“SWEET CHARITY”, ♪ some fun, laughs; good times ♫ Reply

Review by Danny Gaisin
Neil Simon’s reiteration of Fellini’s “Nights of Cabiria” was an immediate Broadway hit. Understandable as it has all the ingredients: – memorable music; clever dialogue; comedic moments coupled with pathos and clever lyrics. SHAW’s rendering is gem-like from the opening “You’ve got Mail”-type projected credits and Charity’s belting out of “You should see yourself”. The pace is frenetic; the cast superb and Morris Panych’s direction is faultless. This has to be an O.A.R. Top Ten list contender.  Photo courtesy of SHAW’s David Cooper

SWEET CHARITY's Julie Martell & her subway riding cast

SWEET CHARITY’s Julie Martell & her subway riding cast

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SHAW;’s “Peter & the Starcatcher”; LOL 1

Review by Danny GaisinreviewerDGcolor
              Have you ever wondered why Peter Pan picked the Darling residence for his nightly visits? Rick Elice’s play based on the Barry/Pearson prequel offers a rational theoretic explanation and Jackie Maxwell visually articulates the historic datum. The SHAW FESTIVAL’s artistic director goes straight for the humorus rather than the cerebrum…and the result is 2½ hours of continual laughter. The Mermaid scene will forever raise the bar for any theatre staging South Pacific’s “Honey Bun” number!     Photo courtesy of David Cooper

the antagonists of "PETER & THE STARCATCHER" in a naval battle

the antagonists of “PETER & THE STARCATCHER” in a naval battle

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“VIVA L’ITALIA” –NAO’s 2nd offering of the season Reply

Review by Judith Caldwell

The second concert in this year’s Brott Music Festival, somewhat confusingly entitled ‘Viva L’Italia’ as there were only two Italian composers on the program and one of those is famous for his gypsy music. However, the other composers did stick to the Italian theme. Rossini’s Overture to An Italian in Algiers was the opener. Conducted by Apprentice Janna Sailor, she made this orchestra of young inexperienced players sound as though they had played together for years. It was a crisp, precise rendition that was full of drama and texture. *

Janna Sailor with NAO 'adoptees' Renaud;Kim; Stuart & Eddy

Janna Sailor with NAO ‘adoptees’ Renaud;Kim; Stuart & Eddy

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N.A.O. concert: – the ‘Bruckner’ needed some editing Reply

Review by Judith CaldwellreviewerJudith
The 2015 Brott Summer Music Festival opened with a varied program of 20th Century music including a Mozart Violin Concerto and a very rarely-heard Bruckner Symphony played by the director’s NAO ensemble. This is the only professional apprentice/mentor orchestra in Canada and hundreds of gifted graduating musicians audition for the 50+ places each year. The successful candidates have the opportunity to play a huge repertoire in a brief few weeks. It is an intense and unique program.
This evening opened with a 1945 Oskar Morawetz composition, Carnival Overture.

Broverman,Chambul,Sun & Debrowski - some of the 2015 NAO apprentices

Broverman,Chambul,Sun & Debrowski – some of the 2015 NAO apprentices

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“It’s FESTIVAL Time” Reply

Editorial by Terry Gaisin

It’s (Almost) summertime. Here are some of the cultural events that we and our readers will appreciate. Book early…book often!

SHAW is always a something-for-everyone event. Jackie Maxwell selects productions that educate; entertain and are continually a challenging stage for her repertory thespians. STRATFORD consistently re-tutors us in the works of Shakespeare as well as other classics. The BROTT NAO series of concerts, gives an opportunity to new graduates to perform alongside experienced professionals. The TORONTO Fringe presents 150 1-hour plays that are un-pre-juried…so anything goes.

Violinist Lindsay Deutsch aboard "La Bamba II, circa 2008

Violinist Lindsay Deutsch aboard “La Bamba II, 2008

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“The Mumberley Inheritance”; v- 2.0, …giggle, giggle, giggle! Reply

Review by Danny Gaisin
Alas, the duty of a critic occasionally entails a redux to something recently seen. Our last Warren Graves’ “MUMBERLEY INHERITANCE” was a mere 14 weeks past. So, one paragraph will be strictly a reprise; all the rest of our Scarborough Theatre Guild’s analysis will be novel and hopefully as innovative as Mike Ranieri’s concept. His direction is creative and not just guiding the actors. Normal blocking is omitted; and an obviously loose rein on the dialogue permits improvisational ad-libbing.

The Scarborough Theatre Guild's MUMBERLEY cast

The Scarborough Theatre Guild’s MUMBERLEY cast

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