Review by Terry Gaisin
The OCO has a history of creative ways to attract support and contributions. Even our ARTS REVIEW had the imaginative idea of door prizes that incorporated assisting in the next concert’s critique; a restaurant dinner and an evaluation (always positive) of said eatery. The laminated and mounted article then was hung in the diner’s entryway. It was a desirable prize.
Since relocating to Hamilton, we’ve forsworn the concept, but OCO also has other innovative ideas and an afternoon at Joshua Creek Art gallery for music, food and silent auction was a success.
Leslie Ashworth performing, backed by Linda Ruan
Review by Danny Gaisin
Once upon a time, there was a thing called a record player. Round vinyl platters could be stacked up, and thus preferent music choices could be enjoyed. The HPO’s director Gemma New somehow was able to select four of this scribe’s favourites. So, if a reader gleans a little bias in the following…please forgive me.
A capriccio is defined as a whimsical or prankish work. Methinks Rimsky-Korsakov interpreted the meaning to emphasize the lighthearted aspect rather than a joke idiom because the work is a pure joy – both to perform and to hear. The H.P.O. gave all its five sections a distinct image
Chalifour & New performing Tchaikovsky’s violin concerto
Review by Ellen S. Jaffe
Picture This, now at Soulpepper, is like a Hungarian strudel: crafted with expertise and love, sweet but not saccharine, a bit flaky, and containing a filling that is both delicious and nutritious. The play, adapted by Morris Panych and Brenda Robins from Hungarian writer Melchoir Lengyel’s 1937 script, The Battle of Waterloo, is a “love-letter” to motion pictures, theatre, and all the arts. Clever dialogue, brought to life by Panych’s insightful, well-paced directing, an excellent cast, and a creative set, combine to make this an enjoyable evening in the theatre. Robins, part of the Soulpepper ensemble since 1999, also acts in the play, in a double role as film director’s assistant and wardrobe mistress. Photo by Cylla von Tidemann
the cast in a scene from “PICTURE THIS”
Review by Michael Piscitelli
At the end of the summer, you’re probably back from your cottage after a relaxing time of doing a whole lot of nothing while enjoying the lovely weather and trying your best to ignore the awful bugs. After getting back home, what better way to start off the fall and school season, than to go see a show reminiscing about the time you just came home from? Ernest Thomson’s “On Golden Pond” is a slice-of-life show about an elderly couples’ time spent in the twilight years of their lives at their family bungalow. the folks who live or visit ‘On Golden Pond”
Review by Judith Caldwell
Hammer Baroque got off to their usual early start to the 2017/18 season with a concert on the Saturday of Labour Day weekend. This time it was the Eybler Quartet presenting an afternoon of classical chamber music by Vanhal, Asplmayr, Hayden and Mozart, even though the concert was billed as Beethoven and Vanhal. Bud Roach took the blame for the confusion, and while there may have been some disappointed Beethoven fans, they were not evident as the near-capacity and knowledgeable audience thoroughly enjoyed the quartets which were offered. String Quartet Op. 6 No. 2 (1771) by Johann Vanhal opened the concert.
Nosky; Gay; Jordan & Wedman – post-concert