“Merrily we roll along”… to Theatre Sheridan Reply

Musical, Play, Theatre

Review by Danny Gaisin

When Stephen Sondheim tackles a subject; he goes straight for the jugular…and not just in Sweeney Todd! The psychoses in ‘Company’; the underlines in ‘A little Night Music’; and the prejudices of ‘West Side Story’; while never negating the music, are nevertheless intrinsic to the plot. Ditto for MERRILY WE ROLL ALONG.
The narrative concerns a successful Hollywood producer, his two best friends; wives 1 & 2, plus an A-List of acquaintances & hangers-on. The audience is taken from contemporary (circa 1976) back to the mid-fifties when the trio first meet.

Nethersole, Rorabeck & Agnew during better days

Nethersole, Rorabeck & Agnew during the early days

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Oakville Ensemble:- subject –Majestic; O.E. – ditto Reply

Concert

Review by Danny Gaisin

The Oakville Ensemble‘s season finale is titled “Majestic”; a referral to both the program and the composers themselves. In spite of artistic director Stéphane Potvin’s claim that Johann S. Bach and Georg Handel were ordinary people; this particular musicologist feels that great composers are ‘special’ and imbued with a God-given talent to make an eternal contribution to humanity. Beethoven’s nine symphonies impress me even more than reading about someone walking on water! (I can hear the shouts of ‘sacrilege’ even without opening our windows!)

The mixed orchestra/choir OAKVILLE ENSEMBLE

The mixed orchestra/choir OAKVILLE ENSEMBLE

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The Dining Room…50⨫6= challenge & diversion Reply

Play, Theatre

Review by Danny Gaisin

A.R. Gurney’s early 80’s NY Studio Theatre play ‘The Dining Room’ is a pastiche of brief vignettes about American WASPs of the era interacting in and around a formal dining room. The locale may be common; but the relationships, personas and incidents are separate and singular. What makes the Dining Room so special is having the eighteen essays acted by only six thespians.
With only minor costume and accessory changes, the actors must create the identities and personalities of the fifty characters that are represented.

Keyes,Reid,Whelan,Biskupek,Applewhaite & Carlin

Keyes,Reid,Whelan,Biskupek,Applewhaite & Carlin

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Taming of the Shrew…MTC’s evolutionary take Reply

Play, Theatre

Review by Danny GaisinreviewerDGcolor

Shakespeare’s perpetually cherished comedy – ‘The Taming of The Shrew’ is one of this scribe’s favorites (& I have my wife’s permission to say so) although, the theme deals with the subjugation of womanhood; especially one’s spouse. We’ve seen this particular play numerous times over the past few years; including the original, & Patrick Young’s ‘Taming of the Tamer’ version at Erindale. So; why another critique? McMaster Thespian Company’s director Jenn Helsdon is presenting an on-stage thesis about how the control struggle is eternal but even with the troughs & crests of equality; manipulation always remains an intrinsic element.

McMaster Thgespian Company's "TAMING" cast

McMaster Thespian Company’s “TAMING” cast

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Rainer Hersch & the HPO- ‘shtick’ but no sticks Reply

Concert, Orchestra

Review by Danny GaisinreviewerDGcolor

               Nov. 15th, 2009   “Conductor/arranger/performer/writer Rainer Hersch is a knowledgeable and highly talented musician. What Victor Borge did for (and to) the piano; Stan Freburg to many pop songs of the fifties; and Anna Russell to Wagner’s Ring Cycle- Hersch does to all classical music. He also destroys every preconception about the orchestra, its sections and its instruments. A learning opportunity- hardly; a comedic instance –CERTAINLY. I actually was concerned about peeing in my pants!”

 The above intro paragraph is what this journalist opined about Rainer Hersch’s last visit with the Hamilton Philharmonic. Last night; more of the same except that London (the other one) and Beethoven plus Mozart were the subjects for his clever barbs.

Sutherland toasting the audience with her bottle of 'gargle'

Sutherland toasting the audience with her bottle of ‘gargle’

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“GYPSY”, by Steppin’ Out Theatre Reply

Musical, Play

Review by Tina GaisinreviewerTina

We knew we were in for a great Broadway evening! Gypsy’s origins are based on the memoirs of Gypsy Rose Lee- a famous 50’s striptease artist!  The original music was by Jule Styne with lyrics by Stephen Sondheim and based on the book by Arthur Laurents.  This play adaptation focuses on Gypsy’s mother- Rose, who is the ultimate “Show Business bossy Mom”!

the future GYPSY learning about 'gimmicks' from the older strippers

the future GYPSY learning about ‘gimmicks’ from the older strippers

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