Gave Up The Ghost

On Saturday, I went to Massey Hall for the final Live At Massey Hall series for the spring. Both bands came from the two ends of Canada: Lisa LeBlanc from New Brunswick and Spirit of the West from Vancouver.

LeBlanc grew up in a town of 51 people and she described her music as "folk-trash". Certainly, she won over the audience with her disarming "franglish" (which she noted sometimes become worse through brain farts) and her banjo-heavy, rock-out music. Her French songs were often feel-good bar songs (J'Pas un Cowboy) while her English tunes eschewed rhyme for quiet observation (The Waiting List). Looking at the people around her merch table afterwards, it seems like LeBlanc has a lot of new fans.

But the audience came for the venerable Spirit of The West. Their final song was the rousing classic Home for a Rest. I mention this because for me, this was the highlight of the evening. Kudos to the high-energy in the crowd who often stood up and danced. Massey Hall security had to get people out of the aisle several times. Yet this was the text-book definition of "dad-rock". They joked that their most recent song was 12 years old. They're not wrong. I didn't mind (too much) the banal lyrics but the dated arrangements held no interest for me. The sing-along tunes like The Old Sod were catchier but overall, I didn't have much fun with this set.

Light Me Up

On Friday, I attended a dance recital by the National Ballet entitled Ratmansky & Côté. The former is a celebrated choreographer and the latter is a principal dancer with the company who has been doing more choreography within the company and for other local dance troupes.

His work, entitled Being and Nothingness (inspired by the book) had the stage fully opened. What a strong impact. I had no idea so much of the stage is "backstage" and hidden during regular performances. A row of faceless men in suits sat at the back and watched couples danced our their struggles. The entire piece was set to music by Phillip Glass. It started with Greta Hodginson dancing out some existential crisis beneath the glow of a lightbulb. From there, various couples would dance playfully in their cozy apartment or fight over mysterious phone calls. It was surprising clear narrative for a "contemporary" piece.

In contrast, Ramatsky's Symphony #9 and Piano Concerto #1 (both set to Shostakovich) were more abstract. Despite using classical technique, it was cerebral in its movements and configurations. However, with dancers often gathering in tight group formation, there was something "Soviet-esque" about its sensibilities. The featured dancers, whether solo, in pairs, or in trios, often tried to fight their way out of these restrictions. But they often fell back into the group consensus as well. This push/pull theme ran throughout both pieces.

All 3 pieces had stark scenery: a window frame, a ringing telephone, geometric forms hanging from the rafters. This focused our attention on the music and movements. I enjoyed both Being and the Piano Concerto. There was something about the middle piece that did not engage me.

Le Clubbing

On Thursday, I headed over to Smiling Buddha, a small bar on College, with great anticipation. The Dø was on their North American tour. Over in Europe and especially France, this Franco-Finnish band sells out to thousands. Even here, they will be playing 2 sold-out nights in Montréal at a 500-person venue. But here in Toronto, Buddha can probably fit 100 people.

I don't know how Dan and Olivia of The Dø feel about it. They have played twice here before also in small venues. But it means that for myself and the packed crowd, it was an opportunity to be up close and personal. And their new album, full of synth beats and hooks, was perfect for this club-like atmosphere. So the band led us through almost every song on their 3rd release: Miracles (Back In Time), Keep Your Lips Sealed, Going Through Walls. Even old tunes like On My Shoulder and Slippery Slope got the dance treatment.

It was one of the best show I've been to. The crowd really got into it. With the small size and the dancing, everybody was drenched in sweat, band and audience alike. By the time they ended with Despair, Hangover, and Ecstasy, my clothes were soaked. Olivia enjoyed the enthusiasm and led us through several sing-alongs. One kept going and going as she urged the crowd to keep it up when the refrain would die down. She then grinned devilishly, "I hope you don't all hate me now". Dressed in a red one-piece, like a stylish Bruce Lee from Game of Death, Olivia kept the crowd's focus. When you look like a model complete with razor-sharp cheek bones, make chic kung-fu moves, and sing in a high, angelic alto, it'd be hard not to be the centre of attention.

Dancers All The Way Down

On Saturday, I went to the Harbourfront Theatre for Space Interrupted, a dance recital by Canadian Comtemporary Dance Theatre. Since this company specialized in dancers under 20 years old, 3 of the 4 pieces were done by young performers.

Technique-wise, I thought they were very accomplished. Overtures, the opening number, didn't do a great job of showcasing their skills. In tights and pseudo-tutus, it made them looked awkward and gawky. Anomykz was a better fit. This melding of street dance and contemporary by choreographer Ofilio Sinbadinho gave the troupe the chance to inhabit the frenzied, slightly menacing, choreography. Its tale of 4 young sisters trying to both fit in and find their own path held relevance for the members.

After intermission, Vectors had more contemporary movements in its exploration of lines whether it be arm movements or stage positions. The final piece, The Weather in the Room, were performed by older dancers including Artistic Director Deborah Lundmark and Robert Glumbek. This was perhaps the former's first performance in many years. Along with them were Kathleen Legassick and Emilio Colalillo, and Amanda Pye and Justin de Luna. Two talented young dancers Frances Samson and Nicholas Ruscica also joined them.

It started with Lundmark and Glumbek as an old couple returning home from a night out. Long familiar with each other's habits, they first descended into routine and then argument (perhaps also a routine). The other dancers played various iterations of their younger selves, both similar and different. It was interesting to watch this evolution both figuratively and literally. Legassick, Colalillo, Pye and Luna are in their prime and performed with both physicality and expressivity. Lundmark and Glumbek have slowed down, but channeled experience in their roles. It became clear that Samson and Ruscica were good (like the rest of the young troupe), but needed a few years to grow into their career. As such, this piece gave a nice illustration of the contrast between youthful vigour and late-life growth.