Hammer Baroque’s Valentine subject – ‘Amore’ Reply

Review by Judith CaldwellreviewerJudith
            Hammer Baroque’s February concert was ‘Amore’. It consisted of madrigals from Renaissance England and Italy sung by Capella Intima with lutenist Magdalena Tomsinska. Capella Intima is a quartet of singers, soprano Sheila Dietrich, tenor Bud Roach, alto Jennifer Enns Modolo and baritone David Roth who perform frequently at Hammer Baroque. Most of the works presented were Sixteenth Century pieces with John Dowland, Philippe Verdelot, John Wilbye & Jacques Arcadelt the most prominent composers.
The afternoon began with a lovely polyphonic invitation from Dowland for love to ‘come again’.

Tomsinska; Dietrich; Erms Modolo; Roach & Roth

    Singers -Tomsinska; Dietrich; Enns Modolo; Roach & Roth

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THE MILL on the FLOSS; or “Tulliver’s Travels” Reply

Review by Danny Gaisin}reviewerDJG
           Mary Ann Evans (aka George Elliot) wrote THE MILL ON THE FLOSS around 1860 and set about forty years earlier. The author wrote under the pseudonym so that she might attract a wider readership than women authors attracted with vapid love stories. The Mill etc. is heavy with overt and transparent symbolism such as the water wheel, (what goes around…) the millrace (flow of life) and the inevitability of tides. The play teems with artistic imagery thus; challenges face any director to create a semblance of credibility; Anita La Selva certainly succeeds.

the famous John Constable painting of The Mill

The famous John Constable 19th C. painting of “The Mill”

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Hamilton theatre salutes Black History Month Reply

Review by Ellen S. JaffeReviewerEllen S.
Two theatre events in Hamilton during Black History Month deserve mention, although we have not done full reviews because each had only one or two performances. Both shows made excellent theatre from the words of history itself.  Leslie McCurdy presented her one-woman show, “The Spirit of Harriet Tubman”, on February 4 at the Lincoln Alexander Centre.  Leslie hails from Windsor, Ontario, and has been touring this show for 14 years in Canada and the U.S.  Using simple, on-stage costume changes, occasional singing, and superb acting, she presents Harriet Tubman’s life-story.

The Greensboro N.C. sit-ins;  circa 1960

The Greensboro N.C. sit-ins; circa 1960

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“FLOYD COLLINS”; a tragic musical based on reality Reply

Review by Danny Gaisin
‘There was a spelunker named Floyd; who was told caving he should avoid.
But he didn’t listen – in the cave he went missin’; his naysayers had the last ‘woid’.
Even the most unflappable columnists sometimes go off the rails, so please forgive the above doggerel as just yours truly being immature. In any case, it does reflect the plot of Guettel & Landau’s musical “FLOYD COLLINS”. Every snowbird driving south on U.S. 75 passes the turnoff sign for Mammoth Cave just north of the Kentucky Tennessee border.

Ben Chiasson as "FLOYD COLLINS", alone in his underground grotto

Ben Chiasson as “FLOYD COLLINS”, alone in his underground grotto

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“FOOTLOOSE”, Sheridan’s showcase vehicle Reply

Review by Danny GaisinreviewerDGcolor

“Where the Hell is Bomont?” is the opening bit of dialogue, and truth be known; it’s actually @ 34°- 57’ N & 97°-23’W. The place is really Elmore City, OK where in 1898 a local bylaw was passed outlawing dancing and only rescinded in 1986. Multi-talented Dean Pitchford took the story and turned it into both a movie and stage play, gleaning both an Oscar™ and Golden Globe™. Sheridan’s David Connolly has taken this ‘period piece’ (re: Joel Cumber -asst. director) and utilized it as a showcase vehicle for the faculty’s undergrads’ abilities. Acting, singing and dance are all role requisites. The entire cast has all three…in spades.

Students Willard & Ren addressing the Bomont Town Council

Students Willard & Ren addressing the Bomont Town Council

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MUSIKAY; seems Renaissance music doesn’t attract 1

Review by Judith Caldwellreviewerjudy
            Love is in the air in February and Musikay offered a concert of 15th and Sixteenth century love songs in the form of madrigals and chansons. The setting of the concert was unusual in that a circle of approximately 30 chairs in the huge atrium of St. Thomas the Apostle Church surrounded the musicians who formed a smaller inner circle. Maestro Stephan Potvin explained that when this music was originally performed the singers would all be reading from one manuscript and so would be very close together so they could see and hear each other thus really helping the polyphonic singing.

Oakes; Ball; McCormack; Potvin; Stachow & Taylor; post-concert

Oakes; Ball; McCormack; Potvin; Stachow & Taylor; post-concert

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