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Last Chance for The Lion King

TshidiManye copy

In case you missed it, Disney’s The Lion King wraps up its summer run at the Jubilee this weekend. It’s the story of young Simba, who is in line to be king until his evil uncle Scar teams up with a bunch of laughing hyenas, kills Simba’s father and chases Simba out of the kingdom, believing his father’s death was his fault. You can guess how it all turns out (it is Disney, after all). Nevertheless it’s a pretty engaging good versus evil (“I shouldn’t believe that inner dialogue that says I’m not good enough”) story, and certainly one that seems to appeal to children, based on the demographics of the audience the night I was there (including a family of 6 in front of me that must have shelled out close to $600 for their evening’s entertainment – yikes!)

The Lion King is not my favourite Disney show (give me  Mary Poppins or Beauty and the Beast any day), but apparently I’m alone there. According to Broadway Across Canada, The Lion King premiered on Broadway on November 13, 1997, and won six 1998 Tony Awards®. Since then, 22 global productions have been seen by more than 75 million people and, cumulatively, run a staggering 112 years.  Having played 20 countries on every continent except Antarctica, The Lion King’s worldwide gross exceeds that of any film, Broadway show or other entertainment title in box office history. I guess that’s why they’re not boasting when they say it’s the World’s Number 1 Musical.

I saw Broadway Across Canada’s production when it opened in August. I thought the opening procession of animals was amazing and I was impressed with Gerald Ramsey as Simba’s father, Mufasa and Tshidi Manye as Rafiki (see photo above). I also have to give a special nod to Julie Taymor (Director, Costume Design,Mask-Puppet Co-design) and Michael Curry (Mask/Puppet Co-design), for really making you feel like you were watching animals on stage. After the novelty of all of this wore off and Mufasa died, the story kind of lagged for me. Maybe I just couldn’t relate to the young Simba or his girlfriend/wife Nala, or maybe I just don’t have much patience for hereditary monarchy or Warthog farts. Whatever the reason, while I enjoyed The Lion King well enough, I don’t think this show will ever make my all-time hit parade, even with music by the likes of Elton John and Tim Rice. This includes the Academy Award®-winning song “Can You Feel the Love Tonight” and the opening number, “The Circle of Life” and other songs from the animated film, plus 3 new songs and additional musical material added for stage which gives it an additional African flair.

I think that if you loved the movie, or are a fan of the musicals Warhorse or Cats, you might like this show. Otherwise, save your pennies and watch the movie (again).

The Lion King closes on Sunday September 6. For information and tickets go to

Next up for Broadway Across Canada:

Riverdance 20th Anniversary Tour (a short run over the Thanksgiving long weekend). Tickets available now.

Once, the Musical – Nov 3 to 8.  Tickets for ONCE go on sale Monday, September 14 through, or by calling 1-855-985-5000. Tickets start at $35.00 (plus applicable service charges).   Reservations for groups of ten (10) or more are now being accepted by calling 1-800-889-8457. Performances run Tuesday through Saturday evenings at 8pm, Sunday evening at 7:30pm with Saturday and Sunday matinees at 2pm.

Good luck getting tickets to any musicals this week

The holiday (musical) theatre scene is winding down with SOLD OUT performances of the Lion, The Witch and the Wardrobe at Rosebud, Peter Pan at Storybook (saw them both last week, as well as Annie at Central Memorial and Morpheus’ Christmas panto – liked them all) and With Bells On at Lunchbox (taking my whole work team there tomorrow for our year-end celebration, so yes, it’s my fault you can’t get tickets).

Just got back from Lunchbox theatre where I saw a fun Christmas musical revue put on by Forte Musical Theatre Guild called Naughty… but Nice! It’s described as “A hilarious and slightly risque look at everyone’s favourite holiday season,” and lives up to its billing. Directed by JP Thibodeau, it features Calgary favourites Joe Slabe (Forte’s artistic and musical director and creative force), Jeremy Carver-James, Katherine Fadum and Adam Sanders.

I’d have missed it altogether if someone from the Calgary Musicals+ Meetup Group hadn’t told me about it. Either I was asleep at the switch (likely) or Forte needs to improve its marketing (wouldn’t hurt – I’ll bet they could have done a good business with the Christmas Party crowd). Tickets are $25/$20 and available through Lunchbox Theatre.

That makes 6 shows in 9 days, possibly a new record for me. Definitely time for a rest. Next up – the new Into The Woods movie, which opens on Christmas Day. I’m a big Stephen Sondheim fan, and I love the score, so I am really looking forward to this one.


Mixed Reviews for Flashdance at Broadway Across Canada

4089-1[1]Broadway Across Canada’s Flashdance wraps up at the Jubilee today with a matinée and an evening show. I saw it on Tuesday with 6 other members of the Calgary Musicals+ Meetup group. While my companion and I in the orchestra quite liked it, my colleagues in the front of the second balcony were less enthusiastic – with views ranging from “ok” to “blah”.

Sure, the story of a female welder who aspires to be a ballerina and falls in love with the steel plant’s new boss is fairly predictable (girl-meets-boy, girl-hates-boy, girl-changes-her-mind-when-she discovers-the-boy-has-a-heart-of-gold) – essentially the same story as Billy Elliott without the romance – and they did have issues with sound on opening night, but I thought the score and singing were solid (including hit songs from the 1983 movie, “What A Feeling”, “Maniac” and “I Love Rock ‘N Roll”) and I really enjoyed the dancing, which is really the heart of the show. My mother always said you should support dancers, because their careers are so short and would always see A Chorus Line when she went to New York. My peers upstairs were not convinced. It would appear that our views echo those of the critics who also had mixed opinions. Here are a couple:

Calgary Herald (Stephen Hunt) – Flashdance the Musical Fizzles

Calgary Sun (Louis Hobson) – Plenty of Flash, Some Tedium

If you want to go, there are still tickets available, either online or at the door.

For more information go to:

Calgary Dinner Theatres Wind Down for the Summer

I was walking through Prince’s Island park last week on the first of our chilly mornings and came across a couple of pre-schoolers with their Mom on the way to the Y. They were having fun chasing gulls in the park (“you don’t chase geese, because they bite”).  One of them turned to me and said “My nose is cold.”  I suggested that maybe it was because she wasn’t dressed for the suddenly cool weather. She responded matter-of-factly, “It’s still summer, you know”. I assured her that indeed it still was.

So, while theatre companies are in the throes of getting their Fall seasons ready and parents are in the throes of getting their children ready for school, several musicals are winding up for the summer. With the exception of Les Miserables at Storybook (school edition), which opened this week – the Calgary Musicals+ Meetup group is going closing night Sept 6 if you’d care to join us – the rest are dinner theatre shows that have been on all summer.

Closing this week are Chickens at Rosebud Theatre and Avenue Q at Stage West. Jubilations Dinner Theatre ‘s The Big Boom Theory 2: Time Travelling Geeks closes next weekend.

I haven’t seen Chickens – like a lot of people, I was probably put off by the title, but I’m told by people who’ve seen it that this story of a bankrupt farmer who has one last chance to save the farm by investing in exotic chickens, is hilarious. If the idea of singing, dancing chickens appeals to you, you might want to give it a try.  For more information, tickets and a sample of the music, go to

I can recommend both of the other two, however, particularly Avenue Q, which I saw last week. I first saw the show when Storybook Theatre did it a couple of years ago and was blown away by it. I wouldn’t have thought a musical with people walking around on stage holding Muppet-like characters and singing songs like “It Sucks to Be Me” and “The Internet is for Porn” would appeal to me, but I was really impressed. I’m sure that the secret of its success has to do with the dichotomy of having childlike puppets saying (and doing) “dirty” things. Certainly there are things puppets can get away with, that conventional actors can’t, which is some of the charm and fun of the show. Stage West’s version, directed by Calgary favourite Mark Bellamy is top-notch – and includes many well-known and emerging Calgary actors (Katherine Fadum, Christian Goutsis, Madeleine Suddaby and Selina Wong).  I particularly enjoyed the “Bad Idea Bears” modelled on the Care Bears, who would suggest to the protagonist, Princeton (played by Jeremy Crittenden) that since he was depressed, unemployed and broke he should use his rent money to buy beer – “it’s cheaper by the case”  -and then cheer whenever he did whatever they suggested (and he usually did, to his detriment). I love it when Stage West does “real” musicals, rather than revues, and I have to admit I was surprised they put  this R rated show in their programme, as it’s more risqué than their usual fare. I know there was pretty much a full house when I went, so hopefully we’ll see more of that kind of offering there in future.  For information and tickets go to  (Did you know Thursday is Ladies night and they have discounts for tables of 4? I didn’t).

Big Boom Theory 2: Time Travelling Geeks (written by Matt Falk, directed by Randy Apostle) at Jubilations Dinner Theatre, is a sequel to last year’s successful Big Boom Theory, both of which are jukebox musical spoofs of the popular TV series (Jubilations’ bread and butter as it were). I’ve only seen Big Bang Theory a few times, and although I like it, I’m not a big follower, so I’m sure some of the humour was lost on me.  This was not the best offering I’ve seen at Jubilations (my personal favourite in recent years is still Ghostbusted) – but I expect this would appeal very much to fans of the TV show, and there are plenty of them. I was particularly impressed with the dancing talents of Jeff Rivet (Howard) and Aimee Beaudoin (Penny) and Andrea Bailey (Amy) ‘s geeky strip-tease. For information and tickets go to

If that’s not enough, Cornerstone Theatre’s annual Oh Canada Eh? show runs through to October. For more information and tickets, go to


I’ll be posting the Fall musical theatre schedule shortly so check back soon to see what’s coming up in September. As usual, lots to choose from.


CAST production of Modern Millie Thoroughly Enchanting

Although July’s a pretty light month for musicals, I managed to see two shows back to back this week – a good study in contrasts. The first was Broadway Across Canada’s Wicked  at the Jubilee (every bit as good as I expected, although I was amused to discover that although I’d seen only 7 years ago, I’d completely forgotten the ending, which made for a nice surprise).

While I expect everyone who follows theatre at all knows Wicked is in town, there are few who know about the other show I saw, the enchanting Thoroughly Modern Millie, put on by the Youth Singers of Calgary’s CAST (Collaborative Artists Summer Training) program production. This production is a much lower budget production done by Calgary youth and young adults after 6 weeks of rehearsal in the Youth Singers’ small studio in an industrial park near Stage West.  They launched the program three years ago with Fame, and last year did Godspell, both of which I also enjoyed. I’d missed Millie when Central Memorial High did the show last year, so I was glad to get another chance so soon.

2014 - Mille ad for Spring ShowThoroughly Modern Millie is the story of a small-town girl in the 1920’s who heads to New York to embrace the flapper lifestyle and find a rich man to wed (OK, so women didn’t have quite so many choices in those days). It was a Broadway hit in 2002 which was based on the 1967 movie of the same name with Julie Andrews, Mary Tyler Moore and Carol Channing (now that would be worth renting someday).  

I am always impressed by the talent we have in this town at the amateur level, and this show was no exception. It was a great ensemble show and the caliber of the singing and dancing was very good, and the set, while simple, was very effective. I have to say, though, that I was blown away by Liberty Laferriere in the title role of Millie (now there’s a stage name!). Liberty has an energy that lights up the whole theatre, and man, can she belt out a tune! I’m sure we’ll see her, as well as many of these other aspiring performers on Calgary stages in years to come.

Liberty Laferriere (front) and the Cast of Thoroughly Modern Millie in rehearsal (photo courtesy of Youth Singers of Calgary)

Liberty Laferriere (front and centre) and the cast of Thoroughly Modern Millie in rehearsal (photo courtesy of Youth Singers of Calgary)

I was also pleased to see the addition of risers for the audience this year, which makes for better viewing. Even so, it’s best to sit at the front of each level or in the front row so you don’t risk having heads blocking your view.  I was sufficiently inspired by the show that I chose to contribute to the CAST program’s  indiegogo campaign to help cover their costs and raise money to turn the studio into a full-fledged black box theatre, something that will be a welcome addition in the south end of Calgary.

Thoroughly Modern Millie runs until August 2 and tickets are $15 in advance or $20 at the door (I’ve never had problems getting a ticket at the door). Note that evening shows have a 7PM start.

For more information go to

Why West Side Story is Still On My Top Ten List

The Jets doing one of their trademark dances at Broadway Across Canada

The Jets doing one of their trademark dances at Broadway Across Canada

Broadway Across Canada wraps up its production of West Side Story this weekend. Based on the sell-out crowd at Tuesday’s opening night performance, I’d say there’s still lots of love for this 1957 classic, at least in Calgary. I’m betting a more than a few people gave and received tickets for this show for Valentine’s day, notwithstanding the fact that the tragic story of star-crossed lovers Tony and Maria (aka Romeo and Juliet) set amongst Puerto Rican and Polish American gangs in New York, is more a cautionary tale than an advertisement for romantic love.

I’ve just returned from a trip to Acadia University, where I first got involved in musical theatre with the campus theatre club, MusiCadians in the ’70’s. I remember our choreographer, Barb, was dying to do West Side Story, but we didn’t have the dancers to pull it off, so her dream never came to be, at least not then. If you’ve ever seen West Side Story you’ll know the dancing  – originally choreographed and directed by the great Jerome Robbins – is a huge part of the show, so it’s not a musical a lot of amateur companies can pull off well  – one of the reasons we don’t see it performed that often.  Although sometimes it’s a bit off-putting to see a bunch of somewhat-too-clean-cut gangsters expressing their violent energy through stylized ballet (what a male friend of mine calls a “dance-off”) it’s pretty impressive to watch.

Although I gave the musical “extra points” for choreography in my list of “A Few of My Favourite Shows“, to my mind, it’s Leonard Bernstein’s score that really drives West Side Story, with its exciting rhythms and syncopation in songs like “Something’s Coming,” “America” and “A Boy Like That/I Have A Love.”  Bernstein had already penned successful scores for On The Town, Wonderful Town and Candide, but he reached the pinnacle with West Side Story and he might have gone on to write many more great musicals, if he hadn’t left musical theatre to focus on directing the New York Philharmonic Orchestra and a successful career writing symphonic and other more “serious” (although no doubt less lucrative) musical works.

West Side Story was also the Broadway debut of a young lyricist named Stephen Sondheim. Sondheim considered himself a composer first and foremost and might have turned down the assignment if not for the encouragement of family friend and mentor, lyricist Oscar Hammerstein II (talk about connections!), who said he could learn a lot from greats like Bernstein, Robbins and book-writer Arthur Laurents. Fortunately for Sondheim and the rest of the musical theatre world, he took that advice – although, as Martin Gottfield explains in his 1993 book, “Sondheim” (Enlarged and Updated), Sondheim did make the rookie mistake of letting Bernstein keep his share of the lyric writing royalties, when Bernstein offered to remove his name as co-lyricist – if only he’d known how big these songs would become, both on-stage and off!

In his 2010 book “Finishing the Hat, ” Sondheim also explains how he had been hoping to use the first F-bomb in musical theatre history in the humourous Jets song “Gee, Officer Krupke,” but his collaborators wouldn’t go for it, so they ended the song with “Krup You!” instead, which he admits probably works better anyway.  Much to his chagrin, he also had to “clean up” some of the lyrics for the popular 1961 movie version to please the studio. For example, he turned Anita’s line about looking forward to a visit from her lover Bernardo after the rumble from “He’ll come in hot and tired, so what? Don’t matter if he’s tired, as long as he’s hot” to “He’ll come in hot and tired, oh dear. Don’t matter if he’s tired , as long as he’s near.” (He considers this one of his most cringe-worthy lyrics – which says a lot, as he’s pretty critical of many of his early works).

You don’t get to hear some of Sondheim’s clever lyrics in Broadway Across Canada’s version, because it’s based the most recent Broadway revival in which some of the lyrics and dialogue are replaced with Spanish (As in “I Feel Pretty/Me Siento  Hermosa”). While it feels more authentic and adds a little spice, it loses something   – and certainly the humour – if you don’t know the original.

While some musicals written 50 years ago seem dated, West Side Story  and its universal themes of love, friendship, prejudice and revenge still works today. But the reason it will always be on my top 10 list, to paraphrase a jingle from a grocery store chain from my youth, is that “It’s mainly because of the music.”

West Side Story runs until tomorrow (Sunday). Tickets are still available at

And the envelope please #4 … The Second Annual Calgary Musical Theatre Bloggers Awards (“The Lynnies”)

I am so far behind on my summer blogging I was going to take a pass on my self-proclaimed Calgary Musical Theatre Bloggers Awards (“The Lynnies”) this year, but since I announced when I launched them last year that this would be an annual award, I hate to give up so soon. Plus, it’s a fun way to honour the many musicals I enjoyed this past season, before the Fall season gets going. Unfortunately, I missed a bunch, including Spamalot, which did well at the CAT awards, and The God That Comes, that did well at the Bettys.

“The Lynnies” cover a broad range of categories which relate to the complete customer experience, not just the quality of the performance – both as a blogger and as coordinator of the Calgary Musicals+ Meetup Group which goes to most of these shows and more. I’ve kept some of the categories from last year, dropped some (mostly the “fun” categories where the winners are virtually a shoe-in (best and worst seats and websites, worst price-gouging, etc.)) and added a few more that I thought deserved mentioning.

So without further ado, we’re going to skip the nominations altogether and proceed with the first annual “Lynnies” (drumroll please).

Categories Continued from Last Year

Shows I Was Tempted to See Twice if I Weren’t So Busy  – Or Cheap

Ghostbusted by Jubilations Dinner Theatre. Jukebox musicals based on popular songs aren’t normally my thing, but this one was a blast!

Hairspray by Storybook Theatre. I super production, full of energy. I just wished they’d had a dance floor!

The Last 5 Years by Storybook Theatre. In fact I did see this twice, because I liked it so much the first time around with JP Thibodeau and Madeleine Suddaby, and wanted to see in again with Sarah Irwin and Brandon Wood. I enjoyed it almost as much the second time.

Best Musical That Nobody Saw

The Last 5 Years by Storybook Theatre. I wouldn’t go as far as to say that nobody saw this – in fact one of the nights I went the entire cast from Front Row Centre’s Legally Blonde was there. But due to the fact that this show ran during the June flood, and is pretty much unknown outside musical theatre circles, they had more quiet nights than they deserved, considering the quality of the production.

Actor/Actress Who’s So Good I’d See Anything They’re In

JP Thibodeau (If I Weren’t With You, The Last 5 Years, Uptown Country Girls). OK, I lied. I would have gone to see Uptown Country Girls, just because JP was in it, but never quite made it, although I did send a number of other people (Sorry, JP :( )

Best Customer Service

Jubilations Dinner Theatre box office – once again, went out of their way to help my group and provide a credit when one of our members ran into difficulties

New Categories This Year

Best Supporting Actress

Katelyn Morishita as Paulette Bonafonte in Front Row Centre’s Legally BlondeGreat acting and singing. Hope to see her in bigger roles in future.

Biggest Loss

The disappearance of Summerstock, a troupe featuring high school students who until last year performed an annual summer musical outdoors at Olympic Plaza. The one consolation is that a number of those who appeared in their production of Legally Blonde, also performed in Front Row Centre’s version this winter.

Best New Venue

Beddington Community Arts Centre. Storybook’s new theatre is a nice, flexible space, with great acoustics. Most importantly, it’s not as far as you’d think. That’s a good thing, since now that Front Row Centre is moving there, those of us who love musicals will be spending a lot more time up there.

Best interview

Hawksley Workman, composer/performer – The God That Comes (ATP). How can you top the quote “life is made immeasurably better by wine and rock ‘n roll” ?

Honourable mention: Max Reimer, director – Chicago, Stage West

Best Musical at the Calgary Fringe Festival

Nashville Hurricane by Chase Padgett (a follow-up to his popular 6 Guitarswhich he also did as an encore performance)

Honourable Mentions: Fat Sex! Steve Larkin’s body … of poems and songs! and More Power to Your Knitting, Nell! by Melanie Gall

Sexiest Show

Stage West’s Chicago  (as if there would be any competition!) 

Feel free to share your thoughts or additional “fun” categories (best or worst) based on your musical theatre experiences this past season.


Fringe Review: Fat Sex! – Steve Larkin’s body… of poems and songs!

hLJhvNl6s85WRkscJOGwLwU11aj3QDd1-bWq6d86VhU,UkgWeyreJ_oAm-aTdjmBy3LnH2ikDHajDpgDP-xf5BI[1]I don’t know how I missed Fat Sex! – Steve Larkin’s body … of poems and songs! in my list of plays with music at the 2013 Fringe Festival (I think it probably was the promotional poster and the location, which made me think it was going to be a drag show), but as luck would have it, I arrived on the grounds late tonight, so having missed the 6PM show on my agenda, I headed over to Lolita’s Lounge to catch Steve’s show and am glad I did.

According to his press release, Steve “is one of the most prominent figures in UK spoken word, a broadcaster, a regular on the Canadian fringe circuit, a university lecturer in poetry and creative writing, the founder and president of Hammer & Tongue the UK’s premier poetry slam organisation, as well as a popular singer/song writer and comic personality. His work has been broadcast to millions of people through the BBC World Service.  In 2010 he was nominated for the position of Oxford Professor of Poetry.” 

Fat Sex!… Steve Larkin’s body… of poems and songs! showcases some of the highlights of Larkin’s career as a performance poet, humorist and songster and is his first appearance at the Calgary Fringe Festival. I wouldn’t have thought of myself as a big performance poet fan, but I found Steve’s performance thoroughly engaging from the opening where he addressed the entire audience as “Ian” to the closing song which he wrote to dance on the graves of his as of yet unborn children. There were two other songs – one about apes and their lack of desire to be like us (inspired, in a manner of speaking, by the Jungle Book) and another about a bipolar alcoholic clown.

But it was really his banter with the audience and his poetry that got to me – a mixture of comedy, politics and environmentalism with hilarious facial expressions and movement. He was a pleasure to watch and listen to – whether the subject matter was light, or heavy – and there was plenty of each. The highlight of the show was, indeed, the title poem, described by the Edmonton Journal as “a furiously escalating punk satire of the double women’s magazine obsessions (sex and fat).” You can see a video of the poem here: 

As an added bonus, I was able to enjoy the show over a snack and a couple of glasses of red wine at Lolita’s Lounge, one of only two Fringe venues where you can do that. (If you read my Beethoven Rolls Over  review, you’ll see there’s a pattern here…). After that it was up the hill to the ArtPoint Gallery for The Show Must Go On, and back to the DaDe Art & Design Lab for Chase Padgett’s 6 Guitars both of which I also loved. Another perfect night at the Calgary Fringe Festival. What a great line-up this year!

Fat Sex! – Steve Larkin’s body … of poems and songs! has two more shows @ Lolita’s Lounge: Thursday at 8:30PM and Friday at 6:30PM. Tickets are $15. The show is rated Age 16+ and runs 55 minutes. For more information and tickets, go to

Fringe Review: Nashville Hurricane (and a hint of 6 Guitars)

Q4BKyE9B-iJWd3QRXZN0jk97cLzm50ZSyFS76jfa7RkChase Padgett’s newest show, Nashville Hurricane, opened Friday night to a nearlyfull house at the Calgary Fringe Festival – something that’s pretty amazing by Fringe standards, which usually depend on word-of-mouth and reviews to bring in the crowds, especially on the opening long weekend. Much of that credit goes to the success Chase had with his previous sell-out show from 2 years ago, 6 Guitars. (He was here last year with The Bro Show, which was also popular but not quite as critically acclaimed, and did one performance of 6 Guitars at the end of the Fringe). It probably didn’t hurt that 6 Guitars was also the best-selling show at the Winnipeg Fringe Festival this year.

Nashville Hurricane is a return to the Chase Padgett “brand” in which he plays multiple characters telling stories against a musical backdrop and is co-written with and directed by Jay Hopkins. It is the story of Henry – a shy, geeky, technical and musical genius born of a one-night-stand to a trailer park woman of dubious motherly qualities. After reluctantly appearing in a talent show to help his mother pay the rent, he is “discovered” and pushed to stardom by the unscrupulous, fast-talking “Smoky Joe” and then just as suddenly, he mysteriously abandons fame and fortune for life as the roadie of a blues man (a return appearance of Tyrone from 6 Guitars).

Chase tells the story in a non-linear fashion from the perspective of all four characters and his performance is nothing short of mesmerizing as he weaves from one to the next, forward and backward in time. Compared to his earlier shows, Nashville Hurricane is definitely more theatrical with a lot more narrative. There are lots of laughs and some poignant moments in this show and Chase’s sense of comedic timing is brilliant. Probably the only disappointment is that there is not much of his virtuoso guitar playing, although the two featured songs (“Amazing Grace” and “The Devil Went Down to Georgia”), are, in Chase’s own words, “doozies”.

Chase hails from Florida and is currently living in Los Angeles. Up until 2010, when 6 Guitars gook the Orlando Fringe Festival by storm, Chase did a variety of work in theatre and music, including stints at Florida theme parks (he is from Orlando, after all). He says Nashville Hurricane is an extreme version of his own musical journey. “I first picked up the guitar at the age of 16, having gotten bored with the trumpet,” he said. “I played for hours and hours, teaching myself to play by ear, just like Henry. This led me to studying music at University of Central Florida and taking improv classes, which I just loved. That, in turn, led me to write 6 Guitars.”

yadpkCm4mWamYtFNKNt3A-DhaHQ1N_Xg_v4-quvhEmc“6 Guitars changed my life, “ he said. “I’m now kind of a professional hobo, spending summers in Canada, and focusing on touring at bring-your-own venue opportunities and the North American Fringe circuit.” He says he’s learned so much about every aspect of the theatre business as a result of his Fringe experience, since you have to do everything yourself – from performing to administration to technical production to marketing. “I can recommend it to any young performer who isn’t afraid to be flexible, persevere, and just plain figure it out,” he says. “I call it an “on-your-feet” apprenticeship”.

Chase also really appreciates the camaraderie that comes from performers who do the circuit, who are a constant source of inspiration and encouragement. “I’ve also learned never to take the audience for granted, because you just never know with the Fringe,” says Chase, “One night you may have two people and the next night you may have a full house. I am always filled with a sense of gratitude when people show up and like my show. If I am ever wildly successful  – as I hope to be some day – I will have my Fringe Festival audiences to thank for that.”

Both performances on Friday and Saturday night have gotten standing ovations and positive critical reviews. You can add my voice to those that insist that Nashville Hurricane should be on everyone’s “must-see” list at the Calgary Fringe Festival this year. Chase says he may extend the show in future by adding more music, something I think his (music-loving) fans will welcome.

Nashville Hurricane plays at the DaDe Art & Design Lab at 7:15 or 9:15 PM every night until August 10th, with the exception of Wednesday August 7th).   You’ll really want to consider getting tickets online for this one, as the show is sure to be popular. They hold back a percentage of tickets for purchase on site the day of the show, but go early in the day if you don’t want to miss out.

For those, like me, who have yet to see 6 Guitars, Chase will be doing a one night only performance on Tuesday August 6 at the DaDe Art Lounge at 9:15PM. On-line ticket sales are already closed, so you’ll need to go early to get a chance of same-day tickets on-site.

For more information and tickets on both shows, go to Calgary Fringe Festival. You may also be interested in checking out Chase’s 6 Guitars website.

If you miss him here, or can’t get enough, Chase is also performing Nashville Hurricane at the Edmonton Fringe Festival next week and he’s doing 6 Guitars in Vancouver after that. Then he’ll be back in Calgary playing guitar and keyboard with Orlando’s SAK Comedy Lab at the Calgary Improv Festival.

Fringe Review: Beethoven Rolls Over

2KzsFv7cughUdzguD9Z1p6IuBiJxojHhSa9cN-JSO6wI kicked off the 2013 Calgary Fringe Festival in style with a lovely dinner, a couple of glasses of $5 Sangria and some terrific guitar music, courtesy of Vancouver’s   “global guitarist” Colin Godbout who premiered his one man musical, Beethoven Rolls Over at Jacqueline Suzanne’s Bistro on Friday night. This is a return to Calgary for Colin, who impressed audiences at last year’s Fringe with his 2 to Django in the same venue.

The show is more music/cabaret than theatre and is divided into four themes: Beethoven’s Immortal Beloved (a reflection on Beethoven’s love for a woman he only referred to by that name), Romantic and Heroic Beethoven (in which Mozart and Goethe feature prominently), Afrocentric and Feminist Beethoven (who’d have guessed?), and Joni (Mitchell)’s Ludwig. “Joni Mitchell considers Beethoven one of her heroes”, explains Colin, “and has been described by friends as Beethoven in drag”.

While Beethoven’s music (often with other’s lyrics, including some of Colin’s own) is the glue that holds the show together, there’s also some of Colin’s trademark blues, jazz, and flamenco thrown in for good measure.  Much of the music will be familiar to people with only a passing knowledge of the classics. I can assure you that hearing Colin play Beethoven’s “Flatted” Fifth on the guitar is quite the treat. Although some people might find the instrument an odd choice for such music, Colin says Beethoven himself played the guitar (considering it a mini-orchestra) and wrote music for mandolin.

I had the pleasure of sitting down with Colin – or rather, he sat down at our table while he warmed up on the guitar  – before the show. He was more than a little nervous, since he hadn’t performed this show in public before. (He’s doing the Fringe circuit this year with three different shows).   “I actually wrote Beethoven Rolls Over with this venue in mind,” he said. “Jacqueline Suzanne’s has a kind of “Orient Express” feel to it, and I find Calgary audiences are quite sophisticated, so that allows me to explore musical concepts that don’t work elsewhere.”

Colin studied music, theology and metaphysics in university and that cerebral intelligence comes across in his programme, his speech and the short monologues throughout the performance. Much of what he said was over my head, and I could not do justice to it by attempting to capture it here, but it was fascinating to listen to his explanations about the meaning behind different chords and musical patterns and the parallels between Beethoven and Chuck Berry, for example. Even so, Colin’s playing speaks for itself and you can enjoy his performance for its own sake, even if you aren’t a philosopher or academic.

The Friday audience got an added bonus when Colin finished earlier than expected, resulting in him having to do some quick improvising, throwing in a Joni Mitchell medley he’d used in his Winnipeg show and some poetry by Milton that rounded off the programme nicely. I’m sure the show will continue to evolve as he settles into it over the course of the week, so I wouldn’t be at all surprised if every audience sees and hears something a little different. And isn’t that what the Fringe is all about?

Beethoven Rolls Over plays from 7PM to 8PM every night of the Fringe Festival at Jacqueline Suzanne’s Bistro, plus he is doing an extra performance after the Fringe on Sunday August 11. Tickets are $12, and you should consider buying online in advance to ensure you get a spot as it’s a small space and likely to be popular. If you want to go early and have dinner, make a reservation at the restaurant in advance. If you miss Colin here or want to see more of him, you can catch him at the Edmonton Fringe Festival next week, where he is doing another  show called Canuck Quixote.

For more information on Colin go to his website.

Go to Calgary Fringe Festival for tickets and more information on the festival.

[I know I said I wasn’t going to do any Fringe reviews this year, but since I didn’t get my articles posted beforehand, I figure I might as well write reviews of the two shows I saw on Friday night – Beethoven Rolls Over and Nashville Hurricane (spoiler alert- LOVED IT!) – and then I’ll get the rest of my previews up over the course of the next few days. I’m taking a couple of days off and will be back seeing more shows on Monday!]

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