On Stage: Water Dance

August 16, 2017

Dance icon Lucinda Childs is flanked by Blanket founders Matt Pardo and Caitlin Scranton. Photo: Ben Viatori

The Monongahela. It was an impossibly perfect night on a Saturday night in Pittsburgh along the Monongahela River where viewers could take in the debut of the city’s newest dance company, The Blanket. Read about it in the Pittsburgh Post-Gazette. Friday night may have been rained out, but a healthy group of party goers gathered at the Society for Contemporary Craft in the Strip District to celebrate the inimitable choreographer herself, Lucinda Childs.

The Blanket: Georgia Bray, Matt Pardo, Sara Spizzichini, Eric Lobenberg, Lucinda Childs, John DeNeff, Caitlin Scranton, Jil Stifel, Sierra Barnett, Lindsay Fisher, Bianca Melidor. Photo: Ben Viatori

The Lake. Pittsburgh Ballet Theatre returned to Chautauqua Institution in western New York State along the shores of the lake from which it got its name. From the time the bus pulled up to the brand new Amphitheater, the dancers were taken with the Victorian beauty of the gated community.

PBT alights from the bus at the back of the new Amphitheater.

Marisa Grywalski and Alejandro Diaz

Emily Simpson and Jake Unger.

The atmosphere was enthralling, all the way through the performance that night. Still, the dancers got a few minutes to take in the vintage scenery.

 

Jason Zubovic, aka Thea Trix, welcomed one and all to Pittsburgh Luxury Cruises’ Fantasy.

The Allegheny. Attack Theatre has this fun idea called We’re on a Boat. It’s a great way to warp up the season, taking in the beauty of Pittsburgh from the three rivers, rain or shine. It happened to be a great night (my third time and probably my favorite). Michele de la Reza, Peter Kope and fellow Attackers mixed and mingled with

 

 

 


Dance Beat: Helen, Marianna, YAGP

February 15, 2017
Enjoying the after-preview festivities are dancers Sarah Zielinski, Sonja Gable and Chelsea Neiss. At the table are choreographer Helen Simoneau and, standing behind, Attack co-founder Michele de la Reza.

Enjoying the after-preview festivities are dancers Sarah Zielinski, Sonja Gable and Chelsea Neiss. At the table are choreographer Helen Simoneau and, standing behind, Attack co-founder Michele de la Reza.

Attack-ing Helen. Attack Theatre was full of surprises for a preview of its new work by Quebec choreographer Helen Simoneau. Former board member Todd Owens was energetically bartending with some home-cooked concoctions — tequila-based — to match Moe’s deliciosa Mexican buffet. Attack members Dane Toney and Anthony Williams were taking a break, watching Helen’s all-female cast in the tantalizing snippets that they had prepared. There were the familiar, always-welcome Ashley Williams and Kaitlin Dann, plus newbie Sarah Zielinski. Also be prepared to get acquainted with project-based additions Sonja Gable and Chelsea Neiss when the piece makes its official premiere in May at the Kelly Strayhorn Theater. It was a nice stretch for the company, moving with a smooth weight and seamless connections as they explored new vocabulary and phrasing.

Photo: Kenn Duncan

Photo: Kenn Duncan

Marianna at the Museum. Wouldn’t we all like to be showcased in the Smithsonian along with Dorothy’s ruby slippers and Kermit the Frog? Well, Pittsburgh Ballet Theatre ballet mistress Marianna Tcherkassky is now part of an ongoing exhibition at the Museum of American History. Only three ballerinas are featured — well, their costumes — in American Ballet. French ballerina Violette Verdy inspired George Balanchine at New York City Ballet (a costume from one of her performances at the White House can be seen) and Misty Copeland is defining new standards at American Ballet Theatre (her costume from On the Town, where she spun into a limited-run leading role, is on display). Marianna’s contribution is a costume from the first act of Giselle, for which she is noted and which she performed many times with Mikhail Baryshnikov. Check it out.

Budding Ballerinas. Then there are those young talents that participated in the Youth America Grand Prix Semi-Finals at Upper St. Clair High School. Veridy Treu, 15, of Pittsburgh Ballet House captured the Senior Age Division and will move on to the finals in New York City. Also placing in the Top 12 were Alexia Norris,16, and Francesca Siudela, 17, of West Point Ballet and Alexandra Topalova, 16, Pittsburgh Ballet House, who placed second in the Contemporary Dance Category. Alan Obuzor of Pittsburgh Youth Ballet Company and Kwang-Suk Choi of Pittsburgh Ballet House were given Outstanding Teacher awards. For more results, click on YAGP.

 


Dance Beat: PBT/Chat, Dance Abroad

January 24, 2017
Pittsburgh Ballet Theatre's Yoshiaki Nakano and Hannah Carter perform Sinfonietta. Photo: Martha Rial©

Pittsburgh Ballet Theatre’s Yoshiaki Nakano and Hannah Carter perform Sinfonietta. Photo: Martha Rial©

PBT at the Lake. Pittsburgh Ballet Theatre has announced that it will return to perform at Chautauqua Institution on Saturday, Aug. 12 at 8:15 p.m. This time, however, they will be paired with the Chautauqua Symphony Orchestra and we all know that Pittsburghers love live music. Better yet, they will be performing in the freshly rebuilt Amphitheater, regarded by many as the heart of this quaint Victorian community, featuring new dressing rooms, up-to-date lighting, an orchestra pit and better sight lines for the audience. On the program will be selections from Coppelia and the Jiri Kylian signature work, Sinfonietta, which got a roaring ovation from the crowd in the 2015 season at Benedum Center. CI is offering tickets at $43 and a Saturday “Symphony” package at the Athenaeum Hotel overlooking the scenic lake. It will be part of a CI season that will also feature Ailey II (June 26 and 28), longtime resident company Charlotte Ballet (July 6, 11, 19 and Aug. 2)  and Irene Rodriguez Compaña, a Cuban group with a flamenco flair (Aug. 23). But there is much more to feed the body, mind and soul. Click on Chautauqua.

Attack Theatre's Michele de la Reza teaching a class in Taipei/

Attack Theatre’s Michele de la Reza teaching a class in Taipei

American Dance Abroad. Artists may have come across this organization, but those based in Pittsburgh should know that one of the two co-directors is Carolelinda Dickey, former executive director of the Pittsburgh Dance Council for 12 years. Right now ADA wants submissions for Pitchbook: Volume III to “pitch” your new work to global presenters. Click on Pitch for more information.


On Stage: Attack-ing the Holidays

December 3, 2016

att48_unbolted_17728-5-flat-rgb-sm-copy

Take in Attack Theatre’s spirit-driven (holiday, uplifting, etc.) Unbolted. Click on Attack.


Dance Beat: Patricia, Matt, Brazzies, Charrette, Attack

August 30, 2016
Patricia Wilde with Savion Glover

Patricia Wilde with Savion Glover

A Wilde Award. Former Pittsburgh artistic director Patricia Wilde added yet another award to her treasure chest. She was honored by the National Museum of Dance in Saratoga, New York, along with famed tap dancer Gregory Hines, whose award was accepted by tapper extraordinaire Savion Glover, who was mentored by Hines. She was surrounded by her family, including children Anya Davis and Yuri Bardyguine, plus a sizable contingent who worked with her at PBT, including Terrence Orr, Harris Ferris, Janet Campbell with David and Roberto Munoz.

Fresh Addition. He has popped up in performances with Attack Theatre ever since he and husband Rubén Garcia, head of the dance department at Point Park University, moved to Pittsburgh two or so years ago. Dance Europe Magazine selected him as one of the “Top 100 Dancers in World” for 2010/2011 and he is a former dancer with Lucinda Childs. But he gave Pittsburgh a sweet surprise this spring at the Kelly Strayhorn Theater, simply titled Matt Pardo: An Evening of New Works. It was actually the culmination of a Master’s of Fine Arts Degree at the University of Wisconsin-Milwaukee and showcased a subtle blend of jazz, which had a certain weight, and contemporary dance, which gave it a liquidity. That clarity and balance in Pardo’s choreography were easiest to see in Matt’s solo and another for Point Park dancer, the talented Justus Whitfield. There were two group dances for Point Park College dancers which further demonstrated a transparency in thought and execution to be found in Pardo’s style. Most exciting, though, was a trio he created with Childs dancers Caitlin Scranton and Sharon Milanese, beautifully interacting in various formations. It was a preview, though, because Pardo and  Scranton have designs on establishing a professional company in Pittsburgh.

BETH CORNING HEADSHOTThe Brazzies. The latest edition of the Brazzy Awards, named after former ballerina and inspirational teacher Leslie Anderson Braswell went to two veterans of the local dance scene. Congratulations to Beth Corning, who always offers deep, thoughtful performances for dancers over 50 (!), this time taking on avant-garde writer Samuel Beckett in Beckett and Beyond, and Christopher Budzynski, principal dancer with Pittsburgh Ballet Theatre, who has contributed so much to an array of leading roles, including Swan Lake,  Don Quixote and Le Corsaire.

Christopher Budzynski with wife Alexandra Kochis in "Cinderella."

Christopher Budzynski with wife Alexandra Kochis in “Cinderella.”

Fresh Choreography. This is the must-see project developed at PearlArts Studios. Take a choreographer, give him or her the opportunity to develop work and present it in a  atmosphere, complete with expert feedback (in this instance dance artists Mark Taylor — who seamlessly coordinates things — Michele de la Reza, Jasmine Hearn and visual artist Maritza Mosquera). Do yourself a favor and take in the soft glow of changing light at the Studios, complete with intelligent, nurturing conversation and support for the likes of Jean Paul Weaver, Ella Moriah Mason and Slowdanger duo Anna Thompson and Taylor Knight.

Real Attack. One of my favorite activities, rain or shine. No real dance, just connecting with real dancers (and friends) who proclaim “We’re On a Boat.” The Attackers had a real presence this year, with co-founders Michele de la Reza and Peter Kope, of course, the inimitable executive director Rebecca Himberger, Dane Toney, Ashley Williams, all at Lock Wall One Marina at 23rd Street in the Strip District

 

 


On Stage: A Piquant Winter’s Tale”

October 1, 2015

The-Winters-Tale1_1200-750x400

Quantum Theatre’s production of “The Winter’s Tale” was surprisingly sumptuous, deftly moving beyond the gritty city adventures usually conjured up by artistic director Karla Boos. That doesn’t mean, though, that it was any less of an artistic escapade. This time the setting was decidedly baroque, virtually every aspect dripping with the overly refined mannerisms and overtly grand style of the 17th century, so fitting as the local company commences its 25th anniversary.

Boos took her followers Downtown to the top of the Union Trust building built by Henry Clay Frick, yes, the one with the fanciful roof on Grant Street. It’s well worth the price of the ticket, to look up at the atrium, then take one of those beautiful brass elevators to the top and get a closer look. But there’s more — a lovely little theater that Frick surprisingly included in the plans. (Check the history while you’re at it.)

The cast itself was baroque as well, 25 in all, including four dancers from Attack Theatre and an expanded accompaniment from another terrific local group, Chatham Baroque, also celebrating its 25th anniversary, and led expertly by co-creator Andres Cladera.

All the creative accoutrements contributed to the ornate feeling overall: Susan Tsu’s magnificent costumes and wigs (loved Paulina’s mini dress), C. Todd Brown’s complex lighting scheme (so on point), Tony Ferrieri’s expert extension of the original stage in front to include four small stages and a ramp enclosing the orchestra, bringing the action directly into the audience.

You could see it virtually from the start when the chorus stuck their heads through slits in the curtains, whereupon projection designer Joe Seamans started the first of his stunning visuals, an ivy-like swirl around the various singing heads. So how to fill this late, often dark, Shakespearean extravaganza, ripe with jealousy between two childhood friends, banishment and sorrow, when there already was so much?

Boos wisely directed with a feather-light touch, utilizing the various stages areas with a clarity and understanding of the various themes and plots.  Claderas and members of Chatham Baroque borrowed only from the best of the Baroque — Vivaldi, Handel, Purcell.  The recitatives, which conveyed the Shakespearean dialogue, were constructed by not only the musicians, but by Boos herself.

And, while I’m not a Shakespearean expert, it appeared that some of the arias were chosen because they fit into this operatic puzzle (Handel’s Happy We!), while others were given a twist — Hot, too hot! (Fatto inferno è il mil petto) and a title that seems more a part of an Apollo mission, The Oracle Has Landed (O Haupt poll Blut und Wunden).

Those remarkably witty veins run throughout the evening and would often sneak up and tap you on the ear. They  sounded like newfound (and brilliant) vestiges of Baroque, and probably something to be savored by a second (or third) visit to the Union Trust building.

The real contemporary accent came from Attack Theatre’s dance direction, sometimes playing various characters, other times providing an emotional element. The four company members were clad in unisex flesh-colored unitards with hand painted designs and wonderfully enhanced, remarkably without interfering in, the action. Two more highlights revolved around the appearance of the Bear and the transformation of Hermione from statue to human again. Suffice it to say that they were artfully accomplished with the use of movable screens and precise projections.

And let’s not forget the vocal cast that carried the visual/audio burden, particularly countertenor Andrey Nemzer (Autolycus), whose trills and flourishes were no less than thrilling, David Newman’s (Leontes) woeful journey of redemption and Dan Kempson’s robust love interest, Florizel.

So much to see and so little time to take in all of it. A friend of mine, who read the play in preparation, missed a few scenes that she thought should be included. I briefly thought about the length (nearly three hours) twice during the evening.  But the rewards were so rich that I immediately turned my attention back to a memorable production that will definitely be one of the top theatrical events of the year.

 

 


On Stage: Karla Feverish About “The Winter’s Tale”

September 17, 2015

Brush up your Shakespeare…or not.

When Quantum Theatre tackles a piece of theater, it always becomes its own entity, ready to lead its audiences on an adventure. That might mean an unusual work or a unique location. Or both. In this instance, ready to launch its 25th season, artistic director Karla Boos is taking on William Shakespeare’s “A Winter’s Tale”…sort of.

Yes, it’s one of the Bard’s more unusual works, sometimes labeled a comedy, sometimes a romance, sometimes a problem.  In brief, King Leontes of Sicilia gradually becomes convinced that his pregnant wife, Hermione, has had an affair with his good friend, King Polixenese of Bohemia. When the baby is born, he throws his wife in jail and sends his daughter to be abandoned in a desolate rural area.

The daughter, Perdita, survives and is raised by a kindly Shepherd. After 16 years, though, she meets Prince Florizel, son of Polixenese. Don’t fret — everyone winds up in Leontes’ court for the proverbial happy ending.

But can it become an opera?

Sort of.

Boos calls it a “pastiche,” inspired by a Metropolitan Opera production last year called “The Enchanted Island.” Could she create an original translation with not-so-original music? She could, with a lot of help. As it turned out, she and maestro Andres Cladera, who have been in cahoots three times previously, had talked about doing a Baroque production.

So they set about making their own decorative excess. Shakespeare may be borderline Baroque, but “Winter’s Tale” is not. Nor are composers like Handel and Vivaldi.

Why not add Pittsburgh’s own Chatham Baroque, also celebrating its 25th as well? And why not add to the core trio of Andrew Fouts, Patricia Halverson and Scott Pauley? Enter Baroque specialists like flutist Stephen Schulz, oboist Geoffrey Burgess and baritone David Newman in the role of Leontes to head a cast of 16 more. A dancerly quartet from Attack Theatre is added to the brew as well.

But what location would add to the ambiance? Boos has had her eye on the Union Trust building on Grant Street for a while, notable for its Baroquish (really Flemish/Gothic) mansard roof with terra cotta trim at the top. The inside reveals even more, including a ten-story atrium with glass dome. The elevator skims to the top, where a circular staircase and skylights await, plus a jewel box of a theater where all the activities will take place.

Yes, activities, in the best over-the-top Baroque fashion as designers Joe Seamans, Susan Tsu, Tony Ferrieri and Todd Brown confine themselves to the theater, but add a few special twists here and there.

It’s taken a full year to select existing arias and write new recitatives (which will tell the story), vetting each detail before the whole group. Should the musical structure be ABA or just AB? When Hermione defends herself in the trial, what aria should we use? (Handel’s “Crude furie,” it seems.)

Despite all the Quantum-isms, Boos firmly asserts that “Shakespeare’s play has been preserved,” still leading her “to unpathed waters, undreamed shores.”

Through Oct. 3, see Listings.

 

 

 

 

Baroque


%d bloggers like this: