Hamilton has been fortunate to be the home of, and recipient of, the musical largesse of an artistic virtuoso. Boris brought us his eponymous classical music festival; Boris brought the National Academy Orchestra here, making Hamilton the Mecca for young graduates. Last evening, Boris brought back opera to Hamilton, after a two year hiatus. Rossini’s Il Barbiere di Siviglia performed at Mohawk’s McIntyre was a brilliantly creative take on this opera comique.
Review by Judith Robinson
The Shaw Festival’s production of Ibsen’s The Lady from the Sea is sheer perfection. The backstage elements, the direction, and the acting combine to create an otherworldly, enchanting experience. This is not typical Ibsen. Although there is the usual strong female protagonist who struggles against the conventions of middle class morality, as in The Doll’s House and Hedda Gabler, this play goes deeper. The added mythological dimensions, the heightened poetic language, and the ever present pulse of nature overpower the domestic storyline. Photo courtesy of Shaw’s David Cooper
After a three-year hiatus, the editorial staff of ONTARIO ARTS REVIEW has decided to conclude its boycott, citing a positive change in the Fringe’s Directors. Every Festival demands only the highest level of professional attitude.
A THOUSAND NATURAL SHOCKS Hamilton Theatre Inc.
NYC- ‘Garner; Ferguson- Brown; LA- Ford; CLEVELAND- Rice; MADISON- Robinson, all recent front-page headlines about Police shootings, even Toronto had one on the TTC. But the follow-ups about what really happened or the effect on the officer usually end up buried in section two – BTF. Writer/producer Bryan Boodhoo and director Luis Arrojo scrutinize and explore the emotional effect on said police officer. More…
Images powerfully portray the message at the heart of Annabel Soutar’s play, The Watershed—that it’s time for Canadians to stand up and protect their water supply. Soutar’s message was most powerfully communicated subliminally through a visceral encounter with the land. A CanStage production, projection designer, Denyse Karn creates a sense of movement, atmosphere and mood through a series of projected images on the walls, floor and ceiling. The Environmental Lakes Area (ELA) near Kenora came alive through the projections of ice particles dancing in the air. More…
From the opening notes of Rossini’s “Guillaume Tell” opera overture to the closing (audience-participating)’ Va Pensiero’ from Verdi’s “Nabucco”; POPERA 2015 had three distinct entities showcased, and one lone (musical) arranger who, even out of context, brought out some of the essence of operatic arias. Entity one certainly had to be the polished members of the National Academy orchestra whose faultless technique and instrumental skill shone throughout. Under the batons of conductor Boris Brott and his apprentice Janna Sailor; the ensemble plus the seven vocalists worked as a harmonious unit.
Director Peter Hinton’s skillful weaving of modern trends among the classical themes in the Shaw Festival’s production of Pygmalion, grabs the audience’s attention right from the start. The atmosphere is foreboding, contemporary, and prophetic. By placing the action in present day London, this production takes the emphasis away from the sexism of Henry Higgins, played by Patrick McManus, to focus on the modern generation of unemployed youth among out of touch elites. The focal point is on the class struggle–even more pronounced than it was in 1912. Photo by Emily Cooper