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Volume 26 Issue 7 - May and June 2021

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Meet some makers (of musical things) - a live filmed operatic premiere of a Handel oratorio?; 20 years of Summer Music in the Garden, short documentary film A Concerto is a Conversation; choirs Zooming in to keep connection live; a watershed moment for bridging the opera/musical theatre divide; and more than 100 recordings listened to and reviewed since the last time.

MUSIC THEATRE

MUSIC THEATRE Synchronicity and Innovation in a WATERSHED Spring JENNIFER PARR New Works Showcase at Watershed – Afarin Mansouri’s Zuleykha (Loose Tea Music Theatre) ALAIN VIAU Ever since I began writing this column four years ago, I have searched out and championed companies and artists exploring and breaking down the barriers between musical theatre, opera and dance. Imagine my delight when I discovered a new festival debuting in the last week of May this year dedicated to the same goals, to “reimagining the future of music theatre” and to building a new community of artists, scholars, journalists and students from across genres and generations. The Watershed Festival, given this name to symbolize the coming together of these many streams of interconnected art forms, is helmed by prolific Canadian composer Dean Burry, now also an assistant professor at Queen’s University in Kingston, where the idea of the festival was born. Burry has been a friend of mine since I directed the world premiere of his opera Pandora’s Locker at the Royal Conservatory of Dean Burry Music’s Glenn Gould School in 2008; I got in touch to find out more about both the inspiration behind the festival and how the pandemic might be affecting plans for participants and attendees. One thing that is clear right away in speaking to Burry about Watershed is how closely the goals of the festival align with his own belief in the need to break through the long-standing walls between the worlds of opera and musical theatre: in both the professional and academic worlds. As he told me, “I feel as though this is something that my heart has been in for a very long time. I work a lot in the opera field, but never did think that opera had to be one boxed-in thing. I have had some professional musical theatre shows, as well, and I’ve found that as much as we all try to be open, a lot of people in those two fields have strong feelings about what ‘opera is supposed to be’ as opposed to what ‘musical theatre is supposed to be’. The reality, though, as far as I am concerned, is that they are all on the same spectrum; both are methods of storytelling that use every art form: drama, literature, music, movement and design.” Timing is sometimes the essence of alignment. Burry was just finishing up his doctorate at the University of Toronto, and Queen’s was looking for the right person to take up the reins of the new festival. In 2016, Queen’s had taken the unusual step of merging their previously separate drama and music schools – a move that still surprises many people – and inaugurating an academic program that integrates drama and music in a program focused more on an overview of creation than on learning specific technical skills. With a large donation (five million dollars) that followed shortly after from the Aubrey & Marla Dan Foundation, this became the Dan School of Drama and Music. “When I came to Queen’s,” says Burry, “there was a real desire to capitalize on the gift and to really explore the concept of what music theatre is.” The Watershed Festival is, in effect, the spearhead of this mandate. Opera and music theatre creation programs abound, especially at the company/collective level – Tapestry Opera, the Musical Stage Company and Loose Tea Music Theatre come readily to mind – but 14 | May and June 2021 thewholenote.com

as a festival Watershed brings something new to the mix, sitting as it does at the cusp of art and academia. Along with a showcase of recent new work from around the country and further afield, there will be a full-fledged accompanying symposium where scholars from around the world will present and exchange views with established and emerging music theatre thinkers, practitioners and writers engaged in the field. And anchoring it all, each year, will be a newly commissioned large work. Enter Leslie Arden For the debut festival commission Burry turned to acclaimed Canadian musical theatre creator Leslie Arden “as the perfect person for our first outing because we wanted to do a big musical and she has such a grasp of working at that scale, and would be wonderful to have as a mentor for our students.” The one caveat was the need to create a lot of female roles – a typical need in a university setting. Arden quickly said “Yes” and set to work creating The Lancashire Lass which tells the tumultuous story of the British suffragette movement through the eyes of a conflicted young woman, Annie Kenney. Two professional musical theatre performers lead the otherwise student company. Queen’s alumna Tracy Michailidis (Life After at Canadian Stage, Kiss of the Spider Woman and Sunday in the Park with George at Eclipse Theatre Company) plays the role of Mrs. Pankhurst, and multi-talented performer, musical director and Queen’s faculty member, Melissa Morris, is Annie. Given current restrictions, this first festival is promising “a substantial online sneak peek” at The Lancashire Lass as the final evening event of the 2021 festival,with a full in-person production in 2022. The Symposium Daytime during the festival, which runs from May 25 to 28, the inaugural symposium will take place – all on Zoom this year – featuring both presentations (15 minutes at most, followed by Q&As) and panel discussions. Most of these sessions will be hosted by the symposium organizer, Queen’s professor, Dr Colleen Renihan, whose wide-ranging knowledge of the music theatre field as both a musicologist and trained singer has drawn in many participants from Leslie Arden not only Canada, but the US, England and the Netherlands. With the festival taking place online, many more people from around the world will be able to take part as both participants and attendees. The title of the very first panel, Reimagining The World of Music Theatre Together, sums up Watershed’s raison d’être. Burry will host it, bringing in leading professionals from the worlds of musical theatre, opera, operetta and avant-garde music theatre to speak passionately, and perhaps even argue, about the extent to which the two genres’ shared interests in song, theatre and story, can transcend what divides them, at this watershed moment in time and world history. Storytelling, representation, teaching, spectatorship and dramaturgy, reimagining the future of opera, and decolonizing music theatre: all these and more will come into play during the symposium. New Works Showcase Burry will be a busy man throughout the festival, hosting live discussions with the artists, and live chat question and answer ONLINE ADRIANA LECOUVREUR By Francesco Cilea In Italian with English Surtitles Narmina Afandiyeva, Music Director and Pianist Guillermo Silva-Marin, General Director Featuring artists: Natalya Gennadi Julie Nesrallah Tonatiuh Abrego Evan Korbut A renowned actress, a married princess and a rakish lover careen toward their destiny, confronting the meaning of art, the value of love and the finality of life. Coming in June TICKETS AVAILABLE THROUGH WWW.OPERAINCONCERT.COM thewholenote.com May and June 2021 | 15

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