Review by Judith Caldwell
Anyone who likes sacred Renaissance music should have been at St. Thomas the Apostle Church in Waterdown on Saturday evening when Musikay presented a program titled “Alleluya” for 4 a capella voices. Unfortunately, a rather sparse audience found their way there which may have been because this was Musikay’s first concert in the Hamilton area or it may have been because there are no obvious external signs that this church is actually St. Thomas’. Hopefully more people will attend in future.
The voices belonged to Brenda Enns, soprano; alto Catherine McCormack; Nick Gough, tenor; and Terrance Ball, bass with Maestro Stephane Potvin conducting.
Musikay’s soloists: -Enns; McCormack; Gough & Ball
Review by Judith Robinson
Actor, David Lundy, gives a stellar performance as the outspoken 33rd U.S. President, Harry S Truman (the “S” stand for nothing), in Buffalo’s New Phoenix Theatre-on-the-Park’s production of “Give ‘em Hell, Harry”. Samuel Gallu’s one man play, first mounted in 1975, is the perfect pre-election show.
Perhaps Harry Truman was the president who had the most to say about protecting regular citizens from corporate greed. Although he came from a business background in the early part of the twentieth century, Truman didn’t pussy foot around in condemning the powerful who attempted to crush the weak. It as if Truman foresaw the degeneration of the Middle Classes.
An amazingly lifelike Truman by his portrayer- David Lundy
Review by Danny Gaisin
“♫ In olden days a glimpse of stocking… ♪ ”. The period Cole Porter referred to was probably the time leading up to the First World War. Things changed with the Flapper era and the market crash. By 1934 things hadn’t improved financially, but mores had evolved. Thus ‘anything goes’ became a philosophy. Etobicoke Musical Productions has brought back this tuneful hit that embodies the creative style of pre-Webber Broadway productions – i.e. full measure of memorable songs that were sing-along-able even out of context. EMP has another hit presentation with “ANYTHING GOES”. And if one can’t grasp some of the similes quoted in ‘You’re the Top, write us!
the cast departing the U.S. on their musical ocean voyage
Review by Danny Gaisin
A couple of decades ago, British playwright Ray Cooney wrote a farcical comedy about a windfall acquisition of a mobster’s buy-in for a cache of drugs. The finder is a mild-mannered wimp named Henry Perkins who decides that this is a life-changer and that he’ll take resisting wife Jean, and run away to Barcelona. Two family friends; a crooked cop; impatient cabbie and a homicide detective enter into the equation necessitating the familiar ‘What a tangled web we weave’ scenario with all the requisite verbal gymnastics the genre entails.
a cops/robbers/good guys moment in “FUNNY MONEY”
Review by Sylvie Di Leonardo
During heavy rush-hour city traffic, suffering through radio’s continual commercials, it is so easy to become overwhelmed. Luckily, I found the one place sure to comfort the souls of those who struggle to interpret this mass of voices. Tafelmusik’s Thanksgiving weekend program The Eloquent Cello included challenging pieces executed with the finesse required to ensure that all voices are not simply heard, but are made meaningful by the support they lend and receive.
Like many of Tafelmusik’s faithful patrons, I hustled down the newly-named Bloor Street Cultural Corridor to Trinity St Paul’s Jeanne Lamon Hall seeking a means to restore a sense of wonder through music.
Tafelmusik’s guest soloist Christophe Coin
Review by Terry Gaisin
After 56 years, writing about classical music, the genre intrinsically belongs as the domain of O.A.R.’s Danny Gaisin. However, a definitive & very positive bias towards the Hamilton Philharmonic’s program of Spanish music would certainly affect objectivity. Thus, yours truly gets the by-line!
From the opening collage of “Carmen” excerpts; Bizet’s most famous opera and one of D.G.’s favorites, maestra New presented the prelude with its adverse theme; truly demonstrating that the orchestra is now hers…and vice-versa. The familiar ‘Habanera’ with its advice about daring to love a vamp, and the passionate ‘Seguidilla’, the amazing mezzo voice of Lauren Segal even extended her range to the contralto realm.
Newman & McFadden performing the Marquez ‘Danzon#3’ with the HPO