live! at the oakville centre october to december 2012

AT THE OAKVILLE CENTRE

VOLUME FIVE | ISSUE ONE | OCT– DEC 2012

JENNIFER WARNESOLIVER JONESCOLIN MOCHRIEROBERT RANDOLPH SANTALAND DIARIESCLASSIC ALBUMS LIVE:A NIGHT AT THE OPERA& STICKY FINGERS LUNCH AT ALLEN’SMICHAEL CIUFOand more!

October 2012-Final2_Layout 1 12-10-09 4:46 PM

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VISIT OUR WEBSITE AT OAKVILLEINFINITI.COM TO VIEW OUR SELECTION OF CERTIFIED PRE-OWNED VEHICLES

Oakville Infi niti2316 South Service Road W.Oakville ON L6L 5M9

Phone 905.827.1177Fax: 905.827.2349

North Service Rd. Kerr St.

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TheOakville Centre

for the Performing Artswould like to thank

CANADIANHERITAGE

for ongoingprogramming support.

www.pch.gc.ca

TheOakville Centre

for the Performing Artswould like to thank the

ONTARIOARTS COUNCIL

for ongoingprogramming support.

THEATRE ETIQUETTE Please be considerate of those inthe audience who may have allergies and avoid wearingperfume or cologne. Cell phones, pagers and watchesshould be turned off and refrain from unwrapping candyduring the performance. Food and beverages are notpermitted in the theatre, with the exception of plasticbottles of water. In the event of any disturbances, usherswill ask those individuals to leave the auditorium.Cameras, video cameras and recording devices areprohibited inside the theatre.

LATECOMERSwill be seated at a suitable break in theperformance determined by the artist. Patrons wholeave the theatre during the performance will also beasked to wait.

ACCESSIBILITY Patrons using a wheelchair, walker orwho have difficulty with stairs should advise the boxoffice at the time of ticket purchase. Due to fireregulations and for the safety of patrons, wheelchair andwalker seating is located in Row S. Note that the lowerlevel parking lot is not suitable for these patrons as thereis no access to the main entrance of the theatre. Thetheatre does not have an elevator.

SENNHEISER HEARING ASSISTANCE is installed inour Main Theatre. This service is on a first come, firstserved basis at no charge. The devices may be signedout at the bar.

BOX OFFICE hours are Monday to Saturday, from11:00am to 5:00pm and 2 hours prior to a performance.Tickets may be ordered by phone with a major credit cardby calling 905-815-2021 or toll free at 1-888-489-7784or online at www.oakvillecentre.ca.

BABES IN ARMS are not permitted into the theatre forBig Ticket events. We welcome children old enough toenjoy the performance. Children of all ages are welcomedto the Family Series performances.

TICKET EXCHANGES may only be made for anotherperformance of the same event. Exchanges must be madeat least 48 hours prior to the date shown on the originaltickets. An exchange fee per ticket will be applied. Allexchanges are subject to availability. No refunds. A feewill be applied to all reprinted tickets.

PARKING is available along Church Street at severalMunicipal Lots. Meters located in downtown Oakville arefree after 6:00pm, Monday to Saturday and all daySunday. The Oakville Centre has a Municipal meteredparking lot at the rear of the building. To access the mainentrance on Navy Street, you will be required to walk upa number of stairs outside the building. There is no entryat the rear of the building for the main theatre. For yourconvenience, we suggest you give yourself additionaltime for parking.

VOLUNTEERS at The Oakville Centre are members ofFront Row Centre. They raise funds to support programsand equipment purchases for the theatre primarilythrough their coat checking service. FRC meets the firstMonday of every month from September to June at7:00 pm in the theatre lobby.

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Oakville CentreHOUSE NOTES

www.arts.on.ca


On the cover: ROBERT RANDOLPH / Nov 13 , 2012

In this issue . . .TAFELMUSIK . . . . . . . . . . . . . . . . . . . . . . October 16JENNIFER WARNES . . . . . . . . . . . . . . . . . October 18OLIVER JONES . . . . . . . . . . . . . . . . . . . . . October 19TORONTO DANCE THEATRE: RIVERS . . . . October 20CAL: A NIGHT AT THE OPERA. . . . . . . . . . October 24AN EVENING WITH COLIN MOCHRIE& DEBRA McGRATH. . . . . . . . . . . . . . . . . October 27CARA LUFT. . . . . . . . . . . . . . . . . . . . . . November 10ROBERT RANDOLPHAND THE FAMILY BAND . . . . . . . . . . . . November 13NATHAN ROGERS . . . . . . . . . . . . . . . . November 14SPIN . . . . . . . . . . . . . . . . . . . . . . . . . . . November 15AFTER ANNE FRANK . . . . . . . . . . . . . . November 22TREASA LEVASSEUR. . . . . . . . . . . . . . . November 24SANTALAND DIARIES . . . . . . . . . . . . . . December 15CAL : STICKY FINGERS. . . . . . . . . . . . . . December 19LUNCH AT ALLEN’S . . . . . . . . . . . . . . . . December 21MICHAEL CIUFO . . . . . . . . . . . . . . . . . . December 23

LIVE! at the Oakville Centre is published twice each year(September and January) by Green Light Graphics Inc. Toadvertise please contact us at [email protected] or905.469.8095. Space is limited.

To order tickets, go to www.oakvillecentre.ca or call1.888.489.7785 or 905.815.2021 locally. The Oakville Cen-tre for the Performing Arts is a division of the Recreation andCulture Department of the Town of Oakville.

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What is the BIG TICKET?Big Ticket membership puts your family first!Your family is first to have access to tickets, firstto know of specials, added shows, and specialpromotions. You and your family have accessbefore anyone else.

Big Ticket is BEST IN CLASSEnjoy all of your family’s favourite national andinternational artists performing arts in everydiscipline.

Big Ticket is FLEXIBLEOnce your family has a Big Ticket, the choice isyours. Pick any combination of shows in anygenre. Pick as many (some maximums apply)or as few to each show you would like.

Big Ticket gets you ACCESSBarely had time to read this page? Big Ticketallows you and your family to attend as many oras few shows as you like during the year. Andit’s one membership per household.

Big Ticket is VALUEAlong with all the benefits outlined above,Big Ticket is only $55 for one full year andBig Ticket Plus is only $110 for one full year.Add to the fact that every ticket your familybuys throughout that year is discounted either$7 or $11 (exceptions apply) and in no time youhave paid for your family membership. Weadded extra value by including tax receipts, giftcertificates, discounts at other merchants andother special ticket offers.

Become ABIG TICKET MEMBER

Call and speak with one of ourBig Ticket experts for more details at

905-815-2021 or visit www.oakvillecentre.ca


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Queen Elizabeth ParkCommunity and Cultural Centre

More than 144,000 square feet of public space

Queen Elizabeth Park Community and CulturalCentre (QEPCCC) is Oakville’s newest hot spot forrecreation, arts and cultural activities! Located at2302 Bridge Road, Oakville (between Bronte andThird Line), QEPCCC is a unique and dynamicpublic space created to fulfill all of yourrecreation, arts and cultural desires. This vibrant, one-of-a-kind, multi-use facilitycreated from a surplus high school features morethan 144,000 square feet of public space, makingQEPCCC one of the largestvenues in the country to housesuch a wide-range of artistic,cultural and active livingprograms. The facility boasts an aquaticscentre, two gymnasia, an olderadult centre, youth centre, dancestudios, a recording studio,digital arts studios, fine arts studios (includingdedicated woodworking, ceramics, fibre arts andthree multipurpose arts studios) a rehearsal hall,black box theatre, gallery, museum spaces , musicrehearsal rooms and multipurpose and meetingrooms. A café is also housed in the facility and thebuilding is home to the Oakville Arts Council andis a satellite location for the Oakville HistoricalSociety. “The opening of QEPCCC represents a greatmilestone for our town,” Mayor Rob Burton said.“QEPCCC is symbolic of our unanimous vision asCouncil for Oakville to be the most livable town inCanada.”

QEPCCC offers a diverse and inspiring array ofTown run programs for all ages, including classes,workshops, camps and drop-in activities and a fulllisting of programs can be found atwww.oakville.ca and in the Parks, Recreation andCulture Guide. The opportunities for artists, musicians and per-formers, as well as arts, cultural and heritagegroups, to live and work in a space as unique asQEPCCC, is an important element of the building’s

overall design and Oakville’s cul-tural groups were consulted onthe design, layout, storage, pro-gramming and facility needs. Anumber of Oakville’s CulturalGroups including CanadianCaribbean Association, Circle ofHarmony, Fibre Arts SharedSpace, High Rendition Jazz,

Oakville Camera Club, Oakville Sculptors andWoodcarvers, Oakville Scottish Country Dancersand Oakville Suzuki now offer their workshops,programs and rehearsals at QEPCCC and theOakville Arts Council has moved it office space tothe facility. This support of the Cultural Commu-nity continues to help to fulfill the facilities visionto be “a welcoming, vibrant and dynamic publicspace that inspires and develops active living andcultural and artistic interests.” We hope you will visit QEPCCC soon to discoverall that this unique facility has to offer! For more information on QEPCCC, please visitwww.oakville.ca or call 905-815-5979.


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The Best Things in LifeCan Be Free!

(or what you’re willing to contribute)

Experience the wondrous world of performing arts for free or what you can contribute.The Oakville Centre for the Performing Arts is pleased to present these outstandingshows on a pay-what-its-worth-to-you basis. Be an early bird and phone our box officeor visit our website, reserve tickets, show up at the performance and then pay what youcan. Or simply show up on the night of the performance, reserve an available seat and stillpay what you can. Three great shows - and you set the price!

RIVERS . . . . . . . . . . . . . . . . . . . . . . Saturday October 20th at 8:00pm . . . . . . . page 16

SPIN . . . . . . . . . . . . . . . . . . . . . . . . Thursday November 15th at 8:00pm . . . . . page 32

AFTER ANNE FRANK . . . . . . . . . . . Thursday November 22nd at 8:00pm . . . . page 34


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OAKVILLE INFINITI presents

TAFEL MUSIKTuesday, October 16 at 8:00pm

The word is German and means “table music” or “music for thefeast.” The name is apt because Tafelmusik has produced a feast offirsts and bests and has won admiration throughout the musicalworld. Through its extensive national and international tours, itscritically-acclaimed recordings and TV broadcasts, its new mediainitiatives and growing web of community and artistic partner-ships, Tafelmusik is one of the most prolific orchestras in the world. Tafelmusik, Canada’s award-winning period instrumentorchestra, was founded in 1979 and has long been renowned inNorth America and internationally for its distinct, exhilarating andsoulful performances. Under the outstanding leadership of MusicDirector Jeanne Lamon, C.M., it has excelled equally in musicranging from the baroque and classical eras and beyond, includingadventurous cross-cultural reinventions of baroque classics. In thewords of Gramophone, Tafelmusik is “one of the world’s topbaroque orchestras.” Tafelmusik performs 50 concerts each year in Toronto at Trinity-St. Paul’s Centre, a historic church in the Annex neighbourhood ofToronto, performs community outreach concerts, tours extensivelyin Canada and throughout the world, and has a discography of 76CDs that have garnered many national and international awards. At the heart of Tafelmusik is a group of remarkably talented,enthusiastic and dynamic musicians, each of whom is a specialistin historical performance practice.

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PRESENTED IN ASSOCIATION

WITH

Chartered Accountant


DAN COOPER OF ROYAL LEPAGEpresents

JenniferWarnesSaturday, October 27th at 8:00pm

Jennifer was raised and schooled in North OrangeCounty California. In high school, she was offered acollege opera scholarship but chose to begin her careersinging folk songs, popular at the time. In 1968, shesigned with Parrot Records and recorded her first LP.That same year she joined the cast of the televisionshow, The Smothers Brothers Comedy Hour. In November 1968, Warnes signed on to play thefemale lead, “Sheila” in the Los Angeles production ofthe stage musical Hair. In 1970, she met Canadianpoet/songwriter Leonard Cohen who profoundlyinfluenced her career and became a life-long friend.She would eventually tour Europe with Cohen’s bandas a back-up singer and would record guest vocals forCohen’s albums Live Songs, Various Positions, I’m YourMan and The Future. Cohen’s recent songs included aduet on The Smokey Life. In 1972, Reprise recordsreleased her third album, Jennifer, produced by JohnCale. Her breakthrough single “Right Time of theNight” released in 1976, brought her worldwideacclaim with the song hitting No. 1 on Billboard’sAdult Contemporary chart and No. 6 on the Hot 100.It just missed the million-selling mark (selling 900,000copies). The song also plays in the background of ascene from the film When Harry Met Sally. In 1979, she sang the Academy Award winner forBest Original Song “It Goes Like It Goes” from themotion picture Norma Rae. Warnes’ 1981 song “OneMore Hour”, written and composed by Randy New-man and recorded as part of the soundtrack albumfrom the motion picture Ragtime, was nominated foran Academy Award. The following year she teamed upwith Joe Cocker to sing “Up Where We Belong”, writ-ten by Buffy Sainte-Marie, will Jennings and JackNitzsche for the motion picture An Officer and a Gen-tleman, the song would hit No. 1 on Billboard andstands as Warens’ biggest selling disc ever, being certi-fied Platinum for sales of 2 million in the United States

alone. In 1983, she and Cocker won the Best Pop Per-formance by a Duo or Group with Vocal while earningthe songwriters the Golden Globe Award and AcademyAward for Best Original Song. The same year sherecorded a moving performance of James Taylor’s“Millworker” in the American Playhouse production ofWorking, based on the book written by Studs Terkel onPBS. In January 1987, Warnes released her criticallyacclaimed album Famous Blue Raincoat: Songs ofLeonard Cohen. Cohen himself performed with her asa guest vocalist on two of the songs featured. In 1988, at the Coconut Grove in Los Angeles, shesang background vocals with k.d. lang and BonnieRaitt for Roy Orbinson’s television special A Black andWhite Night. This program still is played on PBSseveral times each year, because of its timelessnessand because PBS fans request it. That same year, herduet with Bill Medley, “The Time of My Life” wasincluded on the Dirty Dancing motion picturesoundtrack album and reached No. 1 on the BillboardHot 100 and spent four consecutive weeks at No. 1 onthe Adult Contemporary chart. The song won the1988 Grammy Award for Best Pop Performance by aDuo or Group with Vocal and the Academy Award forBest Original Song. It was also certified Gold for 1million U.S. sales. Warnes calls The Well, her most recent album, themost honest recording of her career. Inspired by a visitto a natural spring – Jacob’s Well – in Central Texas,The Well is both a work of melancholy and hope, richwith natural metaphor. It is clearly the offering of anartist excited by the possibility of music and power ofconnection through song. “The job of singing is to stay open to the river of soulin all of its manifestations, the dark and the light, with-out letting your ego get in the way,” says JenniferWarnes. “I never want to be bigger than the song. I justwant you to receive it.”

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DOWNTOWN OAKVILLE BIA presents

OliverJonesFriday, October 19th at 8:00pm

Oliver was born and raised in Saint Henri, a predomi-nantly working class area of Montreal, several blocksfrom Peterson, and young Oliver would sit on thePeterson porch, listening to the older boy practice.Oscar’s sister, Daisy Peterson Sweeney, became hisfirst piano teacher, with lessons continuing for thenext twelve years. These lessons solidified youngJones’ skills, which were already considerable; Oliverwas performing publicly at age five, and by the time hehad his first nightclub appearance, he was nine. Oliver Jones’ six-decade musical career has beenrich and varied. His classical music education was fol-lowed by stints at Montreal’s Café St-Michel,enthralling patrons with his acrobatic piano stunts.From his teens to his early twenties, Jones could playanything from swing to rock-n-roll; in those days play-ing jazz was not considered a viable career. This diverse training proved invaluable when, in1964, the opportunity to become musical director andpianist for Jamaican singer Kenny Hamilton presenteditself. Jones, with his wife and young son in tow,moved to Puerto Rico and continued with the Hamil-ton band for the next sixteen years. While popularmusic may have taken care of his practical needs, it didnot satisfy his artistic cravings. While touring withHamilton, Jones would take every opportunity tocheck out local jazz clubs and to participate with otherlike-minded musicians. In 1980, Oliver Jones returned to Montreal, deter-mined to pursue jazz professionally. He started byworking regularly at Biddle’s, the now-closed down-town jazz club run by bassist Charlie Biddle. Threeyears later, after a fortuitous meeting with Justin TimeRecords founder Jim West, Jones’ dream came true.“There was a lot of hullabaloo surrounding Charlieand myself. Anything pertaining to jazz, we were

asked to do. I’d made my first recording. Truthfully, Iwas in a state of shock, because when you dreamsomething for 30 years…” Justin Time Records’ veryfirst recording would be Oliver Jones with Charlie Bid-dles, called Live At Biddles. Oliver Jones’ inspiration is not confined to the artis-tic community. He’s also the proud recipient of theMartin Luther King Jr. award, celebrating his contribu-tions to the Black Community in Canada and in hisnative Montreal. In 1993 he received the Order ofQuébec, the province’s highest honour, and the nextyear he was awarded the Order of Canada, for “out-standing achievement in the arts.” That same year, atthe invitation of the Government of Canada, Jonestoured several cities in China with bassist Dave Youngand drummer Barry Elmes. A regular performer at the Festival International deJazz de Montréal, Oliver has frequently been asked toofficially open the festival and has on more than oneoccasion been part of the closing gala. “I think theexposure I had at the Montreal Jazz Festival was reallythe key to the world hearing Oliver Jones,” says theartist who made his most recent appearance at the Fes-tival together with Oscar Peterson, the two duettingpublicly for the first time, in front of a sold-out audi-ence at Montreal’s Place Des Arts. Oliver’s 2007 recording, Second Time Around, withdrummer Jim Doxas and bassist Eric Lagacé, won theJuno Award for Best Mainstream Jazz Recording. Released in October, 2009, Pleased To Meet You is aduo piano recording with the legendary Hank Jones,(sadly Hank Jones passed away in May 2010). Therecording also features bassist Brandi Disterheft aswell as Jim Doxas on drums. Taking the recent passingof their mutual friend Oscar Peterson as a point ofdeparture, the men pay homage to the late master.


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ARTHUR MURRAY DANCE STUDIOS100 Years and Still Going Strong

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As North America’s second oldest franchise organiza-tion, Arthur Murray International, Inc. is known aroundthe world, with franchises located throughout Northand South America, Caribbean, Europe, the Middle-East, Africa, Australia & Asia. Today the Arthur MurrayFranchised Dance Studios continue a tradition of morethan 100 years in teaching the world to dance. It all began in 1912 with a man named Arthur Mur-ray, an American symbol of entrepreneurial success andsocial dancing. Murray was among the first to useadvertising techniques considered cutting edge at thetime. Murray’s creative use of print advertising attractednational attention, as did his business acumen.

Arthur Murray Highlights:• Footprints – learn to dance by direct mail• 1920s – World’s first radio broadcast of live dance music• 1930s – Introduction of such dances as “The Big Apple”• 1942 – Singer Betty Hutton records the big hit song “Arthur Murray Taught Me Dancing In A Hurry” for the movie “The Fleet’s In”• 1950 – “The Arthur Murray Dance Party” hits Television• 1950s & 1960s – Millions of viewers all over the United States & Canada fall in love with the show and flock to the Arthur Murray Dance Studios. The highly popular show runs for twelve years on national television.

After Arthur and Kathryn Murray’s retirement in1964, the company was purchased by a group of fran-chisees. Under its new leadership, the Arthur Murray

Franchised Dance Studios have kept pace with therapidly changing “youth culture” and continue todayto flourish as the world’s largest dance instructionorganization. Arthur Murray dance teachers can be found not onlyin the studios, but on the movies sets in Hollywood.Such movies as Dirty Dancing, Dirty Dancing II, Beauti-cian and the Beast, Flash Dance, An American President,True Lies, Saturday Night Fever, Scent of a Woman andDance With Me are some of the films which have usedArthur Murray instructors to either teach a dance to thestars and/or dance in the film. The Oakville Arthur Murray Studio has been teach-ing dancing from its Lakeshore/Forsythe location forover 26 years. Its commitment to excellence is reflectedthrough its highly skilled and dedicated staff that makeslearning to dance fun and easy for everyone. JohnKarakis, the studio’s franchisee and director, hasappeared on Movie & TV shows, has been an ArthurMurray Area Director and Trainer, is a Certified Exam-iner and Adjudicator, and the organizer of one of thepremier DanceSport Competitions in Canada; the “Can-Am DanceSport Gala Championships”. His wife, BrigittMayer-Karakis, is a former competitive Latin Champion,a World-Class Champion Adjudicator and the award-winning author of the book “Ballroom Icons”. Franchisees and teachers that are committed to theSpirit of Excellence, is the hallmark of the entire ArthurMurray system. Currently there are approximately 270Arthur Murray Franchised Dance Studios worldwide.

For More Information: www.ArthurMurrayOakville.comwww.ArthurMurray.com www.CanAmDanceSport.com www.BallroomIcons.com

(see the Oakville Arthur Murray Studio ad on page 37 - Your first lesson is FREE!)


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Hair Design for EveryoneCome in for your personal complimentary consultation.

We have your style!

905-842-1095We are at 181 Church Street (on the second floor) in Beautiful Downtown Oakville

Experiences that inspire!How to purchase tickets:

• In person ~ 440 Locust Street• By phone ~ 905.681.6000• Online ~ www.burlingtonpac.ca

Tickets On Sale Now!

Box Office Hours:Monday to Friday 10 am to 5 pmSaturday 10 am to 2 pm

www.burlingtonpac.ca

Oct 23 OysterbandOct 26 Arlo GuthrieNov 2 Cowboy JunkiesNov 23 PavloNov 29 David Clayton-ThomasDec 12 John McDermottDec 16 TSO BrassDec 18 Leahy Family Christmas


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PARADISO presents

riversA Pay-What-You-Can Performance • Friday, October 20th at 8:00pm

Choreographer’s note Ann Southam and I began our creative collaboration inthe early eighties. In 1982, she gave me a recording oftwo of her new works for piano, Glass Houses #5 and FastRivers #8. My choreography to Glass Houses became asignature work for TDT and received more than 100 per-formances around the world, danced to a brilliant record-ing by Christina Petrowska Quilico. Almost thirty yearslater, it has been a privilege – and a great pleasure – tore-connect with Rivers, and Ann Southam’s music, in alive collaboration with Christina. Considered by manyto be Ann’s masterpiece, Rivers is a cycle of minimalistpiano works that range from boisterous to serene to tri-umphantly ecstatic. Making a dance to this music hasbeen an exhilarating experience – I am grateful to all mycollaborators for their inspiring contributions to the cre-ative process and for their trust, generosity and guidance.

Christopher HouseChristopher House was born and raised inSt. John’s, Newfoundland. Resident Cho-reographer since 1981 and Artistic Direc-tor since 1994, he has contributed over

sixty works to the TDT repertoire in addition to creatingchoreographies for Lisbon’s Ballet Gulbenkian, the Na-tional Ballet of Canada and Les Grands Ballets Canadiens,among others. He has received many awards for his work,including three Dora Mavor Moore Awards, the MurielSherrin Award for International Achievement in Dance(2009), and the Silver Ticket Award for Lifetime Achieve-ment in the Arts (2012). House is Artistic Advisor of theProfessional Training Program of The School of TorontoDance Theatre and has taught technique and creativeprocess across Canada and at such international institu-tions as the Juilliard School and the RotterdamDansacademie. He is an Associate Dance Artist ofCanada’s National Arts Centre.

Ann SouthamAnn Southam was born in Winnipeg butlived most of her life in Toronto. Aftercompleting musical studies at the Univer-sity of Toronto and the Royal Conserva-

tory of Music, she began a teaching and composingcareer. As well as creating music for some of Canada’smajor modern dance companies and choreographers, shewas an instructor in electronic music at the Royal Con-servatory of Music and participated in many “composer-in-the-classroom” programs. She was a member of theCanadian Music Centre, the Canadian League of Com-posers, and was a founding member of the Association ofCanadian Women Composers. Ann Southam passedaway November 25, 2010.

Christina Petrowska QuilicoChristina was hailed by the New YorkTimes at 14 for her “promethean talent” .Juilliard-trained, she studied in Europewith famed composers, and has long been

one of Canada’s leading interpreters of new music, pre-miering 16 piano concerti and recording numerous con-temporary works – four earning JUNO nominations.

Toronto Dance TheatreToronto Dance Theatre is one of Canada’s leading dancecompanies, recognized for the intelligent, provocativevision of its choreography and the exceptional artistry of its dancers. Founded in 1968 by Peter Randazzo, Patricia Beatty and David Earle, and under the artisticdirection of Christopher House since 1994, TorontoDance Theatre has produced a remarkable body of original Canadian choreography. The companyhas had, and continues to have, a profound influence on the development of dance in Canada.


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Choreography byChristopher House in collaboration with the original cast*

Performed byNicole Rose BondAlana Elmer*Mairi Greig*Syreeta Hector*Yuichiro Inoue*Pulga Muchochoma*Jarrett SiddallKaitlin Standeven*Brodie Stevenson*Naishi Wang*

Rehearsal DirectorRosemary James

Music composed byAnn Southam

PianistChristina PetrowskaQuilico

Set Designer Michael Levine

Lighting DesignerSimon Rossiter

Costume DesignerCheryl Lalonde

Production/StageManagerCheryl Lalonde

Assistant Stage ManagerTara Mohan


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THE OAKVILLE CENTRE presents

ANight At TheOperaQueen • CLASSIC ALBUMS LIVE • Wednesday, October 24th at 8:00pm

Craig Martin is the producer/wearer of many hats behind the Classic Albums Live series. These concerts are note fornote, cut for cut classic albums that have shaped and defined rock music as we know it today and for tomorrow,Modern Classics Live. Each concert faithfully recreates an album note for note. Think Beatles and Stones for Classicand Nirvana and Radiohead for Modern Classic. “It’s not a tribute band” Mr. Martin says. “It’s a recital. Like listening to Mozart by the Toronto Symphony Orchestra.”Craig hires specific musicians for each show, sometimes up to twenty. He even hired a children’s choir for Pink Floyd’s“The Wall”. Mr. Martin says he’s only as much of a perfectionist as his audiences. “People are purists. They’re waitingto hear that certain note or squeal”. Classic Albums Live and Modern Classics Live are the ultimate for music lovers!

Although Queen’s, previous album, Sheer HeartAttack, had yielded two hits, reached number onein the UK and even gone gold in the US it’s a tes-tament that EMI were prepared to let them thencreate what was, at the time, the most expensivealbum ever made. A Night At The Opera, borrow-ing its title from the Marx Brothers’ film could soeasily have been anenormous folly. Opening with athinly veiled attackon their previousmanager, “Death OnTwo Legs” the albumthen careensthrough a gamut ofstyles. With the writ-ing divided fairlyequally betweenMercury and May(with John Deaconand Roger Taylorgetting one number apiece as well) it veers be-tween high camp and west coast rock withaplomb. May’s “The Prophet’s Song” serves up aslice of high concept sci fi, while his “39” is ami-able country hoke. Mercury, of course, is far morein-yer-face with the frippery of “Seaside Ren-dezvous” and “Lazing On A Sunday Afternoon”.

Deacon, always the underrated member, mayhave had only one number, but it was a doozy.“You’re My Best Friend” was the second hit fromthe album and remains a pop classic; frothy butenduring. Naturally, no coversation about thealbum is complete without mentioning Mercury’s

crowning moment. The multi-partepic, “Bohemian Rhapsody”

took months to construct.Beginning as piano bal-lad, morphing intocod-Mozart and thenstomping monsterrocker and back toballad, goodnessknows how theband must have feltwhen he first un-veiled it at the key-

board. Hats must alsoome off for the executive

at EMI who had the faith torelease it as a single, following

Kenny Everett’s championing of it on CapitalRadio. As history records, it went to numberone…for ever. Christmas 1975 was to be foreverremembered as Queen’s. And A Night At TheOpera remains their finest hour.

~Chris Jones, BBC Review, April 24, 2007


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H2 SYSTEMS presents

Colin Mochriewith DEBRA McGRATH • Saturday, October 27th at 8:00pm

COLIN MOCHRIE In his own words

I was born Nov. 30 1957 in Kilmarnock, Scotland.My family moved to Montreal in 1964. We movedto Vancouver in ‘69. I went to theater school for 4years, then luckily managed to get work. I gotinvolved in improv through the Vancouver The-atresports League. I moved to Toronto after Expo86 and got involved with The Second City. I mar-ried in 1989 (to Debra McGrath) and have a son(Luke). I was with Second City for 3 years (afamous North American comedy theatre). Since the success of Whose Line is it Anyway? Ihave been very busy. Between live tours withBrad Sherwood & of course running Canadawhen they need me – there doesn't seem to beenough time in a day. Of course, my most famousrole was in the 3D space epic, Space Hunter:Adventures in the Forbidden Zone. I capture MollyRingwald and utter the immortal line “you canask the Chemist”. Molly still writes to me onChristmas. Sweet. I was (and still am) very shy. We moved a lotwhen I was a child and I tended to be a bit of aloner. But it was basically normal. I fought withmy younger brother, was protective of myyounger sister and didn’t get my parents. Profes-sionally I was influenced by anyone who madepeople laugh. Everyone from Chaplin and Keatonto the Marx brothers, Jack Benny, Monty Python(especially John Cleese), Woody Allen and earlyBob Hope movies. All of those people influencedme in some way. In many cases without me evenknowing it. Thanks to all the fans for the support and loveand the cash is nice too.

DEBRA McGRATHBorn July 5th, 1954, DebraMcGrath attended RyersonUniversity for her theatreeducation and began herprofessional theatre career in1983 when she joined theSecond City comedy com-pany in Toronto as a writer

and actress. She moved up to the ranks of directorand ultimately directed 5 mainstage productionsthere. It was at Second City that she hired andeventually married Colin Mochrie in 1989. Workhas taken the couple to the States and now backto Canada where they currently reside in Torontoraising their own son and continuing work. McGrath has been involved in multiple facets ofthe entertainment industry including featurefilms in Canada and the U.S, an extensive list oftelevision credits, voiceover work for children’sprograms and commercials, and theatre. She hasalso worn multiple hats in the entertainment fieldincluding TV series creator, television and com-edy writer, performer, director, and improviser.Some of her notable works as a performer includechildren’s animated shows “George and Martha”and “Seven Little Monsters”” and appearances onthe TV series “Paradise Falls”, “Robocop”, “WindAt My Back”, “SCTV”, and “Bizarre”. Her writingcredits include the TV series “Go Girl!”, and withher writing partner Linda Kash, she wrote andcreated the TV series “My Talk Show” for RonHoward’s company Imagine in the States. She continues to perform live for charities andwith her Women Fully Clothed comedy troupe.


22

Born in Calgary and based in Winnipeg, Cara Luft spent three years as co-founderof acclaimed close-harmony trio the Wailin’ Jennys, before leaving in 2005 toresume her solo career. The troubadour life clearly suits her: appearing in Leithahead of several similarly intimate gigs in the Highlands, she had already beentouring in Europe since early June, yet there was nothing remotely jaded abouther performance, just plenty of relaxed warmth and vivacity, including somehilariously extended anecdotes describing the origins of particular songs. As represented primarily by tracks from her second solo album, The Light Fan-tastic, plus a few from its predecessors and the odd Wailin’ Jennys cut, Luft’s mainmusical heartland lies in country-folk territory, to which she brought anassertively strong, clear, pliant voice, with an assured command of dynamicnuance and contrast. In its balance of dulcet sweetness and tangy twang, her singing also containedshades of Nanci Griffith and Mindy Smith, along with the steely, bluesy muscleflexed in a couple of rockier numbers, Give It Up (“about boys who need to growup before they can fall in love with a real woman – like me!”), and You’re NoFriend of Mine, a wry retrospective riposte to schooldays humiliation. A com-pelling cover of Led Zeppelin’s Black Mountainside, working in echoes of the BertJansch/Pentangle version, displayed the breadth and expertise of her musicalreferences, while a winsome rendition of The Bonnie Lighthorseman offered fur-ther graceful acknowledgement of the folk-club setting. “When Cara Luft breezes into the room and positions her multi-colouredvibrant self onto centre-stage, you somehow know that you are in safe hands byher presence and grin alone. An hour or so later, after a musical trip taking ineverything from Alaska to the Blackwater, insistent riffs still jangling in your earsand melodies stuck with you forever, you are a now a part of her world and she apart of yours. That is what proper musicians do, and Cara Luft is one of those.”

~ JAMES PARTRIDGE

CARA LUFTSaturday, November 10th at 8:30pm in the Studio Theatre

Presented by DAN COOPER OF ROYAL LEPAGE


23


And now for somethin Designed by world renowned Town Plannerand Architect, Andres Duany (www.dpz.com),The Village is an architecturally-protected,master planned community located inNiagara-on-the-Lake. It’s unlike anythingyou’ve seen before. With a singular focus onoptimizing quality of life, the Master Plan is theresult of painstaking research into creating amemorable and livable place that honours theunique heritage and culture of Niagara-on-the-Lake. Whether you’re looking for your perfectweekend retreat or the ideal place to raise afamily, The Village offers a full spectrum ofhousing choices.Elegantly appointed bungalows and stately

townhomes sit next to grand detached homes,all proudly displaying their own uniquefeatures. Cookie Cutter houses are verboten! “One has only to walk into The Village toknow it isn’t a typical housing development.Streets are narrow and curving…home styles

24


ng completely different...

25

and sizes vary from lot to lot…a street in TheVillage feels more like a street in an old-fashioned small town than a new housingdevelopment.” 1

Houses in The Village capture the authenticarchitecture of Niagara-on-the-Lake while of-fering every modern convenience and desiredamenity. Garages are tucked out of sight onlaneways, authentic materials such as clap-board, brick, board and batten, and stone areemployed, and houses (many with big, beauti-ful porches) are placed close to the street. TheVillage streets are narrow with gentle curvesand include sidewalks on both sides. The re-sult – beautiful and safe streets where neigh-bours love to meet on their daily strolls.As an added bonus, with our Village Centre

shops and services, and the proximity to theOld Town, you’ll need nothing more than abike or your own two feet to get where youneed to go.

“After hearing Andres Duany speak about thequality of life that New Urbanism offers, wespent five years searching throughout southernOntario for something equally visionary. Whenwe heard that Duany had master planned TheVillage in Niagara-on-the-Lake, we boughtimmediately and became part of the originalFounding Villagers. To this day we feel so veryblessed to live in such a beautiful, vibrant andfriendly community. To top it off, every day wecan enjoy Niagara’s wineries, theatre, musicconcerts, walking and biking trails, and all theamazing restaurants that millions of visitorstravel the globe to experience.”2

Please visit us at www.TheVillageTND.com.to discover more. But The Village must beexperienced to be appreciated. So why not plana day trip to Niagara-on-the-Lake? Just beforewarned – many that have come for a visitare now neighbours. We look forward toseeing you!

1 Kim Arnott, The Toronto Star2 Warren & Luba, Village Residents


DAN COOPER OF ROYAL LEPAGE presents

ROBERT RANDOLPH& The Family Band

Tuesday, November 13th at 8:00pm

Robert Randolph on “We Walk This Road”, 2010This record is a celebration of African-American music over the past one hundred years and its socialmessages from the last thirty. Although we cover a whole timeline of different eras on We Walk ThisRoad, what ties these songs together remain their message of hope, their ability to uplift. After wefinished our last record, Colorblind, we began searching for a great producer to help guide the followup. We wanted someone who understood me and the road I’ve walked this far, who understood ourconnections of my roots within rock and gospel and the church, who would help us put those thingsin their most compelling context. We recorded We Walk This Road over about two years, after T Bonehad finished his record with Alison Krauss and Robert Plant. T Bone Burnett shared the vision of how gospel, blues and rock could be put together in a waythat could relate to my history and connect to my present. It was important to us that we make therecord we wanted to make, even if the end result was unclassifiable. We just focused on makinggreat songs and great music that spoke to me, and that reflected the way I try to speak to the world. I grew up in the House of God church. The pedal steel was a big part of our church tradition. Igrew up watching older guys play, and I started playing when I was fifteen. When I was nineteen,someone gave me tickets to a Stevie Ray Vaughan concert. After that, I wanted to play pedal steellike Stevie Ray played his guitar. I wanted to take another path than the people who played tradi-tional pedal steel to take it to a whole new level. We started playing and touring around New YorkCity in 2000, playing clubs like Wetlands, and things started to take off. We were selling out largeNew York clubs with no record deal, and it started to spread to Philly and Boston. Soon, we signedto Warner Brothers, and word began to get around about us nationally. Great artists like Eric Claptonand Dave Matthews and B.B. King accepted us. Young artists, too: we toured with the Roots andPharrell and John Mayer. We have been fortunate to be accepted by a wide range of fan bases, andwe have been able to build from there. I definitely feel as if everything has been working up to thismoment, to this record. I’m very excited to play these tracks live. Those people who have been our fans and followersshould see the progression from our last record to this one, and the road we’ve taken won’t seemtoo foreign to them. When people come to see us, they know that it’s really about the message, aboutmaking them feel good. Hopefully, this record will inspire them in the same way. It certainly makesme feel happy. I can’t see myself recording depressing lyrics, lyrics that leave people without a senseof hope. It’s not in me to use the power of the microphone to make music like that. That’s why thisrecord is uplifting - it’s got great messages. It’s all there. My goal is to open the door for people, in the same way that musical doors have been opened forme. I want to take this musical history and make it relevant to give people a better idea of who I amand where I came from. I think even though I’m a young guy who was born into the era of hip-hopand contemporary gospel, I can help bridge the cultural gap between people who are seventy-fiveyears old and kids who are fifteen years old by reaching back into this history of music.

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27


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Nathan Rogers“NATHAN SINGS STAN – THE ROGERS LEGACY CONTINUES”

Wednesday, November 14th at 8:00pm

Some say he was born into it, some that he wasborn with it, while others claim he has earnedit. With one foot planted firmly in folk music’straditional roots and the other reaching into itsdynamic future, Nathan Rogers isn’t entirelysure what ‘it’ is; singer, songwriter, guitarist,throat-chanter, percussionist, revivalist, orinnovator. Whatever it may be, “Nathan has theability to turn the folk world on its ears.” Like many, it all started at home but what aunique home it was. Nathan’s first experiencepicking up the guitar was an attempt to copythe challenging riffs his brother David createdafter studying with celebrated virtuosos DonRoss and Preston Reed. His sister Bethdemanded perfection in all vocals as any self-exacting classical voice teacher would, whilehis mother initiated him into the business sideof the music industry. His father and uncleinformed both his writing style and an ethos ofCanadian people that shines in his lyrics. While others were hiding their braces behindtheir hands, Nathan was already up high onstages of all sorts. In winter, he traveled withand won solo vocal awards as part of theAppleby Boys Choir. Summers were saved forhis first love - appearances at folk festivals andthe opportunity to meet, perform with andlearn from outstanding musicians. Before heeven had an album in hand, Nathan’s reputed

vocal ability had him singing on stage with suchnotables as JP Cormier, The Oysterband, Spiritof the West, John Cameron, Connie Caldor andJames Keelaghan. With a degree in comparative religion, anaward winning voice and two prized Laskin gui-tars under his belt, Nathan founded his ownrecord label, Halfway Cove Music. In 2005 hefinally released his debut album, True Stories.Produced by Rick Fenton (former AD of Win-nipeg Folk Festival), distributed by Festival andstudded with such outstanding roots musiciansas Nikki Mehta, JP Cormier, and Murray Pulver,True Stories was met with critical acclaim bothat home and abroad. If multiple encores atevery show are any indication, Canadian audi-ences coast-to-coast seem to like it too. Nathan’s performance style leaves the audi-ences wondering where the rest of the band ishiding. Singing, chanting, playing the guitarand stomping, he fills any stage with “magnifi-cent powerfully clear lyrics and arrangements.”Described as ‘intelligent and witty’, Nathan will‘move men and women to tears with his soundand conviction.” Nathan continues to earn his place in theCanadian folk and blues canon. As Fentonnoted, “I have never seen any musicianNathan’s age who works so hard on his singingand guitar playing.”.

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Oakville residents are getting out on theirbikes like never before. Oakville Cycles is agrassroots partnership between the commu-nity, business and government promotingcycling, bicycle-friendly business districtsand cycling infrastructure and organizingsocial rides around Town. What better way to avoid parking hasslesthan to ride your bike to shop and dine at ourlocal businesses. For major events, OakvilleCycles has provided secure valet bike park-ing in bike corrals to make it easier forresidents to ride their bikes and feel secureknowing their bike is safe while they enjoythe sights and sounds of Midnight Madness,Jazzfest, Movies in the Park and Autumnfest. They have discovered that many residentshave bicycles gathering dust and just need areason to hop on their bike again. For thosefolks, they have held leisurely RediscoverYour Bike rides to various destinations

around Town. These social rides have beenpopular with those new to cycling and thosewho prefer a slower pace on their bike rides. The most recent ride is a Halloween KidicalMass Family Bike Ride on October 27th. Kids,kids at heart and their families will meet atLions Pool parking lot (159 Felan Avenue) at10:30 am for a safety demo, then ride about 2km to Kerr Village Pumpkin-Palooza wherefood, fun, pumpkins, a mini bike tune-up andbike corral will be waiting for them. Cana-dian National Triathlon Champion and 2012Olympian Kyle Jones is promoting OakvilleCycles and encourages residents to get on theirbikes and discover the joy that cycling brings. Oakville Cycleswould like to see you dine,shop, explore and discover Oakville on yourbicycle. A reminder that helmets are encouragedfor all, but mandatory for anyone under 18years of age.

OAKVILLE CYCLESA grassroots partnership between the community, business & government

30

You can find Oakville Cycles on facebook www.facebook.com/OakvilleCycles and ontwitter @OakvilleCycles and email them at [email protected]

30

Oakville Cycles

Dine•Shop•Explore•Discover


31

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SIGN OF HONOUR: Oakville Olympic silver-medalist kayaker Adamk van Koeverden was ho

Town of Oakville Friday with the unveiling of a street sign on a road to be called Adam van KoK

It is currently Water Street and is near his homW

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WEDNESDAY,D OCTOBER 22, 20

“Using Communication To Build Better Communities”

d Media Group Ltd. Vol 47 No. 127

www.oakvillebeaver.com

BeaverTHE OAKVILLEIRHS in the pink for

breast cancer awarenessPAGE 12

STAFF

nal Police have made an

ection with a violent

g robbery in which the

hed with a knife.

an 18-year-old man was

from a friend’s house

individual confronted

ble and Sheridan Garden

sked the youth to follow

nearby park and when the

d he pulled out a knife.

e knife close to the youth’s

pect demanded money, but

n refused.

g ‘no’ for an answer, the

w the youth to the ground

going through the young

ets. he suspect failed to find

he began slashing the

h the knife causing what

racterized as minor lacera-

the attack, the victim began

g for police, attracting the

of people in the park who

his aid.

spect fled the scene, but police

arrest later in the day.

nthony Wilson, 26, has been

with robbery with a weapon

ure to comply with proba-

victim was taken to hospital

e was treated for his injurin es and

d.

ned inbery

� By Jon Kuiperij

BEAVER SPORTS EDITOR

Adam van Km oeverden’s kayak-

ing prowess helped put Oakville

on the map and on Friday, they

Town returned the favour.

The 26-year-old nowr has a

street ceremonially named after

him — perhaps the most fitting

road in the entire town. Water

Street, which winds west of

Navy Street and down to the

Burloak Canoe Club, where van

Koeverden spent many of his

adolescent years developing

into a world-champion athlete,

will also be known as Adam van

Koeverden Stre

“It's just re

van Koeverde

guest of hon

Friday evenin

was also p

award by t

Council t

Olympian at home on Water Street

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The sentiment was expressed bynewly-appointed Minister of Energyand Infrastructure GeorgeSmitherman in a letter he recentlysent to Regional Chair Gary Carr.The correspondence came inresponse to a letter Carr sent theminister detailing the Region’sFairness for Halton campaign,which says the region can’t accom-modate the thousands of residentscalled for in the Province’s Places toGrow plan without some hefty fund-ing help for infrastructure.The campaign lets those atQueen’s Park know about the localfunding shortfalls that need to befixed — such as a municipal infra-structure deficit of $300 million —in order to meet the growth targetsspecified in Places to Grow. The plansays Halton’s population is sup-posed to increase by more than300,000 to 780,000 by 2031.More than $2.5 billion will beneeded for infrastructure to accom-modate growth to 2021, while morethan $8.6 billion will be required toserve the population increase to2031, Carr informed the minister.But, Smitherman said theProvince and its Places to Grow planaren’t the cause of the problem.“The servicing costs you indicate

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TRAINING DAY: Oakville firefighter recruits in training combat a flame created by a fire simul

Canada distribution facility on Rebecca Street.

LIESA KORTMANN

THE OAKVILLE

FRIDAY, OA CTOBER 10

A member of Metroland Media Group Ltd. Vol. 47 No. 122 “USING COMMUNICATION TO BUILD BETTER COMMUNITIES”MM

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Smitherman to Region:It’s your fault

� By Melanie HennesseyMETROLAND WEST MEDIA GROUP

A provincial minister is pointing the finger of blame at theRegion for the infrastructure woes facing Halton.

� See Carr page 4

� By David LeaOAKVILLE BEAVER STA AFFT

It took only one spark and the new firefighterssuddenly found themselves facing an inferno.With a combination of diesel and gasoline spray-ing everywhere huge balls of orange flame exploded20 feet into the air throwing up thick plumes ofblack smoke.Undeterred, the firefighters manned their hosesand dosed the flame, pushing it back until it shrankand finally went out.

Following their training, the firefighters contin-ued to hose down the metal piping, where the fire

had originated, so that the fire could nre-ignite from the intense heat of the mLast week’s experience provided somtraining for the 24 recruits from the OaDepartment and its one that they had thenity to redo over and over again.The heated training day was courtesy simulator, located at the Petro Canada distr

facility on Rebecca Street, which shows firewhat they would face if a fire took place as thof a fuel spill or a ruptured pipe.“All last month we brought all Oakville fireers in here, we gave them all refresher trainin

Learning under fire

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ATHLETES FOR ATHLETES: Riders climb a tough hill at the outset of Friday’s Beaver Valley 180 BikV e Ride. The charity ride began at 7 a.m. at D

East and moved across 180 km before finishing at the Beaver Valley ski club. The ride, which began as a fall fitness program for the Beaver Valley and Colli

the last two years and this year will benefit the Law Enforcement Torch Run for Special Olympics Ontario. The torch run sees law enw forcement officers carry

awareness and funds for Special Olympics Ontario. For more information, visit www.beavervww alley180.org or www.ontariow .torchrun.org.

No time to fal

OAKVILLE BEAVER

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Created by award-winning Canadian songwriter,spokenword and theatre artist Evalyn Parry, SPINfeatures Parry’s unique talent as a raconteur andher outspoken, personal and political creationshold out a powerful vision of social activism,whileher irreverent wit holds nothing sacred. Through a series of songs played live on a vin-tage bicycle, SPIN recounts a theatrical cycle ofstories about women, cycling and liberation.Inspired by the incredible true taleof Annie Londonderry, the firstwoman to ride around the worldon a bicycle in 1894, Parry� spins aweb of stories travelling from 19thcentury women’s emancipation �to21st century consumer culture,peeling back layers of history toultimately �reveal a profoundlycontemporary and personal heartto her theme of liberation. Parry’s “co-star”, a vintage bicy-cle, is suspended in a mechanic’s stand on stage.Backe d by her unusual and highly accomplishedband, the bike is played by percussionist BradHart who, using brushes on the fenders, bows onthe spokes and drum sticks on a variety of tunedbells, conjures an astonishing array of soundswith this iron horse. On the other side of the stage

sound artist Anna Friz plays instruments from themore traditional (accordion, harmonica) to theeven more unusual (amplified buzz �from flash-ing bike lights), creating a richly textured andutterly unique sonic accompaniment to Parry’ssongs and monologues. SPIN is staged by award-winning director Ruth Madoc-Jones with videoand production design by Beth Kates.Parry has released four critically acclaimed CDs

of music and spoken word andher work has been widelybroadcast, commissioned andanthologized. Recent perform-ance highlights include Guelph’sHillside Festival, The LincolnCentre Out of Doors Festival inNew York City, The Yukon Inter-national Storytelling Festival,The Calgary International Spo-kenword Festival, Toronto Pride,and many more. SPIN premiered

at Buddies in Bad Times Theatre in Toronto,where it sold out its two week run. She is a found-ing member of the Independent Aunties, withwhom she has co-authored and performed fiveplays including the Dora-nominated Breakfastand the multiple-award-winning, fringe favoriteClean Irene & Dirty Maxine.

SPIN A Pay-What-You-Can Performance • Thursday, November 15th at 8:00pm

Presented by PARADISO Restaurant

32

Starring the Bicycle as Muse, Musical Instrument and Instrument of Social ChangeCreated and Performed by Evalyn Parry • Directed by Ruth Madoc-Jones

Featuring Anna Friz and Brad Hart • Production Design Beth Kates


33

IN JUST A FEW WEEKS,YOUR DOG BECOMES A GOOD

FAMILY MEMBER!

BURLINGTON All the books in the world (and I have them all!) cannot take the place of the one-on-one feedback at McCann Dog Trainers. A total stranger, who saw our first attempts of going for a walk with our dog, commentedtoday on how much he has improved in only a few weeks! BRANTFORDI didn’t realize how much fun it can be coming to class each week.CAMBRIDGE I’m so fortunate that my vet highly recommendedMcCann Dog Trainers for my dog. CAMPBELLVILLE McCann Dog

Trainers has a program that doesn’t waste time and producesresults. DUNDAS I recommend McCann Dog Trainers to anyonewho asks for a good training school (I work at a vet clinic). This ismy second dog being trained here and if we had a third it wouldalso come here. GUELPH It is worth the drive from Guelph!GRIMSBY I like that they have alternatives for training if onemethod doesn’t work. HAMILTON This is my third dog that I’vetrained at McCann Dog Trainers and I am as impressed now as I wasback then. Many people comment on how well behaved they are and Ialways say that it’s all due to attending class at McCann Dog Trainers.KITCHENER The staff’s availability to answer problems or questions onthe phone or in person was exceptional. MILTON I have been to otherobedience schools that were not nearly as effective. We noticed animprovement in our dog after just one class at McCann Dog Trainers.MISSISSAUGA I have made great strides with my dog since beingenrolled in this class. OAKVILLE I love the fact that there are so manyinstructors in each class to give feedback and individual attention. Ireceive many compliments on how well my dog behaves, especially forsuch a big dog. STONEY CREEKWe would never have believed our dogcould learn so much so quickly. TORONTO I found classes at McCann

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34

Anne Marie Frank was an outgoing German-Jewishteenager who, along with her family, was forced to gointo hiding during the Holocaust. After being betrayed tothe Nazis, Anne and her family were arrested anddeported to concentration camps. Anne Frank died oftyphus at Bergen-Belsen in 1945. She was fifteen. I was an outgoing American-Jewish teenager whogrew up in a post-holocaust world. In a world where thediary that Anne kept during her time in hiding became abook you read in 5th Grade English class for extra credit. After Anne Frank was conceived several years ago dur-

ing the Jewish festival of Passover. There was intense dis-cussion around my holiday table about the relationshipbetween the story of the Exodus and the Holocaust. The conversation then turned to the fact that I’d “played”many Holocaust survivors over the course of my actingcareer including characters in all three stage versions of TheDiary of Anne Frank. We all realized, almost simultane-ously, that this was a profound way to make a living. In Judaism we are taught to share our stories. And so.Welcome to the ripple of everything that came afterAnne Frank.

PARADISO presents

After Anne FrankWritten and Performed by CAROL LEMPERT

A Pay-What-You-Can Performance • Thursday, November 22nd at 8:00pm

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Directed by Janice L. Goldberg • Sound Design: Craig Lenti • Stage Manager: Ken BurnsGraphic Design: David Paterson • Photography: Tim Dumas

CAROL LEMPERT Writer/Performer Carol is an actress and writer with 25 years of experiencein theatre, television and film in both the US and CanadaShe has created three one woman shows: the award win-ning That Dorothy Parker, The Camino – Walking thePilgrim Road and now, After Anne Frank. After Anne Frank premiered at the Soho Playhouse inNew York the summer of 2011. It sold-out, was voted“Best of the Fest” and was held over as part of the Frin-geNYC Encore Series. This is Carol’s 2nd time to win thathonor. In 2008 That Dorothy Parker was one of only 12shows selected from over 200 to participate in the EncoreSeries. Other New York credits include: The AaronsvilleWoman for the Abingdon Theatre, Shlomo for Folksbi-ene, A Time Ripe and Rare for the Sam FrenchPlaywriting Festival at Playwrights Horizons and AndSomewhere Men are Laughing. She has twice starred in Crossing Delancey, with SylviaKauders from the original Broadway production, as Lusiain A Shayna Maidel, and of course in 3 different produc-tions of The Diary of Anne Frank. TV/film includes: All My Children, Santa Who withLeslie Nielsen, Bless the Child, Wonderland, 26 episodesof Rockabye Bubble for the Family Channel and 13episodes of Hello, Mrs. Cherrywinkle. Awards include: Emerging Artist from the Toronto ArtsCouncil, Best Solo Drama and Best of the Fest from theSan Francisco Fringe and Outstanding Performer fromthe Toronto’s NOW Magazine.

JANICE L. GOLDBERG Director Janice is Artistic Co-Director of Artistic New Directionsand a long time collaborator with Carol Lempert. Shedirected Carol in the 2008 FringeNYC production of ThatDorothy Parker, A Time Ripe and Rare for the SamFrench Off-Off-Broadway Playwriting Festival and mostrecently, The Aaronsville Woman at The Abingdon The-atre. Janice has directed over 75 new plays including theNew York premiere of Rose Colored Glass, which she alsoco-authored and is published by Samuel French, Inc. Shedirected and co-produced The Rubber Room by GaryGarrison and Roland Tec, Carl & Shelly, Best Friends For-ever at the Mint Theatre; Flyovers by Jeffrey Sweet,working with Sandy Shinner of Victory Gardens inChicago and featuring Richard Kind and Tony WinnerMichele Pawk. Award winning playwrights worked withinclude: Carol Hall, Joe Pintauro, Betty Shamieh andDakota Powell. Janice is co-author of 5 plays with Susan Bigelow anddirected each in Northern California as well as Bindles-tiff’s Dance Hall, commissioned for the National Eco-Drama Festival & featured in American Theater Maga-zine. Member: SDC, Dramatist’s Guild, First LookTheatre Company, Circle East.


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After Anne Frank is a solo performance, run-ning 90 minutes without intermission. Followingthe performance, there will be a brief 10 minutebreak, and then you are invited to join Carol inthe theatre for a “Tish”, where you will have theopportunity to share your experiences and dis-cuss the play with the writer and performer. • No Photography or Recordings of any kind • No cellphones or texting during performance

Many, many heartfelt thanks to Ken Coulter and theOakville Centre for the Performing Arts for the opportu-nity. To Artistic New Directions, Carrie Keskinen, KristineNiven and Jeffrey Sweet. Gabrielle Maisels, Allison Gold-berg, Ori Zohar, Merri Milwe and The Puffin CulturalForum. Amelie Lefebvre, Catherine Hayos, MaureenMcNeil at The Anne Frank Center, EdNahhat, Rabbi Jill Hausman at theActor’s Temple, Ellen Bari. And ofcourse, to Scotty Watson - foranswering the question: “is it some-thing?” And to you, the audience, for turn-ing off the TV, brushing your hair,getting in your car and coming to thetheatre today. B’Shalom. You are now part of the ripple ofeverything that came after Anne Frank.A girl named Anne wrote a diary. A girlnamed Carol wrote a play. Who do youneed to write to?

In this program you’ll find a blank enve-lope and note card. We invite you to thinkabout who you need to reconnect with. Who doyou need to forgive? Who do you need to ask for-giveness from? Write to them. Inscribe yourself inthe book of life. Then. Let us know what happens.Share with us: “After Anne Frank” on Facebook.


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Paradiso Restaurant presents

Sesame-Cornmeal Crusted Calamariwith Horseradish Cocktail Sauce and Toasted Seed & Cucumber Aioli

Sesame-CornmealCrusted Calamari

2 cups corn meal2 cups sesame seeds4 cups flour2 tbsps garlic powder2 tbsps onion powderSalt and pepper

Combine all ingredientsin a food processor andpuree until groundtogether

Mixture should stillremain mealy

Toasted Seed and Cucumber Aioli

4 cups mayonnaise1 lemon; zest and juice4 tbsps olive oil1 tbsp garlic; chopped2 pcs cucumber; seeded and grated2 tbsps fennel seeds; toasted & ground2 tbsps cumin seeds; toasted & ground2 tbsps sesame seeds; toasted & ground

Combine all ingredients in a foodprocessor and puree until combined

Season with salt and pepper

Horseradish Cocktail Sauce

1 litre tomato paint2 cups horseradish; drained & squeezed¼ cup Worcestershire sauce¼ cup Tabasco sauce½ tube Wasabi paste¼ cup lemon juice¼ cup horseradish liquidsalt and pepper

Whisk all ingredients except forhorseradish together in a bowl until combined

Add horseradish and mix untilthoroughly combined. Seasonwith salt and pepper

Don’t forget about our Cooking Classes (see page 15). What a great gift!


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Tel: 905-849-0707


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TreasaLevasseurA DAN COOPER Presentation • Saturday, November 24th at 8:00pm

“I’ve had the chance to play with so many peo-ple over the years, and I really wanted tocelebrate all those connections on this record.At the same time I wanted – needed – to givemyself a chance to branch out, explore newmusical spaces, and let things evolve organi-cally.” Broad is Levasseur’s third full-length album,and it’s a remarkable collection of new songs(with three covers, from Randy Newman, NeilYoung and a fellow independent artist, MikeEvin) that are sometimes playful, sometimesvulnerable, occasionally in your face – andalways sincere and deeply felt. On four trackson the album, she’s accompanied by the inter-nationally acclaimed Ottawa-based bandMonkeyJunk; these songs were produced bythe band’s harp player, Steve Marriner. Torontoblues band Raoul and the Big Time appear onthree songs produced by bass player TerryWilkins, and there are two tracks produced byveteran roots music artist Ken Whiteley. Levasseur’s own hand-picked band, TheDaily Special, is produced by guitarist DavidBaxter and features Champagne James Robert-son on guitar, Paul Reddick on harmonica,drummer Brad Hart and bassist BrianKobayakawa. Guests on the album includeSuzie Vinnick, Roman Tome of New CountryRehab, and roots singer songwriter David Celia,to name a few. The new recording is certainlyblues based, while at the same time honouringthe songwriting tradition she cut her teeth on

in the folk world. She burst onto the scene in2006 with her first recording, Not a StraightLine, and it was an unabashed singer-song-writer folk record Two years later, she released the JunoAward-nominated Low Fidelity, a tougher,harder CD which was powerfully influenced bytrips to Memphis, Tennessee, where she spenttime with many of the musicians who had cre-ated the Stax sound. The record earned criticalacclaim in Canada and abroad. On one of hermost recent visits to Memphis, she recordedtracks with the cream of the city’s studio musi-cians at Willie Mitchell’s Royal Studios which –in her typically contrary fashion – she releasedearlier this year as a 45 rpm vinyl single calledThe Memphis Sessions. Born in Winnipeg and raised in North Bay,the fluently bilingual artist has made her homein Toronto for many years, and proudly identi-fies as Parkdalian – Parkdale may be less thanglamourous but it’s the “artistic” heart of thecity . As a singer, pianist and accordion player –and on-stage storyteller – she has become awell-established part of the city’s busy inde-pendent roots music community. With an unmistakable voice, a sassy attitude,and smarts to spare, Treasa Levasseur is abroad to be reckoned with. She’s no shrinkingviolet – she’s a garden in full bloom – colourful,varied, beautiful, full of life, and above all, oneof a kind. In short, a terrific broad.


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H2 SYSTEMS presents

The Santaland DiariesTottering Biped Theatre • Saturday, December 15th at 8:00pm

Not recommended for young audiences

Meet the quintessential elf gone bad as he relives a se-ries of less-than-merry misadventures in David Sedaris’hilarious antidote for holiday havoc. Spend some timewith the irreverent Crumpet – one of Santa’s littlehelpers – during the Macy’s Christmas shopping rushas he copes with thousands of shop-pers and their kiddies as recalled byone of America’s pre-eminent hu-morists. This production is not recom-mended for young audiences. Obie Award winner and Grammynominated writer DAVID SEDARIShas been described as ‘the rock star ofwriters.’ He has released 5 novels thathave become New York Times BestSellers. Time magazine named himHumorist of the Year, having sold over7 million copies of his books. The San-taland Diaries has remained one of thetop ten productions in the US, afterpremiering on Broadway in 1996. ROBIN ARCHER – in the role ofCrumpet – is an actor, writer and stand-up comedianwho has been working in and around Toronto for overten years. He’s performed comedy at venues across thecity, including Yuk Yuk's, alt. comedy at the Rivoli, andas the host of TheatreSports at the Bad Dog Theatre.

Set Designer JANE CORYELL is a nine-time winnerand six-time nominee of THEA design awards. In2002, the Oakville Centre for the Performing Arts hon-ored her contributions to local theatre with their pres-tigious annual Award of Special Appreciation. Since

1979, she has designed set and con-sulted on scene painting for overeighty productions in schools andcommunity theatre. JENNIFER JIMENEZ is an interna-

tional theatre maker, facilitator andlighting designer. She has devised anddesigned projects with various com-panies in the UK, including the CircusSpace, the Bath International Pup-petry Festival and the Arcola Theatre.In Canada, she recently designed Ju-dith Thompson’s Body and Soul, andTottering Biped Theatre’s Thom Pain.She has also designed lights for ThePresident in Shaw Festival’s 2008 Sea-son and has worked with ExMachina,

on the creation of Le Projet Anderson. She has a BFAin Theatre Production and Design and B.Ed. from YorkUniversity, Toronto and an MA in Devised Theatre fromthe Central School of Speech and Drama, UK. She isalso the recipient of a Chalmers Award.

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“The Santaland Diaries have become a tradition.. .And thank god. Because there is only so muchholiday cheer one can stomach, only so much crass consumerism and cynical, sappy marketing

dressed in the guise of yuletide joie one can stand before one craves the horrific, seedy underbelly of the holiday that created things like this!”

~ WILL FINK, Chicago critic


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Running their streak of excellent albums another notch,Sticky Fingers follows Aftermath, Between The Buttons,Their Satanic Majesties Request, Beggar’s Banquet and LetIt Bleed. It seems almost miraculous that bands couldchurn out excellent albums at a pace of more than one ayear. These bands routinely go years between releases. The album opens with Brown Sugar a song that com-bines blues, danceability and hard driving rock and roll.The song has been part of the Rolling Stones live showpretty much since its recording. The song touches on alot of what were taboo subjects at the time but still re-ceived lots of airplay. Itwas named # 490 onRolling Stone maga-zines list of 500 Great-est Songs and spent acouple of weeks at #1on the Billboard chartin the United States. Following BrownSugar was Sway. Aworkmanlike Stonessong attributed to MickJagger and KeithRichards. Mick Taylorhas always claimedjoint authorship withMick Jagger which ispossible as he plays all the guitar on the song. His guitarwork, especially his slide solo, served notice that hecould play in the big leagues with the Stones. Jon Landau in the same review had this to say aboutMick Jagger’s singing on Wild Horses – “Jagger’s vocal isclearly audible for the first time on the album and I don'tcare for it. It is mannered, striving for intensity withoutbeing wholly convincing. Musically, the more complexthe Stones get the more inadequate he sometimessounds”. I guess the rest of the world didn’t see it quitethe same way and the song still enjoys considerable air-time today. It comes in at # 334 on Rolling Stone maga-zine’s 500 Greatest Songs list. The song has been

covered by a diverse range of artist including Jewel,Guns N Roses and Susan Boyle. Following Wild Horsesis Can’t You Hear Me Knocking. Bobby Keys, the RollingStones resident sax man of the era, contributes a greatsolo and Mick Taylor throws in some nice guitar work.The opening riff is memorable and the song has made itinto the Stone’s live performances the last few years. Side two opens with Bitch. Another song with a mem-orable guitar opening. The horns are blazing and this isa song that you can both rock to and dance to.

I Got The Blues is just that a nice blusey song.It has a nice soul music sound to it.

The song never really takes offbut it’s a really nice tribute toan era that was coming toa close as soul music wasreceding in popularity.

Next up isthe haunting miniclassic Sister Mor-phine. MarianneFaithfull wasn't givena writing credit at thetime but eventually she

became the recognizedthird writer on the tune.

This isn't really a full Stone’ssong. The lovely bottleneck guitar

is Ry Cooder playing. Bill Wyman andMick Taylor are missing from this one. In Dead Flowersthe Stones get dark, very dark. They play it as a straightahead country song. Mick Jagger has a hard time pullingoff an authentic country sound but the instrumentals arespot on. The album closes withMoonlight Mile a nice bal-lad from the Stones. Written by Mick Jagger, KeithRichards and Mick Taylor. In the song Mick Jagger isalienated, worn and apparently very tired. All in all Sticky Fingers is an excellent album that ageswell. The hits are there with Brown Sugar and WildHorses and you get a heady taste of rock n roll, blues anda ballad to boot. ~GV Pape, Yahoo Correspondent

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STICKY FINGERS

THE OAKVILE CENTRE presents

The Rolling Stones • CLASSIC ALBUMS LIVE • Wednesday, December 19th at 8:00pm


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Monday October 29th @ 7:00pm

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Tuesday November 6th @ 7:00pm

Monday November 12th @ 7:00pm

Tuesday November 13th @ 7:00pm

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MARC JORDAN began his professional career in Los Angeles in 1977when he was signed to Warner Bros. working with famed Steely Danproducer Gary Katz who produced Marc’s classic West Coast albumMannequin. Jordan spent the next 15 years in LA making and pro-ducing records for Warner, BMG and Atlantic Records. Having writ-ten hit songs Josh Groban, Rod Stewart, Cher, Molly Johnson,Natalie Cole, Bette Midler, Bonnie Raitt and Diana Ross, Jordan’s re-sume reads like a list of who’s who in music. His film credits includeSluggers Wife (Rob Lowe), Like Father Like Son (Dudley Moore),Never Talk To Strangers, Heavy Metal, Blown Away (Jeff Bridges)Touched By An Angel, as well as many others. A Juno Award winnerand the first recipient of Male Vocalist of the Year by the CanadianSmooth Jazz Awards, Marc has also carved an impressive career asan artist with eleven successful solo albums. Marc lives in Torontowith his wife, singer-songwriter Amy Sky.

MURRAY MCLAUCHLAN is one of Canada’s best songwritingperformers. To experience him perform is to enjoy creative story-telling, social commentary and wit with a man who clearly enjoyssharing his music and experiences with an audience. In his lateteens, Murray found himself playing at major music festivals such asThe Philadelphia Folk Festival and Mariposa, where he appearedalongside Jim Croce and John Prine. He then continued to attractattention on the club circuit, playing such well known rooms as TheRiverboat in Toronto, The Bitter End in New York, and the famousEarl of Old Town in Chicago. Before Murray had actually recordedan album of his own, his Child’s Song was already well known afterbeing recorded by American folk star Tom Rush.

Now, thirty odd years later, Murray has nineteen albums to hiscredit and eleven JUNO awards. He has been both a radio and tele-vision host and in 1993 was appointed to the Order of Canada.

LUNCH AT ALLE N A DAN COOPER Presentation F


Photo Credit: Marc Lostrocco

CINDY CHURCH spent her formative musical years in westernCanada, making her first recordings with the Great Western Orches-tra, touring and recording with Ian Tyson and embarking on a solocareer. Her friendship with Sylvia Tyson helped lead to the formationof Quartette, with Sylvia, Caitlin Hanford, the late Colleen Petersonand later Gwen Swick. A superb singer with a distinctive voice anda technique she uses only to illuminate the lyric, Cindy invests thesongs she performs with warmth, charm and feeling.

Now living in Toronto, she has not only acquired a national repu-tation as one of the best singers in the country, but an internationalone as well. In the past she toured with her project, The Nearness ofYou – a Tribute to the Music of Hoagy Carmichael along with pianistJoe Sealey and bassist George Koller.

Cindy has been honoured with Juno Award nominations and hasalso been nominated by the Canadian Country Music Association.

IAN THOMAS first hit internationally in 1973 with Painted Ladies.With a Juno award, four SOCAN classic awards, a UNICEF DannyKaye Humanitarian award, Juno and Gemini nominations, 15 al-bums and nearly as many top twenty records later, Ian has nowadded author to the mix with two novels, Bequest and The Lost Chord.Ian’s lyrics have been utilized in English textbooks while his songshave found international success with many artists such as Santana,America, Manfred Man, Chicago, Bette Midler and Anne Murray.

From 1990 to 2000, Ian wrote & recorded four albums and touredwith his band “The Boomers”. When you add twenty movies as a filmcomposer, six seasons on the Red Green Show and over a thousandcommercials voicing characters from Clive Firkin of Firkin Pubs toSnap the Rice Crispie, the credit list starts getting ridiculous.

Ian lives with his wife of nearly 40 years in the Niagara wine re-gion of Ontario because he likes both wine and his wife.

E N’S CHRISTMAS Friday, December 21st at 8:00pm

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MICHAEL CIUFOA Special Christmas • Sunday, December 23rd at 3:00pm

Canadian singer Michael Ciufo (choo-foe) known forhis stage presence, charisma, and gorgeous, classi-cally trained voice, released his highly anticipatedsophomore album, Momento, in October 2011. Com-bining newly arranged classical and popular songs, ithighlights Michael’s vast range as a singer and inter-pretive artist. Following its debut on the CanadianClassical chart at #15, it is garnering rave reviewsfrom critics, fellow musicians and new listeners. Michael’s busy performance schedule includes hisenergetic solo show as well as classical roles and per-formances. In 2008 he performed at Toronto’s CentreStage Benefit Concert and twice at Mississauga’s“Knight for Hope” concerts alongside world-renowned Canadian vocalists Michael Burgess andThe Nylons. In the summer of 2008, Michael Ciufowas thrilled to be invited to perform in a nationallybroadcast concert in Pisticci, Italy, in honour of thelate Johnny Lombardi, a well-known Canadian pio-neer of multicultural broadcasting in Canada. Michael’s versatility has led him to collaborationswith a wide range of artists in genres such as pop,jazz and hip-hop. In addition, he has appeared inopera and oratorio roles such as “Alfredo” in theSummer Opera Lyric Theatre’s production of Verdi’sLa Traviata, “Le Prince Charmant” (Prince Charm-ing) for The Glenn Gould School’s production ofMassenet’s Cendrillon, the “Evangelist” in Ivan

Moody’s Passion and Resurrection with the OrpheusChoir, and his first major role as “Il Contino” inMozart’s La finta giardiniera as part of the Royal Con-servatory’s Summer Opera Program . Most recently,he was selected as a soloist for Pinchas Zukermanand The National Arts Centre’s Summer Music Insti-tute in Ottawa. He has performed the title role in the concert pre-miere of Hamlet, a new opera written byToronto-born composer Mark Richards, both inToronto and in Stratford, Ontario, for the StratfordSummer Music Soirees. From 2007 – 2010, Michaelwas a Sidgwick Scholar with the Orpheus Choir ofToronto, under choral conductor Robert Cooper.Michael also sang in the ensemble of Opera Atelier’sproduction of Mozart’s Idomeneo and The MagicFlute, and he’s had the pleasure of studying at theTafelmusik Baroque Summer Music Institute withRufus Müller in Toronto. Giving back is an important part of Michael’s artis-tic philosophy and he is deeply committed to severalcharities: the Canadian Cancer Society, and Well-spring, Credit Valley Hospital and Mississauga’sUnited Way.


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The Village is different. See for yourself. Visit www.TheVillageTND.com

Reward Yourselfin an unparalleled new community in the heart of Niagara-on-the-Lake.

A great place to visit. An even better place to live.

To learn more

about The Village

see pages 24 and 25


live! at the oakville centre october to december 2012

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