Review by Ellen S. Jaffe
Production of a late, little-known play by Arthur Miller (1915-2005), is a cause for curiosity and celebration. The U.S. playwright is best known for plays like Death of a Salesman, The Crucible, and All My Sons, which combine personal and political issues. Broken Glass, written in 1994 and now produced by Teatron, Toronto’s Jewish Theatre, also has this dual perspective. Directed and designed by Ari Weisberg, who founded Teatron in 2002 remained Artistic Director until he moved to Israel in 2015, is presented as part of Holocaust Education Week, 2017. The theatre has done excellent productions of contemporary and older Jewish theatre. Berlin – 11/09/’38
Review by Danny & Terry Gaisin
The serendipitous alignment of Nov. 11th ’17 falling on a Saturday meant having the Hamilton Philharmonic present it’s traditional Remembrance Day event after the emotional catharsis of the city’s & (Country’s conventional) recognizance of the day’s significance. With the ritual and pomp of the Regimental Band of the ‘RHLI’s’ accompanied by a pipe band opening the evening, the two novel and contemporary compositions, the mood and mind-set of the audience was posited and ready for Mozart’s Requiem Mass, performed by the orchestra; 4 soloists and the Bach-Elgar Choir.
l-r: – Mercer; Nesrallah; New; Wiliford & Fanning performing the ‘Tuba Mirum’
Review by Danny Gaisin
Forty years ago, there was a highly popular movie titled ‘Fun With Dick & Jane’ that starred George Segal and Jane Fonda. The story was about a successful couple, (the Harpers); who when affected by a recession both lost their jobs. To create income, they decided to become bank robbers. Unlike the infamous Willie Sutton, they didn’t have the talent nor much success. Three decades later, Canadian playwright Norm Foster paraphrased the concept in ‘SKIN FLICK’. This incarnation was non-felonious but definitely as funny. No ‘stick-em-ups’, instead along with their single (and also unemployed) neighbour decide to create a porno DVD.
l-r Wouthuis; Cook; Edwards; Redfearn & Fortman in SKIN FLICK
Review by Danny Gaisin
Three decades ago, Stephen Sondheim wrote the music and lyrics to an imagined Fairy tale that incorporated Grimm’s “Little Red Riding Hood”; ‘Rapunzel’; Jack & his Beanstalk plus Cinderella (The Disney version, not the opera). Readers may recall that Sondheim is not one of this scribe’s favourite composers. I find his works repetitious and boring, sort of like Gordon Lightfoot. Think Sweeney Todd where not one but two songs are composed of repeating “Johanna” over & over. Then, there’s his West Side Lyrics to ‘Maria, Maria, ad infinitum. His music & prose default carries throughout ‘Into The Woods’… and for a long three & 1/4 hours!
The cast of “INTO THE WOODS”
By Sylvie Di Leonardo
Hey, Northerners [Norwesters?]; are you looking for music that hits a little closer to home? The TBSO has you covered. Each year, the musicians of the Thunder Bay Symphony Orchestra set out on two regional tours, to bring as much music as possible to as many people as possible. This year’s tour, thoughtfully arranged by TBSO musician and tour manager Damian Rivers-More, will take our new Musical Director, Paul Haas, and Conductor-in-Residence, Simon Rivard, East of the city. This tour herald’s the TBSO’s return to Terrace Bay after many years, and its annual visit to the Pic River First Nation. More…
Review by Terry Gaisin
We’re democratic (in the social -non-political way) so we respect folks right to different opinions than ours. This is especially true of opera. Unlike many other ambiguous items, this particular genus seems to elicit, like piano keys, either a black or white response – no grey area. We understand this because opera is more than just listening to music it’s experiencing the entire presentation; sight, sound and ethos. When we attend an in-concert opera performance our minds recall the whole libretto, the rationale and the scenario behind each presented aria. Non-aficionados may thus not appreciate the piece as part of an entirety.
Benedikt & Jackson interpreting “O Soave Fanciulla” from La Boheme