Monteze Freeland’s Kalopsia maneuvers through complexity around issues of race and mental illness—but with a comedic, musical edge.
“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.
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.
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.
A Love Supreme, a performance bridging classical opera and jazz, basked in vocalist Anqwenique Wingfield’s confidence.
Blending vocal performance and visual art, the duo of Anwenique Wingfield and Julie Mallis prepare A Love Supreme for its New Hazlett Theater debut.
“This is a thing I’ve been trying to put into words forever,” Dr. Jason Mendez says to Dr. Tameka Cage Conley about pain, healing, and the conflict of trauma and joy. In their duologue Redemption: Sons, they have succeeded.
“We always carry people with us,” Dr. Jason Mendez told us as we met with him and Dr. Tameka Cage Conley to discuss their upcoming duologue performance Redemption: Sons.
For its production of Salome, the Pittsburgh Opera needed to fabricate a severed head. In that case, “you’re usually going to wind up calling us,” Steve Tolin of Tolin FX shared.
Driven by dream logic and swept along by its charming “crankie” style, Cole Hoyer-Winfield’s Midnight in Molina at the New Hazlett Theater proved entertaining and refreshingly vivid.