Whenever the Kelly Strayhorn Theater chooses to produce its newMoves Contemporary Dance Festival, it has a profound effect on Pittsburgh dance. This time was no exception. Tune in to newMoves via the Pittsburgh Post-Gazette.
There is always a different flavor to the opera when a choreographer is in charge, in this case Sean Curran at Pittsburgh Opera’s Daughter of the Regiment. Maybe it’s because his mind’s eye sees the outcome through a different artistic lens.
Curran is hardly a stranger to the dance community here (Pittsburgh Dance Council, Dance Alloy and Point Park University among them). But in this highly entertaining Regiment, he was wearing another hat (and apparently sporting a spiffy handlebar mustache), that of director.
He had choreographed the Santa Fe Opera version. But because of the nature of Gaetano Donizetti’s comic opera, bursting with physical potential, it was a logical choice for him to stage/direct here in Pittsburgh. So he set about using his three male dancer/soldiers and three female dancer/peasants/ballerinas in a clever fashion, strategically placing them to lead the choral ensemble through more complex than normal choreography (Michele de la Reza of Attack Theater was associate choreographer).
Daughter’s heroine, Marie, was found abandoned on a battlefield as a baby and was adopted by a regiment of soldiers. She grew up with unbridled spunk and nary a feminine grace or wile, but fell for the love-struck Tonio, who joins the regiment just to be near her.
Of course love has to find things to conquer and Marie is spirited away by her rich “aunt” to be “refined.” We all know that they will win out in the end, but how will the lovers get there?
A good amount of artifice was involved, given the candy-coated costumes and a snazzy coloring-book Alpine cyclorama with hidden entrances and exits. There were super-titles, even though the opera was spoken and sung in English.
Why not take things to the extreme? Donizetti provided plenty of vocal calisthenics for lyric coloratura Lisette Oropesa (it was a signature role for all-time great Joan Sutherland) and one of opera’s most exciting arias, Ah, mes amis, resplendent with high “C’s” for rising star Lawrence Brownlee and the pinnacle of this production.
But these two (and the rest of the cast) were obviously open, to their credit, for some tongue-in-cheek comedy and physical calisthenics from Curran, making this Daughter of the Regiment a visual as well as aural feast. It was hard to believe that the petite Oropesa, in particular, was as active as she was — the strapping tomboyish stride, being lifted onto a bench in the middle of an aria — while negotiating her vocal minefield.
She also was asked to don a tutu and floral headpiece, ala Edgar Degas’ famous ballet paintings, plus combat boots in a hilarious ballet lesson. That scene signaled a slapstick surge to the finish, with the entire cast throwing aside all operatic caution and whisking the audience through references to Pittsburgh, Paris of the Allegheny to a ribald conclusion.
Opera should be epic, whether musically, dramatically, theatrically or, in this instance, visually. And for a generation brought up on television, Broadway and the Internet, this Daughter of the Regiment signaled a way to not only attract new audiences but tickle the fancy of established operatic fans.
It’s grand to note the growth of area dance recitals year upon year. Both business-wise and artistically they contribute so much to the Pittsburgh area. If you have a chance, catch a couple of performances during the recital season. The enthusiasm is contagious! Click on Pittsburgh Post-Gazette for complete listings.
It was our second confrontation with Pittsburgh Dance Council snow. Not the kind you shovel, but the kind you watch in wonder. The first came during the autumn of 2008, when the Inbal Pinto, ironically from Israel, introduced us to Shaker, a piece inspired by a snow globe where dancers slid on Styrofoam beads. This past April brought Swedish choreographer Pontus Lidberg (perhaps more appropriate given his history with snow) and his own Snow, which used white socks and flooring to give that slippery impression. They were very different and so much more than snow, though.
More than any of her other Projects for the Pillow, Pearlann Porter convincingly is saying “Welcome to my world” with her latest, now on view at The Space Upstairs.
She has always changed the relationship of The Space, converting it to the subject at hand. But this “Time” you may get a healthier glimpse into the workings of her mind.
I arrived at 8 p.m. on a Wednesday, perfectly midway through the installation’s 16-day run.
Yes, installation. That is what the director, dancer and artist is calling it. I found her hard at work drawing parallel lines on a large piece of paper with a crayon.
The rest of the rectangular papers lined the black chalk wall. Pearlann had calculated how long it would take her to work through a full box of 64 crayons and still finish on April 30. (It looks like she’ll save white for last.)
Most of the installation lay along the fringes of her own great, Great Room atop Construction Junction..
There were some nifty large multiple image photos by Aaron Jackendoff in keeping with the dance concept. Some collectibles were placed in still life arrangements — a couple of dusty manual typewriters, keys askew, a slide projector (one of Pearlann’s favorite anti-technology gadgets.)
A large sign saying “Pittsburg.”
You could see some former productions on old T.V.s (like Beth Ratas strikingly striped in Fripp Out/The Book).
I particularly loved the juxtaposition of Eighty Hours — a large black canvas, partially covered with grains of white rice. It was next to One Second, with one grain of rice.
Pearlann wore down a pencil in One Hour and Forty-four Minutes (the same time Apple earns $14,246,575 and there are 64 gun deaths in the U.S.).
There are more facts, some fun, some not.
By now you get the idea — time in so many configurations. Everyone can add to the mix during some integrated activities.
But take time to peruse the installations of this artistic hoarder (and aren’t we glad?). Yes, she saved the pile of clocks, so artfully arranged among the trunks that they once occupied.
As I see it, Pearlann has also become the latest variation on modern art master master Jackson Pollock (think splatter paintings). Why? Because movement, mostly repetitive, is a major part of her art work, which dominates The Space.
But there is more. Can we say obsessive?
Not so much with Accumulation of Nows, performed by mover Taylor Knight and music-maker Anna Thompson. When I saw it, there were 8 Taylors, one live and the rest recorded. They all entered through a door and used a chair and the floor. Fascinating — as he were dancing with shadows of his former self — well-planned and mesmerizing.
Pearlann had one more interation, as performer in Un/Re. A duet where she held a large tree branch and Bekah Kuczma was wrapped in a diaphanous cocoa of tulle, the two performers created a sweet tension as they gradually switched places…in a way.
Although there was no need for it, the evening concluded with improvisation as suggested by the audience. “Half way done.” “Slack.” “Godzilla.”
And, as Pearlann put it, we’re “all out of time.”
In the final weekend of its 45th season, Pittsburgh Ballet Theatre had plenty to celebrate…and did it in style!
GALA. It began Thursday with the dress rehearsal of La Bayadere. Guests arrived for the 45th Anniversary Season Finale Gala at the Benedum Center, where the lobby was filled with high top tables and champagne was being served. They could then head for the mezzanine, where the company was rehearsing the final act of Bayadere, the Kingdom of the Shades. (Great to see the choreographic patterns from that angle!) Then it was back to the lobby for more champagne and appetizers from the Duquesne Club.
During that time the stage was set with dining tables for over 200 guests. Following the salad, PBT honored artistic founder Nicolas Petrov with a film presentation projected on the house curtain, which was lowered for a few minutes. Curtain up for the entree! Then board founder Loti Falk Gaffney received the same treatment, accepted by her granddaughter. (Mrs. Falk Gaffney, who resides in New York City, is now too frail to travel.)
After PBT honored its past, it set up a bright future for dessert (literally). The board has committed to a $20 million dollar campaign that will grow the endowment at 50 percent, grow the Strip District-Lawrenceville campus with a new annex building and grow artistic priorities with the establishment of an Innovation Fund. Board leadership came from campaign co-chairs Carolyn and Bill Byham (helped achieve 67 percent of the goal during the silent phase and the new building will be named for them) and campaign co-chairs Dawn and Chris Fleischner (provided early significant leadership gifts to the new annex building). Richard E. Rauh endowed the Principal Dancers’ Fund and PBT Trustee James Hardie and his wife Frances endowed a repertory fund. The Commonwealth of Pennsylvania contributed two Economic Growth Initiative Grants — a total of $2.25 million — since the plan’s inception in 2009.
As all of the above unfolds, it should enable PBT to keep up with a national trend, where the best of the ballet companies are receiving both financial and artistic support. It something that needed to be done. Both the Boston and Pennsylvania celebrated their 50th anniversaries with new construction and repertory. Here’s to Pittsburgh accomplishing the same.
BRUNCH. Costumier Janet Groom-Campbell (maker of those fabulous PBT tutus and so much more) and her husband David Campbell (CEO and president of West Penn Testing Group and antique car aficionado) hosted a tasty Saturday brunch at their home in Staunton Heights, with great vistas of the Allegheny River. Artistic directors Nicolas Petrov and Patricia Wilde were there enjoying the view, along with longtime supporters Melanie and Jim Crockard and former company members Susan Stone, Dr. Justin Glodowski, Roberto Munoz and Nola Nolen among others.
PERFORMANCE. Of course, the weekend was built around four performances of La Bayadere. Read about the first in the Pittsburgh Post-Gazette. Corps member Hannah Carter made her debut as Nikiya, a role well-suited to her beautiful legato flow, at the Sunday matinee. She was paired with soloist Luca Sbrizzi, a pinpoint technician with an unbridled confidence, as Solor. There was nary a principal to be seen, except for a chameleon-like Amanda Cochran as a Temple Dancer (with an equally unrecognizable corps member Joseph Parr). Soloist Alexandra Silva (The Rajah) had an unparalleled authority, corps members Caitlin Peabody (Gamzatti) a conniving energy and Masahiro Haneji (The Golden Idol) a crisp vertical jump. And you would have to mention another corps member, Ruslan Mukhambetkaliyev, performing all performances as the unmistakably sinuous fakir, Magedaveya, Could there be promotions in the future?
THE AFTERPARTY. Following a weekend of exotic classical ballet, PBT dancers, alumnae and staff gathered at the company studios to mingle — former principals Kwang-Suk Choi and Steven Annegarn (now ballet master), former soloists Point Park staff member Susan Stowe and financial analyst Holly Baroway and corps members Charon Battles (Program Director for Dance, Local Arts and the Preserving Diverse Cultures Division of the Pennsylvania Council on the Arts!!) and Karen Strassom Gross added to the pool — and to celebrate the end of the 45th season with an enthusiasm that will carry into the future.
Years. When The Dirty Ball first began, we didn’t know what to expect as we headed to one city apartment where the Attackers danced in the bathroom and a raw shell of another where we told our dirty secrets and drank dirty martinis. After a decade we know what to expect and Attack Theatre delivers. This time it was on the South Side in a warehouse of epic proportions. The Donor Party, where Queen of the Ball, Michele de la Reza, entered on a “throne” (two ladders, of course, transformed) and, with her “entourage,” presented an intimate thank you from the company. Everyone who had attended all ten took a group picture, whereupon the “curtains” were drawn to reveal what was probably the most breathtaking of all the locations over the years. The epic theme was carried out in Richard Parsakian’s must-see VIP Velvet Lounge, home of his collection of Elvis dolls (in original packaging) and the largest space he has expertly designed. Now for the trio of dances: it all began with a sherbet orange number that showed off the company’s seamless partnering style, with Ashley Williams looking utterly sun-kissed. That was followed by the Epic Production that traveled back and forward in time, which meant that King Peter Kope gathered just about anything — the Robot, Cleopatra, “Risky Business” (an over-the-top and very-welcome-return from Jeff Davis all evening long) and “Cher” (was that really Dane Toney?). And of course, there was the trademark finale from Dirty Dancing. Apparently everyone had the time of their lives…again.
Tripping. We’ve been to Australia, Quebec, Netherlands and around the world three times (International Festival of Firsts) when the Pittsburgh Cultural Trust is in a festival mode — often thrilling, always probing. Now the Trust is taking the city to India. Two key dance performances will play a part. Nrityagram Dance Ensemble, last here in 2003, and Askash Odedra Company, making its premiere will also be a part of the Pittsburgh Dance Council season. Also on tap we’ll see a street party with DJ Rekha at the September Gallery Crawl, music of the highest order (Zakir Hussein with SF Jazz & Dave Holland), theater (Why Not Theatre, Tram Theatre and Indian Ink Theatre Company), exhibits (Hetain Patel, Nandini Valli Muthish, Plus One, Birth Series and Sarika Goulatia) and Mystic India, fusing dance, theater and spectacular special effects. Love the logo! (Click on India for more information.)
Time of My Life? The finale song for Dirty Dancing popped up everywhere this past week. Tuesday: The touring production of “Dirty Dancing.” Wednesday: “Dirty Dancing” leads teach Kristine Sorensen and Jon Burnett a few moves on KDKA’s Pittsburgh Today Live. Friday: Finale for Pitt Dance Ensemble. Saturday: Finale for the Dirty Ball. Everyday (it seemed): The commercial for UnitedHealthcare where the signature flying leap comes crashing onto a table.