storytellers who have a keen pulse on the world around us. They are immediate, important, smart and very entertaining.”

The three regular season plays, all Pittsburgh premieres, are The Night Alive by Conor McPherson, Sunset Baby by Dominique Morisseau, and Sex With Strangers by Laura Eason. The remaining shows for next season will be announced in April. New and renewal subscriptions are currently on sale through the City Theatre box office.

THE NIGHT ALIVE by Conor McPherson

Tommy has made a mess of things: he’s living low in Dublin, just getting by on odd jobs, and doing his best to avoid his wife and kids. But when he rescues a mysterious woman, an escape out of the squalor is possible—if only they can shake their checkered pasts. This award-winning play from the author of The Seafarer (City 2008-09) ripples with humor and heart and wrestles with the complicated task of being human.

SUNSET BABY by Dominique Morisseau
For Nina, it’s easy to be hard. She’s a smart and sexy hustler who has rejected everything her parents fought for in the black liberation movement. When her estranged father wants to reconcile—but then tries to run a hustle of his own—negotiating her past and present becomes a revolutionary act. From one of the most exciting young voices in the American theatre, this dynamic new play about fathers and daughters sears with wit and wisdom and the brutal politics of freedom.

SEX WITH STRANGERS by Laura Eason

When 40(ish) Olivia, a talented but unrecognized novelist, gets snowbound at a writers’ retreat with 20-something Ethan, superstar sexcapade blogger and king of the Twitterverse, the chemistry is hot and the sex electric. But if each desires what the other has, and online and offline personas meet, how strong is the connection? This sensuous and provocative comedy about fame, cyber identity, and big ambitions asks: what would you do, and who would you become, to get what you want?

ARTISTIC DIRECTOR TRACY BRIGDEN ON THE PLAYS:

“I am thrilled to bring these powerful new plays to Pittsburgh next year. All are captivating stories with gripping human moments—but also with lots of laughs as well. Choosing a season is one of the most important duties of an Artistic Director; it’s a responsibility I take seriously, but also with tremendous joy. I cannot wait to share them with our patrons.

“We had such success with Conor McPherson’s The Seafarer a few seasons ago, so I jumped at the opportunity to program The Night Alive and kick-off our 41^st season with it on our Main Stage. It’s a lyrical and riveting portrayal of a few down-and-out Dubliners. It has all that wonderful Irish sensibility—lots of laughs, startling events, and a dash of angst all bundled up in a gripping story with a lot of heart.

“We’ll be converting the Hamburg Studio into a gritty Brooklyn apartment with Sunset Baby—an edgy, sexy, absorbing drama from one of the most prolific and powerful emerging voices writing today. With Sunset Baby, she has created a character that is tough, smart, and on a mission to get her life in order, but the past just won’t let her escape. I’ve been tracking Dominique’s career for a while now and I cannot wait to produce her here at City. We’re in for a real treat—her plays pack a punch.

“And finally, we’re announcing Sex with Strangers. Despite its provocative title, the play is really a smart and funny take on human connection in the modern world. Laura Eason has given us a story about the art of writing with a unique and genuine voice in an era when it’s hard to be heard above all the noise of society and technology. Our audiences are really going to enjoy this sexy romp through the digital age.”

ALSO ANNOUNCING: A LIMITED ENGAGEMENT AND SPECIAL PRESENTATION:

SISTER’S EASTER CATECHISM: WILL MY BUNNY GO TO HEAVEN?
by Maripat Donovan, featuring Kimberly Richards

The next installment of this wildly popular series makes its Pittsburgh DEBUT and invites you to celebrate the Easter Season with Sister as she answers the time-worn questions of the season like “Why isn’t Easter the same day every year like Christmas?” and “Will My Bunny Go To Heaven?” Part pageant, and wHOLY hysterical, this latest of the sinfully funny Late Nite Catechism event unearths the origins of Easter… bunnies, eggs, bonnets, baskets, and, of course, those yummy Peeps. Classroom participation is a must, so don’t forget to wear your Easter bonnet and join Sister for this seasonal treat!

TICKET INFORMATION:

Season subscriptions are available beginning February 28, 2015. Customers who subscribe by March 22 have the chance to win a $500 Amazon gift card. All subscribers save 25% or more.

Three Ways to Purchase:

On-site: City Theatre Box Office, 1300 Bingham Street, Pittsburgh, PA 15203

By phone: 412.431.CITY (2489)

Mail-in order form: Available at CityTheatreCompany.org

Season Subscription Packages:

$162 (Tuesday 7:00pm; Wednesday 1:00pm or 7:00pm; Thursday 8:00pm)

$252 (Friday 8:00pm; Saturday 5:30pm)

$189 (Saturday 9:00pm; Sunday 2:00pm and 7:00pm)

Flex packages—choose your own schedule!:

$216 (six Basic Flex vouchers, good for Tuesday through Thursday performances)

$276 (six Premium Flex vouchers, good for any performance, any day)

Single tickets for season plays range from $36 to $56 and go on sale September 8, 2015.

City Event (Sister’s Easter Catechism: Will My Bunny Go to Heaven?) pre-sale for subscribers begins February 28, with $40 discounted tickets. Discounted group tickets will be available for sale starting April 1. Regular sales begin June 1, with $45 tickets.

City Theatre is now in its 40th anniversary season which has three productions remaining: Elemeno Pea by Molly Smith Metzler (now playing), Oblivion by Carly Mensch (March 21 – April 26), and Midsummer by David Greig & Gordon McIntyre (May 9 – 31). Its annual gala and silent auction is May 18 at the Heinz Club. Located on Pittsburgh’s historic South Side, City Theatre specializes in new plays, commissioning, and producing work by playwrights such as Daniel Beaty, Jessica Dickey, Christopher Durang, Michael Hollinger, Willy Holtzman, Tarell McCraney, and Madeleine George. Under the leadership of Artistic Director Tracy Brigden, Managing Director James McNeel, and a 40-member Board of Directors, City Theatre’s mission is to provide an artistic home for the development and production of contemporary plays of substance and ideas that engage and challenge a diverse audience. CityTheatreCompany.org

February 24, 2015

Point Park University mourns the death of long-time dance professor Ron Tassone

PITTSBURGH – It is with profound sadness that Point Park University and the Conservatory of Performing Arts announce the passing of dance legend Ron Tassone.

Tassone, 76, a full-time professor of dance, died Tuesday. He started at Point Park in September 1974.

Tassone began his career in summer stock and upon graduation made his Broadway debut in “Gypsy,” followed by seven other Broadway shows, including “Subways are for Sleeping,” “No Strings,” “Here’s Love,” “Fade-Out, Fade-In”,”Funny Girl,” “George M.” and “Billy.” He has also appeared on various television shows and in films.

“Ron was beloved by students and faculty. He brought tremendous joy to his students and the university, and our world is less rich with his absence,” University President Paul Hennigan said. “Ron loved his students and helped launch many a dancer’s career. He started the jazz program at Point Park and his legacy will live on through the work of his students. We extend our sincerest condolences to his family.”

Tassone established the jazz major within the Point Park dance program and assumed the role of director of dance for 10 years. He choreographed more than 25 jazz dance works at Point Park University’s Pittsburgh Playhouse. He also choreographed and/or directed many musicals at theatres such as Pittsburgh Civic Light Opera, Kenley Players, Phoenix Star Theatre, Music Fairs, Inc., and West Virginia Public Theatre. He was the co-choreographer of the American College Theatre Festival award-winning Grand Hotel, performed at the Kennedy Center in April 2002.

Tassone served as adjudicator for Dance Masters of Pennsylvania, Dance Masters of America, Lucas & Co. and Headliners regional and national competitions.

“He created the dancer and human being that I am today,” said Kiesha Lalama, associate professor of dance. “Everything I am is because of that man.

“The legacy he has established is legendary, to say the least. He gave his heart and soul to this dance program and to the Conservatory,” she said. “All he wanted to do was put smiles on people’s faces through dance. He has touched thousands of dancers’ lives and launched so many careers. He is one of those teachers you will always remember because he is one of those who helped shape your career and who you are as a person.”

Funeral details will be announced at a later date.