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Volume 27 Issue 4 - February 2022

Gould's Wall -- Philip Akin's "breadcrumb trail; orchestras buying into hope; silver linings to the music theatre lockdown blues; Charlotte Siegel's watershed moments; Deep Wireless at 20; and guess who is Back in Focus. All this and more, now online for your reading pleasure.

Gould's Wall -- Philip Akin's "breadcrumb trail; orchestras buying into hope; silver linings to the music theatre lockdown blues; Charlotte Siegel's watershed moments; Deep Wireless at 20; and guess who is Back in Focus. All this and more, now online for your reading pleasure.

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PATRICK HODGSON<br />

Ursa, the filmed version: from left: Sam Boer, Belinda Corpuz, Jake Schindler and Stephen Ingram<br />

performed in front of a movie screen that can function as either a<br />

projected backdrop, or moving picture that the actor will sometimes<br />

interact with.<br />

Burry praises both director Wanless and actor Morris for their contributions<br />

to this new version of Sweetheart which is much tighter and<br />

more streamlined, leaving behind the documentary detail that his<br />

younger self, as he describes it, “had become obsessed with including.”<br />

Instead it focuses on the dramatic core: “[Pickford] always feeling<br />

held back by her famous bubbly young girl film persona as ‘America’s<br />

Sweetheart,‘ and then her fading celebrity with the advent of the<br />

talkies.” Her famous creation of film company United Artists with<br />

husband Douglas Fairbanks and friend Charlie Chaplin also features<br />

significantly, and weaving everything together is Burry’s original score<br />

inspired by the music of Irving Berlin and the Gershwins, evoking the<br />

early days of Tin Pan Alley and the first moving pictures.<br />

Sweetheart was captured live over several performances in Kingston,<br />

Ontario and will be streamed online from January <strong>27</strong> to <strong>February</strong> 6.<br />

“We want to create accessible versatile<br />

shows that feel like folk concerts [and] tell<br />

stories like musical theatre.”<br />

— Jake Schindler and Sam Boer<br />

Ursa: A Folk Musical<br />

Equally theatrical but even more experimental is The Uncommon<br />

Folk Collective’s theatre-concert hybrid Ursa: A Folk Musical which<br />

will premiere as part of The Next Stage Festival. Ursa, like most<br />

of the other shows in the festival was originally supposed to be<br />

performed to live audiences, but from necessity has pivoted and is<br />

in the final stages, as I write, of being filmed to stream online from<br />

January 30 to <strong>February</strong> 7, with a possible extension to be confirmed<br />

soon. I was lucky enough to catch a virtual (online) glimpse of Ursa<br />

VERDI<br />

APRIL 23–MAY 20<br />

Live<br />

opera<br />

rETUrNS<br />

Single tickets go on sale<br />

<strong>February</strong> 22, <strong>2022</strong><br />

coc.ca<br />

thewholenote.com <strong>February</strong> <strong>2022</strong> | 15

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