Thank you for purchasing tickets to the Kitchener-Waterloo Symphony‘s Dancin’ Through the Decades. To enhance the overall concert experience, we have added a dance floor for these concerts. The dance floor will be located between the first row and the orchestra musicians. Since this floor is on one of the moveable lifts, it will be 14 inches lower than where the seating starts, in the first row, and should not obstruct the view of any patrons.
That seemed neat, but logistically problematic.
“We’re not going to go there in our dance shoes,” said Jean, pointing out the snowy climes.
But our early spring meant that we could, in fact, go there in our dance shoes without wrecking the soles.
However, it remained that our seats were right in the middle of the row, meaning we couldn’t get out to the dance floor without disrupting half of the people in said row. (And it was a pretty well-attended show.) Plus, we definitely didn’t want to be the first ones on the floor.
We stayed put during the swingin’ “In the Mood,” as did everyone else—much to conductor Matt Catinghub’s chagrin. But then a few brave souls made their way onto the floor.
“What is this one?“ my husband whispered as they launched into the new tune. And by that he meant what dance beat is it, not what song title. (Which is just as well, as now I can’t remember the song title.)
“Slow fox,” I answered.
Well, slow fox is like dance cat nip to my husband—he just can’t resist. We proceeded to disturb everyone in half the row and made it down the dance floor.
But, that’s about all the disturbing we did, because then we just stayed on the floor for the whole show.
For ballroom / Latin dance aficionados, the first half, with music of the 40s, 50s, and 60s, was especially appealing. Along with a number of slow foxes, we got to tango (I think), waltz to “Unforgettable” (I know), jive to “Twist and Shout”, and cha-cha to “La Bamba.”
I have never danced to such beautiful sound. The Symphony are terrific, of course; the Centre has some of the best acoustics on the continent; and the guest singer (Anita Hall), drummer (Steve Moretti), and saxophone players were also fantastic—and very energetic! (Matt Caringhub also did some keyboards.)
If you do a Where’s Waldo on this tweeted photo, you might be able to spot us
At intermission we drank a lot of water—and received compliments on our dancing from passing strangers, which was nice! (Maybe we can dance.)
The second half was 70s, 80s, 90s, and current. Disco like “Night Fever” is basically a samba, and I actually know the steps (yes, there are steps) to YMCA.
Of course, everyone knows the chorus part of this dance
Then we got some “Hotel California,” “Don’t Stop Believin”, “Africa”, “Vogue”, “Rock Lobster” (featuring KWS Assistant Conductor Daniel Bartholomew-Poyser on vocals), and “Happy” by Pharell Williams. So a lot of really fun songs—but also a lesson in why no one does partner dancing anymore, since that just doesn’t work as well to those beats.
But hey, it was a really fun night, and I’m so glad the symphony offered the dance floor setup. It was totally worth the sore muscles the next day!
(As for the television show So You Think You Can Dance, I find their new gimmick of featuring dancers age 8 to 13 completely mystifying and utterly uninteresting. I do not plan to watch.)
Oh, I had my concert tickets, which is good, because both her shows were complete sellouts. And I knew she was an Inuit singer who had her own take on traditional throat singing. I remembered her winning the Polaris prize in 2014.
But I hadn’t listened to any of her music in advance.
And thank goodness for that! Because you can only hear Tanya Tagaq for the very first time once in your life, and what better way than seeing her live, from just a few feet away? (We were in the second row.)
The problem is, I have no idea how to describe her sound and performance to you. I’ve never heard anyone else do anything like what she does. As we were revelling in her show afterward, Jean made an attempt: “It’s like she took you on a journey through a whole lifetime of dreams.”
This is traditional throat singing:
The adorable 11-year-old Inuit girls throat-singing at Justin Trudeau’s swearing-in ceremony
Tagaq does use this technique, but—in own words—in a completely punk way. She plays with pitch, vocal styling, breathing, making no literal sense but clearly conveying emotion. And she puts her whole body into it, swaying, gesturing, sinking to the floor. It’s just mesmerizing.
And how does that work with the symphony? Well, first they prepared us to hear some unusual sounds by presenting the works of two Canadian composers (both in attendance, both women), along with a version of Grieg’s “In the Hall of the Mountain King” that was so rockin’ it rivaled The Who’s take on the same.
They then let Tanya Tagaq do her thing on her own, totally improvised.
Next was a work by another Canadian composer, Rodney Sharman, (“I texted with him today,” said Tagaq. “He seems nice.”), and she improvised over that soundtrack.
Finally, Tagaq and orchestra came together on a chamber music piece written for her, called “Cercle du Nord III”. Ms. Tagaq said that the fuller sound provided by the larger symphony (vs. original string quartet) gave the piece another dimension.
(Her personality is quite charming, by the way. For example, she was taken aback at having to come back and acknowledge the rapturous applause she was receiving. She was unsure to do, she said. What does she normally do? “I go out for dinner,” she answered. She then told us, mock sternly: “OK, I’m leaving now. Don’t make me come back out again!”)
I think he has a point. Much as I still love rock music, there isn’t much danger or innovation in it anymore, is there? What is more choreographed, corporate, and scripted than a big, modern rock show? Who can improvise when everyone has to play to same click track?
Whereas tonight’s Tanya Tagaq concert could be a whole different experience than last night’s.
And this is following on two other KW Symphony shows we saw recently, in which they:
Completely reconceived German opera Die Fleidermaus with local references, a hilarious narration absent in the original, and even a special guest spot for a former mayor.
Along with the Art of Time, presented the Beatles’s Sgt. Pepper not just orchestrated, but truly rearranged such that every song was both familiar and strange (though wonderfully so, in my opinion).
As rock retreats to safety, the traditional symphony is taking it to the edge. Don’t let the strings and horns fool you: today, this is punk.
When we arrived at the KW Symphony’s gala fundraising dinner, we immediately noticed a glamorous-looking woman in a shimmery dress with a long train that we made a mental note not to step on. Next thing we knew, after getting a drink from the bar, she was introducing herself to us.
I’m Patricia Ward Kelly. Gene Kelly’s wife.
That would be Gene Kelly, actor, dancer, director, and star of Singin’ in the Rain, the greatest musical of all time. And no, Ms. Kelly is not 90 years old; she’s maybe 50?
“Big age difference when they met,” I told Jean, after we’d thanked her for talking to us and moved off into the next room. He was a bit stunned, not having read about Patricia Kelly in advance, as I had.
Everyone got dolled up for this “black tie optional” affair, which is always kind of fun. (Though I only have a picture of me, not a set of the well-dressed crowd.)
We weren’t able to convince any of our friends to join us at this affair, though, so we were seated with three other couples we didn’t know. (Should have been four, but one set was a no-show.) They proved to be good company. We had interesting conversations on topics such as travel, books, and Future Shop (which had suddenly closed that morning).
The event was held in the ballroom of the Crown Plaza Hotel (so, far from the pool smell…). Cocktails started at 4:30, dinner at 5:30, and they did an exemplary job of getting through speeches, an auction, and the three-course meal in time for us to get to Centre in the Square for the show.
As for the food, I think everyone was happy with the salad appetizer and the dessert, which was a choice of carrot or chocolate truffle cake.
Le salade
For the entree, I overheard some complaints of it being cold or the meat tough. Maybe just luck of the draw, then, but Jean and I found our meals quite fine.
For the auction, it was interesting that bidding was fiercest for the items that were essentially donations: for sending a school to a concert or for the symphony’s music therapy program. Instead of just taking the largest bids, Patricia Ward Kelly suggested accepting all the highest bids as multiple donations. Good idea!
She herself was quite a good speaker, talking of her meeting with Gene Kelly, when she didn’t know who the heck he was, and how they fell in love, and she’s become the keeper of his legacy. She’s never remarried. She was also very gracious about the community and the symphony organization.
The final part of the evening was at Centre in the Square (taxi ride to and from included), where Singin’ in the Rain was played with a voice-only soundtrack, and the KW Symphony played all the music live. Ms. Kelly spoke briefly here as well, and one of the items she told us was that all the original scores were thrown out by the studio, and had to be re-created later, by ear.
Evan Mitchell came back from Kingston to do the conducting of this show, and he did an amazing job of keeping the symphony in sync with film being shown. All really seamless, except for occasionally hearing the musicians turn the pages!
Jean concluded he hadn’t ever seen the entire movie before. For me, it was certainly the first time I’d seen it on the big screen. It’s so good! And for once, it totally made sense to applaud in the middle and at the end of a movie.
Good Mornin’ from Singin’ in the Rain.— the only song Debbie Reynolds actually sang in this movie. Otherwise, her voice was dubbed. Ironically. (This is I learned only last night…)
After the performance there was another reception downstairs, in the fancy member’s lounge. While it was nice to be in that room again (and get more desserts!), it wasn’t a terribly entertaining event, so we didn’t stay too long. We ended up cabbing back to the Crown Plaza with the Assistant Conductor of the KW Symphony.
Singin’ in the Rain plays again tonight (without all the gala accoutrements).
We originally thought of taking a day trip this long weekend—maybe do some snowshoeing—but the record cold temperatures dissuaded us from that plan. Instead we found entertainment closer to home.
Friday night we had dinner with friends at Aqua, the new seafood restaurant in the not-so-new Crowne Plaza Hotel. The service was a little iff-y—bit inattentive—but the food was pretty good. We all went with the Valentine’s special menu. The highlights were the beet soup with smoked trout, the ravioli and beef entree Jean had, and the two desserts: A chocolate mousse cake and a cookie with ice cream concoction. We all concluded we’d eat here again, amidst that special chlorinated pool ambiance. 🙂
Afterward we all attended a symphony concert. It started with a modern piece that our friend accurately described as interesting, but not that musical. Then we got Rachmaninoff’s Piano Concert no. 2 in C minor. For me, this would be the number 3 Rachmaninoff piano concerto I have heard live, and he is three for three in my books. I always enjoy them. The second movement of this one sounds so much “All By Myself” that Eric Carmen still pays royalties to Rachmininoff’s estate. (True fact!) The third movement was lively and sensual. The featured pianist was an attractive and obviously talented young woman named Natasha Paremski.
The second half of the concert featured Rachmaninoff’s Symphonic Dances, which was also good though, for me, not as good as the piano concerto.
Saturday was actual Valentine’s Day, and we don’t generally go to restaurants then. But it being a holiday, I decided to make a nicer dinner.
I tried a new (to me) Jamie Oliver recipe for slow-cooked duck pasta. We weren’t able to buy the duck until that morning, and it was frozen, so the main challenge was getting it defrosted in time for dinner that day. That required a whole lot of rinsing.
Otherwise, the recipe wasn’t tough: Just required time. The duck cooked at 350 for 2 hours, in its juices, and I had to turn it every half hour. Then in a fry pan I sauteed some pancetta, then I added various vegetables and some can tomatoes and red wine to make a pasta sauce. After the duck cooled, we removed the meat from it, and added that to the sauce. Then it was a matter of cooking rigatoni and mixing it all together, topped with Parmesan.
Quite delish. We served it with a Chateauneuf du pape.
For dessert I made a chocolate mousse cake. No flour, just cocoa, unsweetened, and bittersweet chocolate with eggs and Cool Whip, basically. It was another new recipe (to me), and it turned out well—not too sweet, good texture.
But we weren’t done eating yet. 🙂
Sunday we braved the cold and drove to Wilk’s Bar, which is at Langdon Hall, for lunch. It isn’t a cheap place (though cheaper than the Langdon Hal dining room), but they do a nice job.
We had the “From the Land” sharing platter to start, along with four oysters. The oysters were amazing. The land platter was fine, but not outstanding. The highlight of that was probably the almonds!
Muskox stew with mushroom risotto in the background
Both of the lunch entrees were very good, though. I had the wild mushroom risotto and Jean had muskox stew. The glasses of wine were quite nice, also.
But no time (or room, really) for dessert, as we had tea dance tickets for 2:00. After a detour to the wrong location, we got to that event around 2:15. It was a fun time, and a chance to work off some of the food—especially dancing to “Jump, Jive, and Wail”! Wow, that’s a fast song. (Which is why the wailing after the jiving, I guess.)
And then, we dashed to a 4:20 showing of The Theory of Everything at the Princess. Pretty interesting movie about the relationship between Stephen Hawking and his first wife, Jane. Definitely shows the challenges of her having to cope with his increasingly serious illness. Though of course, as we know, he continued to do amazing physics work through it all.
Then we were ready to go back home and relax. Family Day was pretty quiet, and that suited us just fine. Especially as we got some news Sunday night that definitely had us thinking about family.
For “Edwin’s Orchestra Follies”, we were promised the wacky side of the KW Symphony, and they delivered on that!
The premise was that due to the symphony’s financial challenges, they had to try some new approaches. Like, striking a deal with new sponsor, Power Goop. Like offering a new Siri-like app, that seemed to be hearing-challenged. Like having a mascot: a big guy in a cat suit.
Cat mascot, conter tenor in the center, and conductor Edwin Outwater in his Power Goop outfit. Photo by Scott Belluz.
Some jokes worked better than others. They were throwing a lot of stuff at the wall, and only some of it stuck, if you will. By as my friend, who isn’t a typical Symphony attendee, remarked: “At least I’m not bored!”
Oh, and they did play music too. One surprisingly great piece was Leroy Anderson’s “Typewriter”, that did, in fact, feature a manual typewriter as one of the “instruments”. It was “played” by one of the members of the Youth Orchestra, who had to have been a novice on that device, given his age.
Several pieces were by P.D.Q. Bach, “the oddest of Bach’s 20-odd children.” Outwater commented that while father Bach’s pieces required great musicianship, “any idiot could play P.D.Q. Bach”, then invited an audience on stage to prove it. We got a young woman from Colorado (what?) who seemed slightly mortified by the whole thing, but nevertheless did a fine job of rising and hitting cymbals together when so directed by the conductor, earning an angry glare from the cat mascot, every time. This was during the Hindenburg Concerto, featuring balloon releases at various points during the piece.
The first half ended with Haydn’s Farewell Symphony. Outwater pointed out before starting that everyone had partaken of Power Goop before the concert. Throughout the piece—it’s written this way—various members of the orchestra leave, until no one is left playing. Only the way it was acted out, they were each leaving due to some sort of intestinal distress!
You had to be there, but it actually was pretty funny.
And the second half began with a response in the form of P.D.Q Bach’s Howdy Symphony. It starts with a “conductor solo”—that’s right, just Edwin Outwater flailing away in the face of no music, no musicians. “Ssh,” he said, as the audience took a few minutes to settle down. “This is my solo. You don’t get a conductor solo very often!”
And then all the musicians gradually ambled back in, one by one, and started playing.
Edwin’s supposed even greater intake of Power Goop felled him on the third piece in, and he collapsed on the couch (which was on the stage for the cat mascot, of course). “Get that girl!” he managed to wheeze, and our Colorado visitor got a turn at the baton, for “Flight of the Bumblebee”.
Probably the funniest piece was the final one, P.D.Q Bach’s “Ipheigenia in Brooklyn”, featuring the pictured countertenor. It’s a mockery of the aria form, with the singer having to take rather absurd leaps in vocal range, while singing even more absurd lyrics about “dead fishes… Dead, but still smelling of fish” and “running, running, running, noses”. The singer played it all very straight, which was perfect. The piece was nuts and I was in stitches.
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And for some completely different, last night we went to see Travis Wall’s “Shaping Sound” dance troupe. He is a dancer and choreographer on So You Think You Can Dance, and the troupe featured a number of other dancers from that show and Dancing with the Stars.
I won’t get into big description. It was some amazing, upbeat group numbers set off by angsty and sometimes sexy contemporary pieces. I quite enjoyed it. Their take on “Bohemian Rhapsody” especially stood out.
I am really, really surprised how much I am enjoying this concert.
— Jean, at intermission
Tuesday night we went to see KW Glee perform with the Kitchener Waterloo Symphony at Centre in the Square. KW Glee is a show choir that was, in fact, inspired by the TV show Glee. So they sing pop music, and they don’t just stand there while they’re doing that—all their numbers are choreographed.
The inspiration
What’s different from the TV show? Well, this show choir is much bigger; they have many featured vocalists, not just one girl (Rachel) and one boy (Finn) who do most of the lead singing; and especially; no auto-tune!
The actuality
And what voices, my friend. My goodness, such talent in this community. I’m wondering which of these young people will break out as a huge star some day. Seems likely at least one of them will.
The set list consisted mostly of what kids are listening to these days, which meant that—honestly—I did not know many of the songs. In some cases I hadn’t even heard of the artist. (VV Brown?)
No matter, They had us at the opening number, a mashup of “Some Nights” by Fun and “End of Time” by Beyoncé, performed by choir only, then carried us through as the Symphony joined in on “Counting Stars” by One Republic mashed with “Wake Me Up” by Avicii.
And then we got Junior Glee, all on their own. Oh, my goodness. These are the 9 to 12 year olds, and they are mostly girls (Senior Glee is somewhat more gender balanced), but their first number featured three young boys singing Bruno Mars’ “Treasure”. They were both adorable and deeply impressive at conveying this love song.
In the introduction by artistic director Amanda Kind, we were told that the youth auditioned based on vocal talent only. All the dancing, they’d have to learn in their 12-week rehearsal period.
But some of them obviously have some additional dance training. “Say Something” (by A Great Big World and Christina Aguilera) was performed as a vocal duet, with two of the choir members dancing. It was lovely—reminded me of the performance of this song on “So You Think You Can Dance” (and nearly brought me to tears).
Kelly Clarkson’s “A Moment Like This” (a rather sappy song, that) was another that featured two other talented dancers.
Adding to the excitement were a great number of costume changes. I don’t know how many, but we didn’t have time to get sick of any particular outfit, let me tell you. (It must have been chaos backstage.) For example, for all-ladies singing of Britney Spears’ “Toxic”, the singers were all in sexy black and red. For Lady Gaga’s “Bad Romance”, the outfits were more eccentric. For Michael Jackson’s “Thriller” mashed with Rhianna’s “Disturbia”, more scary.
For the James Bond Medley, the guys were all dapper in suits, of course. For “Shake It Out” by Florence and the Machine, the lead singer was in a lovely red dress, while the rest of the choir wore black, representing the demons being “shaken off”, per the song lyrics. You get the idea,
And the Symphony? Well, honestly, they were very much in the background—especially in first half. Staging-wise, they literally were seated way back, to allow for so many singers and dancers to do their thing in the front part of stage. But, they did get to shine more in the second half, which featured more quiet numbers. They actually started playing the second half—the James Bond theme—before any singers were on stage.
And there’s no doubt that throughout, these talented musicians provided solid backing. There’s nothing like live music. And everything was a world premiere, friends. There has never before been a full concert of show choir + symphony. All the scores—all of them—were written especially for this concert by conductor Trevor Wagler.
Another highlight to mention was the performance of Leonard Cohen’s “Hallelujah”. Obviously, this one has been done by lots of singers. KW Glee had four young men from Senior Glee perform it. Simply the fact of it being sung by four people instead of the usual soloist made you forget about comparing it with past covers, as each did a nice job on his own and their voices mingled beautifully when they sang together. The orchestration was also fantastic. Though the audience probably could have been popping up all night, this is one place where a standing ovation occurred mid-concert.
What I remember of Footloose the movie is that a preacher in a small town has banned dancing. Kevin Bacon moves to that town, takes up with the minister’s daughter, and dances his way into convincing the town to lift the ban.
Footloose the Musical, which we saw at the St. Jacob’s Playhouse, was very well-done, but the sadness running through the whole piece was a surprise to me. If also in the movie, I had forgotten about the abandoning father, the dead son and brother, the silenced women. Those people really needed to dance!
Jean was mostly sad that a piece that we first saw as contemporary is now an item of nostalgia.
A 100-mile feast with 7000 km theme
It’s somewhat confusing that 100-mile dinner of local food has a theme of A Tour of Italy, a country 7169 km away (says Google). But that’s what the Waterloo Inn had an offer, as sponsored by the Chamber of Commerce and in benefit of local physician recruitment.
It was the place to be if you wanted to network. We were there for the food, but gathered up various business cards nonetheless. We were encouraged to Tweet during dinner, and so I did, and as a real rarity, also acted as food “photographer.” (I did all five courses, but will stick to three here.)
The Importance of Being Earnest: Reliably entertaining
I’ve seen the play before, I’ve seen the movie, yet I didn’t hesitate when invited to the University of Waterloo production of this Oscar Wilde play—and not only because the tickets were free (for me, because I’m special :-). I never remember the story that well; just that I really enjoyed watching it play out! This production, in the newly renovated Humanities Theatre, was no exception.
More people need to go to Marisol
We dined there before the Swing concert, and it was lovely as always, but alarmingly quiet for a Friday night. More people need to find this place! We can’t keep losing the area’s best restaurants.
Christmas parties
Some companies still have these. If yours doesn’t, I recommend marrying into one that does. It’s worked out for me.
Writers on music: Like dancing about architecture?
That’s the saying, eh, that writing is about music is like dancing about architecture. Well, the KW Symphony begs to differ, and recently had a concert featuring novelists Miriam Toews and Wayne Grady, whose recent books (All My Puny Sorrows and Emancipation Day) have musicians as main characters.
Each novelist got half of the program, in which they read from their work, had the symphony play a piece related to what they read, discussed music and writing with the conductor, then listened to a modern work by the symphony and read a response to that.
it was a fascinating evening. The symphony were “forced” into genres they don’t typically tackle—jazz and piano concertos (featuring a lovely soloist from Wilfrid Laurier), and I’m sure the novelists hadn’t been previously familiar with the work they commented on.
As previously mentioned, May was a big concert month for us. Unusually for us, we went out to eat before three of these outings.
1. Food trucks and Big Bad Voodoo Daddy
Big Bad Voodoo Daddy are a band who play retro, swinging jazz music. Before their concert at Centre in the Square, the Waterloo Hep Cat Hoppers were offering a dance lesson in the lobby. We wanted to take part in that, but it was at 6:30 pm on a work night, which seemed a bit tight.
So when Centre in the Square announced they’d have a couple food trucks there that night starting at 6:00, that seemed like a good option.
Seemed. But while food trucks are a whole big thing right now, they have a few problems.
Weather. At least the rain held off until we’d gotten our food and eaten it, but it was windy and cool, making it less than fabulous for eating outdoors.
Eating standing up. I’m a big fan of working standing up, but eating a meal is best enjoyed sitting down. Using metal and not plastic cutlery.
Standing in line. Just not my favorite activity. Made worst by the fact that while we were there promptly at 6:00, the trucks were not really ready until 6:15, allowing other people to get ahead of us in line, and making us a bit late for the dance lesson.
As for food quality… Meh… Jean didn’t particularly enjoy his Tandoori grilled cheese. I thought my Mediterranean crepe wasn’t bad, but not really worth braving weather / eating standing up / standing in line for again, unless I was stuck.
The dance lesson, though, was fine. What we were taught was very similar to the jive that Jean and I know well, only instead of backstep / step / step (or triple step), it was back-step / kick / kick. It was really hard to remember to do the kick / kick when we were so used to the step / step. Occasionally we just rebelled and reverted to jive dancing. But a good time.
As for the Big Bad Voodoo Daddy performance, that was hard not to enjoy also, as the music is so lively and fun. I hadn’t known that the band, the same group of people, had been together since 1995. Jean wasn’t in the greatest mood that night (and I’m sure the grilled cheese didn’t help), but he could still recognize that they gave a really good show. (Should point out that this concert was his idea for a change, rather than mine.)
Three Kretans is a Greek restaurant very close to Centre in the Square. For the past year or two, Centre in the Square’s parking lot has been under construction, making it a challenge to find a spot to leave your car before shows. So Three Kretans has come up with a pretty smart offer: Have dinner there, leave your car in their parking lot (for free), and walk to theatre. They have a pre-theatre menu that gets you to the show on time. With the ballroom concert at 7:00 on a week night, we decided to go that right.
The food isn’t bad. It is a casual Greek restaurnt, so you get your lamb, chicken, or pork skewers with potatoes and rice and Greek salad. And baklava-type dessert, if you want.
But Jean was underwhelmed. “I get better food than this at home,” he pointed out. [Ah, the perils of being such a fantastic home cook! 🙂 ]
The show, fortunately was in no way disappointing. Music was all provided by the KW Symphony, and the evening was hosted by Kym Johnson and Tristan MacManus of Dancing with the Stars, and also featured other dancers that show. That fact probably would have been more exciting if I watched Dancing with the Stars. (By the way, everyone in our ballroom dance class thinks it’s highly peculiar that we don’t watch that show.) And there were a couple singers from American Idol, which, again, I don’t watch, so I didn’t know who they were. But while the woman certainly had a nice voice, I will admit to being particularly impressed by the dude, one Von Smith, who had most impressive range and control.
Mainly, though, this was about dancing. It featured group numbers, solos, duets, mostly in the Latin and ballroom genres (though in that showy TV style with all the lifts and whatnot), but the twist was the inclusion of some modern and hip hop dancing as well. This was largely due to the inclusion of a couple dancers I had heard of: Legacy and Randi Lynn Strong, from So You Think You Can Dance. Their numbers were definitely my favorites. Very cool how the So You Think… training allows them to join the ballroom dancers in that genre, but also shine in their own.
At one point, the hosts even got the audience up dancing! All very fun.
Afterward we got to attend a reception with the performers, though I continued my tradition of never knowing what to say when in these situations. Still, what we learned from other people’s question were:
This was their only Canadian performance.
They don’t always get to perform with a live symphony, but like it when they do
… except when the symphony can’t keep the beat. But apparently, that was not a problem with the KW Symphony.
Randi Lynn Strong at Centre in the Square reception
After taking a few crappy phone photos, we headed home.
3. Marisol and KW Symphony Superheroes
Jean pointed out that Marisol restaurant is also close to Centre in the Square, but offers better food than Three Kretans. So though I hadn’t planned to go out to eat again this month, as we hadn’t been there in a while, I made a reservation before the final month’s concert.
It was a very enjoyable dinner. As an appetizer, we shared six small but delicious raspberry point oysters (they actually gave us seven, probably due to the size) and marinated sardines, served with a salad. There’s no beating fresh sardines from Portugal, but marinating them proved a rather good choice for those of us farther from the sea. We were so excited about these, we forgot to get a picture until almost done:
The remnants of our appetizers
As the wine, the waiter suggested a Portuguese Viognier-Sauvignon Blanc blend that was lemony and well-suited to the food.
I continued the seafood theme through dinner, having the fish of the day, which was sea bream. Served whole, it was really easy to fillet, and had been cooked very nicely. The side was a pasta made in-house, dressed simply with lemon, olive oil, and parsley.
Jean went with the lemon-tomato gnocchi. The texture of the pasta was perfect, and the flavor was more subtle than one usually gets with gnocchi. Not a bad thing.
For dessert, we share a creme caramel and forgot to take pictures, again.
We were in plenty of time to walk over for our concert, which the KW Symphony performing music from Superhero movies. This was conducted by John Morris Phillips, Cincinnati Pops conductor, who is always a lot of fun.
The only themes I knew in advance was Darth Vadar’s from Star Wars, but I found most quite engaging. The themes from Dark Knight, Supergirl, and X–Men were particularly striking. A lot were almost hilariously short, though; just the length of the opening credits, I guess! In some cases they put a few scores together to make a somewhat longer “theme” piece. Nothing that ever really taxed the attention span, though.
It was a great way to showcase the symphony’s skill, and it was nice to see a very full house in attendance.
Last weekend we attended a KW Symphony concert called Sound in Motion: Music and the Body. This was part of the Intersections series, where the orchestra combines with something; this time, with a yoga instructor or “mindfulness educator”. The evening began with only her, actually, leading us through some breathing and stretching exercises. Of course, we were in street clothes and sitting in concert seats, so we weren’t exactly doing downward facing dog, but she adapted to the space we had and the fact that we could stand up.
During the first few pieces the symphony played, she continued to interact with us in various ways, leading us through movements and breathing in conjunction with the music. We weren’t to clap between pieces, but to just keep focusing inward.
For the last two pieces all was quiet, though, as we were to try to stay mindful as we just listened to the music (which were a couple of more modern classical music pieces). It was amazing how well that worked at quelling the problem one usually has at classical concerts, that the mind has a tendency to start wandering off at certain points. Maybe, if you can manage to go right from yoga class to a classical concert, you’ll get more out of it.
That was Friday. On Sunday I was registered into this program called Flirting with the Arts. It offered 12 half-hour arts-related sessions, of which you selected 6, to give you just a taste of what they’re like. It was held at a volunteer-run coffee shop in downtown Kitchener (itself an interesting place).
Although I thought I’d allowed myself sufficient time to get there for the 10:00 start, I was wrong. Between snow making the drive slower and the nearest parking lot being full, I arrived at about 9:59. Thanks to some jogging to get there.
My first session was by an art therapist, so focused on creating really personal art, not intended for display to others. It was interesting, but not ideal as my first one, as I was still stressed from the lateness and had trouble getting my heart rate back down to normal enough to really focus, as was the point here.
The second was on slide guitar playing. I quite like the idea of playing guitar, as it’s so much more portable than piano, and some songs I like simply sound better on guitar than piano. But I don’t know that I like the idea enough to spend the time it would take to learn.
Slide guitar playing means, basically, putting a tube on your finger and sliding that down the strings to play, rather than pressing the strings down at certain positions to strum chords. In a half hour, we just got the basics of what you can do with that sliding technique. I didn’t seem to be a natural, so I think the instructor was just being polite when he said my first efforts sounded great. But I did get better by the end.
Not destined to be the next Bonnie Raitt—note the tube on her finger, here?
Next up was acting. The lesson here was that you don’t inject emotion into words when acting; you feel emotion and project that outward, regardless of the actual words. This was explored in exercises where you had to convey a message using gibberish, and another where you had to convey an emotional backstory into truly prosaic dialogue. It was a cool session with a very enthusiastic instructor (a playwright).
We had lunch break then, which Jean came to join me for. (We went to another little restaurant rather than eat this cafe.) Then he ran away and I continued with afternoon sessions.
The first was landscape painting, and the idea was to try to paint the outline of a landscape you were imagining. My main problem was I’m not any kind of good at just imagining a landscape, so was never really sure where I was trying to go in that half hour. The results were therefore less than impressive.
Next up was portrait painting. We were instructed to bring a photo of ourselves to work from. It was the fifth time of day this artist had been teaching amateurs, and she was getting good at helping us avoid the pitfalls. It was all step by step: the head shape, eye position, and nose position in pencil outline; colour in the shadows of the face using various shades of some kind of pencil; don’t spend too long on the eyes, and don’t draw them too big (though I still did); and then take wet brush to the color and bring it life.
It was surprising how well that turned in just a half hour. Mine actually looked like me.
Finally, I had a writing session. That one was right in my comfort zone, so wasn’t as enlightening. But it was fun, especially the session in which we had to create stories by adding a sentence to what other people. One turned out quite hilarious.
So not sure if any of these flirtations will turn into longer-term relationships, but it was certainly an interesting Sunday.
This tweet was the first I’d heard about the KW Symphony being dropped from the Jeans’n’Classics series of concerts, which struck me as very strange, since the whole point of those concerts was marrying rock band with symphony.
Except for this one, though, Twitter—often a great source for finding things out—was annoyingly silent on the subject. Finally I had to go old tech: I emailed Centre in the Square to ask them about the tweet. The fact that they didn’t quickly reply made me think it was probably true.
And indeed, the email response that eventually arrived confirmed it, saying that the KW Symphony would be replaced with session musicians: “the size and make-up of the orchestra will be tailored to meet the artistic and stylistic demands of each Jeans ‘n Classics production”.
Nobody seems very happy about this change, but what strikes me in particular is that first article claims that lower production costs were not the main reason here, but an artistic need for revitalization. The last article frankly states they couldn’t afford the series any longer in this form—which at least makes more sense of the whole thing.
They both agree, though, that they want a bigger audience. Got to wonder if they’re going to achieve it. I’m afraid that I, for one, won’t be helping them out with that.
At the third concert this season, they had us vote on which three concerts we wanted to see the following year (out of six choices). I thought that wasn’t a bad idea, but note that everything they selected was a reprise of a previously done show. If I go next year, I’ll be seeing three similar concerts again, only with a smaller, less talented orchestra. The promised “better staging and lighting” won’t make up for the diminished music.
When it works, it’s a fantastic sound, it really is. The sound of an orchestra when it’s playing with a rock band well… It makes every hair on your body stand on end. It’s incredibly powerful.
– Roger Daltrey (The Who), 1994
I’d know what I was missing. So after about 10 years of great seats, I’m out.
And I know I’m not the only one. So to get their bigger audience, they not only have to add people, they have to replace the ones lost to this decision.
But you know, I do wish them well. I love Centre in the Square. It’s a fantastic hall. It’s incredible that a smallish place like Kitchener-Waterloo has one of the two or three best concert halls in the whole country. More people should go experience the sound there. It’s unfortunate it’s somehow developed a bit of a “stodgy” reputation. Some things do need to change. They do need better acts, more acts, even gimmicks to drawn more people in.
I’m not sure this particular series change will work out for them. But I sure hope something their Strategic Plan does.
And it’s not like I’m abandoning the place. I’m already signed up for six KW Symphony concerts there next year (to go along with my three at the Conrad Centre). And with some dates now opened up by not going to the Jeans’n’Classics series any more, I’ll probably add a few more.
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