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Volume 28 Issue 4 | February - March 2023

Volume 28 no.4, covering Feb, March and into early April '23! David Olds remembers composer John Beckwith; Andrew Timar reflects on the life and times of artistic polymath Michael Snow; Mezzo Emily Fons, in town for Figaro, on trouser roles, the life of a mezzo-soprano on the road and more; Colin Story on the Soft-Seat beat; tracks from 22 new recordings added to our Listening Room. All this and more.

Volume 28 no.4, covering Feb, March and into early April '23! David Olds remembers composer John Beckwith; Andrew Timar reflects on the life and times of artistic polymath Michael Snow; Mezzo Emily Fons, in town for Figaro, on trouser roles, the life of a mezzo-soprano on the road and more; Colin Story on the Soft-Seat beat; tracks from 22 new recordings added to our Listening Room. All this and more.

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illiantly with the strictly classical arias she sings in the studio –<br />

and yet, the richness of the interwoven opera and blues also comes<br />

to symbolise Kathleen’s growing artistry as her friendship with her<br />

accompanist Rose ripens into a deeper relationship. Samantha Hill as<br />

Kathleen has a clear classically trained voice which is a joy to listen<br />

to and a wonderful contrast to the jazzy richness of Janelle Cooper’s<br />

club turns. All the musicians, though usually hidden away upstage,<br />

do a superb job, easily trading instruments and contributing vocals –<br />

Maryem Toller’s vocals were a standout in Part One.<br />

One thing that I had expected from early rehearsal photos of the<br />

production and missed seeing onstage was a more experimental or<br />

expressionistic movement style – except in one instance when a line of<br />

uniformed soldiers tumbles up to, over and around the upright piano<br />

as Materia plays a song of the period, giving us an unforgettable image<br />

of James at war in the trenches of World War One.<br />

Under the symbolic giant piano strings strung above the stage from<br />

the flies to the wings like the sails of a ship, and under the careful<br />

music direction of Sean Mayes, music weaves together the acting and<br />

physical elements of this production making a whole that is deeper,<br />

richer, more evocative of the colours, depths, dark secrets and eventual<br />

redemption within the story of this family and all those who<br />

touch their lives.<br />

www.canadianstage.com In Toronto until Feb 5, Halifax Feb.<br />

10-<strong>March</strong> 5, Ottawa <strong>March</strong> 8-25, and London <strong>March</strong> 29-April 2.<br />

RUBABOO<br />

A second world premiere at the Grand Theatre in London, with<br />

the intriguing name of Rubaboo, explores and celebrates another<br />

facet of our Canadian mosaic, the Métis heritage of the prairies.<br />

Commissioned by the Grand from the well-known Métis actor, singer<br />

and activist, Andrea Menard, Rubaboo promises to be a delightful<br />

evening of song and story combined, according to the Manitobaborn<br />

Menard, into a truly theatrical whole that she prefers to term<br />

a “cabaret,” but a cabaret with<br />

a purpose.<br />

In a promotional video<br />

Menard says that when the<br />

Grand’s artistic director, Dennis<br />

Garnhum, asked her about<br />

possibly creating a show, she was<br />

not interested “unless I was using<br />

the platform to further reconciliation,”<br />

and that she “wanted to<br />

be somebody who was furthering<br />

education [about Indigenous<br />

people and their history] and<br />

expanding compassion.” While<br />

this sounds very serious the name<br />

of the cabaret indicates that the<br />

evening will also be a lot of fun.<br />

Derived from the Michif word<br />

for “leftovers stew” or “big pot”<br />

Rubaboo promises to be a feast of<br />

Andrea Menard<br />

music and masterful storytelling<br />

with the sound of drums and guitar adding grace notes to stories and<br />

songs of reconciliation, unity, love, frustration and resilience, to “help<br />

people fall in love with the Métis people.”<br />

At the Grand Theatre from <strong>March</strong> 7-25.<br />

Catch a glimpse of show and creator in a video here:<br />

https://grand theatre.com/event/rubaboo<br />

RETOLD<br />

From the East Coast to the Prairies and back east to Quebec:<br />

Back in Toronto, also in <strong>March</strong>, the Musical Stage Company and Yonge<br />

Street Theatricals are joining forces for the second edition of Retold<br />

via Launch Pad, their musical development program that gives three<br />

THE ROSE ORCHESTRA<br />

OPENING NIGHT AT THE OPERA<br />

Be transported to the excitement of opening night at the opera!<br />

The curtain rises on the drama of operatic overtures and the<br />

passion of arias sung for you by astounding soloists. Featuring<br />

four incredible GTA and Brampton based singers who trained with<br />

the Canadian Opera Company: Soprano, Lindsey Duggan; Mezzo-<br />

Soprano, Danielle MacMillan; Tenor, Adam Luther; and Baritone,<br />

Alexander Hajek.<br />

MARCH 25, <strong>2023</strong><br />

7:30PM<br />

OAKLAND STROKE<br />

JAZZ @ LBP HOSTED BY JAYMZ BEE<br />

Get ready for the Greatest Horn Hits of the 70s!<br />

Featuring music by Tower of Power, Earth Wind & Fire, Blood<br />

Sweat & Tears, Chicago, and more! Oakland Stroke is a 10-piece<br />

juggernaut of soul and good vibes, featuring a 5 piece horn section.<br />

Led by Toronto native Lou Pomanti, experience them live.<br />

BOOK TICKETS<br />

THEROSEBRAMPTON.CA<br />

APRIL 11, <strong>2023</strong><br />

thewholenote.com <strong>February</strong> & <strong>March</strong>, <strong>2023</strong> | 17

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