“HMS Pinafore” – all the ‘♫Whys & Wherefores ♫’ 1

Review by Danny & Terry Gaisin

The first time we saw Gilbert & Sullivan’s 1881 operetta ‘HMS PINAFORE’, it was presented by a community theatre group that considered the lyrics remedial for folks with some speech challenges, and certainly singing was more fun than reciting tongue-twisters! The play has a strong but subtle message and denigrates ingrained British snobbism and oligarchic political attainment (think today’s White House). Stratford’s Lezlie Wade meticulously underscores the play’s comedic bent with impacting visual images; a creative and functional set, plus acute physical activity. Her choreographic utilization of the set’s two curved staircases will remind older individuals of the Busby Berkeley routines from the late fifties.

Admiral Laurie Murdoch chastising Captain Steve Ross before the crew & all those sisters/cousins/aunts!

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“♫GUYS & DOLLS ♪” an almost perfect Stratford musical Reply

Review by Danny Gaisin

Frank Loesser’s interpretation of a couple of Damon Runyon short stories has become a Broadway standard. Every song of the show’s twenty is not only memorable but sing-able even out of context. Under Donna Feore’s direction & her choreography; “♫ it’s better than even money ” that folks will remember it fondly for years to come…we certainly will and I’ve lost count of the times we’ve seen it.
The two plots deal first with a hustler, his illegal crap game, and his long-suffering showgirl fiancée. The other story is about a gambler and a Salvation Army-type naif. The support characters are just that –  Characters!
All  our published Stratford photos by Cylla von Tiedemann

Steve Ross ‘nicely-nicely’ exhorting the gamblers to “sit down, SIT DOWN, they’re rocking the Boat”

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“Androcles”- Some Aesop, a lot of GBS, & SHAW’s version. 1

Review by Danny Gaisin

Theatre attendance for a critic is supposed to be work, i.e. a chore, an obligation and a duty. Watching SHAW’s director Tim Carroll put his own slant on the 1600-year-old fable is such fun that the concept of being ‘work’ never enters the equation. From the pre-opening intercourse between audience and performers this is eponymous farce and except for two moments of serious didactic dialogue, sniggers chortles & full giggles are the Courthouse Theatre atmosphere. The action takes place on the thrust stage, but commentary; opinion and interaction are all solicited from the spectators. The action actually goes right up into the aisles.

Jeff Irving restraining Michael Therriault while Patrick Galligan and the others watch

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“Critiquing (unbiasly); one’s own ‘kiddlies’ in performance” Reply

Review by Danny Gaisin
            Every experienced critical columnist will admit that writing about kids is anathematic. Even being objective is rife with danger. An unbiased review in keeping with the writer’s credibility reports on flaws; the editor can expect poisoned-pen letters saying “The kid was amazing… even the obvious flaws were cute…and besides, his or her parents were divorcing or separating or the child wasn’t feeling well! So, like all my counterparts, when a request for a child-oriented column is offered, the closet; bathroom; under the desk or a storage area is immediately sought out. Unless it includes one’s own grandkids or great-grandkids.

One of the younger classes interpreting ” “He’s So Fine”

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“How to Succeed in Business without really trying” …WORKS! Reply

Review by Danny Gaisin

Editorial disclaimer: – see end of article!
It is almost a definition of musical or dramatic theatre that there is always a character whose role is pivotal and thus interpretation is paramount to its realization. Nowhere is this tautology more evidential than that of J. Pierrepont (or Pierpont) Finch in the 1961 Burrows/Weinstock/Gilbert book ‘HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING’. This allegorical story about a young man’s corporate rise is a Machiavellian ‘Horatio Alger’. The addition of Frank Loesser’s lyrics and compositions made it a multiple Tony Award™ winner; N.Y. Drama Critics Circle prize; and a Pulitzer.

The WWW staff being advised ” A secretary is NOT a toy”

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“The course of love (& music) DOES run smooth” for the H.P.O. 1

Review by Danny Gaisin

The Hamilton Philharmonic’s construal of Shakespeare’s ‘Midsummer Night’s Dream’ and Mendelssohn’s exquisitely memorable composition was a perfect blending of aural & visual experience. This effort was truly an O.A.R. “Top Ten” contender. Not only was the orchestra in faultless form, but the Hamilton Children’s Choir was impeccable and the students of Glendale Secondary were enchanting & delicious in their rendering of ‘Hermia & Lysander’; “Demetrius and Helena”; ‘Titania & Oberon’; plus, all the fairies and particularly the Pyramus/Thisbe interpreters. As usual it was the markedly delightful Robin Goodfellow (Puck) who steals the show. He (or she) is the character with whom I most identify!

Children’s Choir; H.P.O.; & Glendale’s fairies interpreting MIDSUMMER NIGHT’S DREAM

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