Theatre Smith-Gilmour’s production of Metamorphoses 2023 opened last night at Crow’s Theatre. It’s an 80 minute show, written and directed by Michele Smith, (with, it’s clear, a lot of input from the cast) taking various stories from Ovid. Most of them involve women (or goddesses) revenging themselves on men for various failings ranging from being smug to violent rape. It’s also very concerned with gender fluidity. The principal narrator is Tiresias and along the way we also meet Hermaphorditus and Caenis.
Last night at Mazzoleni Hall we were entertained by the Royal Conservatory’s Rebanks fellows. The programme was, to say the least, varied and very enjoyable. It began with a movement from Mozart’s Piano Quartet in G minor played by Isobel Howard – violin, Caleb Georges – viola, Joanne Yesol Choi – cello and Sejin Yoon – piano. It was a pleasant, if conventional, start to the evening. There were rather more fireworks in the “Allegro ma non troppo” from Strauss’ Violin Sonata in E flat major. There was some seriously virtuosic playing here from Aaaron Chan – violin and Ben Smith – piano.
from L to R: Michael Bridge, accordion; Caleb Georges, viola; Isobel Howard, violin; Sejin Yoon, piano; Hannah Crawford, soprano; Daniel Hamin Go, cello; Tim Beattie, guitar; Jonelle Sills, soprano; Aaron Chan, violin.
The “postponed from the fall” double bill from the Glenn Gould School finally streamed on the Koerner Hall channel last night. The first piece was likely familiar to most viewers; Kurt Weill’s The Seven Deadly Sins given in piano score in a production by Amanda Smith. The concept here is that Anna 2, rather than being a dancer, is some kind of on-line celebrity exploiting dating sites to bring her fame and fortune. The production had originally been designed for an audience and used moveable plexi-glass shields to ensure social distancing. It also made extensive use of projected conversation bubbles, emojis and other social media effects. This seems to have been ramped up in post production to add picture-in-picture effects and maybe to make the lighting; already a sort of rave inspired blend of blues and pinks with touches of rather lurid green, even more dramatic. With on screen subtitles it was arresting but maybe just a little too busy to fully process!
A quick reminder that tonight, tomorrow and Saturday see new streams from AtG (A Little Too Cozy prequel), The GGS Fall Opera (Seven Deadly Sins and Lucrezia) and Confluence (Purcell). There’s also new content on the appropriate Youtube channels from Domoney Artists and Alex Hajek.
This Is How We Got Here is a play by Keith Barker that opened at the Aki Studio last night. It’s about grief and how an event can affect multiple relationships at multiple levels. It’s very cleverly crafted with a non linear time line so I am going to be somewhat evasive about the plot because spoilers would spoil it.
The students of the post graduate program at UoT Opera were on show in the RBA yesterday with a show made up of staged opera excerpts curated and directed by Michael Patrick Albano. It’s right at the beginning of the academic year and these sorts of concerts are a bit of a calibration exercise for those of us who follow the progress of young singers. The starting point this year is decidedly high.
Driftwood Theatre’s Bard’s Bus Tour touched down at Withrow Park yesterday evening in near perfect conditions for their lightly updated musical version of A Midsummer Night’s Dream. D. Jeremy Smith’s production is cleverly constructed to cover off all the bases with a cast of only eight and with the minimal staging possible for an outdoor touring production. The updating makes the Mechanicals into Oshawa auto workers. The music is largely integral; parts of the text being set to music by Kevin Fox and Tom Lillington further adapted and performed by Alison Beckwith with support from various members of the cast. There are cuts and the whole piece runs about an hour and forty five minutes without an interval.
We went to see the opening performance of FAWN Chamber Creative’s new show Pandora at Geary Lane last night. There’s a lot to like but it’s a dense and in some ways confusing show so I’d suggest that if you plan to go you do your homework. So, don’t expect anything closely related to any of the many versions of the Greek legend. That’s just a jumping off point to explain how both evil/malice and hope came into the world. A very brief prologue in which a character discovers Pandora’s box (or jar or whatever) after centuries and releases Hope into the world sets up three scenes which each, in their own way, reflect the duality of Good/Evil, Despair/Hope or however you want to characterise it. I strongly suggest reading the Director’s Notes and the Libretto before the show to understand what the three scenes are and where the transitions are. There are no surtitles (money!) and not many of us can read a printed libretto in the dark. Also, cast members change character sometimes without change of costume. It’s helpful to know when that’s happening! While there’s only one librettist, David James Brock, there are three composers but stylistic differences between them aren’t so obvious that one realises there has been a transition.
FAWN Chamber Creative and its artistic director Amanda Smith see themselves as pioneers. They champion inter-disciplinary works that don’t fit easily into any taxonomy of music, theatre or dance styles. Their latest venture; Pandora, an “opera/ballet” on a classical theme, might seem straight from the court of Louis XIV but Lully likely wouldn’t have scored it for drums, a piano, an electric guitar, a cello, a bassoon and electronics. The Sun King would likely also be somewhat taken aback by Jenn Nichol’s choreography; her long association with Opera Atelier notwithstanding.
Last night, at the Ernest Balmer Studio, we got to see somewhat more developed versions of the works presented earlier in the week in the RBA but this time in staged format. I’m not sure my opinions changed much as a result though I think I’m even more convinced that here we have five pieces of substance that deserve to be seen in fully realised form. So, some brief thoughts on each. Note that, except for Book of Faces we only saw extracts from pieces that are still WIP. Continue reading →