As published in The Erin Advocate
Libraries have done a good job of moving beyond books in the services they offer, but with a new library complex opening in Hillsburgh next year, there is an opportunity to do even better.
Wellington County staff and +VG Architects are seeking input on what features people would like to see. Pick up a comment card at existing local branches or the Town office, send an email to HillsburghLibrarycomments@wellington.ca or visit the library section of the county website.
Libraries are all about sharing, learning, community engagement and culture. So what can we share in that physical space that is not readily available on the internet?
How about the work of local artists? Of course, the library foyer should be filled with a series of art exhibits. But what if you could borrow a piece of art for free, with the option to buy it?
How about face-to-face conversation? An enclosed veranda overlooking the pond, with a café and comfortable seating, would be an attractive social meeting space.
How about seeds? A seed library would allow patrons to take home a variety of seeds for their gardens and flowerpots, and later in the season, contribute seeds from their plants back to the community stock.
How about tools, and toys, and musical instruments? A co-op for sharing these would require some initial investment, and perhaps a membership fee, but it could start small and be built up with fundraising and item donations.
How about garden plots? We’re long overdue for a community garden, which would allow apartment dwellers or owners of small properties to work a borrowed patch of fertile soil. It could be a secure, supervised facility, one of many outdoor features on the spacious site.
How about a trails welcome centre? This is a unique, beautiful public space. We need to promote it and take advantage of the opportunity for nature education. The library could be a hub for use of an around-the-pond trail, the Elora Cataract Trailway (owned by Credit Valley Conservation) and the nearby Nestlé parklands.
How about a stage overlooking the grounds, for outdoor concerts? How about canoe and bicycle rentals? How about permanent chess board tables on a patio? Once the ideas start flowing, there’s no telling what could be considered.
The Library has made a good effort to use new technologies, with services such as its e-book system and 3D printers. It should remain vigilant for opportunities to add on to what people can already do at home.
Within the structure, dedicated spaces are needed for functions such as children’s programming, workstations that can be reserved by business people and older students, and perhaps a magazine lounge. There should be a small meeting room, and a larger room for lectures, small-scale performances or travelling exhibits.
Perhaps the treasures of the Museum and Archives could be displayed more throughout the county. How about a local history corner, instead of just a couple of shelves?
When I was a kid, our school did not have a proper library, but the public library arrived in the school parking lot once a week in the form of a Bookmobile. It was a converted bus filled with bookshelves.
Now that schools do have adequate libraries, county staff should think about what unique services they might be able to deliver to the public outside the library buildings, either at schools, special events or other community facilities.
And then of course there’s the book collection. DVDs may be following videotapes into oblivion, but books are not going away. So we’ll need a good selection of those too.
Warden George Bridge says the Hillsburgh Library will be “a showpiece of our library system, and indeed the envy of library systems throughout the Province.” The building needs to be attractive, complimenting the 1892 house that will be part of it, but its form must be driven primarily by the needs of its users.
Showing posts with label Theatre. Show all posts
Showing posts with label Theatre. Show all posts
February 10, 2016
October 29, 2015
Katie Pound stars in Anne of Green Gables
Erin’s Katie Pound seems to be well suited for the role of Anne Shirley, which she plays in an upcoming production of Anne of Green Gables in Georgetown.
Like Anne, she exudes confidence and takes on challenges with enthusiasm. She also has the vocal training and stage experience to handle a major role.
“Anne is positive all the time – she doesn’t let the judgment of others get to her,” says Katie. “She is a strong-headed little girl, who sometimes has to take things into her own hands.”
Katie has been very busy with rehearsals this fall, since she is also in the musical Legally Blonde at Mayfield Secondary School in Caledon, where she is a Grade 11 student in the Performing Arts Program. That show runs November 5-7.
Globe Productions presents the musical Anne of Green Gables at the John Elliott Theatre, November 20-29, directed by David Ambrose, with music director Darryl Burton, choreographer Cheri Lindsay-Jarvis and producer Lori Girvan. Go to globeproductions.ca for show details.
The stage play is based on the famous novel by Lucy Maud Montgomery, another strong, positive character who lived for a time in Norval. The story follows the adventures of Anne as she adapts to life in the conservative Prince Edward Island community of Avonlea in the early 1900s. She arrives as an orphan at a farm where they had wanted a boy to help with the chores.
She has to deal with the strictness of Marilla Cuthbert (played by Michelle Gardner) and finds a kindred spirit in her shy brother Matthew Cuthbert (Mark Llewellyn). “Marilla is not mean, but wants to bring Anne up right,” says Katie. Ultimately, Anne charms the entire town with her imagination and heart.
The show provides an opportunity for singing, acting and dancing, and Katie tries to be a good role model for the young kids in the cast.
Starting singing lessons when she was 11, she was introduced to a variety of music such as jazz. She sang in talent shows (including first place at the Erin Fall Fair) and various choirs. She is grateful to Nick Holmes for the opportunity to participate the Kids Can Act program in Hillsburgh, with productions such as Charlotte’s Web and A Midsummer Night’s Dream.
Now she enjoys the opportunity of being in the spotlight, and is serious about pursuing a career in the performing arts. She is exploring an interest in opera, with coaching from renowned tenor Mark Dubois, and attending a master class where she was critiqued by famous New York soprano Aprile Millo.
She went to Italy in July for a program hosted by Millo, with lessons in Italian language, culture and opera repertoire, and a performance with an audience that included the granddaughter of famed opera composer Giacomo Puccini.
In a culture where musical interests tend to fixate on pop singers and their latest videos, Katie is getting a unique and well-rounded education, which will stand her in good stead throughout her life.
September 16, 2015
A new comedy and a new music series
As published in The Erin Advocate
This past weekend was a fine one for entertainment in Erin, with a new comedy opening at Century Church Theatre and the first concert presented in a new monthly folk music series at the Busholme Inn.
The theatrical offering is A Bench in the Sun, written by Ron Clark and directed by Jo Phenix. Young folks could well enjoy the show, but it is probably funnier for those who can relate to the antics of two grumpy old men competing for the attentions of a mature actress who moves into their retirement home.
Neville Worsnop plays Harold, a dapper fellow who is very proud of his life’s adventures, and never ceases to brag about them to his childhood friend Burt, with whom he now shares a sunny bench.
Wayne Moore plays Burt, a retired accountant who is fixated on his newspaper and haunted by a conflict from his past. He naps so often that he wears pajamas all day – this is, until he takes an interest in Adrienne, played by Vickie Forsyth.
The aging movie star has a glittering hair-do and a relentlessly sunny disposition, which certainly perks up the lives of the menfolk – whose previous entertainment consisted of antagonizing each other with constant arguments.
Michelle Moore provides the voice of the retirement home PA announcer, introducing each scene with slice of seniors humour.
This past weekend was a fine one for entertainment in Erin, with a new comedy opening at Century Church Theatre and the first concert presented in a new monthly folk music series at the Busholme Inn.
The theatrical offering is A Bench in the Sun, written by Ron Clark and directed by Jo Phenix. Young folks could well enjoy the show, but it is probably funnier for those who can relate to the antics of two grumpy old men competing for the attentions of a mature actress who moves into their retirement home.
Neville Worsnop plays Harold, a dapper fellow who is very proud of his life’s adventures, and never ceases to brag about them to his childhood friend Burt, with whom he now shares a sunny bench.
Wayne Moore plays Burt, a retired accountant who is fixated on his newspaper and haunted by a conflict from his past. He naps so often that he wears pajamas all day – this is, until he takes an interest in Adrienne, played by Vickie Forsyth.
The aging movie star has a glittering hair-do and a relentlessly sunny disposition, which certainly perks up the lives of the menfolk – whose previous entertainment consisted of antagonizing each other with constant arguments.
Michelle Moore provides the voice of the retirement home PA announcer, introducing each scene with slice of seniors humour.
 |
| Neville Worsnop, Wayne Moore and Vickie Forsyth |
The story is about the frailties of advancing age, and the frustrations of relationships at any age, all simmered together in a stew of puns, witty wordplay and physical gags. And while true love remains elusive, the two men are eventually able to resolve a long-standing conflict.
It is a mellow comedy, and sometimes that’s just what the doctor ordered. The show continues this Friday and Saturday evening, and Sunday afternoon. Go to centurychurchtheatre.com for more details.
Meanwhile, at the Busholme, Erin was treated to the fine voices of Tannis Slimmon from Guelph, and Clela Errington from Toronto. Each had their own sets, but provided backup vocals for each other on selected songs.
It was the first in a series of monthly concerts called Erin Roots, organized by Folk Roots Radio host Jan Hall of Hillsburgh. She’s promising a broad mix of folksy / bluesy / alternative acoustic music.
Clela Errington’s music leans towards soulful jazz – passionate and upbeat, but very relaxed, with some nice ukulele and harmonica work to supplement her guitar playing.
Her voice has a huge range, and she’s able to sing lightly, but with richness and power at the same time. She has four albums, the most recent being More Love and Happiness.
It is a mellow comedy, and sometimes that’s just what the doctor ordered. The show continues this Friday and Saturday evening, and Sunday afternoon. Go to centurychurchtheatre.com for more details.
Meanwhile, at the Busholme, Erin was treated to the fine voices of Tannis Slimmon from Guelph, and Clela Errington from Toronto. Each had their own sets, but provided backup vocals for each other on selected songs.
It was the first in a series of monthly concerts called Erin Roots, organized by Folk Roots Radio host Jan Hall of Hillsburgh. She’s promising a broad mix of folksy / bluesy / alternative acoustic music.
 |
| Clela Errington |
Her voice has a huge range, and she’s able to sing lightly, but with richness and power at the same time. She has four albums, the most recent being More Love and Happiness.
Tannis Slimmon is well-known on the folk festival scene, both as a solo artist and as part of various groups including The Bird Sisters, during a career of 30+ years. She has a way of engaging and uplifting an audience, whether the song is happy or sad.
In 2008 she was named Contemporary Vocalist of the Year at the Canadian Folk Music Awards for her album Lucky Blue. Her 2013 album In & Out Of Harmony was produced by her musical partner Lewis Melville, who provided the second guitar and vocals during Saturday’s concert.
Melville is a wizard with his guitar improvisations, and he’ll be back on October 24 for the next Erin Roots concert, teaming up with Ian Pattison in Banjo Mechanics. Also featured will be the blues guitar and cello duo of Dennis Gaumond and Jen Gillmor, who go by the name Jennis.
 |
| Tannis Slimmon |
In 2008 she was named Contemporary Vocalist of the Year at the Canadian Folk Music Awards for her album Lucky Blue. Her 2013 album In & Out Of Harmony was produced by her musical partner Lewis Melville, who provided the second guitar and vocals during Saturday’s concert.
Melville is a wizard with his guitar improvisations, and he’ll be back on October 24 for the next Erin Roots concert, teaming up with Ian Pattison in Banjo Mechanics. Also featured will be the blues guitar and cello duo of Dennis Gaumond and Jen Gillmor, who go by the name Jennis.
June 03, 2015
Fox on the Fairway a farcical romp
As published in The Erin Advocate
Two pastimes that can be enjoyed without a high level of proficiency have teamed up to provide a very funny show at Century Church Theatre in Hillsburgh.
Golf and sex are the stars in Fox on the Fairway, a farcical romp set at a private country club not far from here, written by Ken Ludwig and directed by Jo Phenix. The ‘fore’play continues this Friday through Sunday.
In the fine tradition of English farce, Fox contrasts the follies of young lovers with the absurd antics of old folks who wish they were young folks and who haven’t grown any wiser with age.
 |
|
Wendy West (as Muriel) uses an umbrella to
make a
point with Neville Worsnop (as Henry),
while Nick Forrow (as Dickie) has
a good laugh.
|
Naturally, the plot twists them into precarious predicaments, which can only be resolved with improbable revelations and coincidences. The show keeps up a nice brisk pace, with many a visual gag and ribald double entendre.
It may be over the top at times, but it is more fun to see actors try a bit too hard than not enough. It captures the exuberant innocence of farce, with no evil characters and the comfort of knowing that in spite of the foibles of pride, all will be well in the end.
The tension of this plot is driven by an annual golf tournament bet between Henry (played with fine comedic timing and facial expression by Neville Worsnop), president of the Quail Valley Golf and River Club, and Dickie (played with irrepressible animation by Nick Forrow) of the Crouching Squirrel Golf and Racquet Club.
Henry’s job is on the line after five years of losing the tournament, and after making an outrageously large bet, learns his “ace-in-the-hole” golfer has defected to the other side. Salvation looms when he discovers that his new assistant Justin (played by Greg Allen) is an excellent golfer.
However, Justin only plays well when he is not upset, and during a rain delay in the big match, he discovers that his fiancée Louise (played by Dani Lowry), the club waitress, has accidentally flushed her new engagement ring down the toilet. Hilarity ensues.
Allen is very humourous as Justin discovers that cracking jokes does little to sooth a distraught fiancée, and Lowry flips confidently between sensible and emotional.
Meanwhile, among members of the jaded senior generation, Henry is rekindling his interest in an old flame, Dickie’s former wife Pamela (played with sincere cynicism by Brigida Scholten).
When this accidentally becomes public knowledge, Henry’s nagging wife Muriel (played with high octane energy by Wendy West) is suitably unimpressed, though it turns out that she has a secret interest in Dickie.
Eventually, the golf match reaches its climax, the bet is won and relationships are sorted out in comical fashion. I’ve promised not to reveal details about the ending, but let’s just say it hinges on Louise’s hidden hereditary birthmarks and secret talent. There is also a truly unique denouement, which has a silent film quality about it.
Making things work smoothly behind the scenes for this play are Stage Manager Trish Hamilton and the voice of the golf course starter, Robert Hetu – who will be directing this year’s Century Church pantomime, Hansel and Gretel. Auditions for adults and kids are on June 20 – call 519-855-4586 for information.
April 15, 2015
Ravenscroft a whirlwind of devious deceptions
As published in The Erin Advocate
At first, when presented with a comic gothic murder mystery, one might be tempted to keep track of all the plot details, in hopes of predicting who dunnit.
However, in the current production of Ravenscroft by Erin Theatre at Centre 2000, it soon becomes apparent that the entertainment lies in the lies, and that the truth has only a bit part.
Set in the parlour of a 1905 Yorkshire manor house, the play features a huge staircase that is central to the story, in an attractive set designed by Susanna Lamy. Original music by Howard Lopez creates the mood very well.
The action is a series of interviews by Inspector Ruffing, played with most suitable exasperation by Chris Reid, trying to extract the truth about two mysterious staircase deaths from the five resident females. The process drives him to drink, an unfortunate encounter with an urn and a most unlikely romance.
The plot is like a machine, swapping all manner of crazy stories in and out of the limelight as the women try to convince the inspector that there were no murders, or if there were, they were done by someone else. In an effective bit of staging, characters not involved in the current scene do not exit, but sit in an elevated row of chairs like an audience, reacting to the play.
The motives for the ladies’ webs of lies include the usual suspects: money, jealousy, arrogance, tensions between the upper and lower classes, insecurity, visions of ghosts, callous disrespect for police authority, protecting little children, the need to escape into bizarre fantasies, and above all, to avoid talking about sex (and cross-dressing).
Laura Schnablegger plays Marcy, the beautiful governess who is the prime suspect in the death of a manservant who had been making advances on her (and as it turns out, everyone else). She has the confidence to drive the action in its required circles.
Director Kathryn DeLory has clearly urged her cast to keep up a brisk pace, which is quite essential. At times, though, they go so fast that they’re tripping on their words. They need to keep up the energy, but slow down just enough to get the lines out cleanly.
Part of the difficult challenge presented by Don Nigro’s script is that it is mainly words about things that might have happened in the past. There’s many a witty aside, but little in the way of current action.
This is allayed somewhat by the antics of the subservient servant Dolly, played delightfully by Denise Rowe with lots of facial expressions and physical stage business as she struggles to reveal her story.
At the April 9 performance, Assistant Stage Manager Angela Gibson did an admirable job as the domineering servant Mrs. French, filling in for Carol McCone Day who was ill.
Carol Beauchamp is very good as Mrs. Ravenscroft, who embodies many a cliché about the upper classes – aloof, conniving, lecherous, abusive to the servants and preoccupied with keeping up appearances.
Paulina Grant shows considerable skill in the role of Gillian Ravenscroft, a teenager who appears to have lost touch with reality, but who is actually quite devious and knows more than she lets on.
So if you go to see Ravenscroft, don’t be expecting a mystery built on revealing the truth, but rather one that has fun with the notion that the truth is boring, elusive and quite possibly irrelevant.
Performances continue Thursday and Friday at 8 pm, and Saturday at 2 pm and 8 pm. Tickets are $20 – call 905-873-686, or go to erintheatre.ca for more information.
At first, when presented with a comic gothic murder mystery, one might be tempted to keep track of all the plot details, in hopes of predicting who dunnit.
However, in the current production of Ravenscroft by Erin Theatre at Centre 2000, it soon becomes apparent that the entertainment lies in the lies, and that the truth has only a bit part.
Set in the parlour of a 1905 Yorkshire manor house, the play features a huge staircase that is central to the story, in an attractive set designed by Susanna Lamy. Original music by Howard Lopez creates the mood very well.
The action is a series of interviews by Inspector Ruffing, played with most suitable exasperation by Chris Reid, trying to extract the truth about two mysterious staircase deaths from the five resident females. The process drives him to drink, an unfortunate encounter with an urn and a most unlikely romance.
The plot is like a machine, swapping all manner of crazy stories in and out of the limelight as the women try to convince the inspector that there were no murders, or if there were, they were done by someone else. In an effective bit of staging, characters not involved in the current scene do not exit, but sit in an elevated row of chairs like an audience, reacting to the play.
The motives for the ladies’ webs of lies include the usual suspects: money, jealousy, arrogance, tensions between the upper and lower classes, insecurity, visions of ghosts, callous disrespect for police authority, protecting little children, the need to escape into bizarre fantasies, and above all, to avoid talking about sex (and cross-dressing).
Laura Schnablegger plays Marcy, the beautiful governess who is the prime suspect in the death of a manservant who had been making advances on her (and as it turns out, everyone else). She has the confidence to drive the action in its required circles.
Director Kathryn DeLory has clearly urged her cast to keep up a brisk pace, which is quite essential. At times, though, they go so fast that they’re tripping on their words. They need to keep up the energy, but slow down just enough to get the lines out cleanly.
Part of the difficult challenge presented by Don Nigro’s script is that it is mainly words about things that might have happened in the past. There’s many a witty aside, but little in the way of current action.
This is allayed somewhat by the antics of the subservient servant Dolly, played delightfully by Denise Rowe with lots of facial expressions and physical stage business as she struggles to reveal her story.
At the April 9 performance, Assistant Stage Manager Angela Gibson did an admirable job as the domineering servant Mrs. French, filling in for Carol McCone Day who was ill.
Carol Beauchamp is very good as Mrs. Ravenscroft, who embodies many a cliché about the upper classes – aloof, conniving, lecherous, abusive to the servants and preoccupied with keeping up appearances.
Paulina Grant shows considerable skill in the role of Gillian Ravenscroft, a teenager who appears to have lost touch with reality, but who is actually quite devious and knows more than she lets on.
So if you go to see Ravenscroft, don’t be expecting a mystery built on revealing the truth, but rather one that has fun with the notion that the truth is boring, elusive and quite possibly irrelevant.
Performances continue Thursday and Friday at 8 pm, and Saturday at 2 pm and 8 pm. Tickets are $20 – call 905-873-686, or go to erintheatre.ca for more information.
April 08, 2015
Singer’s stories bring underworld memoir to life
As published in The Erin Advocate
I’m reading a book called Davy the Punk, a tribute to a famous Toronto bookie, published by Porcupine’s Quill in Erin.
It was written by his son Bob Bossin, one of the founders of Stringband, an independent group that had its heyday in the 1970s with songs about Canada and issues of politics and the environment.
“Bob is a great political singer-songwriter,” says Erin’s Jay Mowat, who knew Bossin from the folk festival circuit.
Bossin retells stories about his dad, and by his dad, some of which are probably true. Davy the Punk was a Jewish bookie who ran a horse racing wire in the 1930s and ‘40s, broadcasting information to other bookies using the telephone system.
He was a “bookie’s bookie” who connected Toronto’s underworld to the North American betting racket and later ran a talent agency that brought in big name performers.
Davy the Punk is about anti-Semitism in Canada, the mob and the colourful characters that played their parts on the flip side of Toronto the Good.
Tim Inkster of Porcupine’s Quill was acquainted with Bossin when they both freelanced for the Varsity newspaper at the University of Toronto in the late 1960s.
“I was a bit of a fan of Stringband, and especially their big hit, Dief Will Be the Chief Again,” said Inkster. The 1974 song was a jowl-in-cheek tribute to former Prime Minister John Diefenbaker, based on a comment made by Bossin’s buddy Bob Rae after watching Muhammad Ali regain his boxing title.
Stringband never had a deal with a major record label or much play on commercial radio, but developed a loyal following through performances. They were also known for their independent methods, including an early form of crowdfunding – soliciting donations from friends and fans to finance an album in 1977.
Porcupine’s Quill has developed a national reputation for publishing memoirs and was in a good position to present Bossin’s stories (and historical photos) in an attractive format. The book came out last year and they have just completed the first reprint. For more information, go to davythepunk.com or porcupinesquill.ca.
I am about halfway through the book so far and it is quite engaging – a mix of family history, horse racing, the scramble to prosper in hard times and a culture in which criminals could earn public respect. It is about corruption in business, law enforcement and politics – and the crusaders who were determined to stamp out the evils of gambling.
Bossin has done his research and included many factual details about organized crime and Toronto’s sporting scene, but readily admits that he cannot be certain about how much his dad may have embellished the truth. It doesn’t really matter though, since it is a story about storytelling. The outrageous tales give the book some real sizzle.
More than 10 years ago, Mowat made a contribution to a fundraising effort for a Stringband album. In thanks, Bossin promised him a performance, but they were never able to arrange it, until now.
I’m looking forward to Bossin’s touring one-man show, coming to David’s Restaurant in Erin on Saturday, April 25, at 8 pm. The Winnipeg Free Press calls it “humorous and sentimental”, and Eric Stein of the Ashkenaz Festival in Toronto says, “Bob’s intelligence, erudition and folksy charm combine in an intimate musical theatre experience.”
Tickets are $20 and can be obtained by calling Mowat at 519-833-3383 or emailing info@willowcreekonline.ca. The price does not include dinner, but reservations can be made for dinner before the show by calling 519-833-5085.
I’m reading a book called Davy the Punk, a tribute to a famous Toronto bookie, published by Porcupine’s Quill in Erin.
It was written by his son Bob Bossin, one of the founders of Stringband, an independent group that had its heyday in the 1970s with songs about Canada and issues of politics and the environment.
“Bob is a great political singer-songwriter,” says Erin’s Jay Mowat, who knew Bossin from the folk festival circuit.
Bossin retells stories about his dad, and by his dad, some of which are probably true. Davy the Punk was a Jewish bookie who ran a horse racing wire in the 1930s and ‘40s, broadcasting information to other bookies using the telephone system.
He was a “bookie’s bookie” who connected Toronto’s underworld to the North American betting racket and later ran a talent agency that brought in big name performers.
Davy the Punk is about anti-Semitism in Canada, the mob and the colourful characters that played their parts on the flip side of Toronto the Good.
Tim Inkster of Porcupine’s Quill was acquainted with Bossin when they both freelanced for the Varsity newspaper at the University of Toronto in the late 1960s.
“I was a bit of a fan of Stringband, and especially their big hit, Dief Will Be the Chief Again,” said Inkster. The 1974 song was a jowl-in-cheek tribute to former Prime Minister John Diefenbaker, based on a comment made by Bossin’s buddy Bob Rae after watching Muhammad Ali regain his boxing title.
Stringband never had a deal with a major record label or much play on commercial radio, but developed a loyal following through performances. They were also known for their independent methods, including an early form of crowdfunding – soliciting donations from friends and fans to finance an album in 1977.
Porcupine’s Quill has developed a national reputation for publishing memoirs and was in a good position to present Bossin’s stories (and historical photos) in an attractive format. The book came out last year and they have just completed the first reprint. For more information, go to davythepunk.com or porcupinesquill.ca.
I am about halfway through the book so far and it is quite engaging – a mix of family history, horse racing, the scramble to prosper in hard times and a culture in which criminals could earn public respect. It is about corruption in business, law enforcement and politics – and the crusaders who were determined to stamp out the evils of gambling.
Bossin has done his research and included many factual details about organized crime and Toronto’s sporting scene, but readily admits that he cannot be certain about how much his dad may have embellished the truth. It doesn’t really matter though, since it is a story about storytelling. The outrageous tales give the book some real sizzle.
More than 10 years ago, Mowat made a contribution to a fundraising effort for a Stringband album. In thanks, Bossin promised him a performance, but they were never able to arrange it, until now.
I’m looking forward to Bossin’s touring one-man show, coming to David’s Restaurant in Erin on Saturday, April 25, at 8 pm. The Winnipeg Free Press calls it “humorous and sentimental”, and Eric Stein of the Ashkenaz Festival in Toronto says, “Bob’s intelligence, erudition and folksy charm combine in an intimate musical theatre experience.”
Tickets are $20 and can be obtained by calling Mowat at 519-833-3383 or emailing info@willowcreekonline.ca. The price does not include dinner, but reservations can be made for dinner before the show by calling 519-833-5085.
December 17, 2014
The Art of Believing an evening of fun
As published in The Erin Advocate
The quality of fun is not strain'd. It droppeth – not unlike a gentle rain – among those that seek it.
And thusly doth it go in the current Erin Theatre production, entitled The Art of Believing, served up with a nice buffet dinner at David’s Restaurant until this Friday.
It is their 8th Annual Christmas Dinner Theatre, written by Susanna Lamy and directed by Kathryn DeLory. It’s a comedy, ostensibly about a ritzy art auction attended by the audience, but mainly about the antics of the auction house staff and several art buyers.
It could be characterized as an art forgery who-dunnit mystery, in which the plot can be put on hold at any time for some light-hearted singing and choreography. Audience members get to fill out a form to guess the culprit, with the correct answers entered in a prize draw. (Beware of cast members mingling with the crowd, and avoid choosing the obvious suspects.)
There is a real art auction involved as well. The pieces used on stage (famous Impressionist and early 20th Century Modernist works) were created by local artists Susanna Lamy, Jayne Reid, Melissa Staples, Richard Day, Barb McKee and Rhonda Williamson. They are being auctioned off silently, with proceeds to East Wellington Community Services.
Bids can be made in person at the shows or by phone. Go to www.erintheatre.ca to see the images, check the auction procedures and learn about the local artists. As of Monday, bids were in the $50 to $225 range.
The play is also a crash course in Art History, presented in the unstuffiest of manners by the frugal Cora Moneypenny (Carol McCone Day). She and her ever-complaining husband John Carp (Peter King) have many hilarious bits, sparked mainly by his poor hearing.
Helena Beckett (Susanna Lamy) is an art gallery curator of speckled reputation who has rounded up some multi-million dollar masterpieces for auction. She and uptight art historian Nellie Holt (Denise Rowe) try to figure out how they ended up with a fake Monet.
They work their shticks with panache, as does Christina Penner (Laura Schnablegger) a nosey reporter, eager for scandal and ready to twist people’s words against them. So unrealistic.
Bob Holler (Howard Lopez) is a used car salesman who brings a delightful sprinkle of lechery and lowbrow art commentary to the mix. His attentions are directed to the slightly disreputable auctioneer Jamie Gavel (Pamela Keyes), whose frantic live auction routine adds a generous bolt of energy to the show.
The mysterious Brother Bruno (John Carter), delivering a Van Gogh from a French monastery, tries valiantly to honour his vow of silence by communicating with a very humourous series of mimed messages.
The crew list for the production features many of the cast, along with Richard Day, Mike Russell, Jill Rogers, Melissa Staples, Barb McKee, Paulina Grant, Brenda Wainman and Katherine DeLory.
Together, cast and crew have produced a delightful diversion, a lighthearted lark, a respite from reality, a thespianic thpectacle. Label it as you like – it was fun.
The quality of fun is not strain'd. It droppeth – not unlike a gentle rain – among those that seek it.
And thusly doth it go in the current Erin Theatre production, entitled The Art of Believing, served up with a nice buffet dinner at David’s Restaurant until this Friday.
It is their 8th Annual Christmas Dinner Theatre, written by Susanna Lamy and directed by Kathryn DeLory. It’s a comedy, ostensibly about a ritzy art auction attended by the audience, but mainly about the antics of the auction house staff and several art buyers.
It could be characterized as an art forgery who-dunnit mystery, in which the plot can be put on hold at any time for some light-hearted singing and choreography. Audience members get to fill out a form to guess the culprit, with the correct answers entered in a prize draw. (Beware of cast members mingling with the crowd, and avoid choosing the obvious suspects.)
There is a real art auction involved as well. The pieces used on stage (famous Impressionist and early 20th Century Modernist works) were created by local artists Susanna Lamy, Jayne Reid, Melissa Staples, Richard Day, Barb McKee and Rhonda Williamson. They are being auctioned off silently, with proceeds to East Wellington Community Services.
Bids can be made in person at the shows or by phone. Go to www.erintheatre.ca to see the images, check the auction procedures and learn about the local artists. As of Monday, bids were in the $50 to $225 range.
The play is also a crash course in Art History, presented in the unstuffiest of manners by the frugal Cora Moneypenny (Carol McCone Day). She and her ever-complaining husband John Carp (Peter King) have many hilarious bits, sparked mainly by his poor hearing.
Helena Beckett (Susanna Lamy) is an art gallery curator of speckled reputation who has rounded up some multi-million dollar masterpieces for auction. She and uptight art historian Nellie Holt (Denise Rowe) try to figure out how they ended up with a fake Monet.
They work their shticks with panache, as does Christina Penner (Laura Schnablegger) a nosey reporter, eager for scandal and ready to twist people’s words against them. So unrealistic.
Bob Holler (Howard Lopez) is a used car salesman who brings a delightful sprinkle of lechery and lowbrow art commentary to the mix. His attentions are directed to the slightly disreputable auctioneer Jamie Gavel (Pamela Keyes), whose frantic live auction routine adds a generous bolt of energy to the show.
The mysterious Brother Bruno (John Carter), delivering a Van Gogh from a French monastery, tries valiantly to honour his vow of silence by communicating with a very humourous series of mimed messages.
The crew list for the production features many of the cast, along with Richard Day, Mike Russell, Jill Rogers, Melissa Staples, Barb McKee, Paulina Grant, Brenda Wainman and Katherine DeLory.
Together, cast and crew have produced a delightful diversion, a lighthearted lark, a respite from reality, a thespianic thpectacle. Label it as you like – it was fun.
November 12, 2014
Fab Four make a splash at David’s
As published in The Erin Advocate
The Fab Four band took Erin on a colourful trip down memory lane Saturday night, lighting up David’s Restaurant with their tribute to The Beatles.
It wasn’t exactly the Ed Sullivan Theatre, but there was plenty to stimulate the nostalgic imagination of a room packed with fans old enough to remember the original band’s New York appearances on three consecutive Sundays in February 1964.
It was part of a plan by restaurateur David Netherton to make dinner entertainment a bigger part of Erin’s image, by bringing in bigger acts like ones that used to be popular when Stage West Dinner Theatre operated in Mississauga.
“There’s only so many entertainment dollars, but people will pay for quality,” said Netherton, who tries to do something special about once a month. It has ranged from Yuk Yuk’s comedy and musicians of good repute to dinner shows by Erin Community Theatre – their 8th annual Christmas show, The Art of Believing, runs December 10-19, with details at www.erintheatre.ca.
 |
|
Restaurant owner David Netherton with members of
the Fab Four tribute band (left to right) Mark Harrison as Paul, John McDonald as John, John Turfryer as Ringo and Tom Walsh as George. |
Century Church Theatre in Hillsburgh has been attracting customers from far afield for many years, with an annual brochure packed with theatre and music, both professional and amateur. Their 10th annual traditional English pantomime, Snow White and the Famous Seven, runs November 21-30, and singer Debbie BeChamp leads A Country Christmas matinee on December 7. Details are at www.centurychurchtheatre.com.
Netherton is able to fill his banquet room using posters in the restaurant and around town, website and Facebook promotion, a monthly e-newsletter and flyers in The Advocate to get the word out.
The Toronto based Fab Four put on an energetic performance, with lots of attention to detail in Beatles costumes, hair, instruments and re-creation of the music without any pre-recorded sound or digital tricks.
Naturally, they follow a timeline, starting with simple early hits like All My Loving and She Loves You, progressing to Sgt. Pepper’s Lonely Hearts Club Band and Hard Day’s Night, and mellowing out with Imagine and Hey Jude.
There was lots of audience participation with dancing, clapping and, when requested, screaming women. Stand-out vocals and stage presence were provided by Mark Harrison on the left-handed bass as Paul and John McDonald as John, with Tom Walsh as George and John Turfryer as Ringo taking their turns to make sure that a good time was had by all.
October 22, 2014
Return of Homechild highlights local talent
The new production of Homechild – The Musical at Centre 2000 this week is a showcase of local musical and dramatic talent, shining a light on a dark corner of Canadian history and celebrating the power of family ties.
Hillsburgh playwright and composer Barb Perkins remains passionate about telling the story of the hundreds of thousands of impoverished British children who were shipped to colonies including Canada between 1860 and the 1930s. They were promised a better life, but often experienced hardship, abuse and discrimination as indentured farm labourers and domestic servants.
The story of Perkins’ own family history has been transformed into a play that has an evolving life of its own. It centres on Nan and three other children taken from a family of nine in Wales, and their desire to be reunited.
September 28 was British Home Child Day in Ontario and some members of the cast performed songs from the play at a day of special events held at Black Creek Pioneer Village.
 |
| Stephanie Baird and Jeff Bathurst share a song of hope. |
The play originally had a workshop staging at the Charlottetown Festival in 1999, but found its home in Erin with a full production in 2005. Since then it has been mounted by groups in Oakville, Ottawa, and in January of 2013 by Orangeville Music Theatre.
Drama teacher Steve Sherry, who helped with the show in 2005, is artistic director this time around. Music is directed by Pam Claridge, Jim Hanenberg and Barb Perkins, who is also co-producer with Chris Bailey. The Stage Manager is Stephanie Giugovaz, assisted by Jim Baker and Nancy Larocque.
Set Design and Construction are by Steve Sherry, Michael Russel and a crew of helpers, with painting by Klara Gooding and Stephanie Baird, who is also the Choreographer. The Dance Captain is Tori Ridley. Props are coordinated by Susan Wilson and costumes created by a team of nine: Barb Perkins, Christine Turnbull, Gillian Bailey, Cecile Bull, Lorraine Fennell, Sue Harvey, Nancy Larocque, Kim Pearson and Jacqueline Pilote.
The cast includes Jeff Bathurst as Will, the father of the family, and Stephanie Baird as his wife Ellyn. Young Nan is played by Paula Turnbull, Young Mary by Sierra Virgin, Young James by Brett English and Young Thomas by Dylan Larocque. The Matron is played by Candace Kelm, Older Nan by Sarah Martin, Older Mary by Racheal Seifried, Older James by Dexter Adkin and Older Thomas by Corey Kalynchuk.
The Male Chorus is Des Baxter, Brad Finch, Jim Hanenberg, Mark Keir, Mark Ladouceur, Dick Murray and Keith Smith. The Female Chorus is Tori Bennett, Karen Heckman, Elyse Hodgson, Kathy O’Shea, Kim Pearson, Tori Ridley, Sierra Virgin and Cathy Waters. The Youth Chorus is Theo Adkin, Tessa Dandy, Klara Gooding, Josie Larocque and Brad Pearson.
Tickets are available at the Brighten Up Toy and Game store in Erin – call 833-9258. More about the show is available at www.homechildmusical.com and about the Child Emigration movement at www.canadianbritishhomechildren.weebly.com.
March 26, 2014
Council rejects bid for new Centre 2000 deal
As published in The Erin Advocate
Mayor Lou Maieron’s attempt to have the Centre 2000 agreement changed to a leasing deal was defeated by Town Council at its March 18 meeting.
Maieron has been a critic of the agreement for many years, saying the Town is a victim in “an unfair situation”, and that he has “a fiduciary duty to the taxpayers” to correct the Town’s spending on Centre 2000.
Others on council argued that problems can be worked out with the Upper Grand District School Board, within the current shared-use model.
Councillor John Brennan chaired that section of the meeting while Maieron made his presentation. When the question was called, Councillors Tocher, Callaghan and Wintersinger were opposed, with Maieron in favour and Brennan abstaining. The chair normally only votes in the event of a tie.
Brennan said he was open to either a shared-use or leasing arrangement, as long as service is maintained to residents.
The mayor said invoices from the Town totalling over $20,000 over several years remain unpaid, and he urged that these be resolved by June.
School Trustee Kathryn Cooper, who sits on the Centre 2000 board, was surprised at the mayor’s notice of motion.
“It’s disappointing, since we are well on our way to resolving these issues,” she said prior to the meeting.
She acknowledged that there are unpaid invoices from the Town, and she has recommended that the school board pay them. But she said there are also invoices from the school board that the Town has not paid.
Cooper said while it is costly, for example, for the Town to install a $40,000 sewage meter, it is “an investment in only paying for what they use”.
“A lease model makes sense to me,” said Maieron, claiming the existing deal is too complex. He is suggesting that each party own and maintain certain sections, and lease them to the other party as needed for an agreed fee.
He is particularly concerned about costs of the Shamrock Room, which was intended as the cafeteria in the original plan. He says the town is paying all of the heat, electrical, water and sewage costs for the room and the commercial kitchen, but is “stuck with” the less desirable rental hours.
Maieron is also concerned that the Town borrowed over $2 million for the Centre 2000 project. The bulk of it was for the theatre, he said, but while the Town generates little revenue by renting it out (about 30-40 nights a year), the school is making significant use of it.
Questions about the capital and operating costs of the on-site sewage treatment are also unresolved, he said.
County Councillor Ken Chapman has also been a harsh critic of the agreement. He had been on the board, representing the county’s role as the library operator. He was serving as chair of the board, but recently resigned without explanation.
Councillor Barb Tocher, who was mayor during the planning of Centre 2000, defended the shared-use concept.
“Neither party owns the shared-use portion. It’s not draw a line down the middle of the building. It’s a very unique facility – there are very few in Ontario,” she said.
“It really doesn’t matter if the Upper Grand District School Board paid for the entire facility, if the Town of Erin paid for the cost of the entire facility. Guess what? It’s the same taxpayer.
“It’s the town of Erin that uses that facility. Very few outsiders use that facility. It’s only our children that go to that school. It’s our citizenship that uses the library. It’s our seniors in the seniors room. It’s our toddlers in the pre-school. It’s ours, all of ours.”
In a letter to the Town, Trustee Cooper praised municipal and school staff for their excellent day-to-day cooperation in running the building.
“We need to have objective measurement systems and transparency on the full costs of operations and upcoming capital needs,” she said.
“We do need to make sure the agreement is fair. But first, we must do the objective analysis to determine if it is or not. Let’s allow staff the priority time to work together to sort out the invoices and the measurement systems before deciding on next steps.”
Mayor Lou Maieron’s attempt to have the Centre 2000 agreement changed to a leasing deal was defeated by Town Council at its March 18 meeting.
Maieron has been a critic of the agreement for many years, saying the Town is a victim in “an unfair situation”, and that he has “a fiduciary duty to the taxpayers” to correct the Town’s spending on Centre 2000.
Others on council argued that problems can be worked out with the Upper Grand District School Board, within the current shared-use model.
Councillor John Brennan chaired that section of the meeting while Maieron made his presentation. When the question was called, Councillors Tocher, Callaghan and Wintersinger were opposed, with Maieron in favour and Brennan abstaining. The chair normally only votes in the event of a tie.
Brennan said he was open to either a shared-use or leasing arrangement, as long as service is maintained to residents.
The mayor said invoices from the Town totalling over $20,000 over several years remain unpaid, and he urged that these be resolved by June.
School Trustee Kathryn Cooper, who sits on the Centre 2000 board, was surprised at the mayor’s notice of motion.
“It’s disappointing, since we are well on our way to resolving these issues,” she said prior to the meeting.
She acknowledged that there are unpaid invoices from the Town, and she has recommended that the school board pay them. But she said there are also invoices from the school board that the Town has not paid.
Cooper said while it is costly, for example, for the Town to install a $40,000 sewage meter, it is “an investment in only paying for what they use”.
“A lease model makes sense to me,” said Maieron, claiming the existing deal is too complex. He is suggesting that each party own and maintain certain sections, and lease them to the other party as needed for an agreed fee.
He is particularly concerned about costs of the Shamrock Room, which was intended as the cafeteria in the original plan. He says the town is paying all of the heat, electrical, water and sewage costs for the room and the commercial kitchen, but is “stuck with” the less desirable rental hours.
Maieron is also concerned that the Town borrowed over $2 million for the Centre 2000 project. The bulk of it was for the theatre, he said, but while the Town generates little revenue by renting it out (about 30-40 nights a year), the school is making significant use of it.
Questions about the capital and operating costs of the on-site sewage treatment are also unresolved, he said.
County Councillor Ken Chapman has also been a harsh critic of the agreement. He had been on the board, representing the county’s role as the library operator. He was serving as chair of the board, but recently resigned without explanation.
Councillor Barb Tocher, who was mayor during the planning of Centre 2000, defended the shared-use concept.
“Neither party owns the shared-use portion. It’s not draw a line down the middle of the building. It’s a very unique facility – there are very few in Ontario,” she said.
“It really doesn’t matter if the Upper Grand District School Board paid for the entire facility, if the Town of Erin paid for the cost of the entire facility. Guess what? It’s the same taxpayer.
“It’s the town of Erin that uses that facility. Very few outsiders use that facility. It’s only our children that go to that school. It’s our citizenship that uses the library. It’s our seniors in the seniors room. It’s our toddlers in the pre-school. It’s ours, all of ours.”
In a letter to the Town, Trustee Cooper praised municipal and school staff for their excellent day-to-day cooperation in running the building.
“We need to have objective measurement systems and transparency on the full costs of operations and upcoming capital needs,” she said.
“We do need to make sure the agreement is fair. But first, we must do the objective analysis to determine if it is or not. Let’s allow staff the priority time to work together to sort out the invoices and the measurement systems before deciding on next steps.”
February 26, 2014
Chapman resigns from Centre 2000 Board
As published in The Erin Advocate
County Councillor Ken Chapman has resigned from the Centre 2000 Management Board, where he was serving as the chairperson.
Contacted by The Advocate, Councillor Chapman declined to offer any explanation for the decision or to discuss events leading up to it.
The draft minutes of the January meeting of County Council show that councillors went into a closed session. Upon returning to the public session, Warden Chris White announced that Councillor Chapman had tendered his resignation from the Board.
With Town Councillor Barb Tocher running for the county seat in this October’s election, Councillor Chapman said he has not made a decision on whether he will seek re-election.
The Centre 2000 board administers a shared use agreement for certain areas of the facility, with representatives of the School Board and the Town, plus one representative from the county since it shares the library with the school.
County Councillor Ken Chapman has resigned from the Centre 2000 Management Board, where he was serving as the chairperson.
Contacted by The Advocate, Councillor Chapman declined to offer any explanation for the decision or to discuss events leading up to it.
The draft minutes of the January meeting of County Council show that councillors went into a closed session. Upon returning to the public session, Warden Chris White announced that Councillor Chapman had tendered his resignation from the Board.
With Town Councillor Barb Tocher running for the county seat in this October’s election, Councillor Chapman said he has not made a decision on whether he will seek re-election.
The Centre 2000 board administers a shared use agreement for certain areas of the facility, with representatives of the School Board and the Town, plus one representative from the county since it shares the library with the school.
January 02, 2013
New Homechild production recalls a shameful era
As published in The Erin Advocate
Erin playwright and composer Barb Perkins continues to have success in her quest to both entertain and educate Canadians with her story about British Home Children – a part of our history that needs to be better known.
"I'm just thrilled that the word is getting out," said Perkins, who is helping Orangeville Music Theatre with a new production of Homechild – The Musical, which premiered in Erin in 2005.
Back in 1984, she learned that her grandmother and three of her eight siblings had arrived in Canada from Wales in 1907 as "home children", and she later travelled to Wales to meet relatives and research the child emigration movement. She used her talents as a music teacher and songwriter to create a show that would capture more than just the historical story of a separated family.
"The music really brings out the emotion," she said.
The play had an extensive workshop at the Charlottetown Festival in 1999, but really came to life in Erin in 2005 with the help of Brett Girvin, Steve Sherry and Erin Community Theatre. There was broad community support to mount the first full production at Centre 2000.
Since then it has been produced at West End Studio Theatre in Oakville in 2009. Awareness of the history has grown, with Canada Post creating a special stamp to mark the Year of the British Home Child in 2010.
The play was produced again at Goya Theatre in Ottawa in 2011, and Ontario declared September 28 as the annual British Home Child Day. Now, Orangeville Music Theatre has taken it up close to home, with performances this month at the Town Hall Opera House on Broadway.
The show dates are January 12, 18, 19, 25 and 26 at 8:00 pm, and on Sunday afternoons, January 13 and 20 at 2:00 pm. Regular tickets are $20, with children 12 and under $15 (plus a box office fee). The box office can be reached at 519-942-3423, with on-line tickets available at www.orangevillemusictheatre.com. There is more information at www.homechildmusical.com.
The new production is directed by Raeburn Ferguson, with musical direction by Pam Claridge and choreography by Mariah Abbott, and will include some Erin talent, including Dick Murray, who acted in the 2005 show.
Starting January 9, Orangeville Library will be presenting a display of Homechild memorabilia including trunks and memorial quilts, as well as available books on the subject.
The stories of home children are particularly tragic because many were not orphans, but simply from poor families who thought they were doing the right thing by sending them to a land of opportunity – an escape from the social upheavals of the industrial revolution.
The agencies that set up the Child Migration schemes had good intentions, assuming that poor or orphaned children would have a better life in a new land that needed workers. The emigration undoubtedly saved some lives, and some children were fortunate to be taken in by kind families, but for many it was a life of unremitting hardship and abuse. Siblings were separated and any contact with the parents was strongly discouraged.
The practice gained popularity in the era of child poverty and workhouses made famous by Charles Dickens in novels such as Oliver Twist, and even though slavery had been abolished in England by then, the parallels with that particular evil are inescapable.
Some home children did commit crimes here, but many were falsely accused of criminal behaviour, denied access to basic education, and denounced by doctors, politicians, union leaders and newspaper writers as degenerates and carriers of disease.
Many were forced to work under terrible conditions. Some were severely beaten and systematically starved, while others were sexually abused. Some died as a result of their treatment, and others took their own lives.
Most survived and made lives for themselves in Canada. About 118,000 came here between 1833 and 1939, and it is now estimated that 12% of our population has a home child in their ancestry.
Like the abuse of aboriginal children in residential schools, the story of the home children is a shameful element of Canadian history that needs to be understood by future generations. Perkins said efforts are being made to include it in the Canadian History curriculum. To learn more go to www.britishhomechildren.org or www.canadianbritishhomechildren.weebly.com.
Famed psychiatrist Dr. C.K. Clarke (after whom Toronto's Clark Institute was named) campaigned relentlessly from the late 1800s until his death in 1924 against allowing "defective and insane" immigrants into Canada. Like many others, he believed home children were part of Great Britain's plan to ship sub-normal people out to the colonies.
The belief that "feeble-mindedness" was a hereditary problem was the basis of the eugenics movement that swept the world, and took particular hold in Alberta, where thousands of people were unjustly confined, stigmatized and sterilized between 1929 and 1972.
Is our modern society now morally superior to those earlier times when terrible injustices took place, or are we simply so affluent that we are not tempted into desperate measures?
If Canada were plunged into real poverty and chaos, would we have learned anything from our history? Or would we be as cruel and lacking in human decency as our ancestors?
Erin playwright and composer Barb Perkins continues to have success in her quest to both entertain and educate Canadians with her story about British Home Children – a part of our history that needs to be better known.
"I'm just thrilled that the word is getting out," said Perkins, who is helping Orangeville Music Theatre with a new production of Homechild – The Musical, which premiered in Erin in 2005.
Back in 1984, she learned that her grandmother and three of her eight siblings had arrived in Canada from Wales in 1907 as "home children", and she later travelled to Wales to meet relatives and research the child emigration movement. She used her talents as a music teacher and songwriter to create a show that would capture more than just the historical story of a separated family.
"The music really brings out the emotion," she said.
The play had an extensive workshop at the Charlottetown Festival in 1999, but really came to life in Erin in 2005 with the help of Brett Girvin, Steve Sherry and Erin Community Theatre. There was broad community support to mount the first full production at Centre 2000.
Since then it has been produced at West End Studio Theatre in Oakville in 2009. Awareness of the history has grown, with Canada Post creating a special stamp to mark the Year of the British Home Child in 2010.
The play was produced again at Goya Theatre in Ottawa in 2011, and Ontario declared September 28 as the annual British Home Child Day. Now, Orangeville Music Theatre has taken it up close to home, with performances this month at the Town Hall Opera House on Broadway.
The show dates are January 12, 18, 19, 25 and 26 at 8:00 pm, and on Sunday afternoons, January 13 and 20 at 2:00 pm. Regular tickets are $20, with children 12 and under $15 (plus a box office fee). The box office can be reached at 519-942-3423, with on-line tickets available at www.orangevillemusictheatre.com. There is more information at www.homechildmusical.com.
The new production is directed by Raeburn Ferguson, with musical direction by Pam Claridge and choreography by Mariah Abbott, and will include some Erin talent, including Dick Murray, who acted in the 2005 show.
Starting January 9, Orangeville Library will be presenting a display of Homechild memorabilia including trunks and memorial quilts, as well as available books on the subject.
The stories of home children are particularly tragic because many were not orphans, but simply from poor families who thought they were doing the right thing by sending them to a land of opportunity – an escape from the social upheavals of the industrial revolution.
The agencies that set up the Child Migration schemes had good intentions, assuming that poor or orphaned children would have a better life in a new land that needed workers. The emigration undoubtedly saved some lives, and some children were fortunate to be taken in by kind families, but for many it was a life of unremitting hardship and abuse. Siblings were separated and any contact with the parents was strongly discouraged.
The practice gained popularity in the era of child poverty and workhouses made famous by Charles Dickens in novels such as Oliver Twist, and even though slavery had been abolished in England by then, the parallels with that particular evil are inescapable.
Some home children did commit crimes here, but many were falsely accused of criminal behaviour, denied access to basic education, and denounced by doctors, politicians, union leaders and newspaper writers as degenerates and carriers of disease.
Many were forced to work under terrible conditions. Some were severely beaten and systematically starved, while others were sexually abused. Some died as a result of their treatment, and others took their own lives.
Most survived and made lives for themselves in Canada. About 118,000 came here between 1833 and 1939, and it is now estimated that 12% of our population has a home child in their ancestry.
Like the abuse of aboriginal children in residential schools, the story of the home children is a shameful element of Canadian history that needs to be understood by future generations. Perkins said efforts are being made to include it in the Canadian History curriculum. To learn more go to www.britishhomechildren.org or www.canadianbritishhomechildren.weebly.com.
Famed psychiatrist Dr. C.K. Clarke (after whom Toronto's Clark Institute was named) campaigned relentlessly from the late 1800s until his death in 1924 against allowing "defective and insane" immigrants into Canada. Like many others, he believed home children were part of Great Britain's plan to ship sub-normal people out to the colonies.
The belief that "feeble-mindedness" was a hereditary problem was the basis of the eugenics movement that swept the world, and took particular hold in Alberta, where thousands of people were unjustly confined, stigmatized and sterilized between 1929 and 1972.
Is our modern society now morally superior to those earlier times when terrible injustices took place, or are we simply so affluent that we are not tempted into desperate measures?
If Canada were plunged into real poverty and chaos, would we have learned anything from our history? Or would we be as cruel and lacking in human decency as our ancestors?
October 10, 2012
Photoshopping magic united cast and crew
As published in The Erin Advocate
It used to be said that the camera doesn't lie, but that was never completely true, and it is less so these days. You can never be certain that the image you see is what was originally captured by a camera (unless, of course, it is a news photo in The Advocate).
Seeing can still be believing, if you trust both the photographer and the photo editor. It is a bit like the theatre, where reality is served up in an artificial way.
When the Murder By The Book was staged last May at Century Church Theatre in Hillsburgh, a group photo was taken as usual.
Brigida Scholten, however, played a character who appears in two different guises in the play. Which one should appear in the official picture? I got an unusual request from my friend Jo Phenix, a master of stage crafts, looking for some special treatment for this actor.
"We have taken a cast and crew picture with an empty space on the right end of the box she is sitting on. We also have several pictures of her in the blond wig. Would it be possible to drop the blond into the picture to sit beside herself?"
The idea is not as outrageous as it would have been before the invention of Photoshop software. The use of a computer to alter or combine images is now called "photoshopping", in which I had some practice through my (former) graphic design job.
Then there was a second request, along with an image of Jo herself. As the photographer, she normally gets left out of production photos, and she wanted to be included for a change.
Here's how it is done. One photo is the "base", while others are layers pasted over it. Each layer is edited and moved separately.
When an image is added, it covers up what is behind it, so the trick is to carefully delete the background of the new layer, so only the person floats in the scene.
In this case, parts of the new images need to be "behind" parts of the base image. To accomplish this illusion, parts of the base (a head, a knee, a foot) are clipped out.
They are pasted on another layer, closest to the viewer's eyes, so they partially block off the new arrivals. With a bit of luck, the new folks look like they were always there.
It used to be said that the camera doesn't lie, but that was never completely true, and it is less so these days. You can never be certain that the image you see is what was originally captured by a camera (unless, of course, it is a news photo in The Advocate).
Seeing can still be believing, if you trust both the photographer and the photo editor. It is a bit like the theatre, where reality is served up in an artificial way.
When the Murder By The Book was staged last May at Century Church Theatre in Hillsburgh, a group photo was taken as usual.
Brigida Scholten, however, played a character who appears in two different guises in the play. Which one should appear in the official picture? I got an unusual request from my friend Jo Phenix, a master of stage crafts, looking for some special treatment for this actor.
"We have taken a cast and crew picture with an empty space on the right end of the box she is sitting on. We also have several pictures of her in the blond wig. Would it be possible to drop the blond into the picture to sit beside herself?"
The idea is not as outrageous as it would have been before the invention of Photoshop software. The use of a computer to alter or combine images is now called "photoshopping", in which I had some practice through my (former) graphic design job.
Then there was a second request, along with an image of Jo herself. As the photographer, she normally gets left out of production photos, and she wanted to be included for a change.
Here's how it is done. One photo is the "base", while others are layers pasted over it. Each layer is edited and moved separately.
When an image is added, it covers up what is behind it, so the trick is to carefully delete the background of the new layer, so only the person floats in the scene.
In this case, parts of the new images need to be "behind" parts of the base image. To accomplish this illusion, parts of the base (a head, a knee, a foot) are clipped out.
They are pasted on another layer, closest to the viewer's eyes, so they partially block off the new arrivals. With a bit of luck, the new folks look like they were always there.
March 28, 2012
Official town crier appointed
As published in The Erin Advocate
Hear Yea, Here Yea! The Town of Erin now has an official town crier.
Andrew Welch was appointed by council on March 20. The tradition of criers goes back to medieval times when there were no newspapers and many people could not read. Criers were hired by royal courts or towns to make proclamations and be a reliable source of news.
There's no salary for the position or any cost to the town. He will be available to be hired by local groups to add a dramatic touch to various events, though his services may be offered free for charities. He appeared at the recent Upside Down Sale put on by the Business Improvement Area, and the St. Patrick's Day gathering at McMillan Park.
He will occupy the position until the end of the current term of council in 2014. Last September the Alton resident was appointed Town Crier for Caledon for the same term.
At the council meeting he added some pageantry for the good-will tour visit of Wellington County Warden Chris White and senior staff. He whipped up a poetic proclamation on short notice, which included this description of his duties:
"A crier is a photo-friendly way
to greet folks from far and near.
A splendid way the Town can say
we have both fun and history here.
A simple thing to add some zing to fairs and such,
to lead parades or open things,
a crier adds that special touch.
Town criers give a welcome face
to all that makes a town unique.
They gather crowds, create the space,
and introduce the folks who speak."
Welch is a member of the Criers Guild and was featured in the last summer's edition of Sideroads Magazine for Caledon and Erin.
He has broad experience as a performer, including various films and TV series, radio projects, live theatre, audio books and motivational/educational speaking engagements. He is also a software developer. For more information, go to www.andrewwelch.ca.
Photo (L-R): Mayor Lou Maieron, Warden Chris White, Welch
Hear Yea, Here Yea! The Town of Erin now has an official town crier.
Andrew Welch was appointed by council on March 20. The tradition of criers goes back to medieval times when there were no newspapers and many people could not read. Criers were hired by royal courts or towns to make proclamations and be a reliable source of news.
There's no salary for the position or any cost to the town. He will be available to be hired by local groups to add a dramatic touch to various events, though his services may be offered free for charities. He appeared at the recent Upside Down Sale put on by the Business Improvement Area, and the St. Patrick's Day gathering at McMillan Park.
He will occupy the position until the end of the current term of council in 2014. Last September the Alton resident was appointed Town Crier for Caledon for the same term.
At the council meeting he added some pageantry for the good-will tour visit of Wellington County Warden Chris White and senior staff. He whipped up a poetic proclamation on short notice, which included this description of his duties:
"A crier is a photo-friendly way
to greet folks from far and near.
A splendid way the Town can say
we have both fun and history here.
A simple thing to add some zing to fairs and such,
to lead parades or open things,
a crier adds that special touch.
Town criers give a welcome face
to all that makes a town unique.
They gather crowds, create the space,
and introduce the folks who speak."
Welch is a member of the Criers Guild and was featured in the last summer's edition of Sideroads Magazine for Caledon and Erin.
He has broad experience as a performer, including various films and TV series, radio projects, live theatre, audio books and motivational/educational speaking engagements. He is also a software developer. For more information, go to www.andrewwelch.ca.
Photo (L-R): Mayor Lou Maieron, Warden Chris White, Welch
March 21, 2012
A heartwarming journey of love and friendship
As published in The Erin Advocate
Romantic Comedy is perhaps the ideal title for a funny play about love – everyone knows what to expect, from that awkward first meeting, to the witty dialogue and those unexpected twists of fate.
The script is by Bernard Slade, a writer from St. Catharines who gave us The Partridge Family and The Flying Nun on TV, and Same Time, Next Year on stage and the big screen. The current production is by Century Theatre Guild in Hillsburgh, opening for a two-weekend run this Friday.
After dropping in to observe a rehearsal recently, I can report that there is some very funny material, both verbal and visual. I wouldn't review something before it is ready for the public, and I cannot claim to be totally unbiased, since I have acted in small roles with this group. But still it is clear that the lead actors are skilled, confident and having a good time.
Titillating and heartwarming – it is a sure-fire combination for audiences when everything comes together well. That's the challenge for Dale Jones, an experienced actor now directing his second show for Century Church. The first was last year's Farndale Murder Mystery.
"To direct a play is to take words on a page and make them come to life," said Jones, after watching his cast run through a scene without scripts in hand, fine tuning expressions, stage positions and sound cues.
"It's got all the human emotions," he said. "What is marriage? That's what he (Slade) is talking about, and it's really well done. Everyone has had mucked up relationships or knows someone who has, so they can relate."
Jones has never seen the play done elsewhere; he just read a series of scripts and picked his favourite.
"It's the one you can't put down," said Frank Rempel, who plays Jason, a playwright who, on the day of his marriage to Alison, meets and falls in love with the fascinating Phoebe. He happens to be naked at the time, since he was expecting a massage therapist, not an admirer who would become his playwriting partner, with each married to someone else. The roles of Jason and Phoebe were premiered on Broadway in 1979 by Anthony Perkins and Mia Farrow.
The story spans 14 years of failure and success in both writing and relationships, as Phoebe, played by Stephanie Baird, goes off to Paris with her new husband Leo, played by Martyn Worsnop.
Jennifer Bartrum is Jason's agent Blanche, Lindsey Papp is Alison and Sharon Ching is Kate, who plays a key role in the breakup of Jason's marriage. The Stage Manager for the production is Charlotte Sue.
The racy bits of this show are mainly in the innuendo, but it's not really suitable for younger kids. Performances are March 23, 24, 30 and 31 at 8 p.m. and Sunday afternoons March 25 and April 1 at 2:30 p.m. Admission is $18, and the box office number is 519-855-4586.
Romantic Comedy is perhaps the ideal title for a funny play about love – everyone knows what to expect, from that awkward first meeting, to the witty dialogue and those unexpected twists of fate.
The script is by Bernard Slade, a writer from St. Catharines who gave us The Partridge Family and The Flying Nun on TV, and Same Time, Next Year on stage and the big screen. The current production is by Century Theatre Guild in Hillsburgh, opening for a two-weekend run this Friday.
After dropping in to observe a rehearsal recently, I can report that there is some very funny material, both verbal and visual. I wouldn't review something before it is ready for the public, and I cannot claim to be totally unbiased, since I have acted in small roles with this group. But still it is clear that the lead actors are skilled, confident and having a good time.
Titillating and heartwarming – it is a sure-fire combination for audiences when everything comes together well. That's the challenge for Dale Jones, an experienced actor now directing his second show for Century Church. The first was last year's Farndale Murder Mystery.
"To direct a play is to take words on a page and make them come to life," said Jones, after watching his cast run through a scene without scripts in hand, fine tuning expressions, stage positions and sound cues.
"It's got all the human emotions," he said. "What is marriage? That's what he (Slade) is talking about, and it's really well done. Everyone has had mucked up relationships or knows someone who has, so they can relate."
Jones has never seen the play done elsewhere; he just read a series of scripts and picked his favourite.
"It's the one you can't put down," said Frank Rempel, who plays Jason, a playwright who, on the day of his marriage to Alison, meets and falls in love with the fascinating Phoebe. He happens to be naked at the time, since he was expecting a massage therapist, not an admirer who would become his playwriting partner, with each married to someone else. The roles of Jason and Phoebe were premiered on Broadway in 1979 by Anthony Perkins and Mia Farrow.
The story spans 14 years of failure and success in both writing and relationships, as Phoebe, played by Stephanie Baird, goes off to Paris with her new husband Leo, played by Martyn Worsnop.
Jennifer Bartrum is Jason's agent Blanche, Lindsey Papp is Alison and Sharon Ching is Kate, who plays a key role in the breakup of Jason's marriage. The Stage Manager for the production is Charlotte Sue.
The racy bits of this show are mainly in the innuendo, but it's not really suitable for younger kids. Performances are March 23, 24, 30 and 31 at 8 p.m. and Sunday afternoons March 25 and April 1 at 2:30 p.m. Admission is $18, and the box office number is 519-855-4586.
December 01, 2010
Pantomime offers escape to land of silly surprises
As published in The Erin Advocate
If you are in the mood for grim tragedy, elegant plot progression or even subtle character development (and who isn't, sometimes), you should resist the urge to attend the current production at Century Church Theatre in Hillsburgh.
But (one of my favourite words), if you fancy a little escape to a land of heroes in peril, bad guys being like totally bad, buffoons falling down, cross-dressers cavorting, stunning surprises, silly songs, cunning disguises, men in tights and contrived happy endings, then come on down, or up, whichever you prefer.
The advice should be taken as biased, since I am in the cast of the pantomime Babes in the Wood, written by Bev Nicholas and directed by Martyn Worsnop, which takes a few liberties with the tale of Robin Hood. I play good King Richard, coming back from the Crusades to restore order at the bottom of page 42, kiss Maid Marion on page 45 and join the finale on page 48.
It is a small part, suitably proportioned to my available time and acting ability. Although I studied theatre at university, I didn't have the confidence to pursue it as a career and the newspaper business offered better prospects for steady pay. Now after thirty years, my involvement with drama normally extends only to the low-stress role of usher.
The Century Church panto has become a popular pre-Christmas tradition over the past six years. Shows continue this Friday night through Sunday afternoon. Tickets are available at local library branches or through the box office at 519-855-4586.
In preparation for my part I did a bit of research, though I use the term loosely since Wikipedia was involved. It seems Richard the Lionheart, crowned in 1189, does not meet today's high standards for a good leader of England.
He imposed a crippling tax to finance his war against the Muslims. He sold off public posts, like that of the Sheriff of Nottingham. Like most of the ruling class, he spoke only French, and during his ten-year reign spent only six months on English soil.
Though he was a skilled military commander, he failed to capture Jerusalem and was himself captured by his Christian enemies. His subjects were taxed again to raise the ransom, 65,000 pounds of silver, more than twice the Crown's annual income at the time.
For more in-depth research, I watched Robin Hood: Men in Tights, the Mel Brooks spoof on the legend. At the end, I was surprised to see Sir Patrick Stewart (Captain Jean-Luc Picard on Star Trek) playing the part of King Richard, reciting some of the same lines I had just learned. Borrowing is an important part of the panto tradition.
Some of the silly comedy that we see on-screen today has its roots in British pantomime, a family entertainment that evolved in the 19th century. It grew out of "Commedia dell’arte", a type of street theatre which came from Italy in the 16th century, featuring music, dance, buffoonery and set character types.
Pantomimes always have a melodramatic villain, a principal boy hero (played by a female) and a flamboyant dame (played by a male). The humour is a little on the saucy side, but never too rude for children in the audience.
Children are an important part of the cast, in this case as villagers, or merry men (and women). Getting kids involved in drama is a huge benefit for them. They learn how to have fun in a very disciplined way, helping create something of value. They have others counting on them to do their best, to make the show work.
They feel what it is like to take a good risk, to make mistakes and carry on, to make allowance for other people's mistakes, to be vulnerable with everybody looking at you and to discover that fear can be channelled into positive energy. After all, as Shakespeare reminds us in As You Like It, "All the world's a stage, And all the men and women merely players."
I am always amazed that shows come together as well as they do, considering the complexity of the undertaking – so many personalities, so many other commitments, so many lines and lyrics. It takes dedicated leadership, a network of folks hooked on the theatre lifestyle, a supportive community and the synergy created by "amateur" enterprise, that is, doing it for love instead of money.
If you are in the mood for grim tragedy, elegant plot progression or even subtle character development (and who isn't, sometimes), you should resist the urge to attend the current production at Century Church Theatre in Hillsburgh.
But (one of my favourite words), if you fancy a little escape to a land of heroes in peril, bad guys being like totally bad, buffoons falling down, cross-dressers cavorting, stunning surprises, silly songs, cunning disguises, men in tights and contrived happy endings, then come on down, or up, whichever you prefer.
The advice should be taken as biased, since I am in the cast of the pantomime Babes in the Wood, written by Bev Nicholas and directed by Martyn Worsnop, which takes a few liberties with the tale of Robin Hood. I play good King Richard, coming back from the Crusades to restore order at the bottom of page 42, kiss Maid Marion on page 45 and join the finale on page 48.
It is a small part, suitably proportioned to my available time and acting ability. Although I studied theatre at university, I didn't have the confidence to pursue it as a career and the newspaper business offered better prospects for steady pay. Now after thirty years, my involvement with drama normally extends only to the low-stress role of usher.
The Century Church panto has become a popular pre-Christmas tradition over the past six years. Shows continue this Friday night through Sunday afternoon. Tickets are available at local library branches or through the box office at 519-855-4586.
In preparation for my part I did a bit of research, though I use the term loosely since Wikipedia was involved. It seems Richard the Lionheart, crowned in 1189, does not meet today's high standards for a good leader of England.
He imposed a crippling tax to finance his war against the Muslims. He sold off public posts, like that of the Sheriff of Nottingham. Like most of the ruling class, he spoke only French, and during his ten-year reign spent only six months on English soil.
Though he was a skilled military commander, he failed to capture Jerusalem and was himself captured by his Christian enemies. His subjects were taxed again to raise the ransom, 65,000 pounds of silver, more than twice the Crown's annual income at the time.
For more in-depth research, I watched Robin Hood: Men in Tights, the Mel Brooks spoof on the legend. At the end, I was surprised to see Sir Patrick Stewart (Captain Jean-Luc Picard on Star Trek) playing the part of King Richard, reciting some of the same lines I had just learned. Borrowing is an important part of the panto tradition.
Some of the silly comedy that we see on-screen today has its roots in British pantomime, a family entertainment that evolved in the 19th century. It grew out of "Commedia dell’arte", a type of street theatre which came from Italy in the 16th century, featuring music, dance, buffoonery and set character types.
Pantomimes always have a melodramatic villain, a principal boy hero (played by a female) and a flamboyant dame (played by a male). The humour is a little on the saucy side, but never too rude for children in the audience.
Children are an important part of the cast, in this case as villagers, or merry men (and women). Getting kids involved in drama is a huge benefit for them. They learn how to have fun in a very disciplined way, helping create something of value. They have others counting on them to do their best, to make the show work.
They feel what it is like to take a good risk, to make mistakes and carry on, to make allowance for other people's mistakes, to be vulnerable with everybody looking at you and to discover that fear can be channelled into positive energy. After all, as Shakespeare reminds us in As You Like It, "All the world's a stage, And all the men and women merely players."
I am always amazed that shows come together as well as they do, considering the complexity of the undertaking – so many personalities, so many other commitments, so many lines and lyrics. It takes dedicated leadership, a network of folks hooked on the theatre lifestyle, a supportive community and the synergy created by "amateur" enterprise, that is, doing it for love instead of money.
Subscribe to:
Posts (Atom)