The Egyptian qanun.Chinese guzheng, Indonesian kacapi, Iranian santour and Middle Eastern qanun: these representatives of the vast global zither family remain relatively unknown outside their region or country of origin. And yet they all have very deep musical roots, tapping into the bedrock of the communities in which they have flourished for thousands of years.

At 7:30pm on Saturday, November 30, “Encircling the World: Zithers!,” produced by North Wind Concerts (NWC) at the Heliconian Hall, aims to redress Toronto’s zither lacuna with a transnational zither exploration and celebration – or as NWC more succinctly put it, “Different cultures, similar instruments, shared musical meanings.” 

The event is the second installment of NWC’s ongoing “instrumental families” concert project. The first concert last March focused on members of the global flute family. This one features four different variants of the family of zither, dulcimer and psaltery, from Egypt, Indonesia, China and Iran, presented by leading Toronto musicians. The presentation format is unconventional, too: they will each play a solo feature and share about their instrument and music, then play together as a group and end with an interactive audience Q&A.

I spoke to NWC artistic co-director Alison Melville, as well as the four participating musicians, asking for their zither origin stories and thoughts on the future of their instruments.

It seems that in North America today, the zither’s profile is relatively low. Does it have an identity problem, I asked Melville over email.

“I think this depends on which musical community and musical tradition you're considering,” she countered. “The hammered dulcimer, for example, has a long and strong tradition in North America. Someone who listens mostly to European classical music, however, might have had no contact with the hammered dulcimer, and might think it's not as significant or developed an instrument as, say, the violin. That's an unfortunate assumption which I'm pretty sure would change if they got to know a great dulcimer player.”

What informed Melville’s choice of these specific musicians? “Toronto is very fortunate to have so many great musicians from different traditions living here,” she writes. “I've known qanun master George Sawa for many years and have long admired his artistry and his ability to easily connect with audiences. Lina Cao (guzheng), Amin Reyhani (santour) and Bill Parsons (kacapi) were all recommended by friends and colleagues.”

Melville also makes clear that each musician will present and demonstrate their instrument as they see fit. “This could include discussion of the construction of the instrument, playing techniques, etc., as well as the role the instrument plays within its musical tradition.”

Guzheng soloist Lina Cao shared her earliest musical memories. “When I was little my father had many musical instruments in our home, sparking my own my love of music at a very early age,” she says. “When I was five, I was strongly drawn to music coming from the home of my grandmother’s neighbour. My mother took me next door to investigate. I discovered the instrument making that beautiful music was the guzheng! Not so many years later I began to learn to play it.”

Here in Canada, Cao has performed in the opera The Monkiest King, produced by the Canadian Children's Opera Company, and has also played a guzheng concerto with orchestra. 

“I thought for a long time about what I will play at the concert,” Cao says. “In the end I decided to play a guzheng piece based on the Chinese folk song Jasmine.”

Also performing on the concert is santour player Amin Reihani, an Iranian traditional musician who also started his musical journey at an early age. Amazed by the sound of the santour when he first heard it, he has continued to play, explore and create music for it. 

A dedicated teacher of the santour, radif (the Persian tonal mode system) and Iranian ensemble music, Reihani enjoyed 20 years of teaching before immigrating to Canada, where he has since played santour with several Persian ensembles – in 2018 founding the Navak Ensemble to perform and record his compositions as well as those of past masters.  

At “Encircling the World: Zithers!” Reihani looks forward to “an environment in which musicians have the rare opportunity to compare their instruments and learn more about their strengths and weaknesses.”

“Other than physical and structural differences in size, shape, scales and playing techniques, I believe the most crucial aspect of music is the connection between the musician and the instrument,” Reihani says. “To me, playing santour is more than just playing songs. It is more like praying. It is my form of meditation, helping me relax.”

Veteran qanun master and respected scholar of its music George Sawa weighed in on how his instrument differs from the other zithers on the program. “I think the main difference is the presence of a fish skin membrane below the stable bridge,” he notes, “plus the set of levers that allow qanun players to get tones, half tones, quarter tones and [eighth] of a tone.” These fractions of tones produce the intervals essential in rendering the characteristic tonal modes of qanun music.

“From the time I was a kid in Egypt,” writes Sawa, “I heard the sound of the qanun on the radio. I would rush to the set and press my ears right to the speakers: I was mesmerized by its heavenly sound.”

Sawa notes that while it is the quintessential ensemble instrument, the qanun has a soloist side too, typically performing unmeasured improvisations. At the concert, he plans to discuss the essence of these improvisations and showcase the eleven levers on the qanun that give it its unique sound.

The final performer on the program – composer, guitarist, music educator and kacapi player Bill Parsons – is an old friend and colleague. He’s also the only musician not born into the culture of the zither he’s played for over a quarter century – and arguably the most experimental in his approach to it.

Parsons’ creative life began in Winnipeg as a teenager with a guitar. He first encountered the kacapi (Sundanese trapezoidal twenty-string plucked zither) in 1994, when he was invited to join Toronto’s Evergreen Club Gamelan (ECG). (ECG plays on a gamelan degung, a type of orchestra also from West Java.) Years later he travelled to the West Javanese kacapi heartland to further his studies with a local master.

“I feel honoured to be a part of the program,” says Parsons. “I plan to write a new piece that features the kacapi in the way I see it: in a largely textural role. I’ll be using looping, [and] preparations of the kacapi strings. Intermingling the techniques and cultures of the guitar and kacapi are on my mind at the moment.”

 “We had a wonderful time at the flutes show last spring,” North Wind Concerts’ Melville concluded at the end of our conversation. “There was a great atmosphere, lots of beautiful music and interesting questions from the audience. We're looking forward to another such evening on November 30!” As am I.

“Encircling the World: Zithers!” takes place at 7:30pm on November 30, at Heliconian Hall, Toronto.

Andrew Timar is a Toronto musician and music writer. He can be contacted at worldmusic@thewholenote.com.

Dancers of The 9th!. Photo credit: Alexander Antonijevic.Thirty years ago, on November 9, 1989, the Berlin Wall fell. After 28 years dividing East Berlin from West Berlin and standing as the tangibly concrete symbol of the Cold War's Iron Curtain, the wall was suddenly porous and would soon come down altogether, leading to the reunification of Germany. On Christmas Day 1989, a celebratory concert of Beethoven's famous Ninth Symphony was performed in East Berlin's 'Konzerthaus' by an orchestra made up of musicians from around the world, conducted by Leonard Bernstein who, to mark the occasion, changed the lyrics of the fourth movement's choral Ode to Joy, to Ode to Freedom (“Freude” to “Freiheit”). Broadcast to thousands in the square outside the theatre and to millions around the world via television, Beethoven's Ninth has been associated ever since with this moment in history.

Last week on November 8, I had the opportunity to see ProArteDanza's Toronto premiere of The 9th!, a powerful ode to freedom in dance form set to Beethoven's iconic score and inspired in large part by the Fall of the Berlin Wall.

Ten years ago in 2009, ProArteDanza artistic director Roberto Campanella and artistic associate Robert Glumbeck were invited by Trois Rivières’ Dansencore Festival to create choreography for the first movement of Beethoven's Ninth as part of a large anniversary project involving choreographers from around the country, with live orchestra and chorus. Something about the project resonated with the two creators: they received permission to perform their segment of the show with their own company, and then decided to go ahead on their own to explore and experiment with the other three movements, one at a time. In Campanella's words, they have “been humbly tiptoeing around this monumental masterpiece ever since, and it's more frightening now than it was then.”

Why frightening? For one thing, Beethoven's music is considered by dancers to be “un-danceable,” so choreographers tend to avoid it. For another, “The Ninth” (officially  Symphony No. 9  in D minor, Op. 125) is arguably Beethoven's most famous symphony, so 'daring' to choreograph to it can be daunting.

When I asked Campanella how they were dealing with this challenge, he laughed. “Yes, what were we thinking?” he said. “On the one hand,” he added more seriously, “we humbly bow to the music, but  on the other we layer our ideas on a conceptual level, so that at the end of the day what we are creating is not separate music and dance – it is one combined whole.”

The inspiration for the concept that would anchor the choreography came not long after the Trois Rivières experience, when Campanella was working on a film in Berlin and went on a day off to visit the site of the Wall. All around the site there are video stations where you can look at old archival images; one that “really hit” him, and still does, was from before the actual wall when the uncrossable divide was marked only by barbed wire: “There were two families waving at each other from either side of the barricade,” he said. “And what struck me was that the body language of these people who knew each other at first seemed the same – it looked as though they were using the same movements – but actually they were very different.”

So strong was the impact of this image, and the inherent power of the emotion in the two sets of figures, that Campanella says he called Glumbeck right away and asked, “‘Could it be that the concept behind all the layers for our version of the Ninth Symphony should be this wall that divides us, whether structurally or figuratively?’” Glumbeck agreed and they began what became, in total, a ten-year co-choreography process of experimentation and exploration. The coincidence of the music they were choreographing to just happening to be the symphony played to celebrate the fall of the Wall only added to this feeling of rightness.

For this production of The 9th!, there were a number of challenges. First, there was a decade’s worth of existing choreography for each of the separate movements for Campanella and Glumbeck to look at, work through, revise, and meld into a whole that would have a satisfying emotional arc. Second, ProArteDanza is known for its strongly muscular, athletic choreography that melds ballet technique with a more modern dance vocabulary, but this new work, with its ambitious thematic scope and emotional journey, was going to demand the performers be as much actors as dancers, willing and able to throw themselves into the creative process and performance with an emotional vulnerability not always looked for in the dance world.

Hearing about the process the company took to arrive at this point was fascinating. According to Campanella, they strove to not be tied to a specific point in history or to make any specific reference to current events. “What we are really focusing on is the people from this community who were forced to live in a completely different manner (behind the wall) and explore what that does to us as human beings,” he explained. “And then, where that is going to take you thirty years later when you actually have the chance to go back to the life that you once had.” To achieve this and go beyond the technical movement, the co-choreographers invited the dancers to be vocal and inventive in the creation process, speaking up and making suggestions to help the creators reach their goal.

In the final run of The 9th! from November 6 to 9 at Toronto’s Fleck Dance Theatre, the results of all this dreaming and hard work felt powerful, emotional and satisfying. The dancers were superb, their admirable technique and emotional commitment together enabling them to create onstage a society inhibited by barriers – walls both inside and out – that then finds its way to a stronger, happier, community of people. There were four strongly individual  threads within the arc: the tormented figure of Ryan Lee; Daniel McArthur’s emerging leader; the darkly energetic figure of Kelly Shaw who finds her way to peace; and Sasha Ludavicious as an emerging prophet of hope. (These are my characterizations, not anything stated in the program – but following their threads gave me a path to follow through the whole, to the joyful, hopeful finish of the choral “Ode to Joy” in the symphony’s fourth movement.

Altogether, this was a passionate performance of a powerful work that I hope will go on to further productions, with eventually live orchestra and chorus and more elaborate technical elements.

ProArteDanza’s The 9th! ran from November 6 to 9 at Harbourfront’s Fleck Dance Theatre, Toronto.

Jennifer Parr is a Toronto-based director, dramaturge, fight director, and acting coach, brought up from a young age on a rich mix of musicals, Shakespeare and new Canadian plays.

Antonio Banderas. Copyright El Deseo. Photo credit: Nico Bustos, c/o Sony Pictures Classics.Pedro Almodóvar’s superb new film, Pain and Glory, which bursts with autobiographical references, deals with creativity in a most novel way. It’s the story of a film director, Salvador Mallo (a graceful, subtle, nuanced Antonio Banderas), who is blocked creatively and consumed by physical pain: tinnitus, wheezes, headaches of all kinds; and what he calls pains of the soul – anxiety and tension. When we first meet him, he’s in a swimming pool trying to alleviate his back pain by exercising. He remembers, as a child, watching his mother, Jacinta (a radiant Penelope Cruz), singing A tu vera, a popular Spanish song from 1964, along with three other women, all doing their laundry at a river. It’s a happy memory, seeing his mother so joyful, and as he escapes into it, the soundtrack supports him with quizzical strings whose mysterious melody backs up the voice of a clarinet.

Penelope Cruz and Asler Flores (young Salvador). Copyright El Deseo. Photo credit: Manolo Pavón, c/o Sony Pictures Classics.A cocktail piano in a bar triggers a second memory. A priest, who is the choirmaster in a seminary where ten-year-old Salvador is a student, is playing the same tune on an upright keyboard and auditioning potential choir members. Salvador sings so well that he becomes the soloist and is told to cut geography and other classes in favour of practising music. He would eventually learn about geography as a filmmaker travelling the world.

In another scene, Sabor, a film Mallo made 32 years earlier, is being revived and the director has been invited to attend the screening for a Q & A. He looks up its star, Alberto Crespo, whom he has not seen for three decades and they smoke heroin. Another childhood memory – living in a cave house in a village in Valencia with his parents – takes over, supported by aspirational string music, gentle and optimistic. (Almodóvar insisted in a New York Times profile that the autobiographical references in Pain and Glory do not not include smoking heroin. Nor did he live in a cave house, for that matter.)

Pedro Almodóvar (left) and Antonio Banderas. Courtesy Sony Pictures Classics.“If you write about a director (and your work consists of directing films),” Almodovar wrote in his notes to the film, “it’s impossible not to think of yourself and not take your experiences as a reference... My house is the house where Antonio Banderas’ character lives, the furniture in the kitchen – and the rest of the furnishings – are mine or have been reproduced for the occasion and the paintings that hang on its walls. We tried to make Antonio’s image, especially his hair, look like mine. The shoes and many of the clothes also belong to me, and the colours of his clothing.”

In the film, Grace Jones’ version of La vie en rose evokes the disco era of the late 1970s – a touchstone for Mallo’s Addiction, a theatre piece about an intense love affair that Crespo is performing. Almodóvar’s notes explain that Cómo pudiste hacerme esto a mí by Alaska y Dinarama, which accompanies the cinematheque screening, puts a date on the film – the mid-80s. It also, Almodóvar explains, pays tribute to Alaska y Dinarama’s Carlos Berlanga, who wrote the song – one of the great icons of that time and a much-loved friend of his.

“I’ve looked for artists (actors, painters, musicians) with whom I am familiar and, in most cases, with whom I have grown,” Almodóvar has written. “There are many works by the painters Guillermo Pérez Villalta, Sigfrido Martín Begué, Jorge Galindo, Manolo Quejido, Miguel Ángel Campano, Dis Berlín, etc. All from the late 70s and with whom I have been shaped in more than one sense. This is one of the most autobiographical aspects of the film. It is all familiar to me.

“And of course, going back to the music, the presence of Chavela Vargas and Mina, who belong to my emotional and artistic family,” he continues. “From Mina I have chosen Come sinfonia to accompany the entire scene of the watercolour sketch [a pivotal memory]. It’s a theme from 1960, full of delicacy and the feeling of an idle, pleasurable summer. Chavela bursts into the middle of [Crespo’s] monologue with a verse from La noche de mi amor (The Night of My Love), exultant, infinite in its clamour. I want the joy of a ship returning, a thousand bells of glory pealing, to celebrate the night of my love.”

Chevala’s song in the film represents Mallo’s great 1980s love affair, which is resolved at the end of the Addiction theatre piece. By the end of Pain and Glory, Mallo’s random memories have borne fruit, the cycle of artistic creation has been activated, fuelled by long-ago desire.

Alberto Iglesias has composed the soundtrack for all of Almodóvar’s films since 1995. Here, his companionable, fully integrated score is linked to three different “atmospheres” according to the director. The first is inspired by the sunlight of the Valencian village memory; the second is linked to Mallo’s moments of pain and isolation, often adopting faster, repetitive patterns, more frantic musical movements or little tremors. The third sound, “luminous in its simple spirituality,” accompanies the scenes with the elderly Jacinta and grown-up Salvador, in Madrid, with the music adopting the mother’s spiritual attitude towards death. Iglesias won the Cannes Soundtrack Award for his intensely moving score.

And Banderas won Best Actor at Cannes for his warm, humanistic performance.

Pain and Glory opens at Cineplex Varsity & VIP on October 25 and at TIFF Bell Lightbox on November 1.

Paul Ennis is the managing editor of The WholeNote.

Human Body Expression’s Resonance. Photo credit: Francesca Chudnoff.Friday, September 27 was the day Canada rose to join the Global Climate Strike, with hundreds of thousands of people taking part in climate marches in cities across the country. Those marches, inspired in part by 16-year-old Swedish activist Greta Thunberg, were largely led by young people, though those of all ages participated.

This rise of the young in anger against the darker destructive forces of society was also captured by choreographer Hanna Kiel and her company Human Body Expression (HBE), in the recent world premiere of her dance work Resonance. Opening on Thursday, September 26—the day before the climate marches—Resonance was inspired by a recent South Korean political movement: the impeachment of now former president Park Geun-Hye in 2016.

Set to an excellent collaborative rock score with a strangely fitting 80s character by Dora-nominated composer Greg Harrison, Kiel’s choreography has an idiosyncratic yet completely contemporary feel to it, seeming to be tailored to, and inspired by, the varying body types, physical styles, and personalities of Kiel’s dynamic company of 12 young professional dancers.

The first part of Resonance begins with a tortured solo by a single male dancer. As other dancers emerge onstage, we see a society filled by individuals trapped in isolated torment, although in a crowd. They respond separately to stimuli, not working or thinking together, but seemingly kept impotent by some controlling power – perhaps symbolized by the guitarist at centre stage, his sounds sparking angular reactive movement from the dancers around him.

Out of this physical disharmony slips a girl dressed all in black. “Can we learn to forgive what we cannot forget?” she says. “My body has been infected, infected with future from unknown answer (...) it is hunting my present so we are looking back as moving forward (...) and then it starts. Knocking at your chest, there's a pulse, a desire ... A desire to be rid of the storm. A pulse craving to be free.”

Another dancer joins in and the words interweave in a doubly spoken articulation of a society at odds with itself, a young generation looking for a way to make sense of the world they live in and to find some agency within it. “Each disconnected fragment lends a hand to the greatest transformation…” 

Particularly powerful in the midst of this world of rock-fuelled movement, these spoken thoughts (written as well as spoken by the dancers performing them: Zsakira Del Coro and Roberto Soria) seem to lead to an evolution in the physical world we are watching. This in turn is echoed by a morphing of the music to acoustic from electric (a small foot-powered organ is walked out onstage and joined by an acoustic guitar on the dance floor). A further evolution is sparked by the eerie sound of a single whirly tube (those plastic corrugated tubes that children play with), creating a wave of soft, whistling sound, as more whirly tubes are wielded by musicians and dancers together. A magical shift follows: this sound morphs into a strange singing created by the company all playing on silver disks with violin bows, as the choreography equally softens and melds newly awakened individuals into a cohesive communicating group.

After a musical interval, the final section begins with a single male figure, dramatically back lit, playing a drum, literally calling his forces to battle. This, apart from the actual spoken text, was the most literal part of the piece, and welcome as a clear “call to arms” – not only onstage but shared with the audience as well. Swiftly the choreography builds to a powerful, hopeful finish, as this group of individuals find strength in shared purpose and find themselves ready to make a difference in their world.

I had not seen Hanna Kiel's choreography before, but was captivated by her idiosyncratic physical style, and her passionate commitment to her dancers and to creating dance that connects to our contemporary world.

Human Body Expression (HBE) presented Resonance, with choreography by Hanna Kiel and music by Greg Harrison, from September 26 to 28 at Sts Cyril & Methody Church, Toronto.

Jennifer Parr is a Toronto-based director, dramaturge, fight director, and acting coach, brought up from a young age on a rich mix of musicals, Shakespeare, and new Canadian plays.

240A4205 1024x683bannerThe Canadian Arabic Orchestra and Choir.The third annual Festival of Arabic Music and Arts (FAMA), presented by the Canadian Arabic Orchestra (CAO), graces venues across the Greater Toronto Area, Montreal and Halifax in more than 12 concerts, shows and plays from October 25 to November 10. This year’s festival will include a satirical play, a comedy show and concerts covering several genres, including one aimed at children.

Ever since its establishment in 2015 by the husband-and-wife team of qanun (Arabic zither) expert/orchestra president Wafa Al Zaghal and pianist/music director Lamees Audeh, the Mississauga-based CAO has sought an inclusive modus operandi.

In a 2017 phone interview, Audeh stated that “we wish to connect expatriate Arabs with their classical Arabic musical culture… maintaining this cultural heritage in the hearts and minds of the Arab community in Canada and presenting it to future generations. But at the same time, we want to engage with all non-Arab communities. Our aim is to build bridges between Canada’s diverse communities... through music.”

FAMA’s programming shows both objectives at work.

In my November 2017 column First FAMA Fall Feast Continues, I spoke with two longtime Toronto Arabic music scenesters about FAMA’s place in the local musical community. George Sawa, a renowned scholar, qanun player and music educator, vividly recalled what it was like here in the 1970s. “At the time, Arabic music [in Toronto] was mostly encountered in cabarets and clubs which featured belly dancing.” He further observed that the GTA’s Arabic community has grown considerably in the past few decades. “For example,” he added, “I think it’s very significant and healthy that before securing support from Canadian Arts Councils, the Canadian Arabic Orchestra initially sought patronage from local Arabic businesses who believed in what they were doing.”

In 2017, I also spoke with York University ethnomusicologist and multi-instrumentalist Rob Simms, a specialist in Middle Eastern and West African musics. Simms reminded me of the devastation to cultural life impacting large swathes of Iraq and Syria as a consequence of sustained armed conflict in recent years. One of the results of this upheaval has been the displacement of millions of Iraqis and Syrians. Many have found themselves as refugees in foreign lands, including Canada.

Here are five highlights of this year’s upcoming Festival of Arabic Music and Arts. 

1. Carole Samaha - October 25, Living Arts Centre

Carole Samaha, one of the world’s top Arabic music, film and theatre divas, opens the festival on October 25 at Mississauga’s Hammerson Hall at the Living Arts Centre. Winner of the “World Music Award” for best performer in the Middle East (Monaco 2014) and other prestigious international awards, the Lebanese star launched her career as an actor at Beirut’s Drama Theatre, eventually starring in five popular TV soap operas. Refocusing a few years later to develop a solo pop singing career, in 2004 she won the Arab Music Award for best female newcomer. To date she has released six studio albums, each with charting songs.

The YouTube video of Samaha’s show at the 2016 Byblos International Festival in Lebanon shows her in full-on diva mode. There are gown changes, costumed dancers, elaborate background videos, a large band and choir, and even a passionate Miley Cyrus cover in English. Thematically the show is a pop music pageant of the millennia-long history of her home region’s peoples, including Phoenicians, Assyrians, Greeks, and Romans up to the present-day Lebanese. No matter what songs and production values she brings to Hammerson Hall, I’m sure Samaha’s concert will convert that Mississauga venue into a temporary centre of Lebanese identity. 

2. Hamza Namira - October 26, St. Lawrence Centre for the Arts

On October 26, Hamza Namira and his band play the Jane Mallett Theatre, St. Lawrence Centre for the Arts in downtown Toronto. Namira is a Egyptian singer-songwriter and multi-instrumentalist. In the early 2000s he established his band Nomaira, with which he has toured internationally and released four albums.

One thing that distinguishes Namira from fellow Arabic singer-songwriters is his avowed interest in regional Arabic folk song. In 2016 he launched a series titled Remix on the pan-Arab TV channel Al Araby. The popular series, filmed in a number of countries, featured Namira collaborating with singers, musicians and music groups, then remixing their traditional songs in line with contemporary pop aesthetics. It’s a safe bet his October 26 concert will feature his brand of Arabic pop with distinct folkloric musical touches.

3. Oumeimah El Khalil - October 27, Armenian Youth Centre

On October 27, the veteran Lebanese singer Oumeimah El Khalil takes the Armenian Youth Centre stage in North York. Already a singing star at an early age in the 1970s, at the pinnacle of her career El Khalil commanded international stages like Sydney’s Opera House, the Barbican Centre, Queen Elizabeth Hall in London and Montreal’s Place des Arts.

With a sweet, light, flexible and expressive soprano, El Khalil specialises in rendering the poetry of leading Arabic writers. Audiences can expect songs with universal themes by masters such as Mahmoud Darwish, Charbel Rouhana and Marcel Khlaifeh.

4. Greek Arabia (November 7) and Maghrebian Night (November 8), Aga Khan Museum

One of the more intriguingly-themed festival concerts is Greek Arabia, presented in associate partnership with the Aga Khan Museum on November 7. The CAO takes the audience on a musical journey mixing Greek and Arabic musical cultures. According to the FAMA website, the program promises to “transcend geography and the ages, speaking to us in one language, the language of love.”

Also in associate partnership with the Aga Khan Museum, FAMA presents Maghrebian Night on November 8 at the Museum. The CAO celebrates the music of the Maghreb region—Libya, Tunisia, Algeria and Morocco—with sounds that “carry the smell of the sea and the warmth of the sun.”

5. Musical Tribute to Arabic TV - November 10, Metro Toronto Convention Centre

FAMA’s 2019 music series concludes on November 10 with a concert at the 1,200-seat John Bassett Theatre, Metro Toronto Convention Centre. The CAO and Choir will perform “their largest production ever,” featuring theme music and songs from some of the best-loved Arabic TV series of the last three decades. This is certainly a must-see for Arabic vintage vernacular music and TV show fans.

The Canadian Arabic Orchestra’s 2019 Festival of Arabic Music and Arts (FAMA) runs from October 25 to November 10, in various locations throughout Montreal, Halifax, and the Greater Toronto Area.

Andrew Timar is a Toronto musician and music writer. He can be contacted at worldmusic@thewholenote.com.

Steel pan player, composer and educator Joy Lapps-Lewis.You might ask yourself, “Is it really necessary to have a festival specifically for women in percussion?”

The answer, as it turns out, is a resounding “yes.”

Tracy Jenkins, co-artistic director of Lula Music and Arts Centre, had heard from several percussionists and drummers that there are still a lot of barriers for women who want to become professional percussionists. In response, in 2017 she co-founded Lula’s Women in Percussion festival—a series of concerts and workshops celebrating local and international women percussionists.

The festival’s second edition took place this September 26-30, presented in collaboration with the Aga Khan Museum, Small World Music and Emerging Young Artists and featuring percussionists with roots in Brazil, Jamaica, Venezuela, Cuba, India, Korea, Japan and First Nations. The festival is shaping up to be a biennial event.

“Women are much more accepted these days as guitarists and piano players and, of course, singers, but they’re still not being encouraged—or sometimes are even overtly discouraged—from drumming,” says Jenkins. “For various reasons, drums are still viewed by some as mens’ territory. We wanted to create a space to present the work and have an atmosphere of celebration and include everyone, whatever gender they identify as.”

And they succeeded: the packed opening night of the five-day festival last month showcased four diverse acts—which included lots of supportive men both onstage and in the audience—and had a fun, celebratory vibe.

Y Josephine, a Venezuelan singer-songwriter and percussionist, opened the festival on September 26 with a couple of solo covers on cajon and voice (including, aptly, Miss Celie’s Blues, aka Sister), then teamed up with Carla Dias on bass and Anita Graciano on drums for a couple of originals.

Next, Joy Lapps-Lewis took the stage. The sight of a 37-weeks pregnant woman playing steel pan drums and leading a band of some of the most in-demand jazz players in the country seemed especially fitting for this event. Lapps-Lewis played shimmery melodies and fierce solos, while Rich Brown (bass), Jeremy Ledbetter (keys) and husband Larnell Lewis (drums) supported on a captivating set of original songs inspired by the women in her life.

Vulva Beats is a new percussion-forward eight-piece band and brainchild of Aline Morales, who has been a strong presence in the Toronto Brazilian music scene for many years. Morales said she started the group “to provide a multidisciplinary space for women to create and co-create.” The band’s set was a groovy mix of reimagined Brazilian, pop and hip-hop covers, and featured performances by Carlie Howell, Suzanne Roberts Smith, Chellz Gemmaria and Angela Vargas.

I asked Morales about how she came up with the name of the group; she explained that she felt that nothing better represented their cause. “Being a woman or identifying as a woman, we are emphasizing how capable we are in any industry. We are also honouring where we came from!”

The finale of the night was a group of Toronto-based samba drummers (mostly from the group T.Dot Batu led by Pato Irie Martinez) which featured Adriana Portela, who was brought in from Salvador, Bahia, Brazil, where she is the musical director of the region’s first all-women drum band (profiled in this New York Times article). Portela lent a high-energy presence to the percussion-driven samba-reggae tunes, along with the always-charismatic Cibelle Iglesias and Jerusa Leao, who sang a few popular Brazilian tunes by women songwriters to round out a fun set.

Workshops were a big component of the festival, and several were offered free over the weekend at Lula, in collaboration with the Aga Khan Museum and Emerging Young Artists. Improvisation in Indian traditions, cajon and Brazilian samba-reggae were among the offerings.

I also caught some of the Japanese taiko demonstration on Saturday, September 28, led by Aki Takahashi and featuring a performance by the Japanese folk ensemble, Ten Ten. Taiko is a form of Japanese ensemble drumming, traditionally used in villages and temples as a means of communication in festivals, rituals, prayer and war. Highly physically demanding, taiko (which means “drum” in Japanese but can also refer to the music that the ensembles play) has been the purview of men until relatively recently.

“Taiko for women is really contemporary,” Takahashi said. “Normally there are only one or two taiko players in a village and they are usually old men who represent the village and community to the gods, and women are not allowed to touch or play the drums.”

As taiko has become more prevalent in North America, so too has ensembles where women form the majority of the members. In some cases, women’s taiko ensembles have served as a way to subvert the gendered expectations of the genre.

“People are learning that women bring a feminine quality to the art form,” explains Takahashi. “They can play with as much volume and speed as men, but they do it using technique and finesse rather than muscle.”

Lula Music and Arts Centre’s 2019 Women in Percussion festival ran from September 26-30 in Toronto.

Cathy Riches is a self-described Toronto-based recovering singer and ink slinger.

A performance by Caroline Laurin-Beaucage at Union Station. Photo credit: Thomas Payette.Fall for Dance North (FFDN) is celebrating its fifth anniversary in Toronto this October 2 to 6, and enjoying a stronger presence and larger following than ever before. 

If this is your first time coming across this festival, that isn’t surprising, as it was on the fringes of many people’s awareness in its early years and has only recently received greater attention – both for its goals of making dance as available and accessible as possible, and for its innovative and exciting programming.

At the heart of the festival are three mainstage programs showcasing various companies, choreographers, and dancers from around the world, many with live music accompaniment. Two programs alternate at Meridian Hall (formerly the Sony Centre), each with Canadian and international content, and embracing a wealth of different styles.

Program One is the most international, combining companies from New Zealand, Brazil and Denmark as well as Canada’s Toronto Dance Theatre, and all (except the TDT piece) Canadian or North American premieres.

Program Two is all Canadian, apart from the Kuchipudi (classical South Asian) dance style of Indian choreographer Shantala Shivalingappa. The Canadian works are an eclectic mix: a FFDN commission from acclaimed street dance artist Caroline “Lady C” Fraser with live music by re.verse; the National Ballet of Canada performing one of their signature short ballets by choreographer William Forsythe, with the National Ballet Orchestra playing the Schubert score live; and another FFDN commission from Montreal-based Anne Plamondon titled “Fiddle Embrace,” featuring live music and students from the Ryerson School of Performance.

At Ryerson Theatre is Program Three, showcasing Indigenous dance from around the world, including Australia’s Jasmin Sheppard, Taiwan’s Bulareyaung Dance Company, the New Zealand Dance Company and Canada’s Northfoot Movement/Cody Berry.

The festival also features free programming at Union Station. This begins with open studio rehearsals from September 23 to 25 of two of the works being presented later on the mainstage, and continues October 3 to 4 with an experimental piece by Caroline Laurin-Beucage from Montreal, which anyone can come along and watch for as long as they choose. To finish off – and to fully involve anyone who wants to literally experimentally dip their toe into the world of dance – is The Big Social, a full day of free dance classes in Union Station’s newly renovated west wing, hosted in partnership with Kaha:wi Dance Theatre, Lindy Hop Revolution, and Bulent & Lina Tango; this sounds like great fun.

Tickets for the mainstage shows are $15, and programming at Union Station is completely free.   There is also a rich program of masterclasses, pre- and post-performance talks, and an International Presenters Program that connects local artists and companies with a network of international programmers, producers and presenters. 

Excited by all I have heard and read about FFDN and wanting to know more, I spoke with founding artistic director Ilter Ibrahimof.

The following conversation has been condensed and edited.

WN: How did you come to co-found Fall for Dance North in Toronto?

II: In 2013 and 2014, while I was living in Montreal, I had the pleasure of acting as an artistic advisor to the Fall for Dance Festival in New York (where I used to live). I always loved the festival's model and the excitement that it creates for the art form of dance. I thought, we should have a Canadian edition of the same event! And I thought that it should happen in Toronto, because looking at the dance ecology in Canada, it was clear that Toronto was the city that had the most potential to support a truly international dance festival. During a meeting with the Sony Centre's programming team in the winter of 2013, I impulsively proposed the idea, and to my delight and surprise they said yes...and they were dead serious about it. We presented our inaugural festival in 2015 (which is when I officially moved to Toronto) and are so happy to be celebrating the fifth anniversary this year.

WN: What makes FFDN unique among other dance festivals?

II: I'm proud to say that our festival is one of the most diverse, affordable and accessible dance events anywhere in the world. Because we present mixed evenings with a variety of dance styles at the highest quality we can find, you see audiences that come to see a certain company get exposed to many others, which helps them develop a broader taste. Not to mention, they get to sit side by side and make friends with people whose cultural experiences and interests are very different than theirs.

WN: How are the curatorial decisions made? As part of that decision-making process, how do you make sure you know about new and emerging Canadian choreographers and composers so that you can commission new works?

II: Myself and the rest of our programming team travel extensively and attend as many performances as possible throughout the year, to be able to keep our thumb on the pulse of the dance world in Canada and the rest of the world. Over the many years I've been working in the dance field, I was lucky to develop an extensive network of colleagues that I regularly connect with, to share ideas and find ways to work together to make presentations and tours happen. As an artistic director, of course at the end of the day I need to listen to my gut feeling and make the best instinctual decisions possible.

WN: Why do you think it is so important to make dance accessible to as many people as possible?

II: Everybody in the world knows how to move. Dance is in all of us. It's an art form that has the ability to connect on a universal level and be relevant to all cultures. It is a unifying force that I believe has the power to heal and change people's hearts and minds. But to produce and present professional dance productions is a very expensive business. Our festival team works very hard to break the price barrier and offer our signature $15/any seat for any performance. 

The New Zealand Dance Company. Photo credit: John McDermott.WN: Of all the events in the festival this year, are there any in particular that you would recommend for someone new to the dance world?

II: This is a difficult question! Of course I would recommend them to see everything. And chances are, they can probably afford to do that. That being said, I'm really excited about the world Indigenous program that we are presenting at the Ryerson Theatre, with companies from Canada, New Zealand, Australia and Taiwan.

WN: Do you see FFDN expanding further in the future, perhaps moving out to more locations around the city, or around the country?

II: At the moment we are concentrating on gradual growth in Toronto. We started with only three evenings at Sony Centre in our first year, and this year we are in two theatres presenting seven performances (Meridian Hall and Ryerson Theatre), which means almost 17,000 tickets on offer! Then there is our free programming at Union Station, which reaches many more thousands. We have plans to expand further in the near future, but we are trying to do it thoughtfully and carefully. It's been wonderful to create a truly international dance festival right here in Toronto that we can all be proud of.

Fall For Dance North runs October 2 to 6, 2019, at Meridian Hall, Ryerson Theatre, and Union Station, Toronto. For details and ticket information, please see www.ffdnorth.com.

Jennifer Parr is a Toronto-based director, dramaturge, fight director, and acting coach, brought up from a young age on a rich mix of musicals, Shakespeare, and new Canadian plays.

A young boy watches a relaxed performance at the TSO. Photo credit: Jag Gundu.Printer’s gremlins, as they are called (although the glitch in question was mine, not our printer’s) came to play on the otherwise GORGEOUS cover of our 25th-season-opening September issue. “MUSIC AND HEALTH: Relaxed Performances Bring Barriers Down,” proclaimed the middle of the three teasers at the foot of the page. But as several readers have discovered, and pointed out, you will search the current magazine in vain for a story with that title or on that topic.

The closest fit to the title is Art of Song columnist Lydia Perović’s story in the issue, “Mysterious Barricades and Systemic Barriers,” page 40. That story starts out as an interview with soprano Monica Whicher about the Toronto contribution to a string of coast-to-coast one-hour concerts, all titled Mysterious Barricades, which took place this past September 14 on the final day of World Suicide Prevention Week. You can find the full 16-hour livestream of the event, along with videos of the individual concerts, here.

And the “barriers” in the second half of Perović’s title refer to the obstacles faced by musicians (along with many other participants in “the gig economy”) in need of systematic, affordable therapy of one kind or another. And those barriers, unlike those referred to in the optimistic teaser on our September cover, show few signs of coming down.

All that being said, you can stop searching in vain through the current issue for an item about how “relaxed performance is bringing barriers down,” because you won’t find it. Yet.

The story in question, by our Music and Health feature writer Vivien Fellegi, will appear in the upcoming October issue of the magazine. The story grew out of Fellegi’s attendance this past April 27 at a Toronto Symphony Orchestra concert titled “Let’s Dance,” conducted by Daniel Bartholomew-Poyser, a veteran of the movement. “Relaxed Performance,” as the term is used in Fellegi’s upcoming story, refers to performances designed specifically with neurodiverse audiences in mind – and in many cases, involves making live music events less prohibitive for people with autism spectrum disorders, sensory and communication disorders, learning disabilities, or anyone who wants a more casual concert experience. 

It was the TSO’s first foray into the area, but will not be its last. Already they have announced two such performances in the upcoming season (Feb 22 and May 24), and “Relaxed Performance” is even included as its own search category in the orchestra’s 2019/20 season concert listings. Having failed to honour the promise on our September cover that Fellegi’s Relaxed Performance story was within, it would be an equal disservice to steal its thunder here. It will be worth the wait. 

I confess that before the concert that served as the catalyst for Fellegi’s story this past spring, I was only dimly conscious of the term “Relaxed Performance” as an emerging practice. Since being made aware, I’ve seen it popping up all over! Which seems like a very good thing. 

Here, in no particular order, are four examples:

YPT (Young People’s Theatre) has two relaxed performances in every run. Looking just at their next two shows: for A Million Billion Pieces, these performances will be Wednesday, December 4 at 10:30am, and Sunday, December 8 at 2pm; and for The Adventures of Pinocchio they will be Friday, December 13 at 10:15am and Saturday, December 14 at 2:30pm.

Banff International String Quartet Competition, in partnership with Autism Calgary and Xenia Concerts, presented a relaxed concert on August 31 at Calgary’s Indefinite Arts Centre at the close of this year’s competition, by 2016 Competition winners the Rolston Quartet.

Soulpepper theatre company has had one relaxed performance already this season (Betrayal, September 15), and another two have been scheduled for the upcoming run of Peter Pan (December 19 at 11am and December 22 at 1pm).

The National Ballet of Canada will present a relaxed performance of YOU dance, the company’s community engagement program, at the Betty Oliphant Theatre this Saturday, September 21, at 5:30pm.

In closing, a request: if you are aware of other examples of relaxed performance opportunities, either recent or coming up this season, please let us know at editorial@thewholenote.com. That way we can participate, more systematically, in the process of raising awareness not just of the barriers, but to the ways they are coming down.

David Perlman can be reached at publisher@thewholenote.com.

banannaJessica Ackerley (left)On August 23, guitarist Jessica Ackerley released A New Kind of Water, a quartet album that features saxophonist Sarah Manning, bassist Mat Muntz and drummer Stephen Boegehold. Recorded at BC Studio in Brooklyn, A New Kind of Water was mixed by homonymous studio founder Martin Bisi. BC Studio has been the studio of choice for a wide variety of projects, from Sonic Youth’s album EVOL to the Herbie Hancock song “Rockit” to work by John Zorn and more. The connective tissue through all of these recordings is a certain kind of gritty aesthetic, a frank musical realism that is reflected – literally, in an acoustic sense – by the cavernous, unfinished walls of the studio’s live room.

While working with Bisi and recording in BC Studio proved to be integral components of the album, A New Kind of Water is the culmination of years of music-making and career growth. Ackerley has been based in New York since 2011; she first moved to Brooklyn, but now resides in Manhattan. Originally from Alberta, she attended Grant MacEwan University in Edmonton, St. Francis Xavier University in Antigonish, Nova Scotia, and Rutgers University in New Jersey. It was at Rutgers – where she earned a master’s degree, and worked with American jazz luminaries such as Vic Juris and Victor Lewis – that Ackerley started to seriously explore composition. Through multiple residencies at The Banff Centre, she continued to develop her artistic voice, with mentorship from Vijay Iyer, Tyshawn Sorey and Zakir Hussain, amongst others.

A New Kind of Water.A New Kind of Water is Ackerley’s second full-length album as a leader; her first, Coalesce, was released in 2017. Coalesce – a trio album – also featured bassist Muntz, with Toronto’s Nick Fraser in the drum seat. While Ackerley “didn’t want to do a second album all over again as another trio,” she also “didn’t want to do a strictly quartet record” either, and A New Kind of Water certainly doesn’t feel like a conventional quartet record, in the sense where songs are written as blowing vehicles to fit a particular ensemble. Instead, the ensemble shifts to accommodate the music, both for individual songs and for specific sections within songs. “Space, Frame, Contain,” the album’s opener, begins with a duo between Ackerley and Muntz, with Boegehold and Manning entering later on. This approach to instrumentation is a big part of Ackerley’s interest in exploring the different situations within a single piece of music: ones that “[allow] things to ebb and flow,” to be “added and subtracted,” throughout a piece. Ackerley doesn’t “like the idea of cutting and pasting,” or of “haphazardly patching together” different sections of music, especially sections with varying compositional frameworks (such as a free section and a specifically-notated melodic section). Instead, Ackerley strives to create meaningful, natural connections between musical statements, both on individual songs and throughout her album as a whole.

These connections are made possible by the trust and rapport between Ackerley and her band, with whom she’s collaborated in a variety of settings. Ackerley has played the music on A New Kind of Water with Muntz as a duo, played a duo set with Manning, and has worked frequently with Boegehold in his project. Having these ongoing working relationships in a variety of settings allows for what Ackerley calls the “magical moments” in a song: “everything lines up, and everyone knows what to do in that moment, and something beautiful comes of it.” It is a sensation that is immediately palpable on A New Kind of Water, and is especially important in music (such as Ackerley’s) with significant sections of free improvisation.

In addition to her busy schedule as a performing musician, Ackerley is also active as a teacher and musical programmer. Amongst other ventures, she recently curated The Brink Guitar Festival, which took place in Brooklyn from March 28 to 31 of this year. Co-presented by Spectrum and Main Drag Music, the festival is a “celebration of the guitar and the musicians in New York City who continue to push its boundaries within the improvised and creative music scene.” The festival grew out of a monthly series at a guitar shop, loose in genre, with the basic format of four 15-minute sets of solo guitar music. With performances from figures such as Miles Okazaki and Dan Weiss, Naeemah Maddox, and Ackerley herself, the festival is part of Ackerley’s work in highlighting the diversity of the guitar at a time when, according to Ackerley, it is “fading from the mainstream, in terms of being a voice at the forefront of musical arrangements and songs.” It’s also part of the ongoing work of creating and fostering community for creative improvised music; as Ackerley puts it, “allowing people to showcase their music in a live setting – and even just seeing improvised music – is a really special thing.”

As the title suggests, one of the overarching themes of the album is a consideration of water. “One of the things that was really important to me in the execution of this album,” Ackerley told me, “was the sense of ebb and flow, and the ability to adjust to any kind of circumstance, whether it be improvisational or compositional.” It is through this process of ebb and flow that Ackerley found an apt metaphor for the way in which each of the band members can find the space to explore their own musical voice within the body of her music. When listeners first come to A New Kind of Water, Ackerley hopes that listeners will consider a “sense of water”: of “a river, or a waterfall, or the ocean,” of water’s “constant movement,” and of the power and tranquility that attends water in its various forms.

Jessica Ackerley’s A New Kind of Water was released on August 23, 2019, and is available for purchase on Bandcamp. 

Colin Story is a jazz guitarist, writer, and teacher based in Toronto. He can be reached through his website, on Instagram and on Twitter.

The cast of What Goes Up learning frisbee. Photo credit: Dahlia KatzOn August 19 to 22 on the 17th floor of the new offices of Canada’s newspaper The Globe and Mail, a remarkable new initiative for fostering the creation of new musicals is taking its first public steps.

REPRINT is the first project of a new program called LAUNCH PAD, created by the combined forces of The Musical Stage Company and Yonge Street Theatricals – and it sounds thrilling.   Three creative teams have spent the last ten months creating new short (approximately 20-minute) musicals, each inspired by an article and/or photograph from The Globe and Mail’s archives.

A photo of screaming fans at the Beatles concert in Toronto in the 1960s inspired the team of Anika Johnson, Barbara Johnston and Nick Green to create Fan Girl, set in a contemporary (2019) YouTube world of fans and idols. The famous widespread blackout of 2003, as captured in the photo of a couple sitting in a Riverdale Park looking out over a Toronto without lights, led to the creation of Cygnus by composer/lyricist Anton Lipovetsky and book writer Steven Gallagher, all intrigued about how major events like this can bring people together unexpectedly. And in perhaps the most unexpected choice of all, it was photos of frisbee players on the Toronto Islands in the 1980s that caught the imaginations of composer Colleen Dauncey, lyricist Akiva Romer-Segal and book writer Ellen Denny (whom readers will remember from playing the leading role in Britta Johnson’s musical Life After) and led them to create What Goes Up—an exploration of the little-known world of Freestyle Frisbee competition (which bears the same relation to the sport of Ultimate Frisbee that figure skating bears to hockey).

Each short musical has its own specific director and music director team, but all three shows share the same cast of four actors. Guiding the project as a whole are program co-directors  Robert McQueen (acclaimed director of Life After, Fun Home, and many more) and New York City-based orchestrator, musical arranger and music director Lynne Shankel (previously in Toronto for Life After).

Fascinated by this project, its structure and its ambitious goals, I reached out to The Musical Stage Company’s artistic director Mitchell Marcus to find out more.

The following interview has been condensed and edited.

WN: The upcoming REPRINT is the first project of LAUNCH PAD, a new initiative from The Musical Stage Company and Yonge Street Theatricals. Can you tell me what inspired this idea and what your goals with the program are?

MM: Because musical theatre is in its infancy in Canada, some of our most innovative and interesting writers likely have not had many (or any) chances to bring a musical to full production. This is problematic, as creating a good song or an interesting story is only the first phase of being a great musical theatre writer – musicals are a highly collaborative form and so much of the work happens not just in a writer's head, but through 'in the room' experience, where pieces are rewritten and honed over and over again in a collaborative setting.

LAUNCH PAD was intended to bridge this gap for a large group of people, in a country with limited capacity to develop tons of full-length musicals each year, and to offer exciting voices the chance to take their work through a full developmental process. Long-term, we hope that it gives us an army of artists (composers, lyricists, book writers, directors and music supervisors) who understand the trajectory and phases of developing new musicals, and who develop a common language around how to do development work.

WN: The performances of REPRINT will take place on the 17th floor of the offices of The Globe and Mail newspaper, and each of the three short musicals is inspired by a photograph and/or headline from the Globe’s archives. Can you tell me what inspired this specific location and context?

MM: In 2016 we invited writers to respond to the permanent collection at the Art Gallery of Ontario. The resulting short musicals were exceptional, and the experience for the audience was superb – having a common collection as a prompt, and allowing the audience to experience the final product in the space that houses the collection, really demonstrated the artistic process. It struck us that newspaper articles similarly offer a wonderful prompt. News tells us stories through facts. But it's ripe for inspiring characters, circumstances, worlds and conflicts. In particular, because of their glorious 17th floor space in their new building, we thought that The Globe and Mail would have both the right archive and the right performance space to help audiences see the hidden 'theatre' in our collective history.

WN: There are three teams involved in REPRINT, each responsible for creating and preparing one of three short musicals – teams that include composer, lyricist, book writer, director and musical director (though some team members wear two “hats”). How were these teams chosen?

MM: Because the goal of the program is to build an army of people who have a common expectation around new musical development, we chose a collection of people who are excellent in their craft, who we feel (based on their past work) can make a major contribution to the development of new musicals in Toronto, and who would benefit from fine-tuning their work on a full-length development process. Remarkably, other than two composer/lyricist teams, no one had partnered together previously. This was a huge risk, and the artists took an enormous leap of faith letting us pair them up in combinations that we felt would be fruitful based on what we knew of their work. Thankfully, I think the matches turned out to be fantastic!

The cast and creative team of REPRINT. Photo credit: Dahlia Katz.WN: There is one small team of four musical theatre actors who will perform all three shows. How were these people chosen, and how has having this set number of very specific performers affected the creation of the shows? 

MM: We went in search of actors who fulfilled two criteria: [first], we needed very versatile performers, as we had to choose a cast before the works were written. Second, we knew that these pieces would be seriously "in development" until the very first audience, so we needed actors who could learn music and lines quickly, and who thrived in an environment that was constantly changing. After we created a shortlist based on those criteria, we tried to find an assortment of ages, genders, looks, types, etc. so that we would be covered no matter what the musicals ended up requiring.

WN: Can you tell me about the process that the teams have gone through to create their new musicals for REPRINT

MM: In the fall, the writers were given access to the news and photo archive at The Globe and Mail. First step was to select a prompt which spoke to them alongside a rough idea for the musical. The writers created a first draft and had a chance to work with their directors, music supervisors and actors in a two-day workshop in the winter, after which they received notes from their teams, from our organization, and from two international mentors who were attached to the project. They then created a second draft in the spring and again had a two-day workshop and notes. Over the summer, they had the chance to go on a writers' retreat to fine-tune their final draft. And then, during the three-week rehearsal period, they had the chance to continue to hone the work as it was staged. In between, we also had sessions with international experts in musical theatre to talk about effective methods of collaboration, and at the end of the process, international guests come to see the works and then meet 1-on-1 with the writers about their musicals.

WN: This is an exciting experimental process for creating new musicals. Have there been any surprises for you along the way? What can audiences expect?

MM: The biggest surprise has been how well the teams have thrived in this complex structure – and how truly helpful I think this has been to solidify a practice of developing new musicals for them and for us as an organization. 

For audiences, I think it will be absolutely thrilling to watch three original pieces that are each so different and yet so compelling. It will be a tour-de-force to see these actors transform from show to show. Plus, REPRINT will demonstrate the breadth of imagination that exists in both the minds of our talented local writers and the black and white pages of the newspaper.

Fan Girl
Anika Johnson and Barbara Johnston (music & lyrics)
Nick Green (book)
Tracey Flye (director)
Adam Sakiyama (music director & supervisor)

Cygnus
Anton Lipovetsky (music & lyrics)
Steven Gallagher (book)
Ann Hodges (director)
Wayne Gwillim (music director & supervisor)

What’s Goes Up
Colleen Dauncey (music)
Akiva Romer-Segal (lyrics)
Ellen Denny (book)
Lezlie Wade (director)
Shelley Hanson (music director & supervisor)

All three musicals will star Brandon Antonio, Kaylee Harwood, Michael De Rose and Kelsey Verzotti.

REPRINT is onstage from August 19 to 22 at The Globe and Mail Centre, Toronto. It will be filmed for broadcast via podcast in 2020. The original articles that inspired the works can be viewed online here.

Jennifer Parr is a Toronto-based director, dramaturge, fight director and acting coach, brought up from a young age on a rich mix of musicals, Shakespeare and new Canadian plays.

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ArtworkWelcome to the Conversations <at> The WholeNote podcast page. Below you will find our podcast episodes for your listening pleasure.

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