SPRINGFIELD! - Brampton Blue Guitar Tour ... LIONA BOYD 13 • 14 SEASON ... Book was a broad...

The Magazine of the Rose Theatre Brampton • Sept & Oct 2013

Mary Walsh Triumphs in

JESSIE’S GIRL • HUMAN TOUCHAN AFFAIR OF THE HEARTDON’T TALK TO STRANGERS

Dancing With Rage

SPRINGFIELD!

Women Fully ClothedBack by Popular Demand!

THEATRE • DANCE • MUSIC • COMEDY • EXPERIENCE IT LIVE!

the13-14

THEATRE SEASON is here!

3rosetheatre.caBOX OFFICE: 905.874.2800

In gratitude for the purchase of specialized equipment

2 In the Gallery

5 Services & Policies

8 Scene @ The Rose

30 Sponsor & Donor Recognition

every month

features

10

14

26

7 INDIE ARTS SHOwCASEA Celebration of Brampton’s

Emerging Artists

10 DANCING wITH RAGEStarring Canadian Comedy Star Mary Walsh

12 THE COMEDY CLUBwith Darren Frost & Kenny Robinson

14 wOMEN FULLY CLOTHEDBack By Popular Demand

16 RICK SPRINGFIELDNew Music and Favourite Hits

18 DOUBTSuspicion, Scandal and Moral Uncertainty

20 JASON BISHOPA Master of Illusion

22 YOUR TOwN THROwDOwNwith Chad Brownlee, Deric Ruttan

& Jason Blaine

24 JESSE COOKThe Blue Guitar Tour

26 GINO VANNELLIPop Music Icon Returns to The Rose Stage

The Magazine of the Rose Theatre Brampton

contents

“ …the funniest

all-female sketch troupe

in the country.”

– NOW Toronto

IN THE GALLERY

2 odeum septembeR & OCtObeR 2013

The most recent exhibit series, titled The Nature of Things, showcased three

Brampton artists inspired by nature but the nature of

their painting is another thing.

Aug 9-Sept 22

Noted Hallmarkand UNICEF artist Conrad Miescke’s

style of realism sets him apart from the

impressionistic works of artists

Anya Marnet and MaryEllen Chapman.

1. Frosty Morning WC2. Abundant Shoal

3. Looking4. Soul 1

1

2 3

4

CALL FOR SUBMISSIONSIf you would like to submit your artwork for consideration, please complete the online form and attach up to 3 images.

Find the submission form on the Art Gallery at the Rose Theatre page on rosetheatre.ca

Sept 26 – Oct 28Kaamar Thiya creates

art that builds a strong foundation on emo-tions, traditions and culture. Thiya’s femi-nistic characters are

empowered yet soften through his sensuous style of painting. His

paintings are prepared at night because of the glow of the colours in the yellow light. His

contemporary explora-tion of sensuality with light and dark reminds

us of European masters’ use of chiaroscuro.

4 odeum 5rosetheatre.ca

NOV 29MYSTIC INDIA

pOLIcIeSSeRVIceS &

Cellphones/pagers Please keep electronic devices turned off during the performance. The light from texting is also distracting for other patrons and performers.

FragrancesDue to allergies and sensitivities, please refrain from wearing perfumes, colognes, or other scented products.

Cameras/RecordingCameras and recording devices are not allowed in the theatre unless otherwise specified in the pre-show announcement by the presenter.

Food & DrinkOnly bottled water is allowed inside the theatre. Try to unwrap candies or lozenges prior to the performance as the crinkling paper can be distracting.

Arriving LateLatecomers will be seated at the discretion of Front of House during an appropriate break in the performance.

Babes in ArmsAre not permitted in the theatre, except for certain age-appropriate shows indicated; however, each person – including children – requires a ticket.

For the Benefit of All Patrons, Please Take Note ...

Our Service Commitment If there is anything we can do to make

your experience more enjoyable, please do not hesitate to ask

one of our volunteer ushers or staff members for assistance.

Bar ServiceMost events at The Rose will include bar service.

When this is the case, the bar will be open one hour before showtime and during intermission.

Pre-Order Service Avoid long lineups at the bar by taking advantage

of our pre-order drink service. Purchase drinks before the show.

Hearing AssistanceDevices may be attained from the Box Office,

free of charge.

Coat Check There is a complimentary coat check

located next to the entrance for Studio Two.

Free ParkingThe following operation of the Market Square

parking garage is in effect for allscheduled Rose Theatre shows.

During the week, the gates lift at 6:30 pm and remain up until 7:00 am the next day.

On weekends, the gates will remain up from Friday at 6:30 pm to Monday at 7:00 am.

septembeR & OCtObeR 2013

NOV 23LIONA BOYD

13 • 14 SEASON

9 0 5 . 874 . 2 8 0 0r o s e t h e a t r e . c a

MAIN StAge

ROSETHEATREPRESENTS

NOV 1JOeL pLASKett

NOV 14KuRt eLLINg

NOV 15geNtLeMAN’S RuLe

NOV 22BLIND BOYS OF ALABAMA

NOVeMBeRStuDIO tWO

NOV 8 JOe SeALY & pAuL NOVOtNY

NOV 9 • DR. AMIt ARYA

NOV 14 • tHe cOMeDY cLuB:FRESH PRINCES OF BRAMPTONwith Ali Rizvi Badshah, Keith Pedro& Jazz Mann

LIVEEXPERIENCE IT

NOV 21ceLtIc teNORS

NOV 28cOLONeL cHRIS HADFIeLD

BRAMptON peRFORMINg ARtS cOMpANIeSAt the Rose Theatre:NOV 2 • the Rose OrchestraYoung Masters

NOV 7-9 Brampton Music theatrePeter Pan

At Lester B. Pearson Theatre:November 21-23, 28-30 peel panto playersSnow White & The Seven Dwarfs


Let’s Talk…

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or subscribe to our blog (find it on the home page).

You’ll enjoy insightful commentary,

interviews with artists, photos and videos.

Enjoy and feel free to comment.

Your opinion is important to us.

Sylvia engt: 905.793.7073 c: 416.806.0440e: [email protected]

For Group Discounts Contact Our Group Sales Programmer:

t: 647.438.5559 toll Free: 1.866.447.7849

e: [email protected]

Visit www.rosetheatre.ca

Follow us on Twitter @RoseTheatreBram

Become a fan facebook.com/

RoseTheatreBrampton

Whatever way you look at it, visiting us as a group

will put a smile on your face!Groups Have

MORE Fun!Groups SaveMORE Money!

Celebrate with your family, friends, colleagues or customers and we’ll offer personal group service when you book for 15 or more guests.

Discounted group tickets are available for all Rose Theatre Presents performances!

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For more information visit www.rosetheatre.caPrograms and artists subject to change.

Live Art Competition by Ontario Plein Air SocietyOutdoor Performance by

10PM

Live Music • Comedy Artisans BuskersVisual & Mystical Artists Open Mic

A Celebration of Brampton’s Emerging Artists

FRIDAY, OCTOBER 4Rose Theatre Lobby & Garden Square 7-11PM

FREEEVENT!

8 odeum septembeR & OCtObeR 2013 9rosetheatre.ca

Patrons enjoy the post-show reception for Little Shop of Horrors

The square was groovin’ all summer long with the Friday Night Concert Series

Pre-show activities for the kids made Saturday Night Movies fun

for the whole family!

Sophia Fabiilli and the creative team try out the inner workings of the largest Audrey II puppet

Jay Davis as sadistic dentist Orin Scrivello

Seymour and the street urchins introduce the blood-thirsty Audrey II

Inset: Audrey (Tess Benger) and Seymour (Jeremy Lapalme) in Little Shop of Horrors

The cast of this summer’s acclaimed 12 Angry Men

Inset: Looking dapper at the 12 Angry Men costume fitting

Lee (Scott Carmichael) and Mary (Erin MacKinnon) on the Studio stage in The Melville Boys

Inset: Owen (Jim watson) gets the show started!

SPIN July 4 at 8PM on the Main Stage

Rose Theatre Box Offices1 Theatre Lane, Brampton

Mon. to Sat.: 10:00 am to 6:00 pm Sun.: Closed if no event

905.874.2800www.rosetheatre.ca

Lester B. Pearson TheatreMain Floor, Civic Centre,150 Central Park Drive,

Brampton

Hours are subject to change; please call ahead

or check the times online.

o·de·um 1. A small building of ancient Greece

and Rome used for public performances of music and poetry.

2. A contemporary theatre or concert hall.

Odeum is the monthly magazine of the Rose Theatre Brampton

EditorSasha Romasco

[email protected]

Art Direction & DesignTina Mulliss

[email protected]

ContributorsLachman Balani, Alison Broverman, Ashley Goodfellow, Jon Eben Field,

Nick Krewen, Dennis Kucherawy

To advertisewith The Rose contact:

Gaye Storozuk Coordinator,

Advertising & [email protected]

905.793.6347

from character to character onstage without blackouts. “Sometimes I will say something as Marg and then I’ll be waiting for the other actor to say her line. And then I realize, ‘Oh crap, no, that’s me too!’” This mercurial ability to slip between personas, with banter careening through political commentary, autobiography and fairy tale, makes Dancing With Rage a rare opportunity to watch one of Canada’s greatest comic talents tango with herself. When touching on how autobiographical the show actually is, Walsh says, “It’s all informed by my life, but it is not my life.” This borrowing is apparent in a section called “The Little Girl Who Grew Up Next Door to Her Parents,” which shadows many elements of Walsh’s early life. Walsh did, in fact, grow up next door to her parents; she lived at 9 Carter’s Hill Road while they lived with her seven brothers and sisters at number 7. But, as Walsh points out, “Some of the things that happened to her happened to me too. And some of the things that happened to her didn’t happen to me. And some of the things that happened to me didn’t happen to the little girl.”

In the same vein, Marg Delahunty has macular degeneration, an optical

disease that can lead to blindness, like Walsh herself does. The focus of the show Mary Walsh: Open

Book was a broad discussion of books and their importance in contemporary life. Walsh commented, “I could read all the time, just constantly, except when I’m driving, I mean – I’m not Rob Ford.” She can no longer read in the bath because of the steam and she is “constantly hysterical” about where her glasses are. So the show is also about getting older as Mary’s characters experience the transformations that come with age. Walsh’s political awareness remains trenchant and slicing. When speaking about climate change and environmental degradation, she says, “Even the rich will need a planet, won’t they? The total destruction of the planet cannot serve the über-rich, can it?” And so her comedy is informed by anger at injustice. Her comedy has often served as an avenue to express her frustration, but this show focuses on upset about the disintegration of civic awareness and rights. The dance with rage occurs on the stage because Walsh sees how things in society have become so wrong. She is mad that “the gap between the rich and the poor is widening and deepening daily,” that politicians seem to be interested in “the destruction of democracy,” and that there is no division between “government and corporate power.” When people ask Walsh why she wrote this show, her answer is remarkably simple: “Because I love to perform.” At the beginning, the show was too long “because I didn’t know what to throw out.” But now, it’s “90 minutes most nights and I’m happy with it.” She continues, “I have a tendency, which you might have noticed from this interview, to say things four or five times, even when you really only need to say it once, but it really is a Newfoundland thing.” Walsh’s Newfoundland sensibility is a wellspring for her comedy because she uses her experiences of upset, anger and frustration as vehicles for laughter. “Why just say it once when you can say it seven times and get so much joy out of it. No, but I’ve gotten the show down to saying it once now.”

Mary Walsh wishes she could sing because she knows the “best show in the whole world would have a lot of singing in it.”

In Dancing With Rage, Walsh, the veteran comedic genius of CODCO, creator and star of This Hour Has 22 Minutes, with numerous films and TV productions to her credit, has created a show that weaves together elements of her life, her most famous characters, her razor-sharp wit, and her deeply insightful political sensibilities. So Walsh has tried to create “the best show in the world that I was capable of doing,” but, sadly, without singing. Dancing With Rage is peopled with Walsh’s range of comedic personas, from politician-hunting Marg Delahunty to the hyper-masculine Dakey Dunn to the doughnut-downing paranoid Connie Bloor. Walsh admits, “I have this ability to completely lose myself in the character,” which allows her to switch


ON THE MAIN STAGE SEPTEMBER 19 AT 8PM

by Jon Eben Field


Doing Battle Grand

Scale on a

DANCING WITH RAGEWritten and Performed by Mary Walsh

We’re looking for Brampton talent from K - Grade 12 for the

2014 CENTRE STAGE CONCERT!

AUDITIONS: NOVEMBER 23 & 24ALL TALENTS WELCOME!

To Register Call 905.793.4841


wanted to be an actor but, while taking drama at the University of Winnipeg, discovered that casting directors favoured Caucasian cast members. Then he discovered Richard Pryor’s intimate and observant brand of profane comedy, started out as an impressionist and then began working out his own stand-up comedy routines.“I listened to Richard Pryor’s album[s],” Robinson recalls. “And I thought, here’s a guy who doesn’t have to wait to get onstage. Maybe there’s something to this comedy thing. “It took me a year or two to decide that I was going to have to get out of Winnipeg if I was going to be serious about doing anything, because there weren’t a lot of opportunities there. I went to Chicago for awhile and started getting stage time and going up on open mic nights, and hitting the showcase clubs where Arsenio Hall, Judy Tenuta and Emo Philips were headliners. “So I broke my teeth on those guys, then made a trip to Toronto and saw Yuk Yuk’s, because that’s where the scene was in Canada, and thought, ‘You know what, I bet I could do some damage.’ So I packed my ’68 T-bird (which I would die to have now) and moved everything up here.” This isn’t the first time Robinson and Frost – whose new CD Emotional Terrorism will be available after the show – have been paired together.

“This started at comedy clubs because they said, ‘We can’t have too many dirty shows,’ ” Frost explains. “Fair enough: Let’s do one big dirty show, and then you can go back to your happy comedy. “I approached Kenny, who’s a better comic than I am – he’s been the guy for 30 years – and we did a couple of shows together. It works because, even though we’re both dirty comics, we don’t touch on the same topics or the same kind of style. He’s much more of a laid-back entertainer and I offer the little troll/pit bull kind of delivery system. “We both do headlining sets and whoever goes second has to work pretty hard.” As previously mentioned, comedy is a tough profession, one that Robinson called “a strictly hand-to-mouth existence.”“If you’re not prepared to make all the sacrifices and take all the valleys and highs and lows that come with it, then you need to stay out of it,” he warns. “What Paul Newman said about getting old is the same for comedy: ‘It’s not for [expletive]. It’s a tough game.’ ”

IN STUDIO TWO SEPTEMBER 26 AT 8PM

“Nine times out of ten, it’s someone who is kind of along for the ride,” says Frost. “The person I call ‘*ucky’ laughs at my first four jokes a lot, and there are usually lots of young guys at the front who don’t. So the reason I call him is because I need a sense of humour. These other four guys stare at me, but he laughs at me, so I know that he kind of gets what I’m doing. “What I generally do at the end of the show is give a free DVD to the guy, so at the end people realize that he didn’t go through all of this for nothing. He had a good time and got a $20 DVD out of it, so this comic isn’t the a-hole he portrays himself to be. And that buys me some leeway at the end, kind of a relief to the audience.” His audiences either embrace him or reject him, and Frost says he “gets” their polarizing responses “because my onstage character is very aggressive. That’s part of me, but not all of me.” Robinson, known for his 2001 sketch comedy show After Hours, for founding the Nubian Disciples Comedy Revue and as the morning radio personality for a few years on FLOW 93-5’s Morning Rush show, says dirty comedy comes with its own baggage. “Dirty comedy isn’t easy because, by doing it, you’re saying what you’ve been told not to say and the audience is laughing at taboos and things they shouldn’t laugh at or shouldn’t mention in mixed or polite company,” Robinson explains. “So what’s easy about that? However, I wouldn’t say clean comedy is easy either. I’ve played cruise ships and still got in trouble for a routine I considered clean.” The progeny of a biracial marriage, Robinson originally

by Nick Krewen

Darren Frost

Kenny Robinson

W

X-RatedShowThe

elcome to an evening of Rank and Vile. Considering this show features two wickedly funny Canadian comedians who aren’t afraid to court controversy, we’re not sure who is “Rank” and who is “Vile.”

Perhaps “Rank” should be Kenny Robinson, one of the few Canadian comedians to whom the word “legend” can actually apply. At 55, the Winnipeg-born Robinson has managed to survive and prosper in one of the hardest professions in the world to maintain, especially when you stick the word “Canadian” in front of it. Therefore, “Vile” would apply to Brantford, Ontario-born Darren Frost, 42, whose abrasive, confrontational approach takes no prisoners. Either way, make no mistake; this is not a family-oriented show, unless your family’s surname is “Depraved.” Frost disagrees. “You can bring anybody to the show, even your grandmother,” he suggests. “As long as your grandmother likes Black Sabbath and gin, bring her along.” But at least he agrees about the “dirty” part. For example, Frost – who has headlined at Just For Laughs in Montreal as well as its Nasty Show and Gala and Scotland’s Edinburgh Fringe Festival, and has a recurring role on the CBC comedy Mr. D as “the angry French teacher” – has a tendency to pick a hapless but willing victim, slap them with a rude five-letter name that rhymes with ducky and use them as a focal point during his acerbic set.

Darren Frost & Kenny Robinson

Comedians Your Mother

Probably Warned You About

Dirty comedy isn’t easy because, by doing it, you’re saying what you’ve been told not to say and the audience is laughing at taboos and things they

shouldn’t laugh at or shouldn’t mention in mixed or polite company.

- Kenny Robinson

14 odeum septembeR & OCtObeR 2013 15rosetheatre.caBOX OFFICE: 905.874.2800

“We’ve grown up together, weirdly. It’s been ten years,” says Pavlinek. “We’ve been through so much, it’s like a family. It’s just crazy how much we’ve been through together.” The comedic sensibility of Women Fully Clothed points to the absurdities that the comediennes find in their own lives. “I love working with Women Fully Clothed because they’re not afraid to go to a more real place,” says Pavlinek. “We’re allowed to have moments that just breathe.” Writing duties are shared more or less equally, although Eastwood tends to do less writing. Still, say the other three, her contributions are significant. “Jayne is basically our muse,” says Greenwood. “She does come up with fabulous lines.” For example, one day, Greenwood went into a rehearsal feeling bedraggled and overwhelmed by life, like she just couldn’t get herself together. On her way in, she’d seen a perfectly put-together woman – hair blown straight, immaculately dressed – pushing a stroller and walking a dog. Greenwood explained her irritation to Eastwood when she arrived at rehearsal. “Jayne just looked at me and said, ‘Some women are just better than you, Kathy,’” says Greenwood. “I just started laughing my head off. I went home and wrote a song called ‘Some Women Are Better.’” All four performers enjoy the collaborative nature of their work. “We work really well together,” says Eastwood. “The difference between doing this and Second City is that we’re not competing against each other in this show. It’s extremely collaborative – it really is about making the show good.” And they’re not shy about the fact that they mine every aspect of their lives for potential sketches. “We write from our lives,” says Pavlinek. A couple of years ago, she says, there was a death in Eastwood’s family and the Women Fully Clothed attended the funeral. Pavlinek was horrified to notice someone texting from the pew in front of her. So she wrote a sketch about that. “Every tidbit in our lives shows up onstage,” she says. After working together for ten years, Duke, Eastwood, Greenwood and Pavlinek really do know how to make each other laugh – and they can figure out quickly if a concept for a sketch is working or not. “We make each other laugh in the van on the road – a lot of [sketch ideas] come from that,” says Pavlinek. “Luckily, we really do inspire each other.” Eastwood agrees. “I’m hanging onto these girls for as long as I can.”

he writing process for the sketch comedy troupe women Fully Clothed sounds more like a girls’ night out than anything else.

“We sit around and talk about what’s going on in our lives,” says the troupe’s founder, Robin Duke, who has been a staple of the Canadian sketch comedy scene since her days with Second City and on SCTV in the 1970s and ’80s. “Things will come up and someone will get an idea for it, go home and write it and bring it in.” Kathryn Greenwood agrees. “It’s what every other girl does – get out with her girlfriends and eat and laugh,” she says. “The only difference is we go home and write it all up. We just start with things that make us laugh.” Women Fully Clothed began about ten years ago when Duke was asked to put together an all-female show for a fundraiser. “I called women who inspired me, basically who I wanted to work with,” says Duke. Those women are some of

Tby Allison Broverman

Canada’s funniest people: Jayne Eastwood, Theresa Pavlinek and Kathryn Greenwood. (For the first few years, the group also included Deb McGrath, but these days Women Fully Clothed performs as a quartet.) Although that original performance was meant to be a one-off, the women found they worked so well together that they decided to make it an ongoing thing – and Women Fully Clothed was born. “We had such a great time, such great chemistry, that we wanted to continue,” says Duke. The show they’ll be performing at The Rose this fall is the second original collection of sketches they’ve written. Because the sketches tend to be based on ideas from the group members’ lives, the main difference between the first and second shows is that, several years later, the Women Fully Clothed are at slightly different places in their lives. “Jayne’s a grandmother and Theresa has a little baby now,” explains Greenwood.

Women Fully Clothed

the four funniest women in canadaCo-star of SCTV, Eugene Levy

ON THE MAIN STAGE SEPTEMBER 27 AT 8PM

Older &Hotter



rampton will have an affair to remember as Rick Springfield swings into town to wow diehard fans with songs from his critically acclaimed new album, Songs for the End of the World. The album wields an earthy classic rock sound along with his timeless golden favourites.

Many of us are probably already humming his legendary hit “Jessie’s Girl” from when it was all the rage on radio stations. It hit numero uno and became a worldwide sensation, taking the planet by storm and earning Springfield the 1981 Grammy Award for Best Male Rock Vocal. Another Top 10 song from those times that had us a-rockin’ and a-rollin’ was his version of Sammy Hagar’s “I’ve Done Everything For You.” And how about his take on The Beatles’ “Eleanor Rigby”? The list of songs that set us afire is endless. Born Richard Lewis Springthorpe in South Wentworthville, a suburb of Sydney in the land of Oz, Springfield started playing guitar at an early age, forming the pop rock group Zoot in his native country from 1969 to 1971. As with many bands that started in those days, Zoot was initially a teenybopper band. They thought up this great theme “Think Pink – Think Zoot,” which saw the band dressed head-to-toe in pink, drawing a huge number of teenage female fans. Springfield then graduated to more serious stuff, moving from Australia to the UK and then the US, always prolifically writing songs. He even did a TV cartoon series, composing a different song for each episode. His songs have been used in numerous movies as well. “Yeah, I get ideas from everywhere – from books, from movies. I draw inspiration from something that I hear in a restaurant and you hear it and have to write it down,” he has said. Such was his popularity in the ‘80s that he was invited to perform at Bob Geldof’s fabled Live Aid concert for Africa that took place simultaneously in London and Philadelphia. There was no stopping this formidable artist as his loyal fan base waxed enormously. Besides being an all-around musician playing guitar and keyboards, writing songs and singing, he was also the talk of the US as heartthrob Dr. Noah Drake in the TV series General Hospital and still stars in it periodically. He has also appeared in Californication and in the musical Smokey Joe’s Café on Broadway. Springfield also wrote a best-selling memoir, Late, Late At Night, and is working on another book, Magnificent Vibration. Because of all his accomplishments, a rock documentary, aptly named An Affair of the Heart after one of his famous songs, was made, telling stories of his fans and their reactions and interactions with him. The film won several awards on the festival circuit in 2012. He is set to receive a star on the Hollywood Walk of Fame in 2014. A true genius! Let’s go back to his music, however. Stories abound of women who not only enjoy going to see him perform live but tell how his music also helped them survive accidents and sickness. Springfield recounted in a previous interview: “This woman had one of my songs on her cellphone; when someone would call in it would play. She got into a bad car accident and crawled out of the wreckage and ended up in the bushes. The paramedics were treating her, her life signs were going down and someone called her. The song came on and the paramedics said her life signs started to pick up.” How’s that for the healing power of his music? So sit back and relax in the intimate atmosphere of the Rose Theatre as you cosy up to the inimitable Rick Springfield for a memorable evening and an affair of the heart!

ON THE MAIN STAGE OCTOBER 16 AT 8PM


SPRI

NGFIE

LDby Lachman Balani

B

AnAffairof theHeart


Karen Wood, whom audiences may remember from her entertaining performances in Barefoot in the Park, A Christmas Carol and The Fully Monty, appears in the leading role of Sister Aloysius while Sweeney MacArthur (A Christmas Carol, The 39 Steps, Cabaret) will portray Father Flynn. In his many roles here at The Rose, this will be MacArthur’s biggest “stretch” as an actor, says Woodcock. Marci House will take on the role of Donald’s mother and Sister James will be played by Erin MacKinnon whose “sensitivity and compassion will add tremendously to the piece,” says Woodcock.

Almost ten years after its world premiere, Doubt still remains relevant, maybe even more so as our society struggles with the conservative counter-revolution. Director Woodcock agrees the play is timely. “I think Sister Aloysius will represent the current right-wing religious and political view, though the play premiered in 2004 and is set in 1964.”

He says that where audience members “sit in the right-wing versus left-wing divide will greatly affect their perception of the play and will determine whether they back Sister Aloysius or Father Flynn’s version of events. Each of the characters will polarize them. We welcome it. I think it will add to their enjoyment and to their post-show discussion on the car ride home.” Woodcock, who has seen the film and the stage version, says both are unique in how they present the story and deal with the conflict within. “I think the stage version allows for more ‘grey area.’ The last production I saw divided our group of four right down the middle on whether Father Flynn was innocent or guilty … I hope we stimulate that kind of discussion following each of our performances. “My challenge going forward is to try and keep my personal religious beliefs and political views from skewing the storytelling. I also have to try to convince the actors that this is the characters’ story, not yours. If your view is different, cast it aside and let the character tell their story through you.”

IN STUDIO TWO OCTOBER 16-20

by Dennis Kucherawy

Comes to Studio Two DOUBT

Tony Award-Winning

YInnocence can only be wisdom

in a world without evil. Situations arise and we are

confronted with wrongdoing and the need to act.

- Doubt by John Patrick Shanley

Sweeney MacArthur will portray Father Flynn

ou may think you’ve never heard of Oscar-winning playwright John Patrick Shanley, but you likely have seen his work. Remember when Cher vigorously slapped her would-be suitor,

the lovesick Nicolas Cage, in Norman Jewison’s 1987 romantic comedy Moonstruck and ordered him to “snap out of it!”? The film earned Shanley an Academy Award for Best Original Screenplay. Of course, in 2008 the film adaptation of his Pulitzer Prize-winning, hit stage drama Doubt was released with an all-star cast consisting of Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis. The play had its world premiere in November 2004 at New York’s Manhattan Theatre Club. It swept that year’s Best Play awards, receiving the Tony as well as the Drama Desk, Lucille Lortel and New York Drama Critics’ Circle prizes. Now, Doubt comes to Rose Theatre Studio Two in a production directed by Robert Woodcock. Woodcock is known for his many popular shows at The Rose, including his recent production of Norm Foster’s The Melville Boys, The Taming of the Shrew, The Full Monty, Barefoot in the Park, Forever Plaid and The 39 Steps. Set in 1964 in the fictional St. Nicholas Church School in the Bronx, Doubt tells the puzzling story of a conflict between Sister Aloysius, a stringent, conservative nun, and Father Flynn, a progressive priest beloved by students and members of his congregation. In a meeting with Sister James, a younger, naive and impressionable nun, Sister Aloysius reveals her character. She mistrusts everyone – her fellow clergy, her students and society itself. Sister Aloysius and Father Flynn come into conflict when she learns from Sister James that he met one-on-one with Donald Muller, the school’s first and only black student. Sister Aloysius is led to believe that the priest sexually abused the boy. The play escalates as these implacable people struggle in their dispute: Sister Aloysius to find out the truth and remove all doubt and Father Flynn to defend himself.



birthday parties and other small events for friends and family. Later in high school, he met Kim Hess, an award-winning baton twirler, and the two began designing a magic and illusion show. The show that tours today as The Jason Bishop Show is a masterful evolution of those beginnings. He now books more than 150 shows a year in major theatres, venues and cruise ships in North America and beyond. Since breaking out as one of the master illusionists in the magic circuit, Bishop has collected several awards for his impressive tricks, including the Jack Gwynne Award for Excellence in Presentation and the 2006 Association for the Promotion of Campus Activities Best Performing Artist of the Year. He’s also been tagged America’s Hottest Illusionist. “I love it,” he said of his work. “I love meeting new people and travelling. I love being onstage and communicating with the audience. I love coming up with ideas. I really love what I do.” But don’t ask him to reveal his secrets — because he won’t. Part of doing magic, he says, is making people believe the unbelievable and offering an entertaining escape from reality. “I’m not trying to fool anybody (with the magic) per se; the point is just to see something cool,” he said. “But my hope is always that I can change someone’s expectation of magic in a positive way.” Even if you’re a cynic when it comes to magic, go see this show because Bishop just might be able to make the skeptic in you disappear.

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JASON BISHOPMasters the ‘tricks’ of the trade

ou see an image of a goldfish swimming across the screen of an iPod Touch and, in an instant, it appears — in the flesh, in a glass of water.It’s a puzzling phenomenon that’s happening in cities

across North America and on cruise ships sailing the oceans. But, make no mistake, it’s not a fancy new app; it’s actually nothing more than good, old-fashioned magic with a modern twist. Just ask Jason Bishop or, better yet, watch it happen live when he brings his fascinating magic show to The Rose. Bishop, who’s been perfecting his unique brand of magic and illusion since his pre-teen years, will deliver his versatile and contemporary show of grand illusions, sleight-of-hand and close-up magic to Brampton audiences for the first time. And he’s ready to make an unforgettable impression. He is, after all, the only performer in his trade whose show features a double levitation. Although he takes his craft very seriously, the show, he says, is “pretty unpretentious.” Bishop has designed the show so that his state-of-the-art magic is the centrepiece in a presentation that also features clever comedy and modern music. It’s a triple threat in the world of performance art and can easily engage an audience of varying ages, demographics and interests. Interested in making the audience laugh, he’s known to infuse more humour than a typical magic show. As well, the musical component features songs from current artists like Kings of Leon and Yeah Yeah Yeahs, for instance. He even does a “bit” to the hugely popular dance song “Gangnam Style.”

Yby Ashley Goodfellow

“It’s a fun night, lots of comedy and laughter — that is, if you don’t take yourself too seriously,” he said. It’s a versatile show — “super-contemporary,” he says — and it brings magic into the 21st century by incorporating technology like plasma and LCD screens, iPhones, projectors and other effects into the world of illusion. The effects — including the lighting, which is the same gear used by the Grammy Awards — are completely unique to Bishop’s show. “You’ll never see a show that uses the materials we feature — I’ve taken a lot of time to comprise these things,” he said. “The effects are a big part of that.” Aside from the double levitation and goldfish illusion, what’s really cool, his audiences usually say, is the trick where he makes playing cards appear then bounce off the stage and 30 feet (10 metres) into the air. “That’s usually the biggest thing people comment on, after the double levitation,” he said. Making a connection with the audience is integral to his show and his success. A huge proponent of audience interaction, Bishop makes sure to include random volunteers onstage for some of his acts. You may see, for instance, Bishop convert a $1 bill into a $100 bill — then give it away to a lucky viewer. You’ll also see illusions that involve kids as volunteers — fitting, since his own love of magic sprouted when he himself was a child. Bishop grew up in foster homes and began researching magic at a young age. By age 15, he was already booking

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He’s never regretted his decision. “What I love about country music is that there are real people in it,” says Brownlee, “humble guys who love what they do.” Brownlee describes his early songwriting as a “musical journal” and his songs and song ideas still come from what’s going on in his life and heart. “Making music and spilling out

my heart – that’s where it all began, and I try to maintain that,” he says. “Chances are, if I feel something, someone else is going to feel the same thing. It’s not just my song, it’s everybody’s song.” So far, the three performers are having a blast getting ready for the tour, filming promotional videos and even writing a few songs together. The concert itself will include a solo set for each performer

in addition to a few numbers that all three play together, plus “a few surprises,” says Ruttan. “The chemistry is really great,” says Blaine. “Everyone’s looking forward to becoming one big family.” Blaine is also looking forward to interacting with the audience. “My favourite thing is hearing the crowd sing songs back to us,” he says. “That’s when the music comes alive.”Your Town

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hree Canadian country musicians walk into the Rose Theatre. No, it’s not the beginning of a joke – it’s just the first stop on the Your Town Throwdown Tour, a concert tour that brings together Deric Ruttan, Chad

Brownlee and Jason Blaine for an evening of music that they make both together and individually. It will be the first time that all three musicians perform together, although Ruttan has collaborated on songs with both Brownlee and Blaine. Ruttan and Blaine have known each other for almost a decade and share Ontario as their home province (Ruttan is originally from Bracebridge and Blaine from Pembroke), although they both call Nashville home at the moment. “Deric was one of the first people I wrote with,” says Blaine. “He’s kind of seen my career from its inception… but we’ve never toured together until now.”

T by Alison Broverman

L to R: Deric Ruttan, Chad Brownlee & Jason Blaine

Ruttan has watched the careers of plenty of Canadian musicians blossom in Nashville – he and his wife used to own a farmhouse on the outskirts of the city that “got famous for newcomers crashing on their couch,” says Blaine. “It was itinerant Canadian musician central,” says Ruttan. Ten years ago, Blaine was one of those newcomers, but this year he and Ruttan had a “cool full-circle moment” when they won the Canadian Country Music Award for Single of the Year for “They Don’t Make ’Em Like That Anymore,” which they wrote together and became a big hit for Blaine last year. In addition to writing, recording and performing his own music (he has a new album coming out in the fall, from which the single “Take the Week Off” was just released), Ruttan keeps busy collaborating on songs for other musicians to perform. He was recently nominated for a CCMA for “Cool,” a song

he co-wrote with Blaine. He loves the variety. “The [writing] process is different for me with everyone I write with,” says Ruttan. “It keeps me interested and excited.” Now it’s Brownlee who is the relative newcomer of the three. “Chad just exploded onto the scene,” says Blaine. “He’s a great guy and a super talent. But this tour is my first opportunity to get to know him.” Brownlee spends time in Nashville writing and recording music, but makes his home in his native British Columbia (he grew up in Kelowna and now lives just outside Vancouver, in Langley). He came to music after outgrowing another common Canadian boyhood dream – hockey. He played NCAA hockey and was drafted for the NHL, but never got any further than the minor league. He’d been playing around on guitar for fun ever since his freshman year but, once he gave up on his hockey dreams, switched his attention to music full time. “NHL dreams were getting more and more distant – as soon as that started to fade out, I lost the love [of hockey],” he says. “Music took a stronghold, [and I] decided to pursue music while I was still young.”

The chemistry is really great ... Everyone’s looking forward to becoming

one big family. - Jason Blaine


Me Quitte Pas,” are sung by Toronto singer-songwriter and photographer Emma-Lee. “She’s just got that magic,” says Cook. “Over the years, I’ve been really blessed in that I’ve got to collaborate with a lot of musicians that I really love and singers that I hold in high esteem. Some of those singers, without mentioning names, I’d show up to the sessions and discover it would take a lot of work just to get them to sing in tune. “There was one singer in particular that had her own Auto-Tune specialist that came to the session with her. And I was just shocked – I kind of assumed that if you’re a great singer, you’re a great singer. “Apparently, everybody has their own way of getting there. “But Emma-Lee needs no assistance whatsoever. I have to admit, I didn’t know that much about her, but she walked in, I set up a mic in front of her, and with the first notes out of her mouth, I realized, this is going to be great! “Each take I did with her could have been the album cut – they were flawless, beautiful and she’s really a remarkable artist. I think we ended up doing three passes through the whole song and about 15 minutes later she was leaving.”In terms of Cook’s own livelihood, he started guitar lessons when he was 3. “I come from three backgrounds of guitar playing, which are classical, flamenco – at different points in my childhood I was involved in flamenco music, and in my 20s I used to accompany dance classes and dance performers in flamenco – and the last tradition is jazz. I went to Berklee Music School in Boston and I studied jazz at York and various other places. So when I sit down to play, those are the techniques that I bring to express myself. ‘But I have to say that as much as I love flamenco and it’s part of me, I don’t ever want to really do flamenco puro. For me, flamenco is a box – it’s a beautiful box, one with incredibly intricate gilding and a fantastic heritage – but at the end of the day, it’s a box. I want to be outside of that, so, for me, my career has been about trying to create something new. I want to take the music that I’m doing to other places.”

he last time virtuoso guitarist Jesse Cook played this hallowed venue in May 2012, he filmed a PBS TV special, Jesse Cook: Live in Concert.

Now he’s returning to reprise a decidedly new sound with his 10th album, The Blue Guitar Sessions. Unlike his prior albums, which have explored and expanded on his own distinctive nuevo flamenco stylings, his latest effort is decidedly more restrained. “That was the idea, to do a mellow album,” the Toronto-based Juno Award winner admits. “Actually, I don’t know if mellow is a term I’d use, but one of those records that, like The Buena Vista Social Club or Lhasa’s album La Llorona: those kind of records where they just have this mood. You put them on, and you just want to live in this other world where you’ve got this hint of melancholy to it.” Citing Miles Davis’ landmark album Kind Of Blue as a reference point, the Paris-born, Spain-and-Toronto-raised Cook said The Blue Guitar Sessions is new territory for one known primarily for intricate technique that often challenges speed limits.“On this record, what I was trying to do with my style of guitar playing is just take it to that space,” Cook, 48, explains. “I didn’t want it to specifically be a Miles Davis Round Midnight space, I just wanted it to be that area that seems to emanate from the types of albums that I really love, whether you’re talking about Norah Jones’ Come Away With Me, Buena Vista Social Club, or Getz/Gilberto – whatever that record is, it’s got that feeling, that weird melancholy in there. “Obviously it doesn’t end up being ‘The Girl From Ipanema’ because I’m trying to do things that I love in that space – exotic percussion from different parts of the world, but at the same time, keep it in that really chilled-out, blue feel.” But he hasn’t abandoned all of his old practices. “I’ve always included one or two songs in each recording,” Cook states. “I like to include collaborations with many different artists, but also vocal tracks. In the past I’ve done covers of ‘Fall At Your Feet’ or Sting’s song ‘Fragile,’ but when I started looking for material that would fit with this record as a vocal track, both ended up being songs that I’d heard Nina Simone cover. She sits in that blue area.” The songs, Screamin’ Jay Hawkins’ “I Put A Spell On You” and Jacques Brel’s “Ne

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This autumn’s most enchanting gala event will happen when Jann Arden and Burton Cummings each take the stage at the Rose Theatre to benefi t William Osler Health System’s three hospitals: Etobicoke General, Brampton Civic and the new Peel Memorial Centre for Integrated Health & Wellness. Guests will enjoy a perfect harmony of wine and delicious hors d’oeuvres at an elegant reception and then be swept away by two intimate performances by the artists – all for just $250 per ticket. All seats are first-come, first-served so book early!

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by Nick Krewen

JESSE COOKExplores

His MoodINDIGOT


a couple of librettos that he hopes to turn either into musicals or multimedia projects. Vannelli, a notorious perfectionist, also admits he becomes obsessive when inspiration strikes him. “If an idea comes to visit you upon the darkness of night, you better not turn your cheek,” he says. “You just take it. If it means staying up nights being at the typewriter or the computer, banging away, you just do it until you feel it’s done – until you’ve exhausted all inspiration. And that’s indeed what has happened with these two librettos. “One of them is going to be a novel first, and the novel is just about quarter-written. Then it will either be a stage play or an animation. But I know the way these things go and, once you devote your life to it, everything else must be put on the back burner. It’s just all-consuming. “One takes place in the 15th century, another in the 18th century. You get to know the vernacular and colloquialism of the time, you start living and breathing it and, lo and behold, you’re living in 1550,” he laughs. Currently on a Canadian tour, this is Vannelli’s second stop at The Rose. He says it’s a great venue. “It’s both big and intimate at the same time,” Vannelli explains. “My brother Ross (Gino’s live sound engineer) says he can get a great sound in that theatre. I can see the whites of people’s eyes, it’s a pretty theatre and acoustically, I think it’s quite good. I feel like I can almost reach out to the balconies so it’s big, but not too big. “Plus, I hear parking is better,” he chuckles.



ou could use one of Gino Vannelli’s many hit songs to summarize his Juno Award-winning career: “People Gotta Move.” In the 45 years since the Montreal native

(he now calls Portland, Oregon, home) released his first single under the pseudonym of Van Elli, the singer, drummer and multi-instrumentalist hasn’t stood still when it comes to stylistic pursuits: 1972’s Crazy Life and 1973’s Powerful People were synth-driven jazz pop; in 1975-1976, his albums Storm at Sunup and The Gist Of The Gemini explored progressive rock with a slight leaning towards jazz; 1977’s A Pauper In Paradise, featuring The London Symphony, offered his first orchestral work; 1978’s Brother To Brother and 1981’s Nightwalker stayed closer to R&B and romantic pop; 1985’s Black Cars and 1987’s Big Dreamers Never Sleep included more programmed rhythms; 1995’s Yonder Tree and 1998’s Slow Love concentrated on jazz; and 2003’s Canto explored classical, multilingual territory before he returned to the pop medium for 2006’s These Are The Days. Although that’s only a partial representation of the Vannelli album catalogue, it definitely gives you the idea that the maestro isn’t one for standing in the same spot too long. “I think the greatest enemy an artist faces if he remains in the business for more than a decade is stagnation or boredom,” Vannelli, 61, explained from home recently. “I think that’s what happens to a lot of artists that remain too long in the spotlight; somehow they repeat themselves or become a parody or copy the latest trend, and sound pretty lame doing it. “I wanted none of those things so I planned early on to dig deep into the well. And my well was pretty deep because of my upbringing.”

Yby Nick Krewen

GinoVannelli Vannelli’s father Russ was a big band musician who also loved classical music, opera, jazz, Latin, soul and sophisticated pop. Gino and his two brothers, Joe and Ross, absorbed that knowledge like sponges. “It really broadened my understanding of harmony and theory so I had all those inclinations,” says Vannelli. “It was just a matter of time as to when I would tear them out of my pocket and say, ‘Let’s try this. If I could sift it through my sensibility, I might just make something of it.’ That’s what happened. I had my jazz hand in Yonder Tree, and then a little bit more soul in Soul Love, an all-out classical album with Canto, and then I went to the Netherlands and lived there for two years and came up with A Good Thing, which was sort of a contemporary blues approach, and now I’m working on an all-out jazz/blues project, which I’m having a great time doing.” While Vannelli promises to provide at least one sample from his work-in-progress with his seven-piece band, he’ll also deliver plenty of the hits that made him famous. Songs like “Wild Horses,” “Hurts To Be In Love,” “I Just Wanna Stop,” “Living Inside Myself” and “Black Cars” … although they may not be quite exactly as you remember them. “I’ll add things and bring new sensibilities to it, and new parts and arrangements and, in some cases, rewrite the song in some way,” says Vannelli. “I’m respectful to the original arrangements, but I guess I am an adventurist.” His next adventures include recording a DVD in Los Angeles in November – his first concert there in 15 years – and

A Big Dreamer Never Sleeps

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