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

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

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

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

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

Ye-Eun Choi

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

Nicholas McGegan

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

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

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

By:  Stephanie Sue Curtice

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

Can't Get Enough of Chris Duarte, The Ultimate Guitarist, Review of Chris Duarte Concert May 18th 2014 Performance

Can't Get Enough of Chris Duarte, The Ultimate Guitarist
Review of Chris Duarte Concert May 18th 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Mike Van Stipdonk (my wonderful boyfriend)  |  May 18, 2014

Sunday evening at Moondog’s in Blawnox I reconnected, in a way, with an old friend. Chris Duarte and I aren’t really friends, but after over twenty years of seeing him play live (we’re talking at least 25 times), I’ve decided to make him an honorary one. He provides inspiration, companionship, motivation, and good times – many of the things I expect from such an individual.

First, though, a bit of history. Looking for our usual distraction from the grind of graduate work in chemistry at Texas A&M University, my usual group of friends and I headed to the Stafford Opera House in downtown Bryan, TX to see House in Orbit, our favorite band from Austin, Texas. Their infectious covers of classic and current songs (for that time), done in a style best described as bluegrass-ska, never failed to make us forget whatever was ailing us that day, week or month. Upon arrival that Friday night, we noticed a very different sound coming from the sound-check, and an unfamiliar name on the board outside the entrance. Chris Duarte. Who? Motivated, I’ll admit, by nothing more than a desire to avoid the other club options for the night, I said, “why don’t we check this out?” The cover charge was a reasonable five bucks, and there was something raw and exciting to me about the guitar sounds leaking out from inside the club. So we went in.

If you ask me, some of the best moments in life are those that happen when you chuck the plan and see where things end up. That night, I forgot all about House in Orbit and became a life-long fan of the amazing Chris Duarte. And while I like to think it happened completely by chance, it was probably more a result of my inability to read correctly the weekend’s concert schedule. House in Orbit played the previous night. But who cares?

Chris Duarte is a brilliant guitarist, songwriter, and singer originally from San Antonio; but I will always associate him with what was great about the Austin music scene in the early 1990s. Duarte plays in a Texas blues-rock style that reminds most people of another Texas legend, the late Stevie Ray Vaughan. Whether listening to Duarte’s guitar playing or the general style of his original songs, you certainly hear the influence of Vaughan. But you also hear so else, such as jazz influences and whispers of other guitar greats like Johnny Winter, John McLaughlin and Jimi Hendrix (more on that later). If you’re a fan of guitar, regardless of what style, devote three hours to Chris’ next show (we should all encourage a speedy return to Pittsburgh). You’ll walk away a convert. I swear it.

I last saw Chris play in 2009 in St. Charles, MO while with my two oldest kids. Again, quite by accident, he was playing a free show along Main Street. Martin, Josie and I sat on the street curb, just to the side of the stage, for the beginning of his first set. The kids weren’t sold at first, but they were patient, listening to my requests of “wait for it” and “you’ll see”. From the minute Chris started playing, though, the kids couldn’t take their eyes off of him. The evening ended with Chris signing his latest disc for them, and talking about how important the creativity of music is to life (He’s also a part-time philosopher!)

On Sunday night, Moondogs was a perfect venue for the reunion. Saying that was an intimate is an understatement, as nearly everyone who showed up had a close-up seat. We were treated to over three hours of music by a virtuoso. Backed by Dustin Sargent on bass (guitar), and John McNight on drums, Chris provided a clinic to those who needed to see some good guitar playing and foot-stomping entertainment for those there to hear blues-rock. And, perhaps, others may have, like my first time, experienced their own “why don’t we check this out?” moment?

The first set was devoted to songs that highlighted the great chemistry between Chris and his band and to his talents, both as a guitarist and vocalist. Later, in the second set, he included songs that provided greater opportunity for extended solos. Those are the ones that remind me most what made me a Duarte fan in the first place. On the drive to Moondogs, I excitedly played several songs to Stephanie (The new girl in the ‘burg) to make sure she’d understand what she was about to witness, in case Chris didn’t take care of that himself within the first few minutes of the show. One of the songs was “Like Eric”, off of Duarte’s 2003 album Romp. The song, a tribute to another fantastic guitar player (Eric Johnson), perfectly illustrates the level of Chris’ talent by revealing his amazing ability to channel the spirit and sound of great guitarists into his own performance. This is one of the most impressive things about the guy. He can announce to you, the listener, who his influences are by crafting songs that integrate, seamlessly, each of their unique sounds.

I remember saying to a friend who joined us that night, “He’s amazing. He does this one song that manages to blend Carlos Santana and John McLaughlin, with a bit of Duane Allman.” These masterpieces leave you saying, “Good grief…is there anything, or anyone, this guy can’t do?” In return for the impromptu PR work, my honorary friend rewarded me by beginning the first encore with just that song (“Azul Ezell,” off the Love Is Greater Than Me album). When I slapped my friend on the shoulder as the song ended, all he could do was shake his head. Most likely that was part amazement, and part recognition that he just witnessed a performance by someone that is truly the best at his trade.

After the show ended and the road crew was tearing down the equipment, Stephanie and I made our way to the merchandise table. We selected the Chris Duarte Group’s recent 2 CD live disc and made our way to the stage to talk to Chris. After he signed the disc, I told him that this was Stephanie’s first show, and the two of them engaged in an interesting discussion about skill and passion and other things that musicians can relate to. I then told him about my first show. I said “Bryan, Texas”, and he replied with “Wow…Old School. Way back!” He then reminded himself that the show was at the Stafford Opera House. We shook hands, and his parting words were, “We look pretty good for old guys”. I think we do.

By:  Mike Van Stipdonk

Analytical Chemistry Associate Professor
Duquesne University

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

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

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

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

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

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

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

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

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

By: Stephanie Curtice

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

Dandy Dreams - A Review of Paul’s Case, Feb. 22nd 2014 Performance

Dandy Dreams
A Review of Paul’s Case, Feb. 22nd 2014 Performance

From: Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By: Stephanie Curtice | Feb. 23, 2014

Some things have not changed since 1906. Times are tough, but America still is the land of opportunity. In school, society encourages kids to dream big and work hard to be successful. But young, starry eyed Paul went off the rails at the work hard part. When the young and dumb blaze their own trail and buck the system, there can be stark consequences to pay.

Last night Paul’s Case fittingly made its local debut at the Pittsburgh Opera. The 2013 American opera is half set in Pittsburgh, including the Carnegie Music Hall. Based on the like-titled 1905 story by Willa Cather, composer Gregory Spears and co-libretist Kathryn Walat bring together minimalistic and baroque musical elements to depict Paul’s self-centered life.

Paul's Case at the Pittsburgh Opera
(photo courtesy: David Bachman)

Paul is a polite, but smart-alecky high school student who wants to break free of the working class life of Pittsburgh and enjoy the glitz and glam of New York City’s easy street. The allure of the shiny stage lights and fame are fed by his part-time job as an usher at the Carnegie Music Hall. After getting expelled from school his father shows Paul some tough love by forcing him to work a “real” job.

After stealing a hefty sum from his new employer Paul a makes run of it in New York City. He uses his stolen funds to bankroll a lavish up-scale life with new dapper duds and residency at the Waldorff Astoria. With one poor decision after another, he spends a drunken night on the town, only to find himself waking to more than a hangover. He is found out and his actions begin to catch up with him. Revolver in hand and no further dreams than living the high life, young Paul goes into a tailspin.

The cautionary tale is chock-full of hopes and dreams, disappointment and failure, depicted with dissonant tonal clusters, large oscillating jumps, and repetitive melodic snip-its. The performance featured fine singing, a small chamber orchestra, and very minimalistic production. Of the small 7 person cast, Daniel Curran (Paul) and Alex DeSocio (Father) were my favorites with clear and beautiful singing that was easy to understand. The intimacy of the Pittsburgh Opera in the Strip District was the perfect setting for this opera. The engaging performance will leave you feeling truly connected to Paul and his father, and bewildered by the tragic ending.

Additional Performances:

Friday, Feb 25th  |  7 PM  |  Pittsburgh Opera
Friday, Feb 28th  |  8 PM  |  Pittsburgh Opera
Sunday, Mar 2nd  |  2 PM  |  Pittsburgh Opera

By: Stephanie Curtice

Good News and Cultural Reporter

PositivelyPittsburghLiveMagazine.com

RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com

(c) PositivelyPittsburghLiveMagazine.com 2014

Symphonic Test of Endurance - Review of the PSO's Casella, Prokofiev and Schumann Feb. 21st 2014 Performance

Symphonic Test of Endurance
Review of the Pittsburgh Symphony Orchestra's
Casella, Prokofiev and Schumann Feb. 21st 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  Feb. 22, 2014

Gianandrea Noseda
(photo courtesy:
Sussie Ahlburg 2012)

A flurry of musical energy filled Heinz Hall as guest conductor Gianandrea Noseda lead the Pittsburgh Symphony Orchestra in a vivacious set of works that some may find a little less well known. The intensity each of the works demanded was shown in the aerobic conducting, feverish bowing, hustling percussion, and dramatic playing by piano soloist Jean-Efflam Bavouzet.

The concert opened with two sets from Alfredo Casella’s 1932 opera La Donna Serpent. Both featured bombastic martial themes peppered with lush melodies that beautifully highlighted the woodwinds. The second set began with a tinge of Middle Eastern sounds in “King Altidor’s Dream,” and then with each piece layering more and more energy the work culminated with a return to the blustering fury of “War March.”

Jean-Efflam Bavouzet

(photo courtesy: Paul Mitchell)

The intensity of the concert continued with Sergei Prokofiev’s Concerto No. 5 in G Major, featuring Jean-Efflam Bavouzet. The work has numerous thematic passages that are woven together through five movements with the complexity of a patterned friendship bracelet. Each of the colored strands represented by the piano soloist, trumpet proclamations, and swelling strings, intricately patterned with jarring syncopations, tangled dissonances, and large leaps in the prickly keyboard part. And as erratic as the piece itself maybe, Bavouzet played with a flair and confidence that both balanced with the orchestra and brought the chaotic piece into a very appreciable focus.

A delightful and fun addition to the concert was a quick little encore by French pianist, Jean-Efflam Bavouzet, playing Debussy’s “La fille aux cheveux de lin.”

After a well deserved intermission break for Noseda and the orchestra, the concert ramped back up to finish with Robert Schumann’s Symphony No. 2 in C Major. The robust work had a stirring feel that culminated in a Beethoven “Ode to Joy” feel that was victoriously grand and full of inspiration.

The programming of this concert was intense and a test of endurance. After noticing a smile on the face of almost every cellist during the second movement of the Prokofiev, I spoke to principle cellist Anne Martindale Williams. She said that pieces were fun, and confirmed the demand of this concert both due to the nature of the music itself and because they are less frequently played pieces. The exciting evening of symphonic grandeur was celebrated with standing ovations both at intermission and the end of the concert.

Additional Performances:
Sunday, Feb 23rd  |  2:30 PM  |  Heinz Hall

By:  Stephanie Curtice
Good News and Cultural Reporter

PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Dance of Heritage Review of Dhirana Feb. 15th 2014 Indian Classical Dance Competition

Dance of Heritage
Review of Dhirana Feb. 15th 2014 Indian Classical Dance Competition
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  Feb. 16 2014

Stories of the Indian culture and Hindus religion were brought to life Saturday night with lively dancing, bright costumes, and ethnic music. Eight college teams from across the country gathered at Soldiers and Sailors Memorial Hall on the University of Pittsburgh campus for Dhirana 2014, an Indian classical dance competition. The very unique routines included grace like a ballet, transitioning floor work similar to a marching band, dramatic energy akin to Broadway musicals, and multi-level formations that were almost cheerleader-like. The dancing was amazing and unlike anything I have ever seen.

Natya from Rutgers University

Winning 1st place and the Most Traditional Dance Award, Natya from Rutgers University showcased the story of how the Hindu deity Genesha came to have the body of a man and head of an elephant. The way the team created a formation to portray the elephant flapping its ears and trunk was very creative. Second place Pulse from Georgia Tech brought big time intensity of fast moving floor work to the competition with the theme of “Ravana: The Tragic Hero.” Some of the other themes included “Pandora’s Box” by Boston University’s Dheem, “Navarasas (9 Emotions) After the Storm” by Johns Hopkins University’s Shakti, and “Ravanasura’s Fall to Rama” by Penn State’s Natya.

Indian classical dance is very different from Western styles. Compared to ballet, which emphasizes leg action, a still upper body, lightness, high jumps, and pointed toes, Indian dance utilizes very active upper body movement, expressive hand and facial gestures, bent legs, low jumps, flat feet and intricate stamping foot work. Both styles have one very important aspect in common though. They both require masterful control to execute the dances with fluidity and grace.

Moksha from University of Maryland
(3rd Place)

Indian Classical Dance has a rich heritage dating back to 2nd century B.C. and broadly encompasses two main aspects. Nritta, pure dance, is the expression of rhythmic movement primarily through the use of hands and feet mostly in specific poses. Nitrya is more of an interpretative dance which uses gestures and facial expressions to show the poetic or emotional meaning in combination with rhythmic gaits and postures. Specific Indian dance styles showcased in this competition included Bharatanatyam, Kuchipudi, Odissi, Kathak, Kathakali, Mohiniattam, and Manipuri. These styles utilize elaborate prescribed postures of the torso, hands, neck and even eyes. They also involve intensive footwork, acrobatic energy, and very stylized pantomime.

Nrityamala from
University of Pittsburgh

The competition also featured several exhibition acts. The show opened with world renowned Carnatic vocalist Arthi Kumar singing Prayer Song, accompanied by violin and percussion. The host dance team, Nrityamala, performed two classical dance routines including “Pushpanjali.” Two local teams also performed, showcasing more contemporary styles from Western India that are very high energy dances. PantheRass danced in the Garba and Raas styles, which utilized props and acrobatics. And Steel City Bhangra danced in the popular Punjabi folk dance style Bhangra.

The dancing was amazing and unlike anything I had ever seen before, but also impressive were the students who hosted the event. Not only did they plan, produce, and dance at the event, but the hosting Pitt University students also chose to donate the proceeds to Birmingham Free Clinic, the only local free healthcare provider. They also honored the memory of “Vasu” Srinivasa Prasad Gutti, who was not only a local, but worldwide champion of South Asian Performing Arts. Srinivasa Prasad International Fund for the Performing Arts (SPIFPA), the foundation created in tribute to his legacy, was the lead sponsor of Dhirana 2014.

I’d like to say a great big “Thank You!” to Mrs. Cardiology, Sunita Pandit and her husband Dr. Santosh Pandit for not only the invitation to attend this great event, but also sharing their cultural and religious insight throughout the show.

By: Stephanie Curtice

Good News and Cultural Reporter

PositivelyPittsburghLiveMagazine.com

RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com

(c) PositivelyPittsburghLiveMagazine.com 2014

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

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

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

Julia Erickson

(photo credit: Pittsburgh Ballet Theatre)

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

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

Julia Erickson, Robert Moore, and swans

(photo credit: Nick Coppula)

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

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

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

Yoshiaki Nakano

(photo credit:

Rosalie O'Connor Photography)

Things I did not know about Swan Lake the ballet:

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

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

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

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

Saturday, Feb 15th  |  2 PM  |  Benedum Hall

Saturday, Feb 15th  |  8 PM  |  Benedum Hall

Sunday, Feb 16th  |  2 PM  |  Benedum Hall

By: Stephanie Curtice

Good News and Cultural Reporter

PositivelyPittsburghLiveMagazine.com

RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com

(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - Ogre Love Conquers All A Review of Shrek the Musical, Feb. 6th 2014 Performance

Ogre Love Conquers All
A Review of Shrek the Musical, Feb. 6th 2014 Performance
From: Roving Pittsburgher and PositivePittsburghLiveMagazine.com
Written By: Stephanie Curtice | Feb. 07, 2014

We all grew up with those classic fairy tales of damsels in distress saved by a handsome prince, where love triumphs over the wicked, and everyone was perfect, pretty, and happy. Well Shrek the Musical, which opened February 6th at Pittsburgh’s Byham Theater, was a perfect toe-tapping love story just like that – well mostly.

Shrek the Musical
(photo courtesy: Pittsburgh Cultural Trust)

The dashing hero Shrek (Billy Mason) is not quite prince charming, because you know it ain’t easy being green. The shunned ogre was content to live in the quiet of his swamp. That was until it was invaded by misfit fairy tale characters, banished from the kingdom of Duloc by the droll Lord Farquaad (Tim Hartman). The pint-sized ruler offers a challenge for Shrek to regain his stinky swamp. All he needed to do was rescue Farquaad’s bride-to-be from a dragon protected tower.

With the help of his charmingly witty and relentless noble steed, Donkey, Shrek rescues the beautiful maiden Fiona (Emily Lynne Miller) narrowly escaping the pink dragon, a singing diva. At first unimpressed with the efforts of the outcast ogre, Fiona warms up to Shrek and a few commonalities break wind for an unexpected romance. But, Fiona bearing her own curse and is not who she seems. Now in love with Fiona, Shrek tries to break up her wedding to Farquaad. Meanwhile, the renegade fairy tale characters storm the castle in their own revolt against the mini monarch. Happy ever after comes for all as they fly their "Freak Flag" with pride and Fiona's true identity is revealed by power of true love’s kiss.

Shrek the Musical
(photo courtesy: Pittsburgh Cultural Trust)

Now even before the show I was wondering what differences there would be from the movie. Shrek the Musical was adapted from the popular 2001 animated film by DreamWorks and the children’s book by William Steig. It was directed by Colleen Petrucci, with a score by Jeanine Tesori and a book and lyrics by the Pulitzer Prize-winning playwright David Lindsay-Abaire. Like the movie it was laden with numerous pop culture jokes and fairy tale spoofs. But it additionally had spoof references to other musicals like Les Miserables, Gypsy, The Lion King, Wicked, and Chorus Line including one classic style tap dancing number, “I Think I Got You Beat.”

The show featured a Pittsburgh native too. Tim Hartman, who played the vertically challenged Lord Farquaad, hilariously hammed it up for the hometown, all while scooting around on his knees the whole show. Shrek the Musical was full of fun, upbeat music, comical spoofs, witty jokes, a great message of acceptance, and incredible costumes, like Pinocchio’s trademark growing nose. The singing was outstanding and the acting superb. I know its still cold out, but don’t just pop in the DVD. Go out, take the kids to see Shrek the Musical live, you won’t be sorry. The family friendly show is one you and your kids won’t want to miss!

Special shout out to my 7th grade neighbor Ishmael, who joined me at the show.  His favorites were Donkey for the laughs, great singing and accent by Shrek, and special effects like Pinocchio's growing nose.  He gave the show two thumbs up too!

Additional Performances:

Feb 7th and 8th  |   7:30 PM
Feb 9th  |   2:00 PM
Feb 14th and 15th  |   7:30 PM
Feb 16th  |   2:00 PM

By: Stephanie Curtice

Good News and Cultural Reporter

PositivelyPittsburghLiveMagazine.com

RovingPittsburgher.blogspot.com

TheNewGirlintheBurgh.blogspot.com

(c) PositivelyPittsburghLiveMagazine.com 2014

Hip Hop Dance Mashup is Smashup A Review Compagnie Kafig’s Feb. 1st 2014 Performance

Hip Hop Dance Mashup is Smashup
A Review Compagnie Kafig’s Feb. 1st 2014 Performance
From: Roving Pittsburgher and PositivePittsburghLiveMagazine.com
Written By: Stephanie Curtice | Feb. 02, 2014

(photo courtesy: Pittsburgh Cultural Trust)

What do you get when you mix MMA moves and dancing? Or more specifically a dance mashup of Capoeira, Brazilian martial arts, with contemporary and hip hop dancing? An exhilarating and physical dance show by Compagnie Kafig. Choreographed by Mourad Merzouki of France, the 11 member male dance troupe had the packed house of the Byham Theater in aw all night, Feb. 1st.

Compagnie Kafig
(photo courtesy: Pittsburgh Cultural Trust)

The first half of the show was called “Correira,” Portuguese for running. It was a fun exploration of movement about running here, there and every where. Alone, together. Fast and slow. In circles and in place. The show opened with three sets of feet running in the air and as the lights opened more join, others begin circling around fast. The chaos of groups coming and going grew into an amazing display of breaking, popping, locking, waacking, hip-hop, house, Capoeira, and acrobatics, all while running in some way.

The second half was called Agwa, and was a fun piece with tribal-like flare about the fluidity of water. It opened with two dancers navigating around 20 towers of clear plastic cups stacked 3 to 5 feet high, only one fell over. Then with the dashing of the other dancers across the stage they were all scattered. With the spot light on an amazing display of pop and lock dancing by one, the rest of the troupe crawled in the dark setting up the disheveled cups into 15 rows of 20 cups partially filled with water.

Compagnie Kafig
(photo courtesy: Pittsburgh Cultural Trust)

The lights came up and the piece picked up the pace with a dancer doing flips and back handsprings across the stage never hitting a single glass. As the whole group joined in, not a single drop was spilled as they danced, flipped, and crawled around the stage. The glasses were gathered and water combined as part of the dance. Then after the humorous taunting of one dancer, they all appear in clear raincoats almost as if they were the cups. Continuing we saw yet another use of the cups with each dancer reappearing with a stack of 50 - 100 cups, manipulating it like a snake. As the intensity came to a head, literally with a guy breakdance spinning on his head, the glasses all flew into the air and showered down.

With a roaring crowd the troupe, reappeared with an encore of dance solos among the scattered cups. Critics waffle between how to label the dancing of Compagnie Kafig’s as contemporary dance or just street hip-hop. Here’s what I know…. I know I couldn’t do any of the moves they did and practically worked up a sweat just watching them. This show was the most captivating, high-intensity, and fun dance performance I have ever seen. It was a smash!

Upcoming Cultural Shows presented by the Pittsburgh Cultural Trust:
Shen Yun Chinese Dancing | February 19th and 20th | Benedum Center
Soweto Gospel Choir | February 27th | Byham Theater
Celtic Nights | March 6 | Byham Theater

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

B 3 = Bach x Beethoven x Brahms A Review of the PSO’s Jan. 31st 2014 Concert

B ³ = Bach x Beethoven x Brahms

A Review of the PSO’s Jan. 31st 2014 Concert

Manfred Honeck
(photo courtesy: PSO)

Though the opening tune was one that is frequently associated with vampires emerging from their caskets or spooky Halloween scenes, it was no scary start to the Grand Classics concert Friday night at Heinz Hall. Led by conductor and music director Manfred Honeck, the Pittsburgh Symphony Orchestra played works of three great composers Bach, Beethoven, and Brahms.

The PSO opened with Bach’s “Toccata and Fugue in D minor” for organ, transcribed for orchestra by Leopold Stokowski. Complete with the bombastic but still eerie beginning, the wall of sound was impressive. But it was the intricacy of crazy quick fugal sequences, originally meant for nimble keyboard hands, that was a true test and showcase of precision.

Helene Grimaud
(photo courtesy: PSO)

Sandwiched between Bach and Brahms was Beethoven, the star of the show. Symphony No.4 in B-flat major, Opus 60 opened with swells of dramatic flare and then quickly contrasting, quiet suspenseful passages. The second movement featured a beautifully played clarinet solo by Michael Rusinek! The piece culminated in an exhilarating dance of flurry which is “classic” Beethoven and fun to hear played so well.

The final piece, Concerto No. 1 in D minor for Piano and Orchestra, Opus 15 by Brahms, featured Ms Helene Grimaud of France. Though it features robust orchestration paired with the piano soloist, Gimaud held her own well and was not washed out by the full sound. She also played the rich and expressive solo passages with great skill and brought out the passion filled melodies beautifully.

The Pittsburgh Symphony Orchestra hit the trifecta with this concert and received a fitting standing ovation from the audience.

Additional Concert Times:
Sunday, February 2nd, 2014 at 2:30 PM

By: Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.comTheNewGirlintheBurgh.blogspot.com

(c) PositivelyPittsburghLiveMagazine.com 2013

Freedom to Sing A Review of Ladysmith Black Mambazo's Jan. 29th 2014 Performance

Freedom to Sing
It was cold outside, but inside the Byham Theater hearts and souls were warmed by the tight harmonies, high-kicking energy, and inspiring message of Ladysmith Black Mambazo. The four time Grammy Award winning, singing group from South Africa shared not only their beautiful music and rich culture, but an uplifting message of love, peace, and harmony.

Ladysmith Black Mambazo was formed in the early 1960’s by Joseph Shabalala with the mission of preserving South Africa’s musical and cultural heritages. Maintaining that mission is also a family tradition. Five of the ten current singers are 2nd or 3rd generation family members. And their newest album Always With Us, is a tribute to Nellie Shabalala, Joseph’s late wife and matriarch of the family.

Ladysmith Black Mambazo
(photo credit: Erica Gannett)

They sang in a style called isicathamiya, with origins from Zulu men, who worked far from their homes in mines and factories before 1900. The men would come together in small groups singing in call-and-response about themes ranging from the brutal working conditions and homelessness to the things they missed about from their homeland and dreams for their future.

Now about the kicking… While some of Ladysmith Black Mambazo’s songs are about sad or challenging subjects, the end messages are of hope, perseverance and victory. And those are to be celebrated. In addition to the 4-part acappella singing of beautiful tenor melodies and robust bass harmonies, the isacathamiya style has a strong dance component. The dance moves enrich the story telling of the songs and can also feature dance solos. So, the exuberant high-kicking while singing was a sign of celebration of promise and joy. They also clearly had fun doing it. It was fun and entertaining for the audience too!

To celebrate the life of South African President Nelson Mandela, they sang “Long Walk to Freedom,” which carried the familiar biblical sentiment of “Well done my good and faithful servant.”

They closed their concert with the unifying South African folk song “Shosholoza.” Mandela said, “the song compares the apartheid struggle to the motion of an oncoming train" and that while imprisoned "the singing made the work lighter." Ladysmith Black Mambazo’s music was a moving testament to the power of music to unify people and sustain hope - hope for freedom for all.

By: Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2013

Hooray for Hollywood… Music! A Review of the PSO’s Jan. 23rd 2014 Pops Concert

Hooray for Hollywood… Music! 

(photo source: PSO)

If ever you were thinking of dabbling your senses into the world of symphonic music, this would be the concert to do it. But don’t just dabble or dip your toes. Jump in! Take the plunge with the Pittsburgh Symphony Orchestra into the chum filled, shark infested waters of Jaws. This movie music experience is a must-see blockbuster.

It’s not locked in a “Chamber of Secrets” (Harry Potter).  The fact that John Williams is a genius at composing dramatic, emotion-rich music for the big screen that whisks us away. His music has transported movie lovers from beautiful secluded islands overrun with dinosaurs, to the Black Hills of Wyoming and eerie close encounters; from galloping through the battle fields of World War I, to magical lands of wizards, sorcerers, and quiddich matches; and from lost treasure troves in the deserts of Egypt to the outer edges of deep space.

You know the music of John Williams. I’m positive you could even sing it. It’s iconic.  Surely you’ve interrupted a game of Marco Polo, with your hand above your head like a shark fin singing that suspenseful two note motive, Da Dum, Da Dum? Or wielded a light saber to “The Imperial March”?

PSO Resident Conductor
Lawrence Loh

So, unless you’ve been living under a rock, you will recognize every piece in this concert. But in case you do need your movie memory jogged, fear not, because Resident Conductor Lawrence Loh is not your run of the mill orchestra conductor - he has clearly put in his popcorn time. He along with the talented members of the PSO bring to life some of the most memorable cinematic moments of the last 30 years with music from War Horse, Harry Potter, Star Wars, and even gears us up for the upcoming Winter Games with that hopeful spirit evoked by the Olympic Fanfare and Theme.

The powerful and moving music of John Williams takes the movie experience to new heights and leaves viewers with lasting memories. Didn’t you ever camp overnight in your backyard, snacking on Reese’s Pieces and gazing at the stars, wondering if you too could someday have your own ET friend that would zoom back into space to ? I have to think that the boyishly cute, thirty something guy in a dapper grey suit a few rows in front of me did. After intermission he brought back a bag of those tasty candies, which were featured in the 1982 movie, to share with his expecting wife.

The music of these movies has left a lasting impression in our hearts and memories. Taking a moment to look around at the audience Thursday night was like watching a groom watch his bride, as she walks down the aisle. Heinz Hall was filled with beaming smiles, the biggest and cutest smile maybe being that of Conductor Loh. This Olympic gold medal worthy concert is one you don’t want to miss. My review is to not miss this family-friendly Pittsburgh Symphony Orchestra Pops concert! It is FUN!!!

Additional Concert Times:
Friday, January 24, 2014 at 8:00 PM
Saturday, January 25, 2014 at 8:00 PM
Sunday, January 26, 2014 at 2:30 PM

By: Stephanie Curtice
Good News Reporter & Contributing Journalist
PositivelyPittsburghLiveMagazine.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2013