Welcome to the second edition of Seven with Sue, a Q&A series with local creators and artists. Each edition will ask seven questions (plus demographics) exploring the creator’s experience and views on all things arts and culture in Pittsburgh. The questions are crafted by our in-house Q&A contributor, Sue Kerr.
Up next is Jill Sobule, American singer-songwriter who has multiple projects tied to Pittsburgh, including her one woman show F*ck 7th Grade and regular appearances on local stages. Her next appearance is at Club Cafe on Wednesday August 14 at 8 PM. Tickets can be found HERE.
Name: Jill Sobule
How do you describe your identity?
Oh boy, I’d say bisexual with left-leaning lesbian tendency. Something like that.
Describe an under-appreciated or underutilized cultural resource in the Pittsburgh region.
Most of my friends who have never been to Pittsburgh still thing of the smoggy, smokestacks Flash Dance Pittsburgh of the 70s and 80s. I try to tell them how actually beautiful the city is. Plus, there is culture and theater.
With whom in the Pittsburgh region would you like to collaborate?
I still have a world of Pittsburgh to explore. I hope to find my desired future Pittsburgh collaborator.
You’ve workshopped with City Theatre on your one woman show ‘F*ck 7th Grade’ – what is next for that particular work?
Well, we are still tinkering, have a Winter workshop in Atlanta, and bring the real thing to Pittsburgh in May.
How do the arts contribute to a livable city?
Oh well, it brings in freaks , geeks, artists, and generally more interesting people.
You recently participated in an event in the Twin Cities called ‘Do Re #MeToo: A Night of Sexist Songs Sung by Righteous Feminists and you’ – what did you perform and how did you reclaim the song? Will we see that concept on tour or perhaps streaming somewhere?
I did a Neil Young Song. He’s one of my favorites. I never thought the lyrics, as a child, were egregious, but now? “A Man Needs a Maid”?
Your album Nostalgia Kills could be a soundtrack for Pittsburgh’s obsession for where (and how) things used to be. Where does Pittsburgh fall in the spectrum of nostalgia occupation compared to other places where you spend a lot of time?
Well in NYC we wax poetically about the old dirty dangerous Times Square. We romanticize the pimps, the prostitutes, the drugs, the porno theaters, etc. It could be (was) kind of horrible, but we somehow think of it more fondly than the present Disney-ish version. Maybe folks in Pittsburgh also find the idea of “old” Pittsburgh of smog and smokestacks more…romantic.
Please list two or three local artists to whom we should be paying attention and tell us why?
You need to tell me please.
Where can readers find you and/or your organization on social media?
The witch is back! Super-star mezzo-soprano Marianne Cornetti is back on ‘Burgh Vivant tonight to talk about her role as The Witch in Pittsburgh Opera’s production of HANSEL AND GRETEL. But which witch is which? Which Humperdink is which? And how have you never heard Marianne sing in English?? Find out here tonight! Pittsburgh Opera’s HANSEL AND GRETEL performs November 3, 6, 9, and 11, 2018. For tickets and more information, visit www.pittsburghopera.org Continue reading “MARIANNE CORNETTI – Mezzo-soprano, Pittsburgh Opera”
MARIANNE CORNETTI - Mezzo-soprano, Pittsburgh Opera
Take a look inside what Chatham Baroque has in store for its 2018/2019 Season with Andrew Fouts, violinist and Artistic Director. The season kicks off with Vivaldi’s FOUR SEASONS on September 21st, 2018, and reaches its finale in 2019 with Battles and Ballets – with a Spanish Christmas and Cupid’s Harp in between! PULS – an all-star roster of special guests! For tickets and full season information, visit www.chathambaroque.org
ALSO: All About Baroque: An Interview with Andrew Fouts, Violinist. WATCH/LISTEN
From mellifluous melodies to sheep guts, learn about all things baroque with violinist Andrew Fouts, violinist and one of the Artistic Directors of Chatham Baroque – now merged with Renaissance & Baroque to pursue the shared mission of connecting diverse audiences to the passion and depth of the music of the Middle Ages, Renaissance, Baroque, and Early Classical periods through vivid and compelling performances and educational experiences. For more information on CB, R&B, and their upcoming season, visit www.chathambaroque.org
ALSO: Chatham Baroque 2018-2019 Season Preview. WATCH/LISTEN
Pittsburgh Playwrights Theater Company, in cooperation with the August Wilson Center-African American Cultural Center, will produce August Wilson’s Ma Rainey’s Black Bottom for the first annual Highmark Blues and Heritage Festival.
The play focuses on businesswoman and entertainer Gertrude “Ma” Rainey, known as “The Mother of the Blues,” and one of the most popular blues singer/songwriters of the 1920s. It is the first of Wilson’s ten-play American Century Cycle, now considered a staple of American theater.
“The Blues is an integral part of August Wilson’s legacy, a legacy we proudly continue through our programming at the August Wilson Center- African American Cultural Center,” said Janis Burley Wilson, August Wilson Center CEO and president. “With a new event like the Highmark Blues and Heritage Festival, it was only right that we take the opportunity to showcase how big of a role the Blues played in Wilson’s life, and what better way to tell that story than through Ma Rainey’s Black Bottom with the Pittsburgh Playwrights Theatre Company.”
The production, directed by Mark Clayton Southers, will feature Vanessa German as Ma Rainey. “We’re looking forward to collaborating with the August Wilson Center to stage and bring Mr. Wilson’s words to life,” said Southers. Proceeds from the Saturday September 15, 2pm matinee will benefit Vanessa German’s “Art House” in Homewood.
Ma Rainey’s Black Bottom will be presented September 14 through October 1, 2018 at Pittsburgh Playwrights Theater Company, 937 Liberty Avenue in Pittsburgh’s downtown Cultural District. Performances are 8 pm. on Thursday and Friday; 2pm & 8pm on Saturday and 3pm Sunday. Tickets are $35, $20 at the door for students with I.D.; with no ticketing fees or surcharges. Tickets are available for purchase at www.pghplaywrights.org.
Support for Ma Rainey is provided by The Pittsburgh Foundation, The Heinz Endowments Small Arts Initiative, Regional Asset District, Greater Pittsburgh Arts Council, Richard King Mellon Foundation, August Wilson Center-African American Cultural Center, The Opportunity Fund, and Advancing Black Arts in Pittsburgh Fund.
The Pittsburgh New Music Ensemble has been a mainstay of the Pittsburgh music scene for many years. Now ready to begin its 43rd year on July 6 with a 4-week series, the Ensemble will perform at the City Theatre on Pittsburgh’s South Side.
The first two weeks alone will feature five world premiere commissions, a not unusual occurrence considering the Ensemble’s legacy of performing more than 300 world premieres. Interestingly, the season spotlights topics as varied as “the tragedy of infertility to the need for remembrance, from the five stages of grief to a genre bending tribute to Bernstein, Gillespie, and Monk, and all the way to the goofy but poignant remarks of children around the dinner table.”
The series of concerts will include not only music but also visual art, poetry, shadow puppetry, and animation – and Week 4 will reprise “The Gray Cat and the Flounder,” which enjoyed two performances during PNME’s 40th season to a packed house in 2015 and a closing night SELL OUT performance – the first in the Ensemble’s history.
Below artistic director, Kevin Noe discusses the upcoming performances with Burgh Vivant’s Dave Zuchowski. A detailed account of the upcoming season can be found on Dave’s blog www.pittsburghowlscribe.blogspot.com
DZ: Does the Ensemble have a regular corps of musicians that are augmented by soloists when needed? If so how many are regulars and how to you go about selecting them and the appropriate accompanists for each work? Are they mostly local talent or do they come from much further away?
KN: The PNME Theatre of Music is made up of a core ensemble flute, clarinet, percussion, piano, violin, cello, soprano, bass-baritone, lighting designer, and sound designer. This is what we consider to be the “lime green dream team”. There are three members of the ensemble that have been with me for 17 of my 18 years, and most have been together for 10+ years. Every once in a while, we have a team member move on, but it takes us years to replace them! The type of intense work that we do in working with brand new compositions incorporating staging, lighting, theatrical elements etc… the important thing is trust! We all trust each other implicitly and it’s the only way we are able to create the art we do in the timespan that we have. When we commission works, composers know of our instrumentation, but sometimes can’t help themselves but to write also for a double bass or a trumpet for example. We have only a few (if any) guests per year that perform with us. It all depends on the season.
The only one of the team who live here in Pittsburgh is Andy Ostrowski, our lighting designer. Everyone else is spread throughout the country and the world. Our pianist was born in Sweden but lives in Vienna, our violinist was born in London but lives in Paris. The rest of the team is spread all around the country throughout the rest of the year and we all convene just once a year in Pittsburgh and bring the best of all worlds together for our audience.
DZ: The program for Week 1 lists three world premieres by American Composers Forum national competition winners chosen from 474 applicants. Each one has a specific theme with a broad range of inspirational fodder. The selected compositions vary in thematic content from dinnertime conversations between the composer and his 2 and 4 year old sons to a touching tribute to the 100th birthdays of Thelonius Monk, Dizzy Gillespie and Leonard Bernstein (three artists who have influenced jazz bassist and composer to Rufus Reid’s work) and Elizabeth Kübler-Ross’s classic model of the Five Stages of Grief – Denial, Anger, Bargaining, Depression and Acceptance – woven into words and music by composer, Jung Yoon Wie. How did these three particular pieces end up on your program and will the aural experience be as wide ranging and sundry as their thematic referents?
KN: These three compositions are commissions – and incredible ones at that! The competition was set up so that we chose three composers to write us a piece for PNME. Last summer they came to Pittsburgh with us during July and saw the vibe, met the musicians, experienced the type of art that is possible in our Theatre of Music and then left to composer during this last year having a real understanding of the possibilities for their composition to be premiered this weekend! Thematically the three compositions may seem very disjunct on paper but wait until you see how we pull all the threads together this weekend. It is really going to be a strong concert – one of our strongest all-commission concerts ever in our history. Throughout the organizations 43 years we have commissioned over 300 new works, not all of them successful, but this weekend we lucked out. These three composers created stunning pieces and we’re so honored to be working with them this week. Shout out to the incredible American Composers Forum for making this concert possible.
DZ: Several of this month’s series of concerts involve a collaboration between the Ensemble and visual artists, puppeteers, poets even a cartoonist. Has the Ensemble had an extensive history of working with artists outside of the musical arena? How are they and their work woven into the upcoming performances and how do they affect the overall audience experience?
KN: Yes! We call ourselves the PNME Theatre of Music because truly anything goes! We pride ourselves on using music for the vehicle for larger ideas, but if the story is best told through dance or slam poetry as well, we will make it happen. Our audience is incredible. They all show up not knowing what to expect, but having real trust that the experience, no matter what is it, or how it is realized, will be worth being there for.
DZ: I see that you’ve been credited with developing a presentation style for the Ensemble now known as “Theatre of Music.” Could you explain what is meant by this term?
KN: When I came to PNME in 2000, there was a lot of great commissioning happening, but it was all concert style, and to me, lacked guided listening. The audience in 2000 was the typical new music audience – composers, musicians, etc, and was not accessible to a broader group of listeners. Once I started truly focusing on the audience, a lot of things started to take shape for me. We started to incorporate lighting and sound design as fundamental tools for expression. We also put storytelling, no matter the media, at the forefront. Our audience is mainly made up of NONmusicians now, and I couldn’t be prouder that they trust us to bring meaningful experiences to them year after year even if they have no base for understanding how.
DZ: Any advice for newcomers who may not be familiar with New Music? How should they approach the concerts, what should they expect and what do you hope they will take with them when they leave the theater?
KN: A Theatre of Music concert isn’t a typical New Music concert. Yes, commissioning new work is a big part of our mission, but audience members come having no expectations because they have learned over the years that one weekend’s concerts at PNME are completely different than the next and the following. One may lend to Music Theatre, the next hard core New Music, the next jazzy with poets or dancers etc. You never know what you’re going to get at PNME. As for walking into any New Music concert, even if it’s not something that is necessarily your favorite composition… it is still great to always keep in mind that the page was blank, and the composer sat down and decided what you are hearing is what they wanted to express. The page was BLANK! I am so grateful to have worked with so many truly extraordinary composers and it has given my life so much meaning.
DZ: What drew you to New Music and, as someone who is also immersed in theater, opera, writing, stage directing and playing the trumpet, how much time do you devote to it? How do you balance all these different areas of interest in your life?
KN: I’m not sure I’m necessarily drawn to new music – per se. I am drawn to deep artistic experiences shared with an audience. The artistic media itself isn’t actually that important to me, but the connection to the audience means everything. Working in New Music means working on creating new work – of our time – for our generation – born of today. It also means getting to work with some of the most talented musicians I’ll ever have the honor of working with as many of the finest musicians in the world today focus on new music and early music.
I devote as much time to it as I possibly can, but certainly it is never enough. Since my life and career have always been divided into two parts as a dedicated teacher who believes passionately in working with younger people, and as a professional performer/creator who is focused on creating new experiences for audiences, I’ve continually juggled those two identities. Perhaps at some stage I’ll wind up focused on just one, but I will always have a heart in both camps.
DZ: As an avid advocate of the arts, what do you see as the value of art for either a creator or consumer and for individuals as well as society at large?
KN: When art is impactful it positions us to better understand our world and our unique place within it. Art gives form, identity, and perspective. It gives us time and place. This broadened and color filled awareness gives art its power. Even during the most divisive period we’ve been in during my lifetime, we are all more similar than we are different. Art of all mediums has a way of bridging the gap between us and reminding us what being human is all about. This is why I go. I need that. And on the nights that it really hits – there’s nothing better. I leave knowing my world is always bigger than I could have ever imagined.
For tickets and more information on Pittsburgh New Music Ensemble’s 2018 Season, visit www.pnme.org.
TONIGHT: the dynamic and hilarious Becki Toth talks about her upcoming role in Front Porch Theatricals’ A NEW BRAIN, accordion lessons, and growing up farm-style. See A NEW BRAIN May 18 through 27 at the New Hazlett theater. For tickets and more information, visit www.frontporchpgh.com Continue reading “BECKI TOTH – Actor, Vocalist, Educator”
TONIGHT: Soprano, Shannon Jennings on her role as Giannetta in Pittsburgh Opera’s production of Gaetano Donizetti’s ELIXIR OF LOVE. Just what is this intriguing elixir? What’s in it? And what would you put in yours? This and more tonight on ‘Burgh Vivant! See Pittsburgh Opera’s ELIXIR OF LOVE, April 21, 24, 27 and 29, 2018 at Benedum Center. For tickets and more information, visit www.pittsburghopera.org Continue reading “SHANNON JENNINGS – Soprano, Pittsburgh Opera”