Interviews with National and International Artists
Seana McKenna - Actor's Actor..
Seana McKenna is one of my favorite actors. This year she was kind enough to take the time for a phone chat depsite a very busy schedule as the Stratford Company is now in film rehearsals for all of the 2015 Shakespeares - Pericles, Taming of the Shrew, Love's Labour's Lost, and Hamlet. This year's production of Hamlet is one of the best in Festival history. And I was astounded to find out that this was Seana's first Hamlet! As always, with every character, she found unique nuances "from the page" to make this character her own. Brava!
Season - 2015: Gertrude in Hamlet and Fräulein Doktor Mathilde von Zahnd in The Physicists.
Previously: After playing the title role in Mother Courage and Constance in King John last season, Ms McKenna went on to San Francisco's American Conservatory Theatre to play the mother of Jesus in Colm Tóibín's solo play, Testament. She has played more than 24 Shakespearean roles, including Cleopatra (Centaur), Katerina the Shrew and Richard III (Stratford). Other Stratford credits include Blithe Spirit, Mary Stuart, Medea, Phèdre, The Matchmaker, The Trojan Women, The Glass Menagerie, Orpheus Descending, Night of the Iguana, Shakespeare's Will, Good Mother, Private Lives and She Stoops to Conquer.She has three Doras, one Jessie, one Genie, an honorary MFA in Acting from ACT, a Doctor of Sacred Letters from Trinity College and a Queen Elizabeth II Diamond Jubilee Medal. She lives with one husband, (Director Miles Potter) one son, (Actor Cal Potter) two cats and one fish.
In addition to an amazing cast of Shakespearean characters through the seasons, Seana, has mastered every female character in Tennessee Williams play canon. He is her fave playwright and one more female character remains. I think she would be incredible in this role. And of course, we spoke about that. It is always a great pleasure to chat with Seana about the theatre. I know she is coming back next season, and I can hardly wait to her what roles she is going to play! One of my fave plays is being presented in 2016 season! I could easily see her in that. But time will tell!
Seana also teaches, and lives her husband director Miles Potter, and son Cal Potter. Seana and Miles were gracious enough to let me write them both for Grand Magazine's "Couples in the Arts" series a few issues back. Miles Potter said something very profound reagarding The Empty Space ..."Theatre is made up of bad choices." I am happy that Seana McKenna gets to help audiences figure what decisions are best.
Here is my chat with the always mega fab Seana McKenna plus her fave song on Coral FM.
Season - 2015: Gertrude in Hamlet and Fräulein Doktor Mathilde von Zahnd in The Physicists.
Previously: After playing the title role in Mother Courage and Constance in King John last season, Ms McKenna went on to San Francisco's American Conservatory Theatre to play the mother of Jesus in Colm Tóibín's solo play, Testament. She has played more than 24 Shakespearean roles, including Cleopatra (Centaur), Katerina the Shrew and Richard III (Stratford). Other Stratford credits include Blithe Spirit, Mary Stuart, Medea, Phèdre, The Matchmaker, The Trojan Women, The Glass Menagerie, Orpheus Descending, Night of the Iguana, Shakespeare's Will, Good Mother, Private Lives and She Stoops to Conquer.She has three Doras, one Jessie, one Genie, an honorary MFA in Acting from ACT, a Doctor of Sacred Letters from Trinity College and a Queen Elizabeth II Diamond Jubilee Medal. She lives with one husband, (Director Miles Potter) one son, (Actor Cal Potter) two cats and one fish.
In addition to an amazing cast of Shakespearean characters through the seasons, Seana, has mastered every female character in Tennessee Williams play canon. He is her fave playwright and one more female character remains. I think she would be incredible in this role. And of course, we spoke about that. It is always a great pleasure to chat with Seana about the theatre. I know she is coming back next season, and I can hardly wait to her what roles she is going to play! One of my fave plays is being presented in 2016 season! I could easily see her in that. But time will tell!
Seana also teaches, and lives her husband director Miles Potter, and son Cal Potter. Seana and Miles were gracious enough to let me write them both for Grand Magazine's "Couples in the Arts" series a few issues back. Miles Potter said something very profound reagarding The Empty Space ..."Theatre is made up of bad choices." I am happy that Seana McKenna gets to help audiences figure what decisions are best.
Here is my chat with the always mega fab Seana McKenna plus her fave song on Coral FM.
In “Hamlet” - In her first “Hamlet” Seana found new exciting dimension in the character of Gertrude the Queen; someone today's older women could relate to making Gertrude a vibrant and sexy partner opposite Geraint Wyn Davies as her charismatic lover Claudius, yet vulnerable and empathic toward her son Hamlet, (Jonathan Goad in pic left/David Hou) trying to counsel him as only a mother could.
In the “The Physicists” – In this world premiere, Seana had great fun playing “Bond-like” villainess instigator Fraulein Doktor Mathilde von Zahnd (in photo left/David Hou) . The hunchbacked scheming psychiatrist is bent on using the talents of three asylum inmates scientists Isaac Newton, Albert Einstein and Johann Wilhelm Möbius for her own evil means as she moves them around on a politically charged chess board. This is a darkly funny thought provoking 1962 play by Friedrich Dürrenmatt adapted for the stage by Canada's Michael Healey – Dr. Strangelove meets Tom Stoppard meets "muzzled science!"
In “Testament” - Colm Tóibín's The Testament of Mary takes place after the Crucifixion. Mary, the mother of Jesus, is in the city of Ephesus where she is both guarded and protected. As two of her son's followers set about giving shape to Jesus’ story, Mary tells her own story - the one which has not been heard. This is Seana McKenna in a controversial role, as Mary, (pic left/Kevin Berne) in a provocative monodrama. Seana is known for one actor shows or “monodrama” – “Wit”, “A Year of Magical Thinking”, and “Shakespeare's Will.”
The Amazing Anna Atkinson
Singer / songwriter / instumentalist Anna Atkinson
Anna Atkinson is a singer, instrumentalist and writer.
Since moving to Toronto in 2008, she has contributed to dozens of projects, both as a live performer and as a highly regarded session player.
In June 2011, she released Mooniture, her debut CD recorded with producer Brent Bodrug, to critical acclaim.
It was featured on the Toronto Star's Anti-Hit List, and continues to receive frequent play on CBC radio, in particular The Signal and As It Happens. 10 Atkinson has been a member of the Stratford Festival since 2010.
She performed on stage as violinist and accordionist in that season's revival of Jacques Brel Is Alive And Well And Living In Paris, and in 2011 was a contributing composer and performer on stage in The Grapes of Wrath. In 2013, she was featured as the eponymous fiddler in Fiddler On The Roof. Other theatre credits include being a member of the DORA-nominated ensemble of BOBLO (Kitchenband) and Brent Carver's Cabaret (Soulpepper).
Current musical collaborations include a duo with guitarist/composer David Occhipinti, and the Toronto-based quartet Words Around The Waist. She is also, with Andrew Penner, composing the score for Motion 58 Productions film "Eadweard". She is most frequently heard playing violin, viola and accordion.
I was thrilled to be able to interview Anna earlier on this year during her fabulous run at The Stratford Festival as The Fiddler in Fiddler on the Roof. But I have been a fan of Anna's for a long time so this another wide ranging chat! I saw her opposite Brent Carver at Stratford in Jacques Brel and she was divine!
For more info on Anna Atkinson go to http://annaatkinson.ca/music.html
Listen here for my chat with Anna Atkinson featuring the music from Mooniture
and some of Anna's fave artists well. - Coral FM.
Since moving to Toronto in 2008, she has contributed to dozens of projects, both as a live performer and as a highly regarded session player.
In June 2011, she released Mooniture, her debut CD recorded with producer Brent Bodrug, to critical acclaim.
It was featured on the Toronto Star's Anti-Hit List, and continues to receive frequent play on CBC radio, in particular The Signal and As It Happens. 10 Atkinson has been a member of the Stratford Festival since 2010.
She performed on stage as violinist and accordionist in that season's revival of Jacques Brel Is Alive And Well And Living In Paris, and in 2011 was a contributing composer and performer on stage in The Grapes of Wrath. In 2013, she was featured as the eponymous fiddler in Fiddler On The Roof. Other theatre credits include being a member of the DORA-nominated ensemble of BOBLO (Kitchenband) and Brent Carver's Cabaret (Soulpepper).
Current musical collaborations include a duo with guitarist/composer David Occhipinti, and the Toronto-based quartet Words Around The Waist. She is also, with Andrew Penner, composing the score for Motion 58 Productions film "Eadweard". She is most frequently heard playing violin, viola and accordion.
I was thrilled to be able to interview Anna earlier on this year during her fabulous run at The Stratford Festival as The Fiddler in Fiddler on the Roof. But I have been a fan of Anna's for a long time so this another wide ranging chat! I saw her opposite Brent Carver at Stratford in Jacques Brel and she was divine!
For more info on Anna Atkinson go to http://annaatkinson.ca/music.html
Listen here for my chat with Anna Atkinson featuring the music from Mooniture
and some of Anna's fave artists well. - Coral FM.
Canada Film Days 2014 -
The Princess Cinema's Feature Film Festival Celebrates 8 Years!
Canada Film Days began seven years ago as a way to showcase the amazing films that are made in Canada. The Princess screens Canadian films throughout the year, but this week-long festival gives us the chance to spotlight the high quality work that Canadian filmmakers put out. Throughout the week long event we host visits by directors and film talent.
From May 1 to May 8 Canada Film Days
features the best Made in Canada films @ The Original Princess. There will be special hosts, actors, and directors at the screenings.
And film fans will be able to meet and mingle with the artists at very cool CFD after headquarters,
Ethels Lounge!
Princess Cinema owner/Canada Days Festival curator John Tutt has once again chosen
a great selection of films to suit every eclectic movie goer's taste including
Newfoundland charmer The Grand Seduction, documentary Arctic Defenders, and “doc
opera” Super Duper Alice Cooper.
It was my pleasure to have John Tutt return as my very special guest.
2015, marks 30 years of The Princess screening the finest of arts house
cinema, hosting one of a kind film festivals, and presenting fabulous live music.
For more info on Canada Film Days 2014 -
Go to http://www.canadafilmdays.ca/canada-film-days-2014-films
Below are two of the great selections from The Canada Film Days Festival 2014
(See you in the aisles with The Princess' own yummy Brown Bag Popcorn – Coral FM.)
From May 1 to May 8 Canada Film Days
features the best Made in Canada films @ The Original Princess. There will be special hosts, actors, and directors at the screenings.
And film fans will be able to meet and mingle with the artists at very cool CFD after headquarters,
Ethels Lounge!
Princess Cinema owner/Canada Days Festival curator John Tutt has once again chosen
a great selection of films to suit every eclectic movie goer's taste including
Newfoundland charmer The Grand Seduction, documentary Arctic Defenders, and “doc
opera” Super Duper Alice Cooper.
It was my pleasure to have John Tutt return as my very special guest.
2015, marks 30 years of The Princess screening the finest of arts house
cinema, hosting one of a kind film festivals, and presenting fabulous live music.
For more info on Canada Film Days 2014 -
Go to http://www.canadafilmdays.ca/canada-film-days-2014-films
Below are two of the great selections from The Canada Film Days Festival 2014
(See you in the aisles with The Princess' own yummy Brown Bag Popcorn – Coral FM.)
Algonquin plays at The Princess Cinema for Canada Film Days with award winning Executive Producer David Miller and Producer Jane Motz Hayes at Premiere.
Algonquin is a poignant film about the complexities of family set to the breathtaking backdrop of Northern Ontario's Algonquin Park.
It stars Mark Rendall (TV's Hannibal),with Canadian theatre,film,and telelvision icons Nicholas Campbell (Da Vinci's Inquest),Sheila McCarthy (TV Series Little Mosque on the Prairie, Boyd Banks (Lars and The Real Girl,Victoria Sanchez,(TV's series This is Wonderland) plus newcomer *Barry Levinson*.
This is writer/ director Jonathan Hayes' feature film debut. It was a great pleasure to have Algonquin's award winning Executive Producer David Miller (formerly from Kitchener) and
fellow (once KW based gal) Producer Jane Motz Hayes as my special guests on Coral FM to talk about this remarkable film.
David and Jane also spoke about some great projects past and present plus a very cool film scoop for fans of Rush and writer/musician Dave Bidini. A Future Home Run coming to a Canadian screen near you!)
(And ....you heard it here first .... I think Algonquin is a likely contender
for next year's Canadian Screen Awards! - Coral FM)
The film plays again tonight at Original Princess Cinema, closing out the most successful year of Canada Film Days yet. Congrats to The Princess. Long love Canadian Indee Film.
Algonquin plays again tonight with Super Duper Alice Cooper. TVO's Thom Ernst kicks off the ceremonies and there's closing night party at Ethel's Lounge.
For more info http://www.princesscinemas.com/movie/algonquin
To download this podcast go to Sound FM website http://soundfm.ca/node/1550 - Coral FM
It stars Mark Rendall (TV's Hannibal),with Canadian theatre,film,and telelvision icons Nicholas Campbell (Da Vinci's Inquest),Sheila McCarthy (TV Series Little Mosque on the Prairie, Boyd Banks (Lars and The Real Girl,Victoria Sanchez,(TV's series This is Wonderland) plus newcomer *Barry Levinson*.
This is writer/ director Jonathan Hayes' feature film debut. It was a great pleasure to have Algonquin's award winning Executive Producer David Miller (formerly from Kitchener) and
fellow (once KW based gal) Producer Jane Motz Hayes as my special guests on Coral FM to talk about this remarkable film.
David and Jane also spoke about some great projects past and present plus a very cool film scoop for fans of Rush and writer/musician Dave Bidini. A Future Home Run coming to a Canadian screen near you!)
(And ....you heard it here first .... I think Algonquin is a likely contender
for next year's Canadian Screen Awards! - Coral FM)
The film plays again tonight at Original Princess Cinema, closing out the most successful year of Canada Film Days yet. Congrats to The Princess. Long love Canadian Indee Film.
Algonquin plays again tonight with Super Duper Alice Cooper. TVO's Thom Ernst kicks off the ceremonies and there's closing night party at Ethel's Lounge.
For more info http://www.princesscinemas.com/movie/algonquin
To download this podcast go to Sound FM website http://soundfm.ca/node/1550 - Coral FM
Listen here for my chat with John Tutt from The Princess Cinema
and more about Canada Film Days 2014.
Poet Alexandra Oliver - From Meeting the Tormentors in Safeway to Bjork and Beyond the Fringe!
Alexandra Oliver
Since emerging onto the Vancouver poetry scene in 1992 and being named one of the Top Ten Young Artists of the year by The Vancouver Sun, Alexandra Oliver has gone on to receive two Pushcart Prize nominations, as well as a CBC Literary Award nomination. She has performed her work at Lollapalooza, The National Poetry Slam, the CBC Radio National Poetry Face-Off, the Bowery Poetry Club, the Spectacular Obsessions Fellini Retrospective at the Bell TIFF Lightbox and the Italian Contemporary Film Festival in Toronto.
Her work has appeared in numerous journals and publications worldwide, including Orbis Rhyme International, Nexus, The Atlanta Review, The New Guard, Light Quarterly, Future Cycle Poetry, The Raintown Review, and The Vancouver Sun. Her first book, Where the English Housewife Shines (Tin Press, London, UK) was released in April, 2007. She is also co-editing (with Annie Finch) an anthology of metrical poetry. Alexandra divides her time between Toronto, Canada, and Glasgow, Scotland.
Alexandra Oliver holds an M.A. in Drama/Cinema Studies from the University of Toronto and an M.F.A. in Creative Writing from Stonecoast. Since emerging onto the Vancouver poetry scene in 1992 and being named the following year as one of the Top Ten Young Artists of the year by The Vancouver Sun, she has gone on to receive two Pushcart Prize nominations, as well as a CBC Literary Award nomination. She has performed her work at places as diverse as Lollapalooza, The National Poetry Slam, the CBC Radio National Poetry Face-Off, the Bowery Poetry Club in New York, the Spectacular Obsessions Fellini Retrospective at the Bell TIFF Lightbox and the Italian Contemporary Film Festival in Toronto. Her work has appeared in numerous journals and publications worldwide, including Orbis Rhyme International, Nexus, The Atlanta Review, The New Guard, Light Quarterly, Future Cycle Poetry, The Raintown Review, and The Vancouver Sun, as well as About.Com's Poems After The Attack anthology, a collection discussing and reflecting upon the aftermath of 9/11. Her first book, Where the English Housewife Shines (Tin Press, London, UK) was released in April, 2007.She is also co-editing (with Annie Finch) an anthology of metrical poetry. Oliver has taught poetry and led workshops in high schools, colleges, libraries, cultural organizations and prisons, and was one of the Directors of the Edgewise Electrolit Centre, an organization created to promote Canadian poetry and new poets through the use of new media. Her interests include form, ekphrasis, translation, performance, and creating poetry syllabi for ESL speakers, seniors, victims of violence, and at-risk youth. Alexandra divides her time between Toronto, Canada, and Glasgow, Scotland, where she teaches poetry through the Govan and Craigton Integration Network and acts as a Staff Writer for the Glasgow Film Theatre.
Since emerging onto the Vancouver poetry scene in 1992 and being named one of the Top Ten Young Artists of the year by The Vancouver Sun, Alexandra Oliver has gone on to receive two Pushcart Prize nominations, as well as a CBC Literary Award nomination. She has performed her work at Lollapalooza, The National Poetry Slam, the CBC Radio National Poetry Face-Off, the Bowery Poetry Club, the Spectacular Obsessions Fellini Retrospective at the Bell TIFF Lightbox and the Italian Contemporary Film Festival in Toronto.
Her work has appeared in numerous journals and publications worldwide, including Orbis Rhyme International, Nexus, The Atlanta Review, The New Guard, Light Quarterly, Future Cycle Poetry, The Raintown Review, and The Vancouver Sun. Her first book, Where the English Housewife Shines (Tin Press, London, UK) was released in April, 2007. She is also co-editing (with Annie Finch) an anthology of metrical poetry. Alexandra divides her time between Toronto, Canada, and Glasgow, Scotland.
Alexandra Oliver holds an M.A. in Drama/Cinema Studies from the University of Toronto and an M.F.A. in Creative Writing from Stonecoast. Since emerging onto the Vancouver poetry scene in 1992 and being named the following year as one of the Top Ten Young Artists of the year by The Vancouver Sun, she has gone on to receive two Pushcart Prize nominations, as well as a CBC Literary Award nomination. She has performed her work at places as diverse as Lollapalooza, The National Poetry Slam, the CBC Radio National Poetry Face-Off, the Bowery Poetry Club in New York, the Spectacular Obsessions Fellini Retrospective at the Bell TIFF Lightbox and the Italian Contemporary Film Festival in Toronto. Her work has appeared in numerous journals and publications worldwide, including Orbis Rhyme International, Nexus, The Atlanta Review, The New Guard, Light Quarterly, Future Cycle Poetry, The Raintown Review, and The Vancouver Sun, as well as About.Com's Poems After The Attack anthology, a collection discussing and reflecting upon the aftermath of 9/11. Her first book, Where the English Housewife Shines (Tin Press, London, UK) was released in April, 2007.She is also co-editing (with Annie Finch) an anthology of metrical poetry. Oliver has taught poetry and led workshops in high schools, colleges, libraries, cultural organizations and prisons, and was one of the Directors of the Edgewise Electrolit Centre, an organization created to promote Canadian poetry and new poets through the use of new media. Her interests include form, ekphrasis, translation, performance, and creating poetry syllabi for ESL speakers, seniors, victims of violence, and at-risk youth. Alexandra divides her time between Toronto, Canada, and Glasgow, Scotland, where she teaches poetry through the Govan and Craigton Integration Network and acts as a Staff Writer for the Glasgow Film Theatre.
This was a great wide ranging chat! We spoke of Alexandra's raison d'etre behind her poems in latest collection Meeting the Tormentor's in Safeway. Alexandra's passion for cinema flows throughout her savvy prose. Each poem is a slice of life cinematic vignette be it confronting childhood bullies in a grocery aisle, an intriguing toy list in the Great Beyond, or poetic tip of the hat to British filmmaker Peter Watkins' masterpiece The War Game.
From cover to cover, Meeting the Tormentors in Safeway is an eclectic must read!
We also spoke about some of the films that have resonated with Alexandra who is a self described film geek! (Spoiler Alert to those who have not seen Lars von Trier's Melancholia, or Dancer in the Dark!!)
And because our parents are British, Alexandra and I also discovered a mutual fondness for “arch” Brit Wit from Noel Coward and Monty Python to Beyond the Fringe. With her equally diverse taste in music, Alexandra's Playlist was great fun to create - Coral FM
Biblioasis author Alexandra Oliver is at Wordsworth Books Thurs Oct 10 as part of the Words Worth Reading Authors Series ! ..... Don't miss her. For more show info. www.wordsworthbooks.com.
For more on Alexandrahh! www.alexandraoliver.ca
From cover to cover, Meeting the Tormentors in Safeway is an eclectic must read!
We also spoke about some of the films that have resonated with Alexandra who is a self described film geek! (Spoiler Alert to those who have not seen Lars von Trier's Melancholia, or Dancer in the Dark!!)
And because our parents are British, Alexandra and I also discovered a mutual fondness for “arch” Brit Wit from Noel Coward and Monty Python to Beyond the Fringe. With her equally diverse taste in music, Alexandra's Playlist was great fun to create - Coral FM
Biblioasis author Alexandra Oliver is at Wordsworth Books Thurs Oct 10 as part of the Words Worth Reading Authors Series ! ..... Don't miss her. For more show info. www.wordsworthbooks.com.
For more on Alexandrahh! www.alexandraoliver.ca
Listen here for my chat with Alexandra Oliver
The Amazing Perfomance Gymnastics of Sonic Escape
Shawn Wyckoff, Maria Kaneko Millar & Nan-Cheng Chen
As graduates of The Juilliard School, Shawn Wyckoff (flute), Maria Kaneko Millar (violin) and Nan-Cheng Chen (cello) have performed in classical music’s greatest halls - The Kennedy Center, Carnegie Hall and Lincoln Center, to name a few. They’ve also travelled the world in roles as diverse as fiddle-dancing in Riverdance, jamming with Beale Street blues bands, soloing and drumming with taiko troupes, improvising with Native-American flute masters, dancing while performing the tango music of Astor Piazzolla, and playing rock clubs across NYC.
This lifelong commitment to devouring new sounds and pushing boundaries - both within themselves and the musical establishment - is why Sonic Escape came to be. For more info please visit Sonic Escape's website @ http://www.fluteandviolin.com/home.html
This lifelong commitment to devouring new sounds and pushing boundaries - both within themselves and the musical establishment - is why Sonic Escape came to be. For more info please visit Sonic Escape's website @ http://www.fluteandviolin.com/home.html
Listen to my interview with Shawn Wyckoff, and Maria Kaneko Millar featuring Sonic Escape's
Mosquito Blue and special request - Coral FM.
Here is Sonic Escape's Japanese Folk Tune Medley.
They also have a brand new video @ www.sonicescapemusic.com
Tenor Saxophonist John Tank - Behind the Notes
To many Canadians, tenor saxophonist John Tank has been somewhat of a legendary figure in the world of live Jazz performance for the past fifty years.
His unique voice has evolved out of a modern Jazz experience strongly rooted in tradition. His playing has been described as "creative, smooth, strong, rhythmic, harmonic and melodic."
Between 1961 and 1963 Tank travelled one hundred and forty miles weekly to study with the late
concert saxophonist Paul Brodie, founder of the World Saxophone Congress and to date the most recorded concert saxophonist in history. From 1964 to 1969 he attended the Berklee School of Music in Boston. Besides majoring in composition and arranging, the Berklee experience provided him with the opportunity to study Jazz improvisation both in the class room and especially at after hours jam sessions around town. Being in the company of so many players who also loved the music was one of his most inspiring experiences during those years.
In 1970, Tank moved to Toronto and performed as a leader and sideman with many fine Canadian jazz greats such as Bernie Senensky, Don Thompson, Terry Clarke, Sonny Greenwich, Lenny Breau, Michel Donato, Claude Ranger and Freddie Stone.
In 1974 Tank moved to New York and worked as a sideman in groups led by Sam Rivers, Paul Jeffery, George Coleman, Joe Morello, John Blair, Jack Walrath, Calvin Hill, Joe Lee Wilson, Monty Waters and others. He played with the great Charles Mingus on two recordings: "Me, Myself, and Eye" and "Something Like A Bird."
During the late 1970s and through the mid-1990s, he performed in England, France, Germany, Holland, Switzerland, and Spain. Live recordings were made for the BBC Radio, Canada House, the French National Radio and Dutch television in the Netherlands.
Tank has organized several tours of Ontario and Quebec over the decades and recorded for CBC Radio Canada’s "Jazz Beat" in 2000. Between 2004 and 2007 he played and toured in and around New Mexico, performing with local players in Tucson, Albuquerque, Santa Fe, Taos, and El Paso. Some of Tank’s stylistic influences include, Lester Young, Zoot Sims, Stan Getz, Paul Desmond, John Coltrane, Wayne Shorter, Sonny Rollins, Joe Henderson, Dexter Gordon, and Warne Marsh. Other major influences are Igor Stravinsky, Bella Bartok, Charles Ives and Krzysztof Pendereki.
To many jazz music afficionados and music lovers in Kitchener Waterloo John Tank is a musical legend.
It is always my great pleasure to have him come to chat with me on the radio. In this wide ranging chat, John speaks about the actual technique of "circular breathing" which he teaches in his student workshops. He also speaks about his latest performances both in The States, and in Mexico. John also played some of his favorite jazz selections as well from bassist Ron Carter, and tenor saxophonists Joe Henderson (who John played with in Toronto!) as well as Sonny Rollins.
It's great when Tank's in Town cuz things are always a cookin' and I am very proud to call him my long time pal. - Coral FM
Listen here for my special radio chat with John Tank
His unique voice has evolved out of a modern Jazz experience strongly rooted in tradition. His playing has been described as "creative, smooth, strong, rhythmic, harmonic and melodic."
Between 1961 and 1963 Tank travelled one hundred and forty miles weekly to study with the late
concert saxophonist Paul Brodie, founder of the World Saxophone Congress and to date the most recorded concert saxophonist in history. From 1964 to 1969 he attended the Berklee School of Music in Boston. Besides majoring in composition and arranging, the Berklee experience provided him with the opportunity to study Jazz improvisation both in the class room and especially at after hours jam sessions around town. Being in the company of so many players who also loved the music was one of his most inspiring experiences during those years.
In 1970, Tank moved to Toronto and performed as a leader and sideman with many fine Canadian jazz greats such as Bernie Senensky, Don Thompson, Terry Clarke, Sonny Greenwich, Lenny Breau, Michel Donato, Claude Ranger and Freddie Stone.
In 1974 Tank moved to New York and worked as a sideman in groups led by Sam Rivers, Paul Jeffery, George Coleman, Joe Morello, John Blair, Jack Walrath, Calvin Hill, Joe Lee Wilson, Monty Waters and others. He played with the great Charles Mingus on two recordings: "Me, Myself, and Eye" and "Something Like A Bird."
During the late 1970s and through the mid-1990s, he performed in England, France, Germany, Holland, Switzerland, and Spain. Live recordings were made for the BBC Radio, Canada House, the French National Radio and Dutch television in the Netherlands.
Tank has organized several tours of Ontario and Quebec over the decades and recorded for CBC Radio Canada’s "Jazz Beat" in 2000. Between 2004 and 2007 he played and toured in and around New Mexico, performing with local players in Tucson, Albuquerque, Santa Fe, Taos, and El Paso. Some of Tank’s stylistic influences include, Lester Young, Zoot Sims, Stan Getz, Paul Desmond, John Coltrane, Wayne Shorter, Sonny Rollins, Joe Henderson, Dexter Gordon, and Warne Marsh. Other major influences are Igor Stravinsky, Bella Bartok, Charles Ives and Krzysztof Pendereki.
To many jazz music afficionados and music lovers in Kitchener Waterloo John Tank is a musical legend.
It is always my great pleasure to have him come to chat with me on the radio. In this wide ranging chat, John speaks about the actual technique of "circular breathing" which he teaches in his student workshops. He also speaks about his latest performances both in The States, and in Mexico. John also played some of his favorite jazz selections as well from bassist Ron Carter, and tenor saxophonists Joe Henderson (who John played with in Toronto!) as well as Sonny Rollins.
It's great when Tank's in Town cuz things are always a cookin' and I am very proud to call him my long time pal. - Coral FM
Listen here for my special radio chat with John Tank
Why Playwright/Actor Adam Kelly Morton is revisiting The Anorak.
anorak/ n. 1 a waterproof jacket of cloth or plastic, usu. with a hood, of a kind originally used in polar regions. 2 colloq. derog. a boring, studious, or socially inept person with unfashionable and solitary interests.[Greenland Eskimo anoraq]
On December 6, 1989, student life changed forever when college student Marc Lépine gunned down 14 women at the University of Montreal. The shockwave of these horrific events was felt worldwide and the shooting at Montreal’s École Polytechnique is now known as The Montreal Massacre – one of the blackest days in Canadian history.
Play History and Timeline
Montreal playwright / actor Adam Kelly Morton wrote and performed in a one-man show about the life and the death of Marc Lépine called The Anorak. In addition to winning numerous awards The Anorak, which always has an audience forum after the show, has opened a crucial dialogue about this tragedy and others like it that continue to occur with alarming frequency in today’s society. He performed this play for 14 years.
Recently The Anorak had its UK premiere through Chewed Up Theatre in association with The Lion and Unicorn Theatre. And this highly controversial mono drama continues to garner rave reviews, for Felix Brunger as Lepine, director Matthew Gould, and Adam Kelly Morton. The Anorak also played at The Hope Theatre in London. Kelly Morton attended The Anorak's first apre-show question and answer segment, which was conducted by the playwright and Felix Brunger who reprised the role of Marc Lepine. (For more info on Felix Brunger see International Artists Podcasts.)
It is now playing at Montreal Improv Theatre B Space. For more info go to http://www.theanorakplay.com/
and for more on Adam Kelly Morton go to http://www.adamkellymorton.com/
I have known Adam Kelly Morton since he came here to perform The Anorak at Kitchener's Registry Theatre. Several years ago, Adam left this role behind deciding to pass the play on to others while he focussed more on his flourishing career as a independent filmmaker and a writer.
But now on the eve of the 25th anniversary of The Montreal Massacre, he finds himself back in this very contraversial role.
I reached Kelly Morton in Montreal.
Listen here for Adam Kelly Morton podcast.
The Anorak 2014 - Exclusive Interview with England's Felix Brunger who is playing
Marc Lepine in Adam Kelly Morton's The Anorak
Felix Brunger is a London based actor, who trained with The Actors Temple 2012, a school founded on the teachings of Sanford Miesner.
As well as having an endless passion for theatre, film and dance, the boy is also a dab hand at djing having played in many clubs around the world such as Ministry of Sound, Pacha, Zouk and Fabric.
Felix always aims to deliver the most honest and authentic work possible.
He loves people, he loves laughing and he loves life....
As well as having an endless passion for theatre, film and dance, the boy is also a dab hand at djing having played in many clubs around the world such as Ministry of Sound, Pacha, Zouk and Fabric.
Felix always aims to deliver the most honest and authentic work possible.
He loves people, he loves laughing and he loves life....
Actor Felix Brunger - The Anorak
Here is an exclusive email interview with actor Felix Brunger who is reprising his role in The Anorak.
This will be the second time you have played Marc Lepine. How did you find The Anorak?
I was called in to read for the part of Marc by the producers of Chewed Up Theatre early of 2013.
The brief was simple, they were looking for a young man 25-30 yr, dark hair, medium build able to do a Quebecois accent, that it would be a one man show which would have it's first premiere outside of Canada.
I had recently graduated and leapt at the chance to audition for it, of course. At this stage I had never heard of Marc Lepine, The Montreal Massacre and had never performed in a Quebecois accent!
It struck a cord with me from first reading. The story was so fascinating and although I was only given a small part of the script to work with, I felt an instant connection to this character. I guess you could say that ' The Anorak' found me.
How has the play changed for you since you premiered it through Chewed Up Theatre?
You know, the piece is constantly evolving for me. It's been a year since I last played it and to go back to the script and re-learn the work, rehearse it again, and to still keep discovering moments means that it's definitely alive for me. Adam's writing is so rich, and the character so complex that as an actor you get to go deep, deep down mining for gold, on all levels. That is certainly a gift from the writer to any actor that will play this role, and it keeps me on my toes!
Did Matthew do anything different in the script directions? And how closely have you worked together through this process.
From the start Matthew and I had a clear vision of what we didn't want Marc to be. We worked extremely closely throughout the whole rehearsal process, and tried to avoid at all costs portraying him as a clichéd 'Hollywood' esque spooky villain type. You have this young man who made morally bad choices yes, but rather than judge that, we had to show the human underneath all of this., how he came to be. If we didn't aim for this it would be hard for the audience to listen to what he had to say, they would dismiss him straight away.
Our close connection to the piece and our mutual respect as director and actor really enabled us to focus on bringing Adam's work to life as a team.
Matthew was instrumental at keeping the direction simple, not 'over egging the pudding' unnecessarily and trusting the clues that were written in the script.
Adam grew up in the same town and he discovered some similarities between he and Lapine – Adam also had no father figure growing up and he took his mother's name. Do you have anything like this in your back story that informs the character?
There are elements of Marc's life that I can relate to, for sure. My parents divorced when I was small, so I've experienced a family breaking down and what comes with that, early on in life. Growing up in foreign parts of the world such as the Middle east, moving schools and leaving friends behind, being exposed to some form of childhood bullying, through to the pains and joys of intimate relationships, similarities in history I guess.
For the most part however, I had to personalize the script from a point of view that stemmed from my imagination. I'd never experienced 80's downtown Montreal for example, or have ever wanted to go out and buy a gun with intent to kill, so in that respect, I had to approach the story from imaginary circumstances we created for him.
Does Matthew allow you to give yourself liberties within the character – little nuances that might happen while you are performing it? Because of the energy of the audience – this piece would change every night. How long does it take you to get into character.... what do you do?
Definitely. Matthew created a safe environment for me during rehearsals; to play, explore, and to really pour out my heart and soul. He encouraged me to be fearless in the work and trusted me to find a way of working authentically and organically, to take big risks. Because of the heavy subject matter there were definitely moments before some rehearsals where I thought - Can I actually do this? Can I go that dark today?...
But Matthew was extremely patient and intuitive of my needs and I feel blessed to have him direct me in this. I try to get into the space an hour before each performance, if I can. It gives me plenty of time to check in with myself and prepare. I do a some yoga and a vocal warm up and then it's show time!.
In Sept 2006, Monica Lepine spoke the press for the first time since 1989 breaking a 17 year silence. This happened shortly after Montreal's Dawson Collage shootings. So Adam added a new scene to the play. Did you know about that? I guess Monique prayed for the mother of the criminal without knowing it was her own son.
I believe the scene you are referring to is 'Mother'. Marc went to visit his Mum with an early birthday present just before the massacre. Little did she know that it would be the last time she would see her son or of the atrocity that was about unfold in her life, it's a pivotal moment towards the end of the play.
What research did you for yourself?
One part of the process that I absolutely love doing is the research, learning something completely new, becoming obsessed in my pursuit of trying to understand how something came to be. You could say I'm a bit nerdy like that!
Because of the play's history I felt compelled to go on a journey of discovery. I spent hours and hours reading and watching youtube footage related to the massacre; interviews, documentaries, anything I could get my hands on to help me understand the socio economic climate of Montreal in the 80's and of the event.
Adam was a huge help to me, always available for me to ask any questions that I couldn't find answers to. Many times in the wee hours of the morning I would be sending him emails going 'Adam- help, I'm stuck with this!' and he would get back to me right away with invaluable advice. He is immensely generous and I feel his support constantly.
I worked with a dialect coach to hone the Quebecois accent, and had the good fortune to meet the criminologist Ann Hamilton at a dinner party, who I subsequently did most of my character research with.
Ann had worked for 35 years dealing with class A offenders in maximum security prison in the UK. I mean... she had see it all. She took me under her wing for a few months and shared with me her vast knowledge and expertise, helping me to get an understanding of how and why sociopathic behaviour occurs. One idea that Ann suggested to me was that if Marc Lepine had had the means to seek therapy, would it have prevented him from doing what he did.
The Anorak sadly is not the only example of a mass shooting and these sorts of tragedies seem to be escalating on a global scale. Is there a similar incident in England that's comparable? Because these sorts of horrific events seem be happening all the time. We just had one terrible event in Moncton, New Brunswick very recently – 3 RCMP officers shot at the hands of a delusional killer.
It's a tricky one to say and I'm not an expert. Mass shooting statistically happen mostly in the US. The last example in the UK was Dunblane, which happened in 1996. But I don't think that means the attitude over here is 'oh, it won't happen to us', it already did, and in reality could again. High school shootings seem to be such a common occurrence in this day and age which is tragic, so anything is possible in that respect unfortunately.
I think gun control laws do factor in to this in a big way though. It's not so common in the UK to walk in to a corner shop and buy a gun. Owning a gun generally tends to be associated with rifle clubs, shooting ranges or country hunting parties with strict regulations and licenses. But that’s not to say that the illegal firearms trade and culture doesn't exist over here, it does and that is a problem.
TV and Internet could possible contribute in some way to events like this occurring, but I tend to lean more towards the idea that problems stem from the home environment and social and racial backgrounds to start with. If relationships are unbalanced, abusive, if communication breaks down or is non existent, if there's lack of support, many many things. I think they are more likely to contribute to a person eventually having to find a channel to vent their frustrations, which can sometimes have devastating results.
This is your first one man show – what do you find is the hardest thing about portraying this character?
Initially one of the biggest challenges for me was the length and density of the play. It runs at 90 mins with no interval and there are over 13,000 words so that was certainly daunting! The emotional journey of the character is incredible, and to experience that night after night takes a lot of stamina; mental, physically and emotionally. He is not an easy character to play because of the darkness that surrounds him.
The audience energy – does it fuel you?
I don't want to spoil the beginning for those who haven't seen it but the start of the show is immersive which really throws the audience. One night a friend of mine came to watch and bounded in all excited to see me standing there, only to be told very bluntly to sit down. To see her face crumble with confusion and hurt was proof that the piece takes effect right from the start.
Lepine is a very complex character and basically this play mines the psyche of a sociopath. Have you had a lot controversy from groups around the production – either with its premiere or with the upcoming remount.
Not so much from groups so far, but a poignant moment for me happened on the last night of the first run.
A lady came in to the space, I told her where to sit and she was understandably very rude to me. She was adamant that she wanted to sit right in the middle of the front row. Absolutely fine. As the play started and progressed I felt her energy all over the place, I mean she was sending me major angry vibes, which I had anticipated because of the subject matter.
Once the show had ended and the audience had left, I came out of my dressing room and was surprised to see her standing there in floods of tears waiting for me. She asked if she could talk to me for a bit, which obviously I will do after any show. The audience goes on a tough journey, so for me it's really important to connect with them afterwards if they want to chat. So we went and had a drink together.
She told me her story. She was from Montreal and had been a teenager when the Massacre happened and was so effected by Marc Lepine's actions that she had become a feminist. She had spent most of her life hating this man and what he had done. Enough so that when she found out that the play was being put on in London she had travelled miles from the north of England in outrage to watch it. What good could possibly come from this play, right?
She explained that for years she had harboured this anger inside for Marc, but once the play started, and his life story unfolded before her eyes an immense sense of grief and pity for him had fallen over her. That she felt so sorry for him the emotional release had been overwhelming. She felt she could no longer be so angry with him as the story explained much of what could possibly have lead him to take the lives of those innocent women, and it helped her make some sort of peace with herself.
Will you be conducting a question and answer after each performance?
Our first London Q & A session will take place on the 9th of July at The Hope Theatre and we are delighted and privileged to have Adam and his family flying over to conduct this with us!
For you as an actor I guess the Q and A segment of the show this is just as important – because it gives you the opportunity to field many audience questions. And I guess you can unwind from the character as you do this? Because you are a method actor and so I am guessing Lepine is hard to shake off right away ...
Yes, it's a monumental role to take on, and as I mention before in order for me to be authentic and in the moment I have to go deep into my personalization of the script, so I guess I never really shake him off as such. He comes from within me, from my own darkness. But, I really try to do my job as best as I can and when the show's done I try to get on with my day.
For those who do not know, what is the Meisner Technique? This is also a 90 minute monologue with no intermissions. How do you train yourself for this role?
Sanford Miesner was an influential acting teacher in New York who founded The Group Theatre Company with notable others including Stella Adler and Lee Strasberg in the late 1930's. He was the head of the acting program at The Neighbourhood Playhouse and developed his own method of acting. A key element to his technique is in this quote by 'Sandy' which is what his student would call him: 'Acting is living truthfully under the given imaginary circumstances'.
The main objective of this technique is to get the attention off yourself, so that you can live in the moment and be truthful to that moment. Before studying at The Actors Temple I had never experienced acting like this before. Gary my acting teacher is a major source of inspiration for me.
Are there plans for the play to be performed to mark occasions – International Women's Day – The Montreal Massacre itself – how long do you plan to perform it?
As such, there is nothing like that on the cards immediately, but the play runs for a month at The Hope and anything is possible. We are certainly open to all suggestions of future performances.
Is there a monodrama that you like and that inspires you?
Before I got cast in 'The Anorak' I saw an immersive one man show at The Young Vic called 'Going Dark' by theatre company Sound & Fury. It tells the story of a Astronomer Marc who is a single Father trying to bring up a very young son, but has a degenerative eye disease that is turning him blind. It was an incredible story and touched me deeply. To watch this Father struggle to teach his son about all facts of life knowing that at some point he will never be able to see him grow up, was truly heart wrenching. When I left the theatre I was so moved, and thought wow, I would love the chance to do a solo show. A few months later Chewed Up Theatre contacted me out of the blue offering me an audition, so I guess you could say that was divine intervention.
Music for The Anorak... why this piece?
We use the music of Georges Brassens as one of his songs because the lyrics are referenced at the end of the play, so it made perfect sense to go with that choice.
For more info on Felix Brunger go to http://about.me/felixbrunger
For more info on Adam Kelly Morton go to http://www.adamkellymorton.com/
Directed by Matthew Gould, and performed by Felix Brunger, The Anorak is being presented at The King's Head Theatre in The Hope Theatre, Islington, London England. It opens July 2 and runs to July 26.
For more info http://kingsheadtheatre.ticketsolve.com/shows/873511167/events?show_id=873511167
(***I am very proud to watch the evolution of such an important play as The Anorak.
I saw Adam perform it here at Kitchener's Registry Theatre when Poor Tom Productions produced this piece for Waterloo Region. The play premiered in England through Chewed Up Theatre at the Lion and The Unicorn and now actor Felix Brunger is reprising this challenging role for The Hope Theatre, through King's Head Theatre, London. There are plans for additional performances of the play in Montreal, and Rio de Janeiro, Brazil.
The Anorak is a play that will resonate with audiences for years to come as it continues its brave global outreach. Merci Tres Bien to Adam Kelly Morton and Felix Brunger for these interviews. I ma thrilled to say that this interview appeared in the Hope Theatre Anorak Play Program ***- Coral)