Over the course of the sometimes jarringly eclectic 85-minute program, Fisher guides the New Hazlett audience through personal stories of rejection, partnership and divorce, and contentment.
“I hadn’t seen a story where mental health in the black community was tackled, one, at all; two, with comedy; and three, as a musical comedy”: For the New Hazlett’s CSA Program, Monteze Freeland puts the finishing touches on his play Kalopsia.
We visit painter Jamie Earnest’s studio to talk collage, painting politics, and solving problems.
“Architecture,” PGH Photo Fair exhibiting artist Daniel Shea points out, “is situated between human and geological time scales—which is a strange shelf life for a thing in the world.”
R.I.P. Dan Rooney and Henry Hillman.
“We met many of you when you were barely legal to drink, and now you’re asking us for high chairs.” In video form, we reflect on Dish Osteria and Bar’s 17-year run.
Thin Man Sandwich Shop’s Sherri and Dan Leiphart discuss the restaurant business pre- and post-election.
Pittsburgh violist Ji Young Nam performs a second set of three movements from Bach’s Cello Suites, transcribed for the viola, evoking both stormy and quiet states of mind.
Johanna Lasner interviews Spaces Corners founder Melissa Catanese about the upcoming PGH Photo Fair.
Lindsay Fisher, a professional dancer and educator, is preparing her New Hazlett performance Over Exposed, a program that peels back the curtain on the vulnerable in all of us.
“For the first time in my life, I suddenly found myself in a duet”: Videographer Mike Cooper shares the story behind the unexpected creation of his own artistic form.
Pittsburgh-area food producers were getting fed up with diminishing opportunities and unfair revenue streams for their labor. Cue Penn’s Corner Farm Alliance.
Layers of colored fabric continually unfold, generating new patterns, textures, and shapes in Hannah Thompson’s “Proxemics.”