My favorite moment of Eternal Hydra occurred at the end of it. Coming out of Thursday’s opening night performance at the Factory Theatre in Toronto, my writerly companion turned to me, her eyes wide, her voice trembling, trying to capture what she’d just seen.
Tag: David Ferry
Toronto’s amazing, inspiring Art Of Time Ensemble has been presenting its unique vision of music, dance, theatre, and literature now for twelve years. They’ve featured the works of Schumann, Beethoven, Prokofiev, Gavin Bryars, Erich Korngold, and many, many others in concerts that combine music, art, theatre, and dance, to create a hybrid form unto itself. What’s more, the Ensemble has involved some of Canada’s biggest names from the arts world to accomplish their task of shedding light on old and new masters alike.
Their incredible rendering of Tolstoy’s Kreutzer Sonata (which I wrote about back in March) was so popular, it was presented as part of this year’s Summerworks Theatre Festival, and is on track to be part of Soulpepper Theatre Company’s season in 2011. The Art Of Time toured with former Barenaked Ladies frontman Steven Page plus songstress Sarah Slean; award-winning author Michael Ondaatje is among their most devoted followers and has, on occasion, participated in concerts doing readings. He says of them:
Art of Time leaps over the usual barriers of culture. So Schumann and Tolstoy can rub shoulders with Ginsberg and our best contemporary musicians. The result is entertainment that is often thrilling, often full of insights—as in the old values of art that delight and instruct.
I’ve spent many happy evenings at their shows, scratching head, cradling heart, listening; the phrase “human being” never seemed more real and alive than at an Art Of Time show.
Their next work, coming up this week, is called If Music Be… -a tribute of sorts to William Shakespeare, featuring, among many others, the poetic footwork of Peggy Baker and the acting talents of Stratford Festival veteran Lucy Peacock, plus, as ever, the expert musical accompaniment of the Ensemble themselves. The last If Music Be… was presented in Toronto in March 2008.
I had the opportunity to exchange ideas around Shakespeare and the blend of Bard and Ensemble with two key figures for the evening: Andrew Burashko, who is the group’s Artistic Director, and actor/director/dramaturge David Ferry, who directs If Music Be…, which runs at Toronto’s Enwave Theatre December 9th through 11th.
I’ve always been in awe of Shakespeare’s limitless play and poetry. To me he represents the most dazzling example of virtuosity. Also, he has influenced so many artists and inspired so much diverse art – high and low – music, theater, literature, dance. In that sense, he is the perfect subject for Art of Time – a subject that connects so many of the artistic disciplines.
Well as many of the authors quoted in this piece say, (Shakespeare) invented us in so many ways; he created arguably our sense of the human being.
How difficult was the process of choosing accompanying music?
It was actually the reverse: I began with the music and dance inspired by Shakespeare, and then selected the sources that inspired the music and dance. To over-simplify, I thought it might be fascinating to see/hear this amazing stuff together with the source material. In other words, to show this music and dance on the heels of the actual scenes that inspired them – to see the Shakespeare as he wrote it, followed by interpretations of the same material in the forms of music and dance.
How would you describe the connection between Shakespeare and music?
I guess the most obvious would be the music and richness in his language, but even more than that, his ability to express the ineffable – to tug at the heart strings by transcending the limitations of words.
You have an eclectic mix of artists taking part; how much did their talents shape the program?
Everything begins and ends with the content – the material. I chose the artists I thought could best deliver the material. I thought of Peggy (Baker)’s piece before I thought of Peggy. In fact, I was surprised that she wanted to dance it herself. She’s been slowing down – cutting the more physically demanding pieces from her repertoire as a dancer. I wasn’t expecting her to be up for it.
Peggy is a long-time collaborator with Andrew, as is James Kudelka. My suggestions were (actors) Tim (Campbell), Marc (Bendavid), Cara (Ricketts). Ted (Dykstra) and Lucy (Peacock) have done the material before.
How does this version of If Music Be… differ from the one you directed a few years ago?
The core material is the same, with some modifications and the structuring of the material. Also, this time actors will not read but have material memorized, (which allows for) different staging. (There are) some music changes as well, (like the) addition of the Wainright pieces and Dykstra song. The relationships with the actors are deeper, as relationships are wont to grow with time.
Andrew, you come from a very music-centric background, David comes from a very theatre-centric background. Do you meet in the middle (or not)?
David is someone I like and respect. Also, he really gets what Art of Time is about. I compiled all the material and asked him to come in and put everything together in terms of staging and flow. He’s not messing with the content at all, and I’m staying out of his way in determining the show’s overall look and feel. I would love for all these disparate elements to come together to form a whole – that’s his job.
For people more familiar with Shakepeare done at places like the Stratford Festival, what does If Music Be… offer?
This show is just as much about the work Shakespeare inspired as it is about his own work. In that sense, the audience will exposed to a lot more than Shakespeare. It’s a look at his work and what it led to down the years.
I like to think of the evening as high-class Ed Sullivan: a great variety of fine artists that make for a stimulating, thought-provoking, accessible and entertaining night at the theatre.
The key word for the inaugural New Waves Festival (running as part of Luminato) at the Young Centre this past weekend? Playful. Yeah, “play” as in theatre and performing -but “play”also, equally, as in playing-around. Comme un enfant.
Take the Artists in the Closet series. A limited number of people were invited into a weensy little space –okay, a bathroom –to sit and chat with an upcoming Canadian artist for five to ten minutes. My friend and I had the pleasure of being part of Toronto rapper Theo3’s little ‘crib’ –he introduced us to the artists who influenced him growing up (vinyl album covers lined the small perimeter of the loo) and talked about how being in such an intimate environment made him feel both inspired and intimidated. Ha. Says you, I thought, perched on a little makeshift bench (apparently the real “throne” was off limits, with a big ‘DON’T SIT HERE’ scrawl written across the bowl in red sharpie. Art? You decide.).
The rapper also presented his own unique take on Coldplay’s monster-hit “Clocks.” Love them or loathe them, you have to admit, the tune has a good, catchy intro. Theo used it to full effect, playing a loop of it on a boombox as he launched into a rap about his background and interest in rap. Kind of neat to hear him smoothly integrate the past with the present, even introducing his girlfriend, standing shyly around the corner from the entrance with a big, proud grin. Aw.
“This is like something out of the Hurricane Katrina relief effort,” remarked my friend as the harsh, flourescent-lit room transformed into a dark cave with swirling projections of stars and galaxies overhead.
The scene reminded me of having sleepovers with my childhood buddy, who had a veritable galaxy stuck up on his own bedroom ceiling. We’d hit the lights and walk around with light sabers (okay, empty wrapping paper rolls) as the stars twinkled overhead. Yup, playful, and a direct route back to childhood.
One of the most interesting activities was Seven Singing Structures, featuring, among others, Canadian singer (and YC Resident Artist) Patricia O’Callaghan. The seven entertained onlookers in the Young Centre’s palatial lobby by singing in harmony, with huge, architectural headgear balanced precariously on the performers’ lids. Huh? One singer had the Eiffel Tower balanced atop his head. Talk about your overbearing culture. No matter. Everyone seemed to be enjoying it, and the singing was damn beautiful.
Once the Towering-Headgear Singers finished, fellow YC Resident Artist David Buchbinder played his trademark mix of klezmer-meets-Cuban sounds with a quartet at the other end of the lobby. To quote Jenny Holzer, contradiction is balance.
Outside the Young Centre, Cellular was being presented by actor/director David Ferry and a troupe of Canadian playwrights and performers including Maja Ardal], Florence Gibson, Catherine Hernandez, Kate Hewlett, and Daniel Karasik. the art machine, one of the works under the Cellular banner, and written by Marjorie Chan, involved dialing a number with a cell phone, before following a series of commandments by a disembodied voice (the “Jump up and down” bit seemed to really amuse passers-by, natch).
The voice also queried participants with questions like, “Have you ever stolen anything?“, “Have you ever lied?” and required a public show of hands. You think I’m going to reveal this stuff in public? Ha.
The last question was for the participants to reveal a secret they’d never told anyone before. Ooooh, what a dandy. After a long, awkward pause, one brave participant revealed he’d once … (drumroll)… pinched a baby.
My own mobile unfortunately died midway through (irony, perhaps?) and one of the hosts for the mini-show loaned me his. What my dead-mobile did allow was to note the reactions of participants –glancing at each other for validation, laughing awkwardly, and being generally involved in communicating with a machine, as opposed to one another -which, all told, was (is) probably the point of Cellular itself. It was an interesting juxtaposition of modern communicating and theatre community.
Walking around the Young Centre Saturday, it was hard to believe this was the same building that had housed (and produced, via Soulpepper Theatre) such serious works as Chekhov’s Three Sisters, Shakespeare’s King Lear, and Marsha Norman’s ‘Night Mother. The Centre’s resident artists have created something that allows for participating as well as communicating, juxtaposing, and –perhaps most importantly –playing. Play, what it means and how it’s perceived, is what’s being examined -an celebrated. Hell yeah. Play on.
Addendum: For more photos from the New Waves Fest, check out my Flickr photostream.