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Volume 25 Issue 6 - March 2020

  • Text
  • Composer
  • Performing
  • Arts
  • Faculty
  • Orchestra
  • Musical
  • Symphony
  • Theatre
  • Jazz
  • Toronto
FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.

ZORAN JELENIC Les

ZORAN JELENIC Les Ballets Trocadero de Monte Carlo tell this story. On top of that, the show takes place during the second industrial revolution when things were changing so rapidly in Paris, and The Jam Factory was built during that exact same time period, which I think is rare to find in Toronto. It was the perfect alchemy of space and show. We’ve also decided to stage it in an alleyway formation which will put the audience as close to the action as possible, hopefully making them feel like they are part of this community of people they are watching in this park.” Along the way, Tsitsias has added another immersive and unusual element to the production that he hopes will bring the audience even more into the world of George and Dot, by recruiting artist, Lori Mirabelli, “who will be painting her own experience of the show each night on canvases around the space. Each night will be different.” This will be a fully staged concert production allowing the company “to strip down to the essentials as far as costumes, set and lighting goes, using this incredible space as another character in the story, and really honing in on the words and music.” Sunday in the Park with George plays at The Jam Factory from March 3 to 8, starring Evan Buliung as George, Tess Benger as Dot, and featuring Charlotte Moore as the Old Lady and Tracey Michailidis as Yvonne. “The Trocks” Affectionate Parody The beautiful Winter Garden Theatre will be visited on March 7 and 8 by the iconoclastic dance company Les Ballets Trocadero de Monte Carlo with their famous blend of technical virtuosity and expert comic timing. “The Trocks,” as they are affectionately known, enable audiences to see classical ballet with new eyes through their lovingly comedic take on the foibles, accidents and underlying incongruities of serious dance enhanced by the – at first startling – fact that men dance all the parts, bodies delicately balancing on pointe in the roles of swans, sylphs and princesses. There is a delicate balance in the company’s performances between excellent technique and a tongue-in-cheek awareness of parody that delights both connoisseurs of classical ballet and new fans alike. The Toronto program for each performance will include the company’s signature short version of Swan Lake, the Balanchine parody Go for Barocco, and Dying Swan (The Swan) which, in a Toronto-exclusive performance, will be danced by Toronto native, and former Trocks member Brooke Lynn Hytes known most recently for being the star runner-up contestant on RuPaul’s Drag Race in 2019. Ten Choirs bear witness to The Events At Streetcar Crowsnest, Necessary Angel Theatre Company is producing the Toronto premiere of Scottish playwright David Greig’s The Events, a much-darker themed show than the two shows above, but with a message of hope conveyed not only in the script but in the unique, innovative, shape and format of the production. Described by The Independent newspaper as “one of the decade’s most incendiary and important works”, the play began as a response to the horrific 2011 killing of 69 people at a summer camp in Utøya, Norway. Set in Scotland, The Events tells the fictional story of Claire – a righton, left-wing female priest who leads a community choir – who one day experiences something terrible: a young man she vaguely knew turns a gun on those who “aren’t from here” in an attempt to make his mark on society. The play is not a documentary telling of this terrible event, rather, it follows Claire’s attempt to understand how someone could do such an awful thing, and how this leads her on a path to self-destruction. Originally commissioned by Scotland’s Actors Touring Company, the cast is small: one actor (Raven Dauda) plays Claire, a second (Kevin Walker) plays the Boy (the attacker) but also five other characters in her memory, as Claire tries to makes sense of what she has experienced. At the heart of the play is an exploration of how the community as a whole reacts and tries to move on and – in an innovative stroke – the community is played by a choir, ideally a different community choir for each performance. Fascinated by this, I reached out to director Alan Dilworth to find out more about the choir’s role in the play and the practicalities of recruitment and rehearsal. “The choirs are the heart and soul of the production – they are a powerful healing and humanizing force. They are hope and light in the aftermath of the tragic targeting of a community choir in the narrative of the play. Like a Greek chorus, they also bear witness to, are affected by, and comment on the journey of Claire, the protagonist Alan Dilworth 36 | March 2020 thewholenote.com

of The Events. The choirs themselves, their performance of Irish composer John Browne’s compositions, and their function in the play, are all absolutely breathtaking. You have to witness it for yourself.” Ten different community choirs will be participating in the production after Dilworth reached out to over 140 community choirs in the Southern Ontario region. He says: “I felt like I had discovered a whole new world. There are so many choirs doing brilliant work. I want to join a choir!” Having ten different choirs as part of the production means discovering or inventing a show-specific preparation and rehearsal process. After consulting with a number of other theatre companies who had worked with community choirs, Dilworth said the company “developed a simple but effective series of guidelines for the choirs to learn the music with the guidance of their choir directors, and to gather for two brief, but very focused rehearsals before their performance. All of the choirs have had the script shared with them, but none have seen the play performed – although they have rehearsed the music and the cueing of their music. Like the audience, they will experience the entire performance of the play live as they perform!” With a choir at the heart of the story, the music they will sing is clearly important. In Dilworth’s words: “The music composition by John Browne is very moving, at times playful, at times funny, and always taking us to the beating heart of this stunning play. Each performance begins with a choir singing a song of their own choice. We asked the choirs to choose a song that they thought would best represent them as a choir, and that they thought would be a good launching point for the play. It has been very inspiring. I cannot wait to share The Events with Toronto audiences” The Events plays March 1 to 15 at the Guloien Theatre, Streetcar Crowsnest. crowstheatre.com. MUSIC THEATRE QUICK PICKS !! FEB 28, 29; MAR 4 TO 7: Hart House Theatre. Oh, What A Lovely War! Written by Ted Allan, Charles Chilton, Joan Littlewood and Gerry Raffles. Hart House Theatre. An updated take on Joan Littlewood’s famous classic about the Great War via a setting in the contemporary world of gaming, directed by Autumn Smith. ADRIANA LECOUVREUR By Francesco Cilea In Italian with English Surtitles April 5, 2020 | 2:30 pm FEATURING Sally Dibblee Rómulo Delgado Geneviève Lévesque Sandra Horst !! MAR 12 TO 15: University of Toronto Faculty of Music. Mansfield Park. Music by Jonathan Dove, libretto by Alasdair Middleton. MacMillan Theatre. The Canadian premiere of this Jane Austen-inspired chamber opera directed by Tim Albery. Sandra Horst conducts. Jennifer Parr is a Toronto-based director, dramaturge, fight director, and acting coach, brought up from a young age on a rich mix of musicals, Shakespeare and new Canadian plays. MUSIC DIRECTOR AND PIANIST: Narmina Afandiyeva CHORUS DIRECTOR: Robert Cooper 416-366-7723 | 1-800-708-6754 | STLC.COM ST LAWRENCE CENTRE FOR THE ARTS 27 FRONT ST E, TORONTO TICKETS / / thewholenote.com March 2020 | 37

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 2019
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)