The Glove Thief, history- as drama Reply

by • Drama, Play, Theatre

Review by Danny Gaisin

 As any history buff will know, the mid-sixteenth century in Britain was a time of strife. A queen without an heir; Protestant and Catholic animosities, and politics – with all the intrinsic intrigues; diplomacies; maneuvering; and especially ambition. Theatre Erindale’s presentation of Beth Flintoff’s play THE GLOVE THIEF depicts three of the most powerful women of the period…Queen Elizabeth I; Mary Stuart of Scotland and the extremely wealthy Beth Hardwick , Countess of Shrewsbury. The regal pair and the status seeking ‘Bess’ all interact with ‘Rose’, the title character; and thus through her eyes and thoughts, this play is Brit History 101.
Jenette Meehan & Sarah AbdelRahman in a dramatic moment       photo by Michael Slater More…

‘The Cult of DALKHILU’ j.i.t. For Halloween Reply

by • Drama, Play, Theatre

Review by Danny Gaisin

Less than week before the kiddies (& some adults) are out ‘Trick or Treating’; Missed Metaphor Productions has an ingenious and creative play onstage at Passe Muraille’s backstage that perfectly fits the rationale behind next Thursday’s celebration. No Zombies, but a tale about the pen leading to the sword. “The Cult of Dalkhilu” also captures contemporary idiosyncrasies, psychosomatic phobias and alpha/omega personality traits. It also challenges the audience and especially theatre critics because there are so many plot twists that even a hint of the story line would be a spoiler. So, this scribe can only talk about the playwright/director and the individual cast members.

the cast of DALKHILU

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Mozart, Mendelssohn, John Williams, & Ping Yee Ho Reply

by • Concert, Orchestra

Review by Danny & Terry Gaisin

Under maestra Gemma New, the concert programs of the Hamilton Philharmonic are nothing if not eclectic. Old masterpieces are partnered with contemporary and even commissioned works. Last evening was no exception. ‘Silk Road’ by Alice Ping Yee Ho is subtitled a fantasy, and it certainly is. The work’s three movements all try to evoke differing aspects of what was the trade route from the Middle East, through Persia, India and thence to Asia. Naturally, the intro describes the Nomadic atmosphere. Glorious and effective, her scales bear a resemblance to pentatonic rather than Bachian. Short staccato riffs with melodic viola & celli are underscored by intense demand of the percussionists.

Chooi & New performing the M ozart concerto #5 with the HPO

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“The Day They Kidnapped the Pope” – hilarious BLT effort Reply

by • Comedy, Play, Theatre

Review by Danny Gaisin

What is the wish that every ‘Miss America’ contestant personally claims? Think the hilarious scene in ‘Miss Congeniality’ where the afterthought is – World Peace! Remember this factoid when you see BINBROOK LITTLE THEATRE’s comedy – The Day They Kidnapped the Pope. Playwright Joao Bethencourt’s plot premise is that the pontiff on a Vatican visit to NYC evades his limo and takes a cab driven by a Jewish cabbie from Brooklyn. ‘Sam Leibowitz’ aka Brad Fortman brings him across the Brooklyn Bridge and decides to keep him in the Leibowitz pantry and hold him for ransom. And the value of said ransom demand – see this article’s opening sentences. More…

Hammer Baroque Lute Recital Reply

by • Concert, Orchestra

Review by Judith Caldwell
Hammer Baroque presented lutenist Lucas Harris in a recital titled “Circa 1600” on Saturday afternoon.  In his opening remarks Bud Roach, the organization’s artistic director said that he is always surprised that so many people come out on a holiday weekend to hear early music.  The feeling among musicians apparently is that the earlier the music – the fewer audience members it attracts.  In Hamilton, however, a reasonable number turned up.
Harris said he chose 1600 because that is approximately when the lute went from the previous five courses of strings to 6 then 7 giving the composers and players more bass notes.

the soloist performing on the lute

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In “YAGA,” Slavic Legend meets 21st century Reply

by • Drama, Folk, Play, Theatre

Review by Ellen S. Jaffe

Yaga, written and directed by Canadian playwright Kat Sandler, brings the old Slavic story of Baba Yaga to new, modern life in a combination of fairy-tale, comedy, mystery, and a commentary on gender and aging. The play opens the Tarragon’s 2019-220 season. With impeccable, often brilliant acting by the well-known Seana McKenna and by Claire Armstrong and Will Greenblatt, the play is fast-paced and funny as well as thought-provoking.  For those who do not know the legend, Baba Yaga is a Slavic version of the mythic witch — seen as old, ugly, cruel (rumoured to eat children).                                                                                                                         Seanna McKenna In YAGA
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