Thu Jul 27th 8:00pm - 9:00pm
sex werque is a one-woman show about working as a stripper in Pittsburgh.Choreographer Moriah Ella Mason explores how we perform eroticism and consume intimacy, both in the club and at home. Through theater and dance, she unpacks the world of sex work: the emotional and economic forces, the movement vocabulary, the masks, and the moments of authentic connection.
Mason is joined by collaborating sound artist J.F. Winkles,video artist Liz Barentine,
and the voices and expertise of other sex workers.
Summer Chamber Winds at off the WALL Annex (25 W. Main St., Carnegie)
Woodwind and brass students of all ability levels will have the opportunity to keep their chops in shape over the summer while performing an exciting variety of chamber music, and can expand their musical boundaries by exploring conducting, arranging, and improvisation. The class will culminate with a recording session open to friends and family, and all students will receive a souvenir CD of the performance. Maximum class size: 15 students. Reserve now!
Mondays and Wednesdays, July 3 – Aug 9 (6 weeks)
Middle School Session (5th-8th grade): 10:00-11:30am
High School Session (9th-12th grade): 1:00-2:30pm
$175.00 per student – Early Bird Rate through May 15 (Sign up NOW and SAVE!)
$200.00 per student – beginning May 16th
Sibling Discount – If registering more than one child, save $50 EACH!
About the instructor:
Emily Cook is a Pittsburgh-based clarinetist and educator. She holds a degree in music education and completed two graduate degrees at Duquesne University, where she was fortunate to work closely with members of the Pittsburgh Symphony. Emily’s recent performances have ranged from appearing with the Johnstown Symphony and playing bass clarinet alongside an erhu and Brazilian percussion with the Afro-Yaqui Music Collective, a jazz/world fusion ensemble, to improvising acoustic sets to open for touring punk bands as part of the Pariah Dog trio. She particularly enjoys working with composers to premiere new works and introducing students to music they’ve never heard before.
Director Robyne Parrish talks process for 4.48 Psychosis
When Virginia Wall Gruenert approached me with 4.48 Psychosis, I must be honest, I was petrified. I
was literally scared of the responsibility of it – of the magnitude of the subject matter – the lack of scene delineation and character breakdown and most of all, the dark place it asked the actors to go. I kind of despised the play in a way because it didn’t tell me what to do. There was no clear path. How would we get to this dark place without losing our minds? Without exhausting ourselves daily, perhaps hourly, on a psychological and spiritual basis? I was afraid of what I didn’t know. It so happened that I had begun training at the Double Edge Theatre at around the same time as Psychosis came into my life. Double Edge is an experimental company which creates original theatre through the long-term imaginative work of its ensemble and based on the teachings of Grotowski and his students. DE is nestled in the heart of Ashfield MA on a working farm run by artists. The company is one of a kind in the US and beyond.
The physical work or “training” I discovered and experienced at DE for several intensives over the course of more than a year seemed to hold within it the answer to the Sarah Kane mystery. Training was a way to explore the depths of self safely. Through training, we could bring organic physical life from within ourselves to the piece without the suffering that a more intense psychological self examination might require. We could celebrate actor autonomy and find the piece together rather than some quiet corner of my own mind. Off the Wall was already collaborating on a regular basis with dancer/choreographer/movement specialist Ella Mason. After viewing some of her work, I jumped at the chance to bring her on board as our movement guide. My experience with physical theatre was limited to actor training. I knew that with Ella we could reach our fullest potential. Ella and I attended some training at Double Edge together in March 2017, just before rehearsal began for 4.48 Psychosis. The rest is history.
While what you will see on stage is HEAVILY inspired by the training at Double Edge, I should be clear that it is not an example of the DE process, but perhaps only the tiniest beginning part of it, as my training there is limited. DE spends years making beautiful spectacles and full length devised work and we had four weeks. This piece is based in and built with training and inspired by the great artists of Double Edge. In the end however, I am proud to say it is a collaboration and process that grew out of that inspiration that we can call our very own at Off the Wall.