I'm a few weeks late, sorry!
Boeing Boeing started the last weekend of January. We decided to go with mostly French music, as the play is set in Paris. The script was written in the 1960's but the theatre decided to set it in the 70's, for some reason. That didn't make much difference to me, as the time period is not really an issue when it came to music.
But I did try to play only stuff from the 70's and earlier. The preshow is all instrumental, Billy Vaughn, Bert Kaempfert, and things in that style. The intermission is all French, mostly Edith Piaf, Jacques Brel, Charles Aznavour, etc. The music at the beginning and end of each scene is of the musette style, which is French Accordion music. Some is old, some is new.
The exit music is "C'est Si Bon" but I went with the Emilie-Claire Barlow version instead of Eartha Kitt. Wrong time period, but so much easier to listen to night after night.
As for sound effects, there would not be a lot, except the director added a whole bunch. They couldn't find a way to make a front door close, because of the way the set is constructed. So I'm providing that with a sound effect. Yes, it doesn't sound particularly real to have a slamming door coming out of a speaker but the director liked it. She also added a toilet flush for comic effect when one of the male characters goes into the washroom. No problem, I have a great sound effect I have used many times before, and I'm sure will use again. The phone rings three times in the show but, because it is the 70's it is the old fashioned wired type so we can use the ringer for that, no sound effect needed. The only sound effect that is called for in the script is a vacuum cleaner sound, which was pretty easy to find on the internet.
That's it for that show. Next one coming is "No Sex Please We're British" which we did previously in 2007. So the good news is, I already have the music and sound effects from then. I may change a few things, or it may go exactly the same way. I haven't decided yet.
I am going to a concert day after tomorrow, Elton John in Oshawa. My seats aren't great but the GM Centre isn't that big so it should be okay. Review, and pictures (I hope) to follow!
Monday, February 10, 2014
Thursday, November 7, 2013
Tom, Dick, and Harry
Hey readers, it's been a while. Sorry about that.
New show opened at the theatre last week, Tom Dick and Harry by Ray and Michael Cooney. It's a British comedy, almost a farce but not quite. Not too many slamming doors, nobody running around in their underwear. It's a funny show though.
But like a farce, there's not a lot for me to do. Lights up at the beginning, down at intermission, up again for Act 2, down for the end, and up again for the curtain call. No lighting effects, just up and down.
Even the sound is pretty easy. A couple of sound effects, and music. Since there are no scene breaks not a lot of music, just preshow, intermission, curtain call and exit really.
The sound effects consist of someone falling out a window and crashing into galvanized garbage cans, twice. I thought it might be difficult to find the sound of galvanized garbage cans falling and/or getting crashed into but it was surprisingly easy. I got six or so good ones, then mixed them together with some breaking glass and made two different effects so they don't sound the same. I even added a cat in one of them for a little comedy effect. Now, if the actors would only quit talking over the sound, the audience might laugh.
There is also a cordless phone ringing twice in the show. If it's an old fashioned corded phone we can wire it up to make it ring, but apparently not a cordless. So it's a sound effect, coming through the speakers. I have a standard one that I always use, and I'm using it again.
As well, there is a part where someone gets hit over the head with a metal tray. And the director didn't ask but it looked pretty fake, as the actors are not actually hitting each other. So I added the sound effect of a Chinese gong. I pay close attention at that part and hit the gong sound just as the tray comes closest to his head, and it looks and sounds great.
For the music I went with all British Invasion stuff, even though it's a little rockier than what I usually do. Oh well, in three weeks I'll be changing a lot of it anyway.
Christmas is coming, and I'll have to add some holiday songs in there I guess. The boss has told me in previous years that I can put the Christmas music in from the beginning--late October/early November is not too early for Christmas music. I disagree though--even though it's more work for me I'm happy to change the music the first week of December. That's plenty early enough.
Next show is Boeing Boeing at the end of January. I'm not sure what that involves as I've never seen the play. I have seen the movie, starring Jerry Lewis, but that's not much of an indication.
No concerts in my future so I'm not sure if I'll have anything to talk about until January. So, happy holidays if I don't, and see you in the new year!
New show opened at the theatre last week, Tom Dick and Harry by Ray and Michael Cooney. It's a British comedy, almost a farce but not quite. Not too many slamming doors, nobody running around in their underwear. It's a funny show though.
But like a farce, there's not a lot for me to do. Lights up at the beginning, down at intermission, up again for Act 2, down for the end, and up again for the curtain call. No lighting effects, just up and down.
Even the sound is pretty easy. A couple of sound effects, and music. Since there are no scene breaks not a lot of music, just preshow, intermission, curtain call and exit really.
The sound effects consist of someone falling out a window and crashing into galvanized garbage cans, twice. I thought it might be difficult to find the sound of galvanized garbage cans falling and/or getting crashed into but it was surprisingly easy. I got six or so good ones, then mixed them together with some breaking glass and made two different effects so they don't sound the same. I even added a cat in one of them for a little comedy effect. Now, if the actors would only quit talking over the sound, the audience might laugh.
There is also a cordless phone ringing twice in the show. If it's an old fashioned corded phone we can wire it up to make it ring, but apparently not a cordless. So it's a sound effect, coming through the speakers. I have a standard one that I always use, and I'm using it again.
As well, there is a part where someone gets hit over the head with a metal tray. And the director didn't ask but it looked pretty fake, as the actors are not actually hitting each other. So I added the sound effect of a Chinese gong. I pay close attention at that part and hit the gong sound just as the tray comes closest to his head, and it looks and sounds great.
For the music I went with all British Invasion stuff, even though it's a little rockier than what I usually do. Oh well, in three weeks I'll be changing a lot of it anyway.
Christmas is coming, and I'll have to add some holiday songs in there I guess. The boss has told me in previous years that I can put the Christmas music in from the beginning--late October/early November is not too early for Christmas music. I disagree though--even though it's more work for me I'm happy to change the music the first week of December. That's plenty early enough.
Next show is Boeing Boeing at the end of January. I'm not sure what that involves as I've never seen the play. I have seen the movie, starring Jerry Lewis, but that's not much of an indication.
No concerts in my future so I'm not sure if I'll have anything to talk about until January. So, happy holidays if I don't, and see you in the new year!
Sunday, September 8, 2013
Just a quick update...
I really don't have very much to write about. Most concerts, for me, happen in the summer, as I'm free for a little over a month in early July to mid-August. After that I am only able to go to concerts that happen on Monday, Tuesday, or Wednesdays. I can do a Sunday night, as long as it's not too far away. And most shows seem to happen on the weekend.
I haven't seen anyone since the Rascals. I am going to see John Cleese (from Monty Python) later this month, and I'll let you know how that went. That's the only thing on the agenda right now.
In "Last Chance Romance" everything is going along very well. I'm getting lots of positive feedback about my music and sound effects, and the producer and director didn't change a thing from how I originally set it up. It happens, but it's rare that, especially the producer at our theatre, doesn't have a few suggestions for me, and I'll usually go along with it (he's the boss) unless it's a stupid idea (which it sometimes is). I swear, he comes up with songs that have absolutely nothing to do with anything, except that he heard it on the radio this morning and, wouldn't it be great in a show?
I wound up using the restaurant background sounds and the birds in the park scene after all. I mean, once the scene begins I don't really have a lot to do until the next scene change so, why not?
In other news, Nikki Yanofsky announced her new album (Little Secrets) will be released this week. Considering it's been three years since her last album, I am quite anxious to hear it. The single was released this week, in Canada, on iTunes, at a special price of $0.69 so I bought it and have listened to it a few times. The song is called Something New, and it really rocks! Jazz-influenced, certainly, but rock and roll. Anyway, maybe I'll write a review after I've listened to it a few times. Be on the edge of your seat for that!
Michael
I haven't seen anyone since the Rascals. I am going to see John Cleese (from Monty Python) later this month, and I'll let you know how that went. That's the only thing on the agenda right now.
In "Last Chance Romance" everything is going along very well. I'm getting lots of positive feedback about my music and sound effects, and the producer and director didn't change a thing from how I originally set it up. It happens, but it's rare that, especially the producer at our theatre, doesn't have a few suggestions for me, and I'll usually go along with it (he's the boss) unless it's a stupid idea (which it sometimes is). I swear, he comes up with songs that have absolutely nothing to do with anything, except that he heard it on the radio this morning and, wouldn't it be great in a show?
I wound up using the restaurant background sounds and the birds in the park scene after all. I mean, once the scene begins I don't really have a lot to do until the next scene change so, why not?
In other news, Nikki Yanofsky announced her new album (Little Secrets) will be released this week. Considering it's been three years since her last album, I am quite anxious to hear it. The single was released this week, in Canada, on iTunes, at a special price of $0.69 so I bought it and have listened to it a few times. The song is called Something New, and it really rocks! Jazz-influenced, certainly, but rock and roll. Anyway, maybe I'll write a review after I've listened to it a few times. Be on the edge of your seat for that!
Michael
Saturday, August 17, 2013
The Rascals in Toronto
Last night my wife and I saw the Rascals in concert at the Royal Alexandra Theatre in Toronto. My daughter had a ticket but she decided not to come. I guess, in fairness to her, these are old men that she's never really heard of (I'm sure she'd recognize some of their hits), it's loud, it's crowded, and she just got home from a trip to Montreal. So, for a hundred bucks, my wife had a place to put her purse.
The seats were great. We were in the fifth row, on the floor. The Royal Alex is not very deep, but it has two balconies, the highest is right up there in the sky. Not the best seats for a concert, or a play, or anything really. You're pretty much looking at the tops of heads from up there. But fifth row, on the floor is great!
So first, a little history: the Rascals split up in the early 70's after about ten years of making music together. They had a lot of hits in that time, including one of the first singles I ever bought, "It's a Beautiful Morning". They reunited, for one night only, in 1997 when they were inducted into the Rock and Roll Hall of Fame. Their biggest fan, Steven Van Zandt (from Bruce Springsteen's band, and the Sopranos) inducted them, and in that time got the idea for the show. He apparently wrote many scripts and, finally, got the Rascal's approval and the rest is history.
In the front hallway of the theatre there was a merchandise table like any rock show. Prices were crazy high, just like any rock show as well. I bought a double-sided t-shirt for $35--single sided ones were going for $30. Books (looked liked they were made specifically for the show) were $75, unless you wanted an autographed copy, then it was $130. CD's were the same thing--a Rascals' greatest hits CD was going for $15 (you can get it anywhere for less than $10) or autographed for $35. Ridiculously big lapel buttons were going for $5 but that would be a souvenir only, unless you are a clown named "Rascals". They were also selling posters, signed or unsigned.
The show opened with the projection of a little girl sitting in a field singing the title song, "Once Upon a Dream". The curtain lifted and there was the band, going right into "It's Wonderful", one of their minor hits. In the first few minutes they performed "Lonely Too Long" and "You Better Run" along with a few covers, "Mickey's Monkey", "Slow Down" and "Too Many Fish".
Almost the entire wall behind them was a huge video screen. Their story was told on the screen between songs, mostly through scripted interviews with the Rascals themselves. There were also actors portraying the younger versions of the guys. I didn't think that worked as well. I would have liked more vintage footage of the band in their heyday. They apparently appeared on the Ed Sullivan show (Ed introduces them at the top of the show as "The Young Rascals") and the video footage of that would have been great. If Steven Van Zandt wants some advice from me (I'm sure he's holding his breath for that!) I would have had more video before the show. Have the curtain go up on the video screen and run lots of biographical stuff, and actual TV appearances and such BEFORE the band comes on stage. Fewer interruptions during the Rascals' performance, and the same after the intermission advancing the story to their fame. I think that might have run better. I'm not saying no interruptions during the show, but less of them.
Felix Cavaliere is definitely the coolest guy in the room. As a matter of fact, he would be the coolest guy in just about any room he's in, and that's saying a lot when you have Steven Van Zandt in the room. He hasn't lost a thing in forty years. The other guys still got it too, but I get the feeling that Felix was always the coolest guy in the band. In the show the other guys all thank him for getting them to do original material, otherwise they would have been one of the best cover bands forever. Eddie Brigati still plays the tambourine and maracas and dances around the stage, Gene Cornish (born in Ottawa) is still great on guitar, and Dino Danelli is still fine on drums. He apparently was very flashy in the old days, sticks flying and such, but a little tamer in his old age.
They managed to do all their hits in the 28 song show except one, "Mustang Sally". They didn't write it, and Wilson Pickett had the bigger hit, but I still consider it a Rascals song. Anyway, all their other hits were included--"People Got to Be Free", "Groovin'", "Good Lovin'", "I Ain't Gonna Eat Out My Heart Anymore", "It's a Beautiful Morning" and "A Girl Like You". Highest marks go to Eddie Brigati for his rendition of "How Can I Be Sure" which earned him a standing ovation in the middle of Act 2.
My wife commented after the show that more could have been done with the huge video screen during the songs. There were images, but a lot of them were very cartoony, and looped a lot. It looked best when they had the pulsating bubbles in liquid like you saw a million times back in the sixties. During "Good Lovin'" they had some lyrics coming up (Doctor, Good Lovin') and such. Towards the end of the show giant red letters were projected simply saying "Rascals". But my wife thought they could have done a better job with vintage clips and images, and I can't argue with her.
Even though it says all over the programme "no photographs, videos, cell phones" there was an announcement at the top of the show telling us to take pictures, tweet them, do whatever the f*** we want to. So I took lots of pictures, and they turned out pretty well. At the intermission we were told to buy a t-shirt, take a piss, whatever. Very Jersey-like. Big Pussy (Vinny Pastore, also from the Sopranos) played Fat Frankie, and did the narration on the video screen. I could have used a little more of him too--every time he talked or appeared everyone seemed to enjoy it.
There was an encore, but no one ever left the stage. After introducing everyone Felix just said, "You want one more?" and of course we did.
There were two extra musicians, just off stage, a bass player and another keyboard player (I assume for the strings and horn sounds). There were three background singers, two female and one male.
The Rascals have already played New York, Boston and now Toronto. They are moving next to California to play LA and San Francisco. I assume more will be added as time goes on.
I heard the show described as Jersey Boys with the actual group instead of actors. That's not a terrible description, I guess, but really, this was more of a concert than a Broadway show. Not that that's a bad thing mind you, just so you know what you're getting. It is almost as loud as a concert tends to be, and nothing happens on stage other than the Rascals in concert. Anything else is on the video screen. This show could just as easily been done at Massey Hall or the General Motors Centre in Oshawa for that matter.
But I had a good time, and it was nice to see an original group from the 60's, all members alive and well, and still able to put on a rocking great show.
Michael
The seats were great. We were in the fifth row, on the floor. The Royal Alex is not very deep, but it has two balconies, the highest is right up there in the sky. Not the best seats for a concert, or a play, or anything really. You're pretty much looking at the tops of heads from up there. But fifth row, on the floor is great!
So first, a little history: the Rascals split up in the early 70's after about ten years of making music together. They had a lot of hits in that time, including one of the first singles I ever bought, "It's a Beautiful Morning". They reunited, for one night only, in 1997 when they were inducted into the Rock and Roll Hall of Fame. Their biggest fan, Steven Van Zandt (from Bruce Springsteen's band, and the Sopranos) inducted them, and in that time got the idea for the show. He apparently wrote many scripts and, finally, got the Rascal's approval and the rest is history.
In the front hallway of the theatre there was a merchandise table like any rock show. Prices were crazy high, just like any rock show as well. I bought a double-sided t-shirt for $35--single sided ones were going for $30. Books (looked liked they were made specifically for the show) were $75, unless you wanted an autographed copy, then it was $130. CD's were the same thing--a Rascals' greatest hits CD was going for $15 (you can get it anywhere for less than $10) or autographed for $35. Ridiculously big lapel buttons were going for $5 but that would be a souvenir only, unless you are a clown named "Rascals". They were also selling posters, signed or unsigned.
The show opened with the projection of a little girl sitting in a field singing the title song, "Once Upon a Dream". The curtain lifted and there was the band, going right into "It's Wonderful", one of their minor hits. In the first few minutes they performed "Lonely Too Long" and "You Better Run" along with a few covers, "Mickey's Monkey", "Slow Down" and "Too Many Fish".
 |
| The Rascals at the Royal Alexandra Theatre, Toronto, 16 August 2013 |
Almost the entire wall behind them was a huge video screen. Their story was told on the screen between songs, mostly through scripted interviews with the Rascals themselves. There were also actors portraying the younger versions of the guys. I didn't think that worked as well. I would have liked more vintage footage of the band in their heyday. They apparently appeared on the Ed Sullivan show (Ed introduces them at the top of the show as "The Young Rascals") and the video footage of that would have been great. If Steven Van Zandt wants some advice from me (I'm sure he's holding his breath for that!) I would have had more video before the show. Have the curtain go up on the video screen and run lots of biographical stuff, and actual TV appearances and such BEFORE the band comes on stage. Fewer interruptions during the Rascals' performance, and the same after the intermission advancing the story to their fame. I think that might have run better. I'm not saying no interruptions during the show, but less of them.
 |
| Gene Cornish and Eddie Brigati |
Felix Cavaliere is definitely the coolest guy in the room. As a matter of fact, he would be the coolest guy in just about any room he's in, and that's saying a lot when you have Steven Van Zandt in the room. He hasn't lost a thing in forty years. The other guys still got it too, but I get the feeling that Felix was always the coolest guy in the band. In the show the other guys all thank him for getting them to do original material, otherwise they would have been one of the best cover bands forever. Eddie Brigati still plays the tambourine and maracas and dances around the stage, Gene Cornish (born in Ottawa) is still great on guitar, and Dino Danelli is still fine on drums. He apparently was very flashy in the old days, sticks flying and such, but a little tamer in his old age.
 |
| Coolest guy in the room, Felix Cavaliere |
They managed to do all their hits in the 28 song show except one, "Mustang Sally". They didn't write it, and Wilson Pickett had the bigger hit, but I still consider it a Rascals song. Anyway, all their other hits were included--"People Got to Be Free", "Groovin'", "Good Lovin'", "I Ain't Gonna Eat Out My Heart Anymore", "It's a Beautiful Morning" and "A Girl Like You". Highest marks go to Eddie Brigati for his rendition of "How Can I Be Sure" which earned him a standing ovation in the middle of Act 2.
My wife commented after the show that more could have been done with the huge video screen during the songs. There were images, but a lot of them were very cartoony, and looped a lot. It looked best when they had the pulsating bubbles in liquid like you saw a million times back in the sixties. During "Good Lovin'" they had some lyrics coming up (Doctor, Good Lovin') and such. Towards the end of the show giant red letters were projected simply saying "Rascals". But my wife thought they could have done a better job with vintage clips and images, and I can't argue with her.
Even though it says all over the programme "no photographs, videos, cell phones" there was an announcement at the top of the show telling us to take pictures, tweet them, do whatever the f*** we want to. So I took lots of pictures, and they turned out pretty well. At the intermission we were told to buy a t-shirt, take a piss, whatever. Very Jersey-like. Big Pussy (Vinny Pastore, also from the Sopranos) played Fat Frankie, and did the narration on the video screen. I could have used a little more of him too--every time he talked or appeared everyone seemed to enjoy it.
There was an encore, but no one ever left the stage. After introducing everyone Felix just said, "You want one more?" and of course we did.
 |
| Dino Danelli bowing to producer, director and writer Steven Van Zandt, centre. |
There were two extra musicians, just off stage, a bass player and another keyboard player (I assume for the strings and horn sounds). There were three background singers, two female and one male.
The Rascals have already played New York, Boston and now Toronto. They are moving next to California to play LA and San Francisco. I assume more will be added as time goes on.
I heard the show described as Jersey Boys with the actual group instead of actors. That's not a terrible description, I guess, but really, this was more of a concert than a Broadway show. Not that that's a bad thing mind you, just so you know what you're getting. It is almost as loud as a concert tends to be, and nothing happens on stage other than the Rascals in concert. Anything else is on the video screen. This show could just as easily been done at Massey Hall or the General Motors Centre in Oshawa for that matter.
But I had a good time, and it was nice to see an original group from the 60's, all members alive and well, and still able to put on a rocking great show.
Michael
Thursday, August 15, 2013
Last Chance Romance, and apology
Well first, the apology.
If you read my concert reviews I have to apologize for the last one, about Emilie-Claire Barlow. My review sucked. I enjoyed the concert, I love Emilie and she is a great performer, but I waited too long to write the review. I had forgotten what songs she performed, and lots of other little details. I even made a comment in the review how, if I were a real reviewer I would have the names of the musicians, and that's no excuse. Tomorrow night I am seeing the Rascals and I promise I will write the review on Saturday. I may not have it up right away but, believe me, I will write the majority of it while it's still fresh in my mind. So sorry readers, and, particularly to Emilie-Claire, if she should ever read this.
Okay, on to the next play, "Last Chance Romance" by Sam Bobrick, which opens next week. It seems like a funny play--a lonely, shy guy takes a year to build up the courage to call a woman whose Mothers met on a bus, and ask her out. Unfortunately she turns out to be a looney, along with the rest of her family. Eight roles, played by four actors (in our production, anyway).
Only sound effects called for are the digital phone calls. Two different phones with distinctly different rings, from opposite sides of the stage. Piece of cake. As well, there's a park scene. I haven't been, but I may be asked to put in some bird sounds here. And a couple of restaurant scenes, in which I may get asked to do restaurant background sounds. No problem if I'm asked, as I've done both before. I'm not sure how necessary either sound is, so I'm not offering. But if the director asks, I'll be ready.
As for music, it's modern day so anything goes. I decided to do mostly romantic music, as the title suggests, even though the actual play is anything but after the first scene. There are eight scenes in Act 1, and four scenes in Act 2, so I need lots of music.
The preshow and intermission are the main places I need music. I went with my usual light jazz and oldies, and threw in lots of my favourites: Nikki Yanofsky, Susie Arioli, Barbra Lica, Emilie-Claire Barlow and Alex Pangman, as well as oldies such as Frank Sinatra, Huey Lewis and Stevie Wonder.
I'm opening the show with "Love is Blue" by Paul Muriat. Mostly because nothing else really came to mind. Nothing has happened yet, the audience has no idea what the play is really about, and that's good, generic romantic music. The other songs I'm using, in order are: "Possibilities" by Freddie Stroma, "I Got You" by James Brown, "Love to Love You" by Donna Summer, "Taking Care of Business" by BTO, "I Need You" by the Beatles, "Crazy" by Patsy Cline, "Walk Like a Man" by the Four Seasons (there's some stuff about Jersey Boys in the show), "Chapel of Love" by the Dixie Cups, "How Can I Be Sure" by the Rascals at the top of Act 2, "Run For Your Life" by the Beatles, "When a Man Loves a Woman" by Percy Sledge, "Who Loves You" by the Four Seasons, and "Hey Good Lookin'" by Hank Williams for the curtain call. Exit music is "Love Will Keep Us Together" by the Captain and Tenille.
That's it. Technical rehearsals all next week, and there'll probably be some minor changes. Come check it out, if you can.
Until next time,
Michael
If you read my concert reviews I have to apologize for the last one, about Emilie-Claire Barlow. My review sucked. I enjoyed the concert, I love Emilie and she is a great performer, but I waited too long to write the review. I had forgotten what songs she performed, and lots of other little details. I even made a comment in the review how, if I were a real reviewer I would have the names of the musicians, and that's no excuse. Tomorrow night I am seeing the Rascals and I promise I will write the review on Saturday. I may not have it up right away but, believe me, I will write the majority of it while it's still fresh in my mind. So sorry readers, and, particularly to Emilie-Claire, if she should ever read this.
 |
| Another excuse for a photo of Emilie from Picton in 2012 |
Okay, on to the next play, "Last Chance Romance" by Sam Bobrick, which opens next week. It seems like a funny play--a lonely, shy guy takes a year to build up the courage to call a woman whose Mothers met on a bus, and ask her out. Unfortunately she turns out to be a looney, along with the rest of her family. Eight roles, played by four actors (in our production, anyway).
Only sound effects called for are the digital phone calls. Two different phones with distinctly different rings, from opposite sides of the stage. Piece of cake. As well, there's a park scene. I haven't been, but I may be asked to put in some bird sounds here. And a couple of restaurant scenes, in which I may get asked to do restaurant background sounds. No problem if I'm asked, as I've done both before. I'm not sure how necessary either sound is, so I'm not offering. But if the director asks, I'll be ready.
As for music, it's modern day so anything goes. I decided to do mostly romantic music, as the title suggests, even though the actual play is anything but after the first scene. There are eight scenes in Act 1, and four scenes in Act 2, so I need lots of music.
The preshow and intermission are the main places I need music. I went with my usual light jazz and oldies, and threw in lots of my favourites: Nikki Yanofsky, Susie Arioli, Barbra Lica, Emilie-Claire Barlow and Alex Pangman, as well as oldies such as Frank Sinatra, Huey Lewis and Stevie Wonder.
I'm opening the show with "Love is Blue" by Paul Muriat. Mostly because nothing else really came to mind. Nothing has happened yet, the audience has no idea what the play is really about, and that's good, generic romantic music. The other songs I'm using, in order are: "Possibilities" by Freddie Stroma, "I Got You" by James Brown, "Love to Love You" by Donna Summer, "Taking Care of Business" by BTO, "I Need You" by the Beatles, "Crazy" by Patsy Cline, "Walk Like a Man" by the Four Seasons (there's some stuff about Jersey Boys in the show), "Chapel of Love" by the Dixie Cups, "How Can I Be Sure" by the Rascals at the top of Act 2, "Run For Your Life" by the Beatles, "When a Man Loves a Woman" by Percy Sledge, "Who Loves You" by the Four Seasons, and "Hey Good Lookin'" by Hank Williams for the curtain call. Exit music is "Love Will Keep Us Together" by the Captain and Tenille.
That's it. Technical rehearsals all next week, and there'll probably be some minor changes. Come check it out, if you can.
Until next time,
Michael
Sunday, August 11, 2013
Emilie-Claire Barlow in Huntsville
I'll forgive you if you think I spend my entire summer chasing young, female jazz singers around. It has been an easy task this summer.
First of all, I love female jazz singers. Male jazz singers are fine also but there don't seem as many of them these days. If Michael Buble comes, it's a big deal, expensive tickets, and a big theatre or auditorium. Matt Dusk would be a little better, but there always seems to be a problem when he comes, I'm working that night for example. But summers are good, and I don't mind traveling a bit for something to do on a nice weekend.
This is the second year in a row we have gone to Huntsville for their annual Jazz Festival. Last year the headliner was Nikki Yanofsky, this year it was Emilie-Claire Barlow. These two ladies are pretty much tied for my favourite singer, so it was good to see both of them at the festival. And, in two separate years, so no overnight accommodation was even required.
It was a beautiful day for a drive to Huntsville. We needed the air conditioner for the drive up, but just barely. The traffic was fine, except for a little slowdown around Brechin which messed things up all the way down to the Hwy 48 turnoff. But generally, a lot better than last years' drive. We arrived at dinner time and made our way to Crabby Joe's. This is a small chain restaurant, in case you haven't heard of them, with pretty good prices. The three of us had two appetizers, my wife had a beer, my daughter and I each had a soft drink, and three main courses, and the bill was only in the $60 neighbourhood. We killed a couple of hours there, then made our way downtown.
We parked on the street, right outside the theatre. If we had been any closer we'd have been parked in the lobby. Man, I love little towns. Wendy sat outside the theatre while Victoria and I walked down to the park near the water to have a game of checkers.
Last year there was a bag of checker pieces in a bag near the permanent, carved rock checkerboard. I guess they blew away in the wind, or some clown stole them so we had a board with no pieces. We didn't have enough coins to play (dimes vs. quarters) but fortunately Victoria had a checker game on her smart phone. As silly as it was, we placed the phone on top of the checkerboard and played that way. Oh yeah, she creamed me.
Then on to the concert. We were in the fourth row, dead centre. The theatre was not full, but pretty close. I don't think there was anybody in the balcony. Emilie came out right at eight, as scheduled. She had only five pieces with her this year--piano, drums, bass, guitar, and saxaphone. Last year in Picton she had two other horn players, a trombone and a flute. One of them changed to a trumpet occasionally, if I recall.
The Algonquin Theatre in Huntsville is a beautiful place for a concert. Four hundred and eight seats, including the balcony. Nice, generous, comfortable seats in a pretty intimate space. But--no cameras allowed. Last year I managed to sneak a few photos during the Nikki Yanofsky concert. Because the theatre is so small my few photos turned out pretty good. But this year, still embarrassed by Molly Ringwald, my wife asked me, after the announcement that photos were strictly prohibited, to please put away my camera, so I did. Too bad though--from the second row (explanation later) I could have taken some amazing photos, especially during the encore. What are they going to do, throw me out?
I was concerned that the concert would be more French than English, as she is touring to support her most recent CD, Seule de soir, which is entirely in French. But she sang mostly from her previous CD, The Beat Goes On recognizing, I suppose, the mostly English-speaking audience. It was pretty similar to her last years' show in Picton.
There was a short intermission. During this time we moved from the fourth row to the second row which, for some reason, was almost empty. Not so much because it was closer, but for the extra space. And, we were nearer to the stage too, which is a good thing.
She sang more French songs in the second half. I don't think anyone minded--most Canadians are okay with French, even though most of us couldn't hold a conversation in French to save our lives. But it is familiar and a lot of Emilie's best songs are in French so, no problem. She still did some English songs throughout.
Last year Emilie had Reg Schwager playing guitar for her. He's an excellent musician and it was great. She had someone else this year, a name I didn't recognize but he was okay. Not that he was bad, he just didn't impress me the way Reg did last year. Guitar is very important to Emilie's songs, as it is to Susie Arioli, so it is important to have a great guitar player. The bass player was excellent, however--Emilie said they went to high school together and were in her first band together. She wouldn't tell us the name of the band, as it would be too embarrassing apparently. One of the stand-out songs of the concert was the duet that Emilie and the bass player did together.
Anyway, if I were a real reporter I would have a song list and know the names of all the musicians, but I don't have either. Let's just say we had a good time, Emilie is a great singer, the show was just under two hours, and Huntsville is a beautiful town. There was a little rain at first on the drive home, but nothing to worry about.
I look forward to her next concert that I can attend, probably next summer. She IS doing a show at the Wintergarden Theatre this Fall that I would love to go to, but it is on a Saturday night, so I'll be working. But if you're in the Toronto area and can go, do so!
First of all, I love female jazz singers. Male jazz singers are fine also but there don't seem as many of them these days. If Michael Buble comes, it's a big deal, expensive tickets, and a big theatre or auditorium. Matt Dusk would be a little better, but there always seems to be a problem when he comes, I'm working that night for example. But summers are good, and I don't mind traveling a bit for something to do on a nice weekend.
This is the second year in a row we have gone to Huntsville for their annual Jazz Festival. Last year the headliner was Nikki Yanofsky, this year it was Emilie-Claire Barlow. These two ladies are pretty much tied for my favourite singer, so it was good to see both of them at the festival. And, in two separate years, so no overnight accommodation was even required.
It was a beautiful day for a drive to Huntsville. We needed the air conditioner for the drive up, but just barely. The traffic was fine, except for a little slowdown around Brechin which messed things up all the way down to the Hwy 48 turnoff. But generally, a lot better than last years' drive. We arrived at dinner time and made our way to Crabby Joe's. This is a small chain restaurant, in case you haven't heard of them, with pretty good prices. The three of us had two appetizers, my wife had a beer, my daughter and I each had a soft drink, and three main courses, and the bill was only in the $60 neighbourhood. We killed a couple of hours there, then made our way downtown.
We parked on the street, right outside the theatre. If we had been any closer we'd have been parked in the lobby. Man, I love little towns. Wendy sat outside the theatre while Victoria and I walked down to the park near the water to have a game of checkers.
Last year there was a bag of checker pieces in a bag near the permanent, carved rock checkerboard. I guess they blew away in the wind, or some clown stole them so we had a board with no pieces. We didn't have enough coins to play (dimes vs. quarters) but fortunately Victoria had a checker game on her smart phone. As silly as it was, we placed the phone on top of the checkerboard and played that way. Oh yeah, she creamed me.
Then on to the concert. We were in the fourth row, dead centre. The theatre was not full, but pretty close. I don't think there was anybody in the balcony. Emilie came out right at eight, as scheduled. She had only five pieces with her this year--piano, drums, bass, guitar, and saxaphone. Last year in Picton she had two other horn players, a trombone and a flute. One of them changed to a trumpet occasionally, if I recall.
The Algonquin Theatre in Huntsville is a beautiful place for a concert. Four hundred and eight seats, including the balcony. Nice, generous, comfortable seats in a pretty intimate space. But--no cameras allowed. Last year I managed to sneak a few photos during the Nikki Yanofsky concert. Because the theatre is so small my few photos turned out pretty good. But this year, still embarrassed by Molly Ringwald, my wife asked me, after the announcement that photos were strictly prohibited, to please put away my camera, so I did. Too bad though--from the second row (explanation later) I could have taken some amazing photos, especially during the encore. What are they going to do, throw me out?
 |
| From last year's show in Picton. |
 |
| Emilie-Claire Barlow with Reg Schwager on guitar in Picton, 2012. |
I was concerned that the concert would be more French than English, as she is touring to support her most recent CD, Seule de soir, which is entirely in French. But she sang mostly from her previous CD, The Beat Goes On recognizing, I suppose, the mostly English-speaking audience. It was pretty similar to her last years' show in Picton.
There was a short intermission. During this time we moved from the fourth row to the second row which, for some reason, was almost empty. Not so much because it was closer, but for the extra space. And, we were nearer to the stage too, which is a good thing.
She sang more French songs in the second half. I don't think anyone minded--most Canadians are okay with French, even though most of us couldn't hold a conversation in French to save our lives. But it is familiar and a lot of Emilie's best songs are in French so, no problem. She still did some English songs throughout.
Last year Emilie had Reg Schwager playing guitar for her. He's an excellent musician and it was great. She had someone else this year, a name I didn't recognize but he was okay. Not that he was bad, he just didn't impress me the way Reg did last year. Guitar is very important to Emilie's songs, as it is to Susie Arioli, so it is important to have a great guitar player. The bass player was excellent, however--Emilie said they went to high school together and were in her first band together. She wouldn't tell us the name of the band, as it would be too embarrassing apparently. One of the stand-out songs of the concert was the duet that Emilie and the bass player did together.
 |
| Emilie-Claire Barlow and me, after the show. |
Anyway, if I were a real reporter I would have a song list and know the names of all the musicians, but I don't have either. Let's just say we had a good time, Emilie is a great singer, the show was just under two hours, and Huntsville is a beautiful town. There was a little rain at first on the drive home, but nothing to worry about.
I look forward to her next concert that I can attend, probably next summer. She IS doing a show at the Wintergarden Theatre this Fall that I would love to go to, but it is on a Saturday night, so I'll be working. But if you're in the Toronto area and can go, do so!
Thursday, August 1, 2013
Barbra Lica in Ancaster
You've probably never heard of Barbra Lica. A month ago I hadn't either.
Three weeks ago, on a Saturday morning, I was driving and happened to be on the Jazz station when they played a nice version of "Young At Heart", the old Frank Sinatra hit. I didn't recognize the singer, but I waited for the DJ to announce it. He said the name, but because I had never heard of her it went right out of my head. When I got home I checked the radio station's website to see if they listed the songs they played.
Sure enough, there it was. Young at Heart, by Barbra Lica. So I checked out her website, and listened to a few more samples of her work, and liked what I heard. There was a link to a record company, and you could order her CD for $20.
At first thought that was a little pricey for someone I had never heard of, but it was just twenty, including tax, shipping and everything so I ordered one.
I saw on her website that she was one of Peter Appleyard's Sophisticated Ladies. I checked my album and found that I already had a track by her, "Satin Doll".
Six days later, when the CD appeared in my mailbox I had totally forgotten about it. But I was just on my way out so I took it with me and listened to it in the car.
I quite enjoyed it, even more than I had expected. When it finished I let it play again.
Barbra herself wrote six songs on the thirteen song CD, most with Colin Story, and one, in the running for best song on the CD, by herself (That's What I Do, the title song). And the songs she covers are not the same old, Great American Songbook songs.
She does a nice version of "Vienna", the Billy Joel song. If it was not for Christian Borle's version in Smash! (the TV series) I would have never heard the song by anyone other than Billy Joel. But considering Barbra's CD has been out for a year, I guess she did it first so I'll give her credit for that. She also does "Quiet Nights", "P.S. I Love You" (not the Beatles' song, the Johnny Mercer/Gordon Jenkins one), "But Not For Me", a surprisingly nice and different version of "You Are My Sunshine", and "Pretend". And of course, the aforementioned "Young At Heart".
I looked at her website again and discovered she was scheduled to play a free concert at Fieldcote in Ancaster in a couple of weeks. I had nothing on the agenda for that day and I thought just maybe I'd go.
I couldn't convince my wife or daughter to go with me. If it was a little closer, then probably but neither seemed sufficiently interested so when the day came I went by myself. I left about three, knowing that traffic could be a little busy on summer weekends. Well, no problems this time. I had allowed myself plenty of time for supper first, and made my way to the Hamilton Hooters first.
You've probably read my earlier post about the Whitby Hooters closing down, so you already know that I love Hooters. It was nice going again but, just like the Downtown Toronto Hooters, it wasn't the same. The food was great, but the girls didn't know me, and pretty much ignored me except for the usual waitress things. Anyway, I sat there for more than an hour, drinking Diet Pepsi and using their free internet. Just before six I left for Fieldcote.
Good thing I did. There were already quite a few people there. Not so much for Barbra, but just for a free concert, from what I could tell. No one around me seemed to have any idea what they were about to hear, from the comments around me. "I hope she's not an opera singer" was among the things I heard. Fieldcote seems like a nice place, but it had been hit hard by a storm a few days earlier. Lots of old trees were down.
First the band came out and did an instrumental. Four pieces--drums, bass, piano, and a horn player who switched, mostly between a saxophone and a flute. Then Barbra was introduced. Except for a couple of pictures this was the first time I saw her. She's a tiny thing, but was wearing four-inch heels so she looked about the regular size. Very pretty, and very blonde. It was hard to take pictures, as she was too easy to over-expose. But I took lots and many of them came out very well, especially later in the evening as the sun began to go down. Her legs are very muscular, and she mentioned that she's a runner, in training for a marathon.
She did a ninety minute show so she sang a lot more than what is on her one and only album. She talked quite a bit between songs, possibly because most of the audience didn't really know her or her music. She pointed out her father who was there to videotape the show for "the YouTube", as she called it. I also "videotaped" three of the songs with my Blackberry Playbook, with surprisingly good quality. Being outdoors, and not being too loud helped I think.
At the end of the show she went over to the side where they were selling her CD and signing it for people. She wrote on mine "To Michael--U rawk my sox!" which made my wife ask what on earth she meant by that. I admitted that I really had no idea, but she was writing weird and unusual things on everybody's CDs. I showed Barbra my camera and said I'd love to get a picture with her, but I didn't have my usual photographer with me (my daughter). She said, no problem and handed the camera to the woman selling her CDs, and she took the picture below.
Anyway, Barbra Lica (Lee-ka, not Like-ah) is a cutie and a very talented singer. Check her out if she plays anywhere near you, and buy her CD. You won't be disappointed if you like this kind of music at all!
Michael
Three weeks ago, on a Saturday morning, I was driving and happened to be on the Jazz station when they played a nice version of "Young At Heart", the old Frank Sinatra hit. I didn't recognize the singer, but I waited for the DJ to announce it. He said the name, but because I had never heard of her it went right out of my head. When I got home I checked the radio station's website to see if they listed the songs they played.
Sure enough, there it was. Young at Heart, by Barbra Lica. So I checked out her website, and listened to a few more samples of her work, and liked what I heard. There was a link to a record company, and you could order her CD for $20.
At first thought that was a little pricey for someone I had never heard of, but it was just twenty, including tax, shipping and everything so I ordered one.
I saw on her website that she was one of Peter Appleyard's Sophisticated Ladies. I checked my album and found that I already had a track by her, "Satin Doll".
Six days later, when the CD appeared in my mailbox I had totally forgotten about it. But I was just on my way out so I took it with me and listened to it in the car.
I quite enjoyed it, even more than I had expected. When it finished I let it play again.
Barbra herself wrote six songs on the thirteen song CD, most with Colin Story, and one, in the running for best song on the CD, by herself (That's What I Do, the title song). And the songs she covers are not the same old, Great American Songbook songs.
She does a nice version of "Vienna", the Billy Joel song. If it was not for Christian Borle's version in Smash! (the TV series) I would have never heard the song by anyone other than Billy Joel. But considering Barbra's CD has been out for a year, I guess she did it first so I'll give her credit for that. She also does "Quiet Nights", "P.S. I Love You" (not the Beatles' song, the Johnny Mercer/Gordon Jenkins one), "But Not For Me", a surprisingly nice and different version of "You Are My Sunshine", and "Pretend". And of course, the aforementioned "Young At Heart".
I looked at her website again and discovered she was scheduled to play a free concert at Fieldcote in Ancaster in a couple of weeks. I had nothing on the agenda for that day and I thought just maybe I'd go.
I couldn't convince my wife or daughter to go with me. If it was a little closer, then probably but neither seemed sufficiently interested so when the day came I went by myself. I left about three, knowing that traffic could be a little busy on summer weekends. Well, no problems this time. I had allowed myself plenty of time for supper first, and made my way to the Hamilton Hooters first.
You've probably read my earlier post about the Whitby Hooters closing down, so you already know that I love Hooters. It was nice going again but, just like the Downtown Toronto Hooters, it wasn't the same. The food was great, but the girls didn't know me, and pretty much ignored me except for the usual waitress things. Anyway, I sat there for more than an hour, drinking Diet Pepsi and using their free internet. Just before six I left for Fieldcote.
Good thing I did. There were already quite a few people there. Not so much for Barbra, but just for a free concert, from what I could tell. No one around me seemed to have any idea what they were about to hear, from the comments around me. "I hope she's not an opera singer" was among the things I heard. Fieldcote seems like a nice place, but it had been hit hard by a storm a few days earlier. Lots of old trees were down.
First the band came out and did an instrumental. Four pieces--drums, bass, piano, and a horn player who switched, mostly between a saxophone and a flute. Then Barbra was introduced. Except for a couple of pictures this was the first time I saw her. She's a tiny thing, but was wearing four-inch heels so she looked about the regular size. Very pretty, and very blonde. It was hard to take pictures, as she was too easy to over-expose. But I took lots and many of them came out very well, especially later in the evening as the sun began to go down. Her legs are very muscular, and she mentioned that she's a runner, in training for a marathon.
Anyway, Barbra Lica (Lee-ka, not Like-ah) is a cutie and a very talented singer. Check her out if she plays anywhere near you, and buy her CD. You won't be disappointed if you like this kind of music at all!
Michael
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