Press Release: The Cellar Notes Duo of Jeff Faragher, cello, and Alex Nichol, double bass will be presenting a musical offering spanning four centuries and six cultures on Saturday, May 16th at Knox Presbyterian Church starting at 7:30 pm. Admission by donation. Together, the cello and the double bass form the foundation upon which the symphony orchestra’s sound is built. Composers have long known that the brilliance of the cello reinforced with the dark, rich timbre of the bass, creates a potent synergy that is greater than the sum of its parts. Jeff Faragher holds a Bachelor of Music from the University of Alberta and a Master Degree in Music Performance from McGill University. In between academic years he pursued supplementary studies with such internationally renowned cellists as Janos Starker, Aldo Parisot and YoYo Ma. Jeff was born and raised in Edmonton where he began his musical studies at the age of three. Following his graduation from McGill University Jeff returned to Edmonton where he undertook studies leading to an MB.A., became the head cello instructor for the Edmonton Public School System, as well as serving as Head of the String Department at Grant McEwan College. Jeff is a prodigious talent with an innovative spirit. Rather than a career in a major orchestra, Jeff has chosen a life in the Kootenays where he is free to explore the full range of teaching, coaching, performing and conducting possibilities. These include the position of Music Director of The Symphony of the Kootenays. Jeff and his family moved to the Nelson area from Edmonton in 2006. On a 3 acre mountainside property overlooking the West Arm of Kootenay Lake where he and his father built the family home, office and Overtone Studios, of which the 50 seat Cedar Hall is the centerpiece. When he is not performing, coaching, teaching and conducting music, Jeff joins his wife in home-schooling 4 of their 5 children and in enjoying outdoor sports, including coaching ski racing.
Alex Nichol pursued a meandering career path that passed through a Masters degree in European History before being diverted from academic ambitions into the life of a symphony orchestra musician. Over a period of twenty five years Nichol performed with the Calgary Philharmonic Orchestra, the Halle Orchestra of Manchester, England, and the Vancouver Symphony Orchestra. In the course of his stay in England , he purchased the fine, old Italian bass that has been his musical companion for 45 years. In the early ’80’s Nichol’s interest in wine and wine-making led to his writing the first book on the B.C. wine industry entitled Wine and Vines of British Columbia in 1983. Six years later, in 1989 he and his family moved to Naramata in the Okanagan, planted vines, made wine and opened for business as Nichol Vineyard Winery in 1993.With retirement in 2006, Nichol’s focus has returned to music-making. He is currently the Principal Bass of the Symphony of the Kootenays and performs as an extra musician with the Okanagan Symphony Orchestra.
Obviously the program, mostly transcriptions, focused on the bottom end of the sonic spectrum. After all, it is hard to go any further down into the musical basement than the double bass. It is a program of miniatures mostly from the early classical repertoire. The only concessions to modernity were the five Magyar dances of Bela Bartok and Serge Prokofieff’s Fairy Tales. True to the promise of cultural diversity and to spice things up they performed a couple of Tangos by F. Canaro and C.V.G Flores.
In my late teens my first encounter with Classical Chamber music was facilitated by a Sunday afternoon TV show featuring a string quartet probably playing the music of Beethoven. I was not impressed – I would have rather been down on the beach surfing and, after all, it didn’t sound like any thing I was used to used to at the the time.That was not the end of it of course. Over the years I became more familiar with many different musical styles and eventually developed a taste for Chamber music. In more recent years the La Cafamore Ensemble from Nelson has expanded my chamber music universe with their always innovative programs at the Knox Presbyterian Church in Cranbrook. Over the past half dozen years the ensemble has taken to the stage in various configurations including String Quartet, Trios, Quintets and at times augmented with pre-recorded tape tracks, sound effects and percussion. We have been treated to some extraordinary music, including George Crumb’s Black Angels and Steve Reich’s Different Trains. This was in addition to the more standard items in the classical repertoire. This most recent performance had Carolyn Cameron on piano, Angela Snyder on violin and Alexis Moore on viola. The program featured compositions by female composers from the early to the late Romantic era. As usual for a La Cafamore concert there was some unknown musical gems. The English composer Rebecca Clarke (1886-1979) composition Dumka written in 1941 included elements of mid-twentieth century music and European folk styles. Amy Cheney Beach (1867-1946), an American musician by birth and by style wrote Trio Op.11 in a late Romantic style with very distinctive and unmistakable American elements. The last composition of the evening was by the better known Fanny Mendelssohn Hensel (1805-1847). It was the four part Trio Op.11.
Here are some images from the concert:
Here is a special YouTube treat of a student performance of Rebecca Clarke’s Dumka
and for your listening pleasure – Amy Beach: Variations on Balkan Themes, op. 60 (Virginia Eskin, pianist).
THE TEQUILA MOCKINGBIRD ORCHESTRAat the Key City Theatre, Thursday May 14, 2015.
I like pleasant surprises and The Tequila Mockingbird Orchestra is one of several in this spring’s concert season. Others worth mentioning are The Love Bullies and Guy Davis who both recently performed at Centre 64 in Kimberley . The Love Bullies did their outrageous take on 50’s rock and roll and Guy Davis did the classic acoustic blues trip. Also worth mentioning is the Quebec band Vent du Nord and their foot stomping French Canadian music at the Key City.
At first, the name Tequila Mockingbird Orchestra, was a bit of puzzle but once deciphered by the MC Galen Olstead it made a lot of sense. The name is a clever word play on the title of Harper Lee’s classic novel To Kill a Mocking Bird. And, as in the novel, these mocking birds provide pleasure with their songs by singing their hearts out and, for good purpose, they add in a hefty dose of virtuoso instrumental accompaniments. The Tequila in the name probably references the intoxicating influences of various Hispanic cultures that keep popping up in the music. What is instantly attractive in the music is the instrumental line up. This is no run of the mill rock and roll quartet.There is only one acoustic guitar, played by Kurt Lowen, in the mix. The upright bass played by Keith Rodger adds a big fat round sound to the bottom of the orchestra. Have you noticed that over the past decade the acoustic upright bass has re-asserted itself in the sonic spectrum? With the invention of the electric bass guitar in the late fifties it was quickly abandoned for the more portable instrument. It is nice to see that trend has finally been reversed and a lot of credit must go to those musicians who are prepared to transport and suffer the consequences of dedicating themselves to such a large unwieldy instrument. A solid rhythmic foundation for the orchestra is provided by Paul Wolda who plays an abbreviated standard drum kit that includes a Djembe and Cajon. Paul comes armed with a bucket load of experience that includes working and studying with the Nigerian drummer Babatunde Olatunji and a period as an exchange student in Brazil when he was eighteen. For a percussionist that is like dying and going to heaven. You will have to go a long way before you will come across such an accomplished percussionist. I had a fortune few minutes with him after the show when he demonstrated on my congas just what one could do with a set of three tuned congas.
What I find missing in most bands is the presence of strong melodic voices. Not in this band. A strong melodic element is provided by Mack Shields on fiddle and Ian Griffiths on Accordion. Mack is a newer member of the band and is described as “a song writer, a fine fiddler, and a comedic genius”. One of his major contributions to the repertoire of the orchestra is lovely waltz with a classic old-time feel. It is unfortunate that accordions are generally held in such low esteem. I think that situation is unwarranted. Violins, keyboards and guitars may be the most popular instruments of the day but a casual review of music across the world will reveal that the accordion is one of the most pervasive instruments on the planet. North, south, east and west there is always an accordion within ear shot. Ian started out on a “toy” accordion that he eventually destroyed by over use. He has since graduated to a high class Italian Beltuna acoustic instrument fitted with three internal microphones. He is currently experimenting with a Roland Digital V-ACCORDION. He also plays a small hand operated harmonium that contributes drones that are commonly found in world music.
Given the strong interplay of the instruments, the finely crafted arrangements and the free wheeling virtuosic displays of the soloists this is more than a band. This is an orchestra in the full meaning of the term. They play a wide spectrum of music that could be defined as “world music”. My favorites of the evening were the waltz written by Mack Shield , the tango XO Tango and Mountains on Fire. Here are some images from the evening:
Once again the Key City Theatre enhanced the pre-performance ambience with the music of Dean Smith’s jazz group featuring Dean Smith on Piano, Ben Smith on upright bass, Zach Smith on tenor and soprano saxes, Jared Zimmer on drum kit and Rod Wilson on congas and percussion.
Thanks need to go to the following sponsors – Columbia Copiers, The Prestige Inn, St. Eugene Resort and Selkirk signs. Sweet Gesture add a chocolate taste experience and the numerous staff and volunteers contributed to the smooth running of the event.
The Green Door presents the Music of James Neve – Thursday May 7, 2015 – with an opening act of Dariynn and Zack Silver
It used to be called the Green Phoenix. But like a Phoenix it has risen from the ashes of the original establishment to emerge as The Green Door. So if you are wandering up the Platzl in Kimberley, on the opposite side to the library, just before Chef Bernard’s, you will notice a sturdy green door. Don’t be intimidated, just wander on in. Particularly on any given Thursday evening. Duane Funk (is that your real name Duane?) has implemented a live music policy and is always willing to support local, and on certain, occasions imported talent. Duane has remodeled and improved the stage area and for musicians who may require it he has a sound system. On this particular evening it was evening of mostly originals music opened by the husband and wife team of Zack and Dariynn Silver. It was mostly music in an acoustic / pop vein featuring Dariynn on vocals and guitar supported by her husband Zach on drum kit. Also in a more folk/rock vein Dariynn was followed by James Neve on guitars, vocals,and effect pedals, including a Fisher midi-interface. He was supported by Rod Wilson on percussion (Congas, Djembe, Darbuka, Shakers, etc). The music of James Neve is well known for his work with the folk/rock group 60 Hertz. Unfortunately 60 Hertz is no more but Jame’s music lives on as a solo act with some adventurous electronic interactions. Dariynn and Zach performed from around 6:30pm to 8:00pm and James kept the music flowing till after 11pm. Here are some imaged from the evening——
LOCALS COFFEE HOUSE: The last of the season , Saturday, April 25, 2015 7:30 pm at the Studio/Stage Door, Cranbrook
Once again it was a night of attractive women, new and old tunes, some musical theatre and some low level testosterone enhancements. The night was kicked off by the MC Katie Elders ———Katie introduced Janice Nicili, best known as a kick-a***** bass player with the Little Jazz Orchestra and the Rosie Brown Band. Janice has been known to don an afro-wig and play masterful funk bass when the occasion calls for it. Tonight, on guitar she accompanied the mother and daughter duo Shawna and Meghan Plant. The trio chose a selection of contemporary songs that included The Lions Roar by the Swedish band First Aid Kit. For those not familiar with this band I have attached a couple of YouTubes at the end of this blog.
Next up was the first quotient of testosterone for the evening with Ian Jones playing a classic 1982 Gibson acoustic guitar that he appropriated from his mother some years back. As I was dealing with a camera malfunction I didn’t note down the tunes he performed. For some unknown reason or other I had disabled the auto focus and it required a little bit of fiddling and a hasty consult of the manual to get my eyes uncrossed and the equipment back on track. Below is one result of my attempt at unfocused photography. While it doesn’t do justice to Ian or his music it does have some sort of “Arty” quality that I kind of like. If I tried I probably could not duplicate the effect ………..ever.
I did manage to get my eyes uncrossed long enough to get the auto-focus working again for a couple of clear shots.
Carter Goldseth is an original. He has a voice and musical maturity beyond his years. It is hard to believe he is only in high school. He has stepped away from the usual pop music of his peers and seems to be focused on musical theatre. He is a strong singer who doesn’t really need a microphone to fill a room. He was accompanied on keyboards by Kia Hromadnik.
During the intermission, in amongst the gear stacked on stage I spotted a Romero Clawhammer Banjo. This is Paige Lennox’s new toy. This is another example of the finely crafted instruments that are currently being built in BC. Romero Banjos are much sort after and to have one built to order there is a four year waiting list. Apart from their magnificent sound they have this wonderful antique look.
The East West Connection may be old testosterone but there are three of them so that may make up for a slight loss in vigor. Gene Anderson on bass and Tom Bungay on vocals and guitar are the long standing members of this entertaining group. Recently they found the keyboard player Rick Parsons lying by the side of the road and they decided to give him a break by inviting him to join the band. They did a mix of old and new tunes and finished their set with a stomping version of Neil Diamond’s Sweet Caroline.
For a while Connor Foote and ClaytonParsons had a country duo called Gold Creek. As a band they faded out when Connor went off to Vancouver for a while and Clayton spent some time down on the coast building a guitar. But here they are back with their special brand of Not-Nashville country tunes. This gig was part of their re-union one-stop world tour and it included Connor’s soon to be a world wide hit, his new original song Saw Mill Blues.
Last but not least for the evening was the Rosie Brown Band featuring Page Lennox on banjos and vocals, Janice Nicili on bass and vocals, Cosima Wells on guitar and vocals, Shawna Plant on Mandolin and Heather Gemmell on Guitar, Dobro and vocals. They did a selection of old time tunes but finished up with the Eagles Seven Bridges.
So ends another successful season of Locals. This is the second year in row that they have sold out all shows. Thanks should go to Lorraine, Mark and all the volunteers and performers that make the series possible and such a success. Thanks guys !!!!!!!
As promised here are the YouTube links for the Swedish duo First Aid Kit
Paquito D’Rivera defies categorization. The winner of twelve GRAMMY Awards, he is celebrated both for his artistry in Latin jazz and his achievements as a classical composer. Born in Havana, Cuba, he performed at age 10 with the National Theater Orchestra, studied at the Havana Conservatory of Music and, at 17, became a featured soloist with the Cuban National Symphony. As a founding member of the Orquesta Cubana de Musica Moderna, he directed that group for two years, while at the same time playing both the clarinet and saxophone with the Cuban National Symphony Orchestra. He eventually went on to premier several works by notable Cuban composers with the same orchestra. Additionally, he was a founding member and co-director of the innovative musical ensemble Irakere. With its explosive mixture of jazz, rock, classical and traditional Cuban music never before heard, Irakere toured extensively throughout America and Europe, won several GRAMMY nominations (1979, 1980) and a GRAMMY. (Paquito D’Rivera website)
A few years ago, the great actor-educator Bill Cosby said that in order to correct the failures of our different communities, the first thing to do was to recognize and face those failures. So inspired by those wise words Paquito sent to the editor of “Modern Drummer Magazine” an article titled “Alfred Nobel and the Invention of the Microphone.” It didn’t work out. The magazine declined to publish the article. In a modified form it has since resurfaced in the June 2015 issue of Down Beat (page 88).
Here an abridgement of several edited versions of the “offending” article:
“I truly believe that technology is here to help the art form, not to overwhelm it. But tragically, with few exceptions , the invention of the microphone credited to the German-American Emile Berliner in 1876, has had truly damaging results – almost as damaging as the dynamite invented by Alfred Nobel in1876. Both have been used and abused into creating irreversible material destruction by the latter, as well as serious damages in the good taste and ear drums of listeners by Berliner’s artificial amplification device. All of that came to be with the support of sound engineers and the consent of musicians – some of them talented professionals – who increasingly ask for more and more volume in their reference speakers, and consequently in the house. It seems as if we have all reached the same conclusion that the louder the music is heard, the better it is; that volume is a synonym for energy, and the one that screams the loudest is the one who wins. I have witnessed the volume and reverb go up so high on Dave Valentin’s flute, that it converts the gorgeous natural sound on tunes like Obsession, the beautiful Pedro Flores classic that Valentin and his many fans enjoy so much, into something more appropriate for a heavy metal band. These days, the circus like atmosphere, the unnatural pyrotechnics, the reliance upon gimmicks to provoke applause , bad taste and excessive volume have hit jazz and popular music with such tsunami-like force that everything is now forte and fortissimo. So, I naively thought that a well-known publication like “Modern Drummer Magazine” would be the ideal vehicle to awake drummers, as well as sound guys, percussionists, and electric players to the fact that they crossed the volume line a long time ago, and that it is about time to do something about it. But for some reason said magazine refused to publish my article. Too bad.
“Paquito, ¡Nos hablas al alma de las innumerables víctimas de esta fenomenología! (You speak to the soul of the so many victims of this phenomenology!)”, wrote Colombian pianist Hector Martignon after reading a preview of that article, while soprano Brenda Feliciano mentioned on her Face Book page that “Many a vocalist has been a victim of this noise volume syndrome. I’m just one of them.”
On certain occasions, the legendary recording engineer Rudy Van Gelder, who made all those famous recordings for Impulse, Blue Note, CTI and Atlantic with Coltrane, Monk, Hubbard, Rollins, Miles, Lee Morgan and all those hip jazzmen of the 50’s and 60’s, had the guts to say – I believe it was in a DownBeat interview– that “Jazz pianists don’t want or don’t know how to get a decent sound on the piano.” And to a certain point he was right since nowadays it is really difficult to find jazz pianists with the elegant, delicate, yet swinging sound of Kenny Baron, Teddy Wilson, Makoto Ozone, Renee Rosnes or Bill Evans, and there is no doubt that some of the fault lies on the drummers that everyday play loud and louder, forcing the pianists to bang on the keys, to ask for more volume on their wedges and thus destroying the inherent acoustic character of the instrument. So I wonder if that was one of the reasons that Nat “King” Cole and Oscar Peterson many times didn’t use a drummer in their trios. “Give me more piano in the monitor” is the usual request onstage and my response is a simple question “why don’t you play more softly so that you can hear what the freakin’ piano player is playing? You left the brushes at home or what?” On the other hand, the only way to play in tune and blend in an ensemble is by listening to each other, but how in heaven can I listen and play in tune with the guy next to me if all I can hear around is guitar, bass and drums acting as if we’re on a gig with Grateful Dead or Metallica?! Without mentioning names; the other day I went to listen to the supposedly “acoustic band’ of an unquestionably outstanding drummer, and when they started playing, the volume of the PA system for that tiny club was more than enough to be used at the Yankee stadium for amplifying “KISS”.
The great Argentinean pianist Jorge Dalto was convinced that drummers were carriers of the “original sin” and when they did play another way – meaning softly and tastefully – it was with great effort and went against their nature. “Otherwise they would have taken up the Harp or Violoncello, no?” he would say half in jest. I think Dalto was exaggerating a little bit, since you are still able to find drummers like Ben Riley, Ernie Adams, or the wonderful Brazilian Edu Ribeiro to swing your butt off without breaking your ear drums. So, please do not misunderstand me. The drum set as well as the brass and even the saxophones, are instruments that have strong sonorous presence. I think that keeping that in mind all the time would make a big difference in balance and finesse.
Here is a statement that I have been hearing since my early days at the conservatory: “If you can’t hear the guy next to you, you’re playing too loud. That’s the only way to play in tune.” How in heaven can I listen and play in tune with the guy next to me if I am not able to hear my own horn with all that noise around me?” And then, since the electric bass emerged on the scene we have bassists who always think they are playing with Kiss or Metallica. Usually they ally with the drummers, and I even think they buy earplugs together, in sets of four, so they can have some fun amongst themselves while making life unbearable for the rest of the musicians.
Wynton Marsalis told me once that mikes are here to enhance the music, not cover it. That’s probably why they have removed even the contact microphone from the contrabass of Carlitos Henrique (I love his walking bass) in the Jazz at Lincoln Center Orchesta – so that the drummer has to come down so he can hear what his partner in rhythm is doing.
One evening at the annual Jazz Festival in Punta Del Este, Uraguay, trumpet player and leader Terrance Blanchard ordered the removal of all the microphones, including that of exquisite pianist Ed Simon. And guess what ? Miraculously, everything was heard crystal clear and with tremendous energy and swing. And the only thing required was to be quiet and listen with attention. That is what music was invented for in the first place, isn’t it?
Here is a little taste of Paquito’s music (Tico Tico) – note the driving samba rhythm of the Pandiero (Brazilian Tamborine) and the absence of an overbearing drum kit.
I hear you Paquito, but it isn’t quite that simple. I think part of the problem is that audiences have forgotten how to listen. Away from the serious concert hall, the music has to compete with ambient audience noise, the big screen TV, cell phones, hand held devices and other extraneous noise. The musicians respond by just cranking up the volume. Having said that I agree that most drummers play way too loud. After hearing some classic recordings of the Teddy Wilson Trio (The Complete Verve Recordings of the Teddy Wilson Trio, Mosiac MDS-173) I came to the conclusion that all drummers should have their sticks broken and be forced to play with brushes. Teddy Wilson is the consummate elegant and tasteful pianist from a bygone era. On that collection of 8 CDs he is a accompanied by a plethora of acoustic bass players and drummers. Among the drummers on the recordings there were the giants of the day – Buddy Rich, Denzil Best, J.C. Heard, Specs Powell and the impeccable master from the Count Basie Band, Jo Jones. If my memory serves me well all drummers only used brushes and the outstanding result was one of incredible pulse, drive and swing.
While the following is not an example of the extremes of the above debate it does illustrate some of the problems. Two recent concerts in Cranbrook illustrated some of the difficulties facing approaches to amplification. Both concerts were held at the Royal Alexandra Hall. The first concert featured the stellar Classical Chamber group Octagon playing the music of Schumann and Beethoven. The music was completely un-amplified and the resulting sound was gorgeous – from the ultra soft to the ultra loud there was a full sonic spectrum. The second concert, just several days later, was by Bluegrass musicians. This genre of music is known for a reverence for “a true acoustic sound” so, by definition, the amplification was not over the top. In fact it was quite modest. However, for one brief moment towards the end of the concert there was a lull in the amplification and the true possible glories of the music were evident. In any given musical environment, when to amplify and what to amplify is a tough call. Who plugs-in, what microphones to use, and how many to use are all questions to be considered. On top of that there are the expectations of the audience. In the case of Octagon the audience had no expectations of amplifications and that made life very simple. The musicians had vast experience in playing in completely acoustic environments and the audience had no expectations otherwise. The audience was amply rewarded for its faith. In the case of the Bluegrass concert, despite the philosophy of the musicians, there was an obvious audience expectation for some amplification. After all that is the norm. How well a group of acoustic bluegrass musicians could fill the given sonic envelope was open to question. This would have been a good venue to test the possibilities. After all, unlike most venues, there was no ambient noise to defeat and the audience was attentive and committed to the music. It was a great concert with attentive and sympathetic sound techs and patrons, but one wonders how much better it may have been if the musicians had played the room like their classical counterparts.
This is the press release and it pretty well says it all – it is a great show with lots of laughs. Give yourself treat – spend a night at the Studio / Stage Door.
Skin Flick is 50 Shades of Funny: The final production of Cranbrook Community Theatre’s (CCT) season featuring plays by Canadian playwrights ends with Skin Flick, a comedic romp written by Norm Foster. This hilarious one-liner comedy features a married couple and their friend united by unfortunate circumstance. When Rollie and Daphne suddenly lose their jobs and are facing unemployment, an opportunity presents itself that they just can’t refuse. Making a “skin flick” or adult film might not be the first thing that newly jobless professionals decide to throw their last remaining funds into, but after discovering how lucrative the porn industry is, they decide to go for it. With their crude yet savvy cameraman friend, Alex, Rollie and Daphne recruit improbable movie stars in Byron, an awkward bookie, and Jill, a feisty telegram performer. Norm Foster creatively uses Rollie’s character to narrate parts of the story for the audience. Despite the title of the play, there’s no nudity involved in Skin Flick; rather, Foster uses innuendo and suggestion to tell his tale which results in more than a few laugh-out-loud moments.
Skin Flickfeatures phenomenal local talent on-stage and in the director’s chair. No stranger to heart-warming and funny plays, Bob McCue puts his director’s cap back on for Skin Flick after directing CCT’s highly successful production of Steel Magnolias in 2012. Starring Patrick Baranowski and Tracy McGuire, the cast rounds out with Bob Wakulich, Jerrod Bondy, and Lisa Aasebo.
Don’t miss this highly entertaining production running May 1 & 2, 6-9 and 13-16! Tickets can be purchased at Lotus Books or at the door and all shows start at 8:00 p.m. There is a stair lift available for those with mobility issues. Please call the Stage Door office at 250-426-2490 to book the stair lift in advance. This production is intended for adult audiences – mature content and language.
The Cast of Characters: The husband and wife team of Rollie and Daphne Waters
Patrick Baranowski with his comedic face and persona plays the soon to unemployed Rollie Waters. His wife Daphne Waters, who is also currently unemployed, is played by Tracy McGuire
And, of course, every guy has a more than slightly worn best buddy. In Rollie’s case he has a now also unemployed TV camera man, called Alex Tratt played by Bob Wakulich. Alex has been fired because his attempts to correct the wardrobe “blouse malfunction” of a well proportioned female newscaster has been misconstrued as “fondling”. Unfortunately this was on screen at the time so it was pretty hard to deny. Also, true to form, the “more than slightly worn buddy” has a significant debt with a less than proficient “Bookie”, called Byron Hobbs, played by Jerrod Bondy. Byron has inherited the family business and, despite his snappy appearance, doesn’t have the muscle to make a success of the business.
Last, but not least, the Greeting Card Delivery PersonJill (I am not sure exactly of the job descriptor) is played by Lisa Aasebo. Jill is less than thrilled with her career choice and is also soon to be unemployed. There you have it; a quartet of economically less than successful protagonists thrown together in what may turn out to be fortuitous circumstances. During the course of the play this unlikely quartet stumbles on a possible solution to their economic troubles. There is money to be made in Porn videos. Without giving too much away here are some images from the dress rehearsal.
“With my camera on my shoulder I reached out and tried to correct a blouse malfunction.”
Casting interviews and rehearsals
“All’s well that ends well”
Once again Cranbrook Community Theatre has another winner with lots of color, lots of costumes, lots of humor and ………. a rollicking good time.