The Case for the Existence of God

Samuel D. Hunter’s play The Case for the Existence of God, in a production directed by Ted Dykstra, opened at Coal Mine Theatre on Thursday night.  It’s a story about the somewhat unlikely friendship between two would be single fathers in a small town in Idaho.  It’s mostly pretty sad but with some really funny moments.  We can come back to the God thing.

A Case for the Existence of God/ Coal Mine Thatre

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A New Philosophy of Opera

newphilosophyA New Philosophy of Opera is a recent book by opera and theatre director Yuval Sharon.  It deals with that thorny question “How do we revitalise opera?”.  It contains a lengthy critique of the current opera world; repertory, performance practice, business model, and some pretty radical suggestions for ways forward.  It’s focussed on the US but I think it’s pretty relevant to Canada too.  It’s also worth pointing out upfront that Sharon’s way forward is not at all based on the German model.  He’s actually quite critical of it as being almost as ritualistic, lifeless and elitist as the US model.

So let’s look at his critique of current practice.  It can be summed up by the three adjectives in the previous sentence.  So, inter alia: Continue reading

Double bill from the Glenn Gould School

Friday night the Glenn Gould School presented a pair of French chamber operas in Mazzoleni Hall.  The pieces were Ravel’s L’enfant et les sortilèges and Debussy’s Prodigal Son with a new English language libretto by Ashley Pearson.  Pearson’s libretto concerns a gay man estranged from his family so director Mabel Wannacott’s linking idea is that the principal character in both is the same person as a child and twenty years later.

Ravel 1

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Gaudeamus igitur

Sigmund Romberg’s The Student Prince was a huge success when it premiered in New York in 1924.  It’s not hard to see why.  It’s an undemanding “love versus duty” plot with plenty of tuneful numbers and lots of drinking and drinking songs which must have had a particular appeal during Prohibition!

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almost as soft as silence

Christopher Whitley — Almost As Soft As SilenceNearly a year ago I reviewed Christopher Whitley’s album of pieces for solo violin and electronics Describe Yourself. In the same session Whitley recorded a series of short improvisations for violin using the same 300 year old Stradivarius. The half hour or so of music was recorded unedited in a single take and forms the album almost as soft as silence.

There are fifteen pieces ranging in length from 18 seconds to about four minutes.  They are quite varied in mood and method but tend toward the meditative.  He uses the full range of sounds from the violin.  Sometimes, as in “six” the music is very high and chattery.  For some reason it suggested squirrels discussing philosophy.  Other pieces, like “a5 b5 g5” seem to have an geometrical structure; a series of smooth crescendos are each followed by a very fragmented fade-out, rinse and repeat. Continue reading

אויב איר שטעכן אונדז, טאָן מיר ניט בלוטיקן

Mark Leiren-Young’s Playing Shylock opened at Canadian Stage on Wednesday night.  It’s a one man show featuring Canadian stage, film and TV icon Saul Rubinek and directed by the equally venerable Martin Kinch.  And it’s back where it all started for both of them in what was then Toronto Free Theatre on Berkeley Street (once, appropriately enough, a gas works).

CSPlayingShylock-photobyDahliaKatz-3563

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