Review by Ellen S. Jaffe
Playwright, Judith Thompson, directs the Factory Theatre’s haunting production of her own play “The Crackwalker”. Originally produced in 1980, this is Thompson’s first play, inspired by a mask-making class she took in theatre school; and by her summer job working for the Ministry of Community and Social Services in Kingston. It is the final play in the Factory Theatre’s current season, “Naked: Canadian Classics Reimagined.”
The actors portray the kind of characters who often fall through society’s cracks – the people who appear in newspaper headlines but with whom most of us have no real contact. Photo by Michael Joseph
Armstrong; Joffe: Gale & Bonnell in “THE CRACKWALKER”
Review by David Richards
Good Friday at St. Paul’s Catholic Church was the perfect day and place for a concert by the Toronto Mendelssohn Choir. The choir made wonderful use of the church’s magnificent acoustics, not to mention the elaborately decorated sanctuary. The concert of sacred music in such beautiful surroundings, on this special day, made the spirits soar. If Good Friday was meant to send a message of peace, hope and love to mankind, then the Mendelssohn Choir was an inspirational messenger.
William Byrd’s, Mass in Four Voices, comprised the first half of a program of sacred music. Photo courtesy of Brian Summers
Mendelssohn choir members rehearsing
Review by Danny Gaisin
For a Hamiltonian, venturing into Leslieville is an act of empirical courage. The miniscule Red Sandcastle Theatre on Queen St. E. invited us to see a contemporary interpretation of Noel Coward’s only venture into the realm of a ghost story. The plot and concept is still the same; but the approach is an update to current mores and props. Methinks even Coward would approve of Rosemary Doyle’s improvisations. “iBLITHE” had the opening-night audience and yours truly in stitches.
l-r… wife #1; Charles; Mme.Arcati; the Bradmans; & wife #2
Review by Ailine Hess
A full performance of Handel’s Oratorio, “Messiah”, took place on Sunday, at Pioneer Memorial United Church in Hamilton. The orchestra and singers of Arcady under the direction of Ronald Beckett performed this masterpiece. Handel composed this work in 24 days, the libretto for the oratorio was arranged by Charles Jennens with lyrics drawn from the ‘King James Bible’ with the first performance in April 1741 In Dublin followed by a performance in London approximately a year later. The Arcady performance this evening was a similar size to the choir and the orchestra in Dublin.
The ARCADY singers performing Handel’s MESSIAH
Review by David Richards
British pianist, Paul Lewis, is one of the finest of his generation. In his recent performance – the fourth of The Invesco Piano Concert Series at Koerner Hall; he captured the essence of each composer with a simple clarity, an understated elegance, and a delicacy in the tender moments -all too rare. As a result, the contrasting power of the large moments was all more effective. Lewis was in complete command of each and every note.
Lewis is known for his outstanding recordings of the Beethoven and Schubert sonatas as well as his frequent appearances with major orchestras in Europe and North America.
A pensive Paul Lewis
Review by Judith Caldwell
Hammer Baroque presented a concert of 16th century masterpieces from northern Europe called Tous Les Regretz, featuring the superb singers, Opus 8, on March 19th, 2016. The sizeable audience loved the polyphonic, contrapuntal music of the long ago sung acapella by the eight accomplished musicians who obviously enjoyed themselves and had great respect for and love of the music. Opus 8 features sopranos Jana Miller & Clara MacCallum Fraser; Rebecca Claborn and Simon Honeyman, altos; with tenors Peter Mowat, & Robert Busiakiewicz plus David Roth, baritone; and Sean Nix, bass. They are all wonderful singers.
the members of “OPUS 8”