Social skill without a cellphone

Closing night flowers (“One rose is just fine”) to “Frankie and Johnny” co-stars Grant Evans and Lisha Van Nieuwenhove. Photo Michelle Viney.

This week I’ve visited the Uxbridge Music Hall a lot. We were moving staging, lights, props and actors into the facility for performances of Frankie and Johnny in the Clair de Lune, Dec. 13-16. On Monday, as director Conrad Boyce and I opened the front door of the Hall to move a piece of furniture onto the stage, Benny, the custodian, greeted us with a big smile and handshakes.

“Isn’t it great? We don’t have to do this anymore,” and he mimicked avoiding somebody on the sidewalk the way we did during the COVID-19 pandemic.

“It is great,” I agreed. “But we almost have to learn how to deal with people face-to-face all over again.” (more…)

To build a birthday party

The Confederation Train in 1967 - Tim Reid Collection.
The Confederation Train in 1967 – Tim Reid Collection.

As I recall, it was a summer morning. It might have been around the July 1 anniversary. It didn’t matter. That whole summer of 1967 had had a birthday feeling to it. In any case, I was just rising from a rare sleep-in. But even in my half-conscious state I remember hearing a sound in the distance. It was the diesel whistle of a locomotive approaching the level crossing in Pontypool, Ont., just south of where I was rising from bed.

“Daa. Daa. Da-da,” the diesel horn announced.

“What the heck is that?” I called out to my folks. And just as quickly as I asked, I realized that it was the first four notes of “O Canada” coming from that train whistle. About 15 minutes later, when I’d arrived at the station, where coincidentally the train stopped for a visit, I discovered it was the Confederation Train. (more…)

Keys to a musical life

Susan Sparks (now Hall) at the time of her graduation from University of Western Ontario in 1967.
Susan Sparks (now Hall) at the time of her graduation from University of Western Ontario in 1967.

A few months ago now, our daughter performed a gig at a popular Toronto jazz nightclub called the Reservoir Lounge. Nothing particularly special about the venue. But when Whitney brought her piano, sax and bass combo on stage, the place just seemed to jump with the energy and interpretation of her music. Not so long ago, she and I talked about where that all came from.

“I always credit my being able to connect emotionally with expressing myself musically to Susan Hall,” Whitney said. “It’s not just that I’m telling the story with the lyrics, but it’s the story of the melody that a lot of singers don’t think about … It’s because of what I learned playing with her.”

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