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