Selfie is a work in progress by Chris Thornborrow and Julie Tepperman. It’s still incomplete and the performances over the last couple of days were workshops designed to elicit audience feedback. It had its genesis at the 2013 LibLab and it’s come a long way. The original sketch of two teenagers texting each other is turning into an hour long piece about cyberbullying. It’s a rather disturbing exploration of how technology allows teenagers to do all those things which teenagers do with even less “supervision” than ever. In this case a manipulative girl (Cindy played by Larissa Koniuk) tries to make up for her split from her rather feckless boyfriend (Devon played by Asitha Tennekoon) by engineering a split between her friend Mindy (Meher Pavri) and her bloke Tyler (Giovanni Spanu). The result is a massive on-line slut shaming campaign against the fifth character Heather who has no real identity or agency until the very last scene. Adults encountered along the way are portrayed as clueless, ineffective or bureaucratically indifferent.
On April 11th FAWN Opera is workshopping L’Homme et le Ciel; music by Adam Scime and libretto by Ian Koiter. It’s PWYC and it’s at the Ernest Balmer Studio at 8pm. Partrick Murray conducts, Amanda Smith directs and the singers will be Giovanni Spanu, Larissa Koniuk and Adanya Dunn. I wish I could go but I can’t.
On the 26th at 8pm the Aradia Ensemble, conductor Kevin Mallon, will be joined by Claire de Sévigné and Maria Soulis for a programme of Vivaldi’s sacred music. It’s at St. Anne’s Anglican church on Gladstone Avenue which sounds worth a visit in itself. Apparently there is a Byzantine dome and decoration by members of the Group of 7. Tickets are $35 ($20 seniors).
Last night Opera Five staged a double bill of two one act Spanish operas from the first quarter of the twentieth century. The first was de Falla’s El retablo de maese Pedro. This was written as a puppet opera blending a chivalric tale about the days of Charlemagne with an intervention by an increasingly angry Don Quixote. Structurally it’s an interesting piece with the story being told to a quite simple vocal line by the soprano (Rachel Krehm) playing the puppet master’s boy with interruptions by her boss (Conrad Siebert) and, increasingly, by the one man audience, Don Quixote (Giovanni Spanu). In between the action is acted out by shadow puppets accompanied by a a rather lush “soundtrack”. Finally Don Quixote loses patience with the whole thing and tears down the set before going on a rant about the virtues of knights errant and himself in particular. Staged as a sort of children;s game by director Aria Umezawa, it played very well to this company’s strengths. It was well sung, clever, funny, irreverent and enormously enjoyable. Music director Maika’i Nash once again did that thing I find incredible,m impersonating a whole orchestra on piano, this time with some help from Conrad Siebert on various percussion instruments.