live! at the oakville centre

AT THE OAKVILLE CENTRE

VOLUME FOUR I ISSUE ONE I SEPT- DEC 2011

HOWIE MANDELRON SEXSMITHHOWARD JONESASHLEY MacISAACKELLYLEE EVANSANDREA MARTINJOHN MAYALLBARRA MacNEILSFREDDY COLEand more!

September2011-Final_Layout 1 11-09-16 1:11 PM

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The In2(little)art ShowNov 5th - Dec 23rd

Looking for the most unique gift this holiday season ?

Visit In2art Gallery for the 3rd annual In2(little)art Show This event features original art priced from $45 - $350

You won’t believe what you can find !

Clockwise starting below:Libby Lennie, “Clear Skies” 8x8 $250. Mishi Foltyn, “Feathers” 12x12 $250. Don Weir, “Study for CR 117” 9 x12 $350. Nathalie Mantha, “Vifs Coquelicots 5” 12 x 12 $160.Arleigh Wood, “Community” 4 x 5 $225.

We are located directly across from the Oakville Center for the Preforming Arts on the corner of Church and Navy

136 Church St. Unit 2A, Oakville 905-582-6739 Wed - Sat 10-4 pm

www.in2artgallery.com


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THEATRE ETIQUETTE Please be considerate of thosein the audience who may have allergies and avoidwearing perfume or cologne. Cell phones, pagers andwatches should be turned off and refrain fromunwrapping candy during the performance. Food andbeverages are not permitted in the theatre, with theexception of plastic bottles of water. In the event ofany disturbances, ushers will ask those individuals toleave the auditorium. Cameras, video cameras andrecording devices are prohibited inside the theatre.

LATECOMERS will be seated at a suitable break inthe performance determined by the artist. Patronswho leave the theatre during the performance willalso be asked to wait.

ACCESSIBILITY Patrons using a wheelchair, walkeror who have difficulty with stairs should advise thebox office at the time of ticket purchase. Due to fireregulations and for the safety of patrons, wheelchairand walker seating is located in Row S. Note that thelower level parking lot is not suitable for these patronsas there is no ready access to the main entrance of thetheatre. The theatre does not have an elevator.

SENNHEISER HEARING ASSISTANCE is installed inour Main Theatre. This service is on a first come firstserved basis for a fee of $5.00. The devices may besigned out at the bar.

BABES IN ARMS are not permitted into the theatre.We welcome children old enough to enjoy the per-formance. Each person entering the theatre requiresa ticket.

BOX OFFICE hours are Monday to Saturday, 11am to5pm and 2 hours prior to a performance. Tickets maybe ordered by phone with a major credit card at 905-815-2021 or toll free at 1-888-489-7784 or online atwww.oakvillecentre.ca.

TICKET EXCHANGES may only be made for anotherperformance of the same event. Exchanges must bemade at least 48 hours prior to the date shown on theoriginal tickets. An exchange fee per ticket will beapplied. All exchanges are subject to availability. Norefunds. A fee will be applied to all reprinted tickets.

PARKING is available along Church Street at severalMunicipal Lots. Meters located in downtown Oakvilleare free after 6:00pm, Monday to Saturday and allday Sunday. The Oakville Centre has a Municipalmetered parking lot at the rear of the building. Toaccess the main entrance on Navy Street, you will berequired to walk up a number of stairs outside thebuilding. There is no entry at the rear of the buildingfor the main theatre. For your convenience, we sug-gest you give yourself additional time for parking.

VOLUNTEERS at The Oakville Centre are membersof Front Row Centre. They raise funds to support pro-grams and equipment purchases for the theatreprimarily through their coat checking service. FrontRow Centre meets the first Monday of every monthfrom Sept. to June at 7:00pm in the theatre lobby.

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Oakville CentreHOUSE NOTESThe

Oakville Centrefor the Performing Artswould like to thank

CANADIANHERITAGEfor ongoing

programming support.

www.pch.gc.ca

TheOakville Centre

for the Performing Artswould like to thank the

ONTARIOARTS COUNCIL

for ongoingprogramming support.

www.arts.on.ca


On the cover: ANDREA MARTIN / November 18 , 2011

In this issue . . .THE JOSHUA TREE . . . . . . . . . . . . . . . September 24HOWIE MANDEL . . . . . . . . . . . . . . . . . September 30LET IT BE . . . . . . . . . . . . . . . . . . . . . . . . . October 19RON SEXSMITH . . . . . . . . . . . . . . . . . . . . October 22HOWARD JONES . . . . . . . . . . . . . . October 25 & 26I, CLAUDIA . . . . . . . . . . . . . . . . . . . . . . . October 28ASHLEY MacISAAC . . . . . . . . . . . . . . . . . October 29IL VOCE . . . . . . . . . . . . . . . . . . . . . . . . November 11KELLYLEE EVANS . . . . . . . . . . . . . . . . . November 12GADFLY DANCE: KLOROFYL . . . . . . . . November 17ANDREA MARTIN . . . . . . . . . . . . . . . . November 18INTERNATIONAL GUITAR NIGHT . . . . . November 22JOHN MAYALL . . . . . . . . . . . . . . . . . . . November 30BARRA MacNEILS . . . . . . . . . . . . . . . . . December 9THE ARROGANT WORMS . . . . . . . . . . . December 15THE GOOD LOVELIES . . . . . . . . . . . . . . December 16FREDDY COLE . . . . . . . . . . . . . . . . . . . December 17 QUARTETTO GELATO . . . . . . . . . . . . . . December 18 BEST OF WOODSTOCK . . . . . . . . . . . . . December 21

LIVE! at the Oakville Centre is published twice each year(September and January) by Green Light Graphics Inc. Toadvertise please contact us at [email protected] or905.469.8095. Space is limited.

To order tickets, go to www.oakvillecentre.ca or call1.888.489.7785 or 905.815.2021 locally.The Oakville Cen-tre for the PerformingArts is a division of the Recreation andCulture Department of the Town of Oakville.

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What is the BIG TICKET?Big Ticket membership puts your family first!Your family is first to have access to tickets, firstto know of specials, added shows, and specialpromotions. You and your family have accessbefore anyone else.

Big Ticket is BEST IN CLASSEnjoy all of your family’s favourite national andinternational artists performing arts in everydiscipline.

Big Ticket is FLEXIBLEOnce your family has a Big Ticket, the choice isyours. Pick any combination of shows in anygenre. Pick as many (some maximums apply)or as few to each show you would like.

Big Ticket gets you ACCESSBarely had time to read this page? Big Ticketallows you and your family to attend as many oras few shows as you like during the year. Andit’s one membership per household.

Big Ticket is VALUEAlong with all the benefits outlined above,Big Ticket is only $55 for one full year andBig Ticket Plus is only $110 for one full year.Add to the fact that every ticket your familybuys throughout that year is discounted either$7 or $11 (exceptions apply) and in no time youhave paid for your family membership. Weadded extra value by including tax receipts, giftcertificates, discounts at other merchants andother special ticket offers.

Become ABIG TICKET MEMBER

Call and speak with one of ourBig Ticket experts for more details at

905-815-2021 or visit www.oakvillecentre.ca


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PIONEER FAMILY POOLS presents

U2 • CLASSIC ALBUMS LIVE • Saturday September 24th at 8:00pm

U2 started out as a scrappy band riding the punkwave out of Ireland, but from the beginning theyclearly had their sights on America. And indeed, theStates ate up U2’s bombast, landing both War (1983)and The Unforgettable Fire (1984) in the U.S. top 20.The group fed off that enthusiasm, criss-crossing thecountry as much as its schedule allowed. The morethe band’s fan base grew, the harder U2 worked toget even bigger, and in 1987 they enjoyed theirbreakthrough intosuperstadom thanksto The Joshua Tree,which went on to sell10 million copies inthe U.S. alone. Funnily enough,while The Joshua Treeonce and for allcatapulted U2 topermanent superstarstatus, the albummarks something of aconscious refinementof the group’s sound.The album wasnowhere near asstrident as War or as radically overwrought as TheUnforgettable Fire (which was, lest one forget,recorded in a frickin’ castle). Reunited withproducers Daniel Lanois and Brian Eno, it’s as if theband finally took a moment to ponder the wide-openAmerican spaces it had been traveling through foryears and applied those musical and culturalobservations to its songs. It’s an album made fordusty, empty flyover country. U2 have always flirted with charismaticChristianity, and The Joshua Tree songwriting processfinds the band in a particularly reflective mood; I StillHaven’t Found What I’m Looking For and With or

Without You are steeped in religious imagery, buteven their constant radio rotation hasn’t robbedthese introspective songs of their potency oreffectiveness. Smartly, U2 balanced those personalsongs with more universal tracks, often with anemphasis on forgotten people and forgotten placesaround the globe: Red Hill Mining Town (about themid-80s UK miners strike), Exit (inspired by Norman

Mailer’s Gary Gilmore tome TheExecutioner’s Song), Mothers of

the Disappeared (aboutArgentina’s murderedpolitical dissidents), andBullet the Blue Sky(about U.S. meddlingin Central America). Bullet is one of thefew Joshua Treenon-singles toremain a live U2staple – its blusterhints at the band’s

current broadaesthetic – but it’s slightly

out of place among a recordmostly characterized by its

grace, subtlety, introspection, andbeauty. That holds especially true for its moremysterious (or at least less overplayed) second half,which roughly begins and ends perfectly with theballad Running to Stand Still (about heroinaddiction) and gentle outro Mothers of theDisappeared. In between, Trip Through Your Wires isthe rare blues track to prominently feature co-producer Eno’s favored novelty, the Omnichord,while One Tree Hill and the apocalyptic Exit showcasewickedly screwed up and uncharacteristic guitarsolos from the Edge.

~ Joshua Klein, 2007

T H E J O S H U A T R E E


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Water......drink it or feel it –

it’s good for you!


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9

H2 SYSTEMS presents

HOWIE MANDELFriday September 30th at 8:00pm

Howie Mandel has remained a constant force inshow business for over 30 years. This summer hehas returned as a judge on NBC’s hit talent com-petition series America’s Got Talent alongsideSharon Osborne and Piers Morgan. Howierecently received an Emmy nomination for “Out-standing Reality/Competition Host” for Deal or NoDeal and a Daytime Emmy nomination for “Out-standing Game Show Host” for the syndicatedversion of the show. Howie’s versatile career has encompassed vir-tually all aspects of the entertainment spectrum,including television, film and stage. From hiswork on the Emmy-Award winning St. Elsewhere,to the international animated children’s seriesBobby’s World, Howie has become a mainstay ofthe American comedy scene. In 2009, Howieadded another title to his resume, author, whenhe released his frank, funny, no-holds-barredmemoir Here’s the Deal: Don’t Touch Me. The mem-oir that revealed his ongoing struggle with OCDand ADHD, and how it has shaped his life andcareer made the New York Times Bestseller List onits first week. Howie started his career on a dare during a tripto Los Angeles in 1979. He was at the legendaryComedy Store on amateur night and Howie wascoaxed by his friends to get up and try his luck. Asfate would have it, there was a producer in the

crowd who immediately hired him to appear onthe comedy game-show Make Me Laugh. Hisappearance on the show led to talk show appear-ances, a stint as Diana Ross’ opening act andeventually to the television series, St. Elsewhere,where Howie spent six seasons as “Dr. Wayne Fis-cus” on the award-winning NBC drama. Howie’s Emmy Award-nominated animatedchildren series, Bobby’s World, ran eight seasonson FOX and now appears in syndication six days aweek in 65 countries. As the series’ creator andexecutive producer, Howie was closely involved inits writing, as well as providing the voice of Bobby,Bobby’s dad and other characters. Howie attrib-utes the show’s success to drawing the story linesfrom real life. Howie has done countless comedy specials bothon cable and network television. He has alsohosted his own syndicated talk show, The HowieMandel Show,” and continues to be a mainstay onthe talk-show circuit. He frequently appears onThe Tonight Show with Jay Leno performing hissignature hidden-camera bits. He also is one ofthe first people that Regis calls to fill in for him onLive with Regis and Kelly. Howie also continues toperform as many as 200 concerts a year through-out the US and Canada. Howie lives in Los Angeles with his wife, Terry,and their three children.


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Let It Be is easily the most flawed Beatles album. It may alsobe the most underappreciated of the band’s late output, a col-lection of powerful tracks that summed up The Beatles’illustrious career, though it almost wasn’t to be. The studiosessions for the album were filmed for use in the Beatles’ GetBack movie, and the presence of cameras may have con-tributed to the fights that marred the Let It Be studio sessions.Though Abbey Road was actually recorded after these ses-sions, the band’s disagreements during the recording of Let ItBe ultimately signaled the end of The Beatles. Completion of the sessions didn’t end the contentions sur-rounding it. The recordcompany chose Phil Spectorto produce and overdub therecord. Paul McCartney,long dissatisfied with thefinal release, oversaw a com-plete remix and remaster ofthe album that was releasedas Let It Be… Naked in 2003. Even with all the distrac-tions, the quality of thesongwriting on Let It Be didnot flag, and the strength ofthe tunes shines through onevery version of the album. Much of Let It Be boresigns of the Beatles’ progres-sion into the ‘70s, leaving the Summer of Love psychedeliabehind in favor of hard rock. “Get Back,” “I’ve Got a Feeling,”“One After 909” and the chorus of “I Me Mine” wouldn’t havesounded out of place on Layla and Other Assorted Love Songs,with their chugging blues rhythms and Billy Preston’s soulfulHammond organ. “I’ve Got a Feeling,” a joyous showcase ofMcCartney’s delirious roar, hints at what the world mighthave heard from the band had it managed to survive into thenext decade. The “Oh yeah!” shouts and major key rhythmguitar line belie the bad vibes flowing in the recording stu-dio, sounding every bit like the start of something big ratherthan the end. The slightly out of tune guitars simply add tothe charm.

“The Long and Winding Road,” then, is the spiritual oppo-site of “I’ve Got a Feeling.” A fitting final single for such astoried band, McCartney already had the band’s dissolution inmind when he wrote it. Lennon played bass on the song, mak-ing several well-documented mistakes that were as symbolicof the band’s breakup as McCartney’s sorrowful lyrics. Spectorcited the need to cover up Lennon’s flubs when defending hisdecision to include massive orchestral overdubs. Uncharacter-istic of the band’s normal recording style though it was, itbecame the The Beatles’ final farewell as a group.

Which brings us to the high points of an alreadystellar set, “Get Back” closed the Beatles’

rooftop concert, and the studio ver-sion closes the record (withbanter and applause from thelive version edited in to thealbum by Spector). It’s thequintessential road song, itsrhythms almost syncingwith mileposts whizzingpast the windows. It alsosums up the record, inwhich the band was tryingto “Get Back” to its roots in

Chuck Berry rock ‘n’ roll. And “Let It Be” may be the

greatest musical pick-me-up of alltime, a cathartic burst of piano, choir,

organ and guitar. The raucous horns on theoriginal album version seem a little out of place, but Preston’sorgan line and Harrison’s heavenly solos elevate the songeven above McCartney’s falsetto “be-eee”s in the chorus.Many have tried, but no one since has captured the sad-yet-happy feeling that “Let It Be” embodied. While its prominent role in the demise of The Beatles tar-nishes its image and its flaws ensure it will never be incontention for the title of the band’s best album, Let It Bestacks up with the rest of the catalog. If nothing else, goes toshow that even one of The Beatles’ lesser albums is still oneof the best records ever.

~ Andrew Steadman, One Thirty BPM

LET ITBEPIONEER FAMILY POOLS presents

The Beatles • CLASSIC ALBUMS LIVE • Wednesday October 19th at 8:00pm


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Café GalleriaI T A L I A N C U I S I N E

More than 30 yearsin Downtown Oakville!

151 Lakeshore Road EastDowntown Oakville

Call for reservations • 905.845.7731

“Come to Italyin the heart of

Downtown Oakville”

cafegalleria.ca

2011/2012 CONCERT SEASON

MUSICAL SPLENDOUR November 2011FAMILY CHRISTMAS CONCERT December 2011

ROMANTIC LEGENDS February 2012INSPIRED GENIUS April 2012

FIESTA May 2012

For dates, descriptions and ticket information:www.oakvillesymphony.ca

Experiences that inspire!

How to purchase tickets:

• In person ~ 440 Locust Street• By phone ~ 905.681.6000• Online ~ www.burlingtonpac.ca

To view our 2011/2012 Professional Entertainment Seasonvisit our website: www.burlingtonpac.ca

The Box Office is Now Open

November 10

ADRIANNEPIECZONKAwith special guestLaura Tucker

December 3Opening Celebration

Special Guest

SARAHMcLACHLAN

November 29

Coleman Lemieux& Compagnie

IN PARADISUM

September2011-Final_Layout 1 11-09-17 10:45 AM

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Buca di Bacco Ristorante presents

MusselsPeperonata

INGREDIENTS

• ½ cup extra virgin olive oil

• ½ red onion, roughly chopped

• 5 garlic cloves, put through a garlic press

• 3 large red bell peppers, cored, seeded and cut into ½ inch dice

• 1 teaspoon chilli flakes(Or if you have any Italian neighbours, knockon their door and ask them for some fresh hotpeppers from their garden. They have tons!)

• ¾ cup dry white wine

• 2 pounds of small mussels, cleaned and washed

• 2 cups strained tomatoes, simmered until reduced by half

• Kosher salt

• Serves 6

DIRECTIONS

1 Combine the onion, bell peppers and ¼ cup ofolive oil in a 12” sauté pan. (if using fresh hotpepper, finely chop and add to sauté pan. If usingchilli flakes, add as instructed in step 3) Place panover medium heat and cook until onions andpeppers are slightly softened, about 2 minutes.Add half the garlic and stir for approximately 30seconds, do not let garlic burn. Remove from heatand transfer mixture to a bowl and set aside.

2 In a large pot, combine remaining ¼ cup of oliveoil and the remaining garlic and cook. Stir about aminute just until garlic is softened. Add the wineand mussels, cover pot and cook over medium heatuntil mussels open, 4 to 5 minutes. When themussels are open, transfer them to a bowl leavingthe broth in the pot.

3 Add the reduced tomato sauce and the pepper mixture to the broth pot and bring to a simmer.Add the chilli flakes and season with salt andpepper to taste. Add the mussels and cook for 2more minutes. Remove from heat and serve.

Buca di Bacco’s Vincenzo Ricci has agree to share his fabulous Mussels Peperonata recipe with you thisissue. He assured us that “it’s super easy for anyone to do at home in 30 minutes or less.”

But if you really don’t feel like cooking, make a reservation at Buca di Bacco – just minutes fromthe Oakville Centre – you won’t be disappointed!

Buca di Bacco Ristorante130 Thomas StreetDowntown OakvilleReservations: 905.845.7396


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AFTERNOON DELIGHT TOURSLUNCH FIESTA TOURS

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For More Information,call 1-866-562-9449 or visit

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130 Thomas Street | Downtown Oakville | For reservations please call 905.845.7396

SPECIAL OFFER!Bring in your Oakville Centreticket stub from any show inthis program and get 20%OFF your entire bill!

Holiday iNN oaKVillE @TraFalGar590 Argus Road, Oakville 905-842-5000 www.hioakville.com

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We’ve had a $3.5 Million Facelift!


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DAN COOPER OF ROYAL LEPAGE presents

RON SEXSMITHSaturday October 22nd at 8:00pm

A singer-songwriter acclaimed by a galaxy ofartists from Bob Dylan to Elton John, Chris Martinto Michael Bublé, Steve Earle to Lucinda Williamsfor his insight into the human heart and a melodicpurity (to paraphrase admirer Elvis Costello)unheard since the heyday of Paul McCartney,you’ll find him straight after the Sex Pistols in anyself-respecting encyclopedia of modern music.That’s as close as Ron Sexsmith has ever got to in-yer-face hard rock. Until now. For his 11th album, Long Player LateBloomer, the award-winning troubadour haspaired himself with a fellow Canadian, the pro-ducer of bone-crunching classics by Metallica,Mötley Crüe and The Cult – the genuinely namedBob Rock. “I’d seen the Metallica documentary,Some Kind Of Monster, and I got a good vibe fromBob; he seemed the only sane person workingwith a band that was falling apart. Even so, I onlysaw Bob as a hard rock producer. “Then, a few years back at the Juno Awards, Iran into Bob at the curb waiting for a car to takeus to one of the after parties. I never wanted theresponsibility of producing my own music. I’malways looking for a producer who can help meframe the music in a way that people will get it.“Know any good producers?” I asked Bob jokingly.He told me he was a fan, but I hear that some-times and I’m skeptical. “But at the same party there was MichaelBublé. Michael had just worked with Bob (on themultiplatinum-selling album, Crazy Love), whichcame as quite a surprise to me. He told me thatBob was a pop producer and that he would begreat for me. That put the idea into my head ofsending him the songs to see if there was anyinterest there. Bob’s assistant got right back to my

management saying he loved the songs. “The hard part then was how to do it, how evento afford it. Because from the movie, I sensed hewas a good person and that I could trust him. AndI was right.” The reassuring news for Ron’s loyal interna-tional fanbase is that Bob Rock’s production doesfull and eloquent justice to another wonderful col-lection of Sexsmith songs. And the great news foreveryone else is that every one of them soundslike an honest-to-God hit you turn up when itpops up on the radio. “I’ve always been trying to make pop records,and all my heroes had hit records. When I wasgrowing up, people I loved like Elton John andJoni Mitchell were essentially album artists whoalso had hits. My main objective was always tomake cohesive albums but a lot of my stuff soundslike what I would like to hear on the radio. I wasprobably born at the wrong time!” Born in a very good year, 1964, Ron grew up inSt. Catharines, brought up by his mother in low-income family government housing. His largelyabsent father left behind a box of Johnny Cashand Little Anthony And The Imperials singleswhich were Ron’s songbook primers. A day-dreamer at school, Ron was selected for a creativewriting class and in his high school band playedlead guitar. Ray Davies was Ron’s first and most enduringsongwriting inspiration, followed by Lennon &McCartney, Paul Simon, Elton John and, he says“about 19 I started discovering people likeLeonard Cohen and Gordon Lightfoot.” As a singer, Ron admires Harry Nilsson, BingCrosby, Bill Withers and Charlie Rich, and placeshimself in that crooner tradition.


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Howard Jonesperforming Human’s Lib & Dream Into Action in their entireties

Tuesday & Wednesday October 25th & 26th at 8:00pm

It was in 1983 that Howard Jones firstburst upon the contemporary music sceneand brought his very English song-writingand pioneering synthesizers to an unsus-pecting world. Anyone who was around inthe mid to late eighties will rememberthose high energy gigs and his first twoalbums Human’s Lib and Dream intoAction. They lived in the higher reaches ofthe album charts in the UK, USA, Ger-many, Italy, Sweden, Canada, Australiaand many other countries in the 1984-86period and the hits kept coming – NewSong, What is Love?, Pearl in the Shell, Hideand Seek,(which he performed at Live Aidin 1985), Like to Get to Know You Well, LookMama, Things Can only Get Better, Everlast-ing Love and the quintessential No One is ToBlame, which reached No.1 in the US. Now Howard Jones has re-masteredthose first two classic albums Human’s Liband Dream into Action and played themboth live in their entirety for the first timeon November 6th 2010 at the IndigO2 inLondon’s O2 Arena Complex. The re-mastered albums are availablefrom www.howardjones.com. A special re-mastered box set of the 12” mixes wasreleased in March 2011 and a DVD of theIndigO2 is now available. A classically trained pianist, Jonesapplied his technique to the early synthsparticularly the Roland Juno 60, the

Jupiter 8 and the Moog Prodigy. He alsopioneered the classic Roland 808 drummachine and the Sequential Pro-One. Inthe early days he was triggeringsequencers live on stage while playing andsinging, something that no one had donebefore. These days he still operates on the cuttingedge of today’s technology and has beenone of the leading exponents of the RolandFantom G8 and the Roland V-piano. He hasalso been working closely with Roland onthe development of the 2011 Jupiter 80which he will be using on stage. Many con-temporary giants of the dance world haveshown interest in working with Howardwhich has resulted in tracks such as And doyou Feel Scared? with Eric Prydz and Into theDarkwith Ferry Corsten. Jones continues to tour extensively andwill be playing multiple dates and festivalsin 2011 with Robbie Bronnimann on livesequencing/sampling and effects usingAbleton Live and various controllers, andJonathan Atkinson on electronic drums. Always one to take chances, Jones con-tinues to write great songs inspired by hisBuddhist beliefs as is evident on his lateststudio album Ordinary Heroes which fea-tures a string quartet on every track andone of the best Welsh male voice choirs inthe world The Morriston on the song SoonYou’ll Go.


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PARADISO presents

I,CLAUDIAA Crow’s Theatre Production • Written by Kristen Thomson

Friday October 28th at 7:00pm

This extraordinary one-woman show maps the raw, but beautiful interior life of a misfit adolescent. Clau-dia, age twelve-and-three-quarters, finds herself suffering from the triple afflictions of puberty,unpopularity, and her parents’ divorce. Using four astonishingly expressive masks the performer evokesthe anguished Claudia, her grandfather, her dad’s new girlfriend, and the school janitor. Both heart-breakingly sad and wrenchingly funny, I, Claudia casts a spell of rare power in the theatre.

CAST . . . . . . . . . . . . . . . . . . . . . . . . . . Michelle Polak

CREATIVE TEAMPlaywright . . . . . . . . . . . . . . . . . . . Kristen Thomson Director . . . . . . . . . . . . . . . . . . . . . . . Chris AbrahamSet & Costume Designer . . . . . . . . . . . . . . . Julie Fox“Claudia” Costume . . . . . . . . . . . . . . . . Robin FisherMasks Constructed . . . . . . . . . . . . . . . . Robin FisherLighting Designer . . . . . . . . . . . . . . . . . . . Beth KatesSound Designer . . . . . . . . . . . . . . . . . Chris AbrahamStage Manager. . . . . . . . . . . . . . . . . . . Sarah O’BrienProduction Manager. . . . . . . . . . . . . . . . . Beth KatesTouring Production Manager . . . . . Matthew Byrne

CROW’S THEATREArtistic Director . . . . . . . . . . . . . . . . . Chris AbrahamManaging Director . . . . . . . . . . . . . . Monica EstevesProducer and General Manager . . . . . Hilary Green

KRISTEN THOMSON As playwright and performer, KristenThomson has had considerable success with I,Claudia, her first play. I, Claudia wasdeveloped over two years at Toronto’sTarragon Theatre where it was premiered(Dora Awards for performance and writing)and it has since been presented across Canada.It was later adapted to film by Kristen anddirector Chris Abraham. For the film, Kristenwas awarded a best performance Gemini andACTRA Award, along with two CanadianComedy Awards for performance and writing.Kristen is currently a Writer in Residence atCrow’s Theatre.


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125 Lakeshore Rd E Oakville 905.338.1594 www.paradisorestaurant.com

Autumn 2011 Cooking Class Schedule

theCookingStudio @

Restaurant

Tuesday September 27th @ 7:00pm

Tuesday October 4th @ 7:00pm

Thursday October 13th @ 7:00pm

Tuesday October 18th @ 7:00pm

Monday October 24th @ 7:00pm

Tuesday November 1st @ 7:00pm

Wednesday November 9th @ 7:00pm

Paradiso Signature Dishes

Tour of Tuscany

An Evening in Greece

Fish and Shellfish

Pasta and Sauces

An Evening in Spain

Tapas Style Cocktail Party

$ 70

$ 70

$ 70

$ 80

$ 50

$ 70

$ 70

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WEDNESDAY,D OCTOBER 22, 20

“Using Communication To Build Better Communities”

d Media Group Ltd. Vol 47 No. 127

www.oakvillebeaver.com

eaverTHE OAKVILLEIRHS in the pink for

breast cancer awarenessPAGE 12

STAFF

al Police have made an

ection with a violent

g robbery in which the

ed with a knife.

n 18-year-old man was

from a friend’s house

individual confronted

le and Sheridan Garden

ked the youth to follow

earby park and when the

he pulled out a knife.

e knife close to the youth’s

ect demanded money, but

refused.

g ‘no’ for an answer, the

w the youth to the ground

going through the young

s. e suspect failed to find

he began slashing the

the knife causing what

acterized as minor lacera-

he attack, the victim began

for police, attracting the

of people in the park who

his aid.pect fled the scene, but police

rrest later in the day.

nthony Wilson, 26, has been

with robbery with a weapon

ure to comply with proba-

ictim was taken to hospital

e was treated for his injurin es and

ed inbery

� By Jon Kuiperij

BEAVER SPORTS EDITOR

Adam van Km oeverden’s kayak-

ing prowess helped put Oakville

on the map and on Friday, they

Town returned the favour.

The 26-year-old nowr has a

street ceremonially named after

him — perhaps the most fitting

road in the entire town. Water

Street, which winds west of

Navy Street and down to the

Burloak Canoe Club, where van

Koeverden spent many of his

adolescent years developing

into a world-champion athlete,

will also be known as Adam van

Koeverden Stre

“It's just re

van Koeverde

guest of hon

Friday evenin

was also p

award by t

Council t

Olympian at home on Water Street

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The sentiment was expressed bynewly-appointed Minister of Energyand Infrastructure GeorgeSmitherman in a letter he recentlysent to Regional Chair Gary Carr.The correspondence came inresponse to a letter Carr sent theminister detailing the Region’sFairness for Halton campaign,which says the region can’t accom-modate the thousands of residentscalled for in the Province’s Places toGrow plan without some hefty fund-ing help for infrastructure.The campaign lets those atQueen’s Park know about the localfunding shortfalls that need to befixed — such as a municipal infra-structure deficit of $300 million —in order to meet the growth targetsspecified in Places to Grow. The plansays Halton’s population is sup-posed to increase by more than300,000 to 780,000 by 2031.More than $2.5 billion will beneeded for infrastructure to accom-modate growth to 2021, while morethan $8.6 billion will be required toserve the population increase to2031, Carr informed the minister.But, Smitherman said theProvince and its Places to Grow planaren’t the cause of the problem.“The servicing costs you indicate

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TRAINING DAY: Oakville firefighter recruits in training combat a flame created by a fire simul

Canada distribution facility on Rebecca Street.

LIESA KORTMANN

THE OAKVILLE

FRIDAY, OA CTOBER 10

A member of Metroland Media Group Ltd. Vol. 47 No. 122 “USING COMMUNICATION TO BUILD BETTER COMMUNITIES”MM

www.oakvillebeaver.comBeaver Cross Country resultsSPORTS

Inside

Full Delivery: Food BF asics, Superstore, Longo’s,’HomHH e Outfitters, CanadianCC Tire, TT Wal-Mart, Shoppers Drug Mu art, Superstore,Longo’s, HomHH e Outfitters, SearsPartial Delivery: Dominion, Pharmassist, Linens-N-TNN hings, Creepers, Price ChopperCC , Ho-Lee-ChHH ow,wHomHH e HardHH ware, Regency Fireplaces,Sobeys, Pharma Plus, Fortino’s, ’Zellers, Goemans Bouclair, Mr ichael’s, ’The ST ource, The Brick,Staples Business Depot, Best BuyyyPier 1 Imports, Tm he BT arn Fruit MarketMToyTT s R Uyy s, FuturUU e Shop

Artscene.......................................27Sports .........................................37Real Estate .................................40Classified ...................................43

Smitherman to Region:It’s your fault

� By Melanie HennesseyMETROLAND WEST MEDIA GROUP

A provincial minister is pointing the finger of blame at theRegion for the infrastructure woes facing Halton.

� See Carr page 4

� By David LeaOAKVILLE BEAVER STA AFFT

It took only one spark and the new firefighterssuddenly found themselves facing an inferno.With a combination of diesel and gasoline spray-ing everywhere huge balls of orange flame exploded20 feet into the air throwing up thick plumes ofblack smoke.Undeterred, the firefighters manned their hosesand dosed the flame, pushing it back until it shrankand finally went out.

Following their training, the firefighters contin-ued to hose down the metal piping, where the fire

had originated, so that the fire could nre-ignite from the intense heat of the mLast week’s experience provided somtraining for the 24 recruits from the OaDepartment and its one that they had thenity to redo over and over again.The heated training day was courtesy simulator, located at the Petro Canada distr

facility on Rebecca Street, which shows firewhat they would face if a fire took place as thof a fuel spill or a ruptured pipe.“All last month we brought all Oakville fireers in here, we gave them all refresher trainin

Learning under fire

� See Petroleum pa

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ATHLETES FOR ATHLETES: Riders climb a tough hill at the outset of Friday’s Beaver Valley 180 BikV e Ride. The charity ride began at 7 a.m. at D

East and moved across 180 km before finishing at the Beaver Valley ski club. The ride, which began as a fall fitness program for the Beaver Valley and Col

the last two years and this year will benefit the Law Enforcement Torch Run for Special Olympics Ontario. The torch run sees law enw forcement officers carr

awareness and funds for Special Olympics Ontario. For more information, visit www.beavervww alley180.org or www.ontariow .torchrun.org.

No time to fa

OAKVILLE BEAVER

Why isthis manbehindbars?

5

905.639.7001

908.845.3824 www.oakvillebeaver.com

Publishing every Wednesday, Thursday and Friday

Phone 908.845.9742 to subscribe


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AshleyMacIsaacSaturday October 29th at 8:00pm

Ashley MacIsaac was just days into recording his firstalbum in five years when tragedy struck: his prized fid-dle, a German Student make – the same instrument hepicked up at age eight, the same one he played through-out his teens, had used on all his recordings, the sameone he thrilled audiences with across the globe, the fid-dle he knew inside and out – broke apart, right in hishands. “I literally wore it out,” Ashley wistfully recalls. “Thewood had gotten so thin, it just couldn’t be saved. It wasgone.” He pauses, then says firmly, “But then I remem-bered, ‘It’s not the truck, it’s the driver,’ and I was readyto press onward.” A suitable replacement was found – oddly enough, anexact replica of his German Student make – and anemboldened Ashley charged through the rest of therecording process like a man reborn. When Ashley MacIsaac burst on the worldwide scenewith 1995’s Hi, How Are You Today? (A&M) he scoredthe kind of coup instrumental artists often dream of.Going triple-platinum in Canada and breaking downradio barriers with the Gaelic single Sleepy Maggie, Ash-ley became an immediate pop icon, rebellious andexuberant, resplendent in kilts, army boots and combatpants. Copping from rockers’ sensibilities, Ashley madean aesthetic of it onstage, effortlessly blending his Celticheritage with contemporary elements such as punk,electronica, hip-hop and grunge. Audiences who mayhave felt alienated by Ashley’s disregard of conventionwere instantly won over by his dazzling displays of grit,passion and authority. Recalls Ashley at the time, “Myfather once told me, ‘If you want to play the fiddle, getmad at it or don’t play it at all.’” Perhaps it was always that way. Growing up on CapeBreton Island, Nova Scotia, Ashley never listened to popmusic, with the exception of his brother’s AC/DC andOzzy Osbourne records. Instead, he listened to therecordings of the local master fiddlers like AngusChisholm, Winston “Scotty” Fitzgerald, and BuddyMcMaster, who would become Ashley’s dominant influ-ence. Picking up the fiddle at age eight, Ashleyimmersed himself in the instrument, playing anywhereand everywhere he could. By 14 he was performing atlocal festivals, pubs, and church and community-halldances. Soon he was touring Celtic communities in Mas-sachusetts and California, performing with local

musicians, and at 16 he recorded 1992’s mostly acoustic-based, traditional Close To The Floor album, following ita year later with A Cape Breton Christmas. By 18 he hadtoured nationally with Toronto singer John McDermottand the Chieftains. “I did 160 dates in four months,” herecalls. “I was still in school but I was playing two to fournights a week doing concerts, wakes and funerals.” Tipped off by his wife, Joanne, who had seen Ashleyplay at a Cape Breton dance in 1992, veteran avant-garde composer Phillip Glass contacted Ashley to takepart in a performance for German playwright GeorgeBruckner’s play Woyzeck. From that success Ashleyreceived a call from Paul Simon who asked him to per-form on an Edie Brickell session he was producing.Ashley then backed Simon and Brickell at a CarnegieHall show for the Tibet House Benefit in 1994. Signed to Decca by then VP of A&R Rory Johnston,Ashley was introduced to Roger Greenwalt (No Doubt,Nils Lofgren), who jumped at the chance to work withAshley on this bold new adventure. Aside from Ashley’sfiddling, Greenwalt developed all of the instrumenta-tion and electronic loops himself. Tracks like Cello Song,Save Me From Tomorrow, Grapes, and Captain Americawere already in the can when co-producer and mixerKevin Killen (U2, Peter Gabriel, Elvis Costello) came onboard. With characteristic tact he asserted that thetracks needed real drums and bass as well as someatmospheric guitar and keyboards. “The additions madeAshley’s performances even more stellar,” recalls Killen. When the subject of vocals came up, all Greenwaltand Killen needed was one listen to Ashley’s voice andthey were sold. “It’s a cool voice,” Greenwalt enthuses.“It’s really there in ‘Captain America,’ and in ‘Lay MeDown,’ where he’s a real blues belter.’” Ashley readily accepts the comparison. “Learning tosing, I always went for the blues. In fact, if I had to fronta band as a singer, it’d definitely be a blues band. It’ssuch a true, forceful way to sing.” He pauses, then addswith a snicker, “You want to know the real reason I’msinging? I got pissed off seeing George Clooney sellingbluegrass to millions of people, and I figured it wasabout time that somebody really cute got in there.” Whether Ashley ever threatens George Clooney’smatinee-idol status remains to be seen, but one thing iscertain: Ashley MacIsaac is a stunning testament of asingularly talented artist at the top of his game.


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OAKVILLE INFINITI presents

ILVOCEA one hour performance in the Studio Theatre

Friday November 11th at 7:30pm

IL Voce puts a fresh face on the global phenomenon of the genre labeled “ClassicalCrossover” or “Popera”. Their amazing sound is created by the combination of these fourmagical voices and complimented by their beautiful & distinctive look. This is what trulysets IL Voce apart. IL Voce is comprised of soprano Tiffany Desrosiers, tenor Marc Devigne, coloraturasoprano Melody Mercredi and baritone DJ Calhoun. Bringing passion and virtuosity totheir unique interpretations of romantic, classical, pop & opera favorites, simply put, ILVoce is The Voices.


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DOWNTOWN OAKVILLE BIA presents

Kellylee EvansIn the Studio Theatre • Saturday November 12th at 8:30pm

Kellylee just lets her career unfold, neverknowing where it might lead. Her first batchof original songs, which ended up on Fight orFlight, was more jazz oriented simplybecause she was singing standards at thetime with jazz musicians. “When I started writing my own stuff, Iwas always thinking that it wasn’t jazz, buteverybody thought it was, and when I lookedfor musicians to make Fight or Flight, every-body that I knew was in the jazz world, so itsounded like jazz”, Kellylee explains. Sheeven took second place in the prestigiousThelonius Monk International Jazz VocalsCompetition, whose judges included QuincyJones and Al Jarreau. Kellylee continues to evolve her distinctivesound with her newest release Nina. ThisJuno and Gemini Award nominee receivedaccolades for her first two albums, Fight orFlight and The Good Girl, which seamlesslyfuse jazz and her own unique style of “soulpop”. Nina, her new release, is a beautifultribute to one of jazz’s greatest vocalists andpianists, Nina Simone.

The Canadian singer was approached byFrench label Plus Loin Music, who had dis-covered her through her 2nd place win at theThelonious Monk Jazz Vocals Competition. After several years of discussion, theyinvited her to France in November of 2009,where she spent two days in the studio.“They said I could do whatever I wanted aslong as it was standards” Evans recalls. “I hadalways wanted to do a Nina Simone tribute.She was one of my mom’s favourites, and myhusband’s, and I love her too. So I chose herand they were really gung ho.” Evans’ love and respect for the originalrecordings of the music shines through, but,even in taking on some of Simone’s mosticonic repertoire, the twelve tracks on thealbum showcase Kelly’s own versatility, cre-ativity and innate musicality. She is reunitedwith guitarist Marvin Sewell (Jason Moran,Cassandra Wilson), who appeared on herfirst album, and joined by bassist FrançoisMoutin (Moutin Reunion Quartet, RudreshMahanthappa), and drummer André Cecca-relli (Dee Dee Bridgewater, Biréli Lagrène).

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PARADISO presents

KLOROFYLGadfly Dance Company • Thursday November 17th at 8:00pm

They communicate through dialects such asContemporary, Jazz, Hip hop, House dancing,Vogueing, Waacking and Bboyin. Their workreflects a distinct language that stands out fromthe masses. Rightly named Gadfly DanceCompany, they personify innovation. Gadfly is the brainchild of Apolonia Velasquezand Ofilio Portillo, a creative duet originally fromMontreal and now based in Toronto. Initially,these two maverick choreographers had for visionto see Urban Dance genres completed with realhuman qualities, and some flavor added toContemporary dance. From there, it is from theneed to express themselves without the

constraints of commercial demands and to finallyput urban dances in the forefront that otherestablished dancers decided to collaborate. As aresult, in 2008, Canada’s first contemporaryurban dance ensemble was created. Now, after only two years of existence, whatmakes Gadfly unique among the myriad ofexisting dance companies is both its outstandingperformers and its fresh and eccentric concept.Contemporary Urban Dancing is more than just afusion of dances styles. Merging art withentertainment, they bring on stage a uniqueenergy and their works breathe through thatspontaneity found only in the urban dance culture.

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I, CLAUDIAfor Grades 8-12 • Friday October 28, 2011, 1:00 pm

GADFLY DANCE: KLOROFYLfor Grades 4-12 • Thursday November 17, 2011, 1:00pm

THE LIFE & ADVENTURES OF SANTA CLAUSfor Grades K-6 • Wednesday December 21, 2011, 1:00pm

IMPROVISED SHAKESPEARE: SHAKE IT UP!for Grades 4+ • Friday March 2, 2012, 1:00 pm

ALICE IN WONDERLANDfor Grades 1-8 • Wednesday April 11, 2012, 1:00pm

SULTANS OF STRINGfor all Grades • Thursday, May 3, 2012, 1:00pm

The Tim Hortons Learning With the Arts program isdesigned for educators to bring their classes, the curriculumand the performing arts together. These special performancesare for schools only and require booking through the OakvilleCentre for the Performing Arts.

All tickets are $7.00 per seat (with every purchase of tentickets there will be one complimentary seat for teachers.For tickets, please call 905-338-4161 ext. 3204.


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H2 SYSTEMS presents

Andrea MartinFINAL DAYS! EVERYTHING MUST GO!!

An evening of outrageous comedy and song • Friday November 18th at 8:00pm

Andrea Martin began her career as a singing chickenon the Captain Kangaroo television show. She wasthen cast in the United States Touring Company ofYou’re A Good Man Charlie Brown, in which she playedLucy. During the tour, she visited Toronto Canada, fellin love with the city, moved there and within a month,got cast in the Toronto production of Godspell, in whatis now considered the legendary cast; Victor Garber,Martin Short, Eugene Levy, Gilda Radner, Jayne East-wood and Paul Shaffer, their musical director. MsMartin went on to appear in Leonard Bernstein’s Can-dide as well as Private Lives with Maggie Smith andBrian Bedford at the Stratford Shakespeare FestivalTheatre. Andrea has appeared in numerous theatre and tele-vision productions in Canada, the most notable being,Toronto’s Second City stage show for five years whichled to the critically claimed SCTV. She has hostedevery televised award program in the country, is therecipient of both the Canada Walk of Fame andWomen in Television and Film awards. For Martin’swork in the recent Toronto production of Love, Loss andWhat I Wore, as well as Final Days! Everything MustGo!, she received Broadwayworld.com’s 2010 bestactress and best theatrical event awards. Ms Martin has also received four ACTRA awards forher participation in SCTV, two GEMINI nominationsfor hosting the 2007 Winnipeg Comedy Festival andfor the CBC miniseries, St. Urban’s Horseman. Her film credits include, the newly released Break-ing Upwards, My Big Fat Greek Wedding, (Sag awardnomination and People’s Choice Award, best ensem-ble) Hedwig and the Angry Inch, All Over the Guy, MaryWalsh’s Young Triffie’s Been Made Away With, SteppingOut, Bogus, Wag the Dog, New York Minute, both theoriginal and remake of Black Christmas, and CannibalGirls,(co-starring Eugene Levy) for which she won theBest Actress Award at SITGES, the international horrorfilm festival of Spain.For her work on SCTV Ms Martin won 2 Emmy

Awards for writing and received an Emmy nominationfor Best Actress in a Variety series. Her additional tele-vision credits include My Big Fat Greek Life, LittleMosque on the Prairie, and Nurse Jackie. She is therecipient of 3 American Comedy Award nominationsfor several cable specials including her own AndreaMartin Together Again, for Showtime, which alsoreceived a Cable Ace Award nomination for writing. She has lent her voice to an impressive list of ani-mated projects including Jimmy Neutron: Boy Genius,The Rugrats Movie, The Simpsons, Superman, Anasta-sia, George and Martha, and Sesame Street for whichshe received a special Emmy Award. Martin has received more Tony and Drama DeskAward nominations as a Featured Actress in a Musicalthan any other actress. Beginning with My FavoriteYear in 1993 for which she won both awardsas well as the Theatre World Award, shewas also nominated for Young Franken-stein, Oklahoma!, and Candide. Shewas last seen on Broadway oppositeGeoffrey Rush and Susan Sarandon inExit the King, for which she receivedDrama Desk Award and Outer Critic Circle Awardnominations, and also starred in the revival of The Fid-dler on the Roof. Martin’s off-Broadway theater creditsinclude her one-woman show Nude, Nude, TotallyNude, for which she received a Drama Desk Awardnomination, On the Town for City Center Encores!, TheExonerated, The Vagina Monologues and The MerryWives of Windsor. Martin has appeared regionally inThe Torch-Bearers, A Midsummer Night’s Dream, TheMatchmaker, The Royal Family (all at WilliamstownTheatre Festival). She also starred in the HuntingtonTheatre Company productions of The Rose Tattoo andBetty’s Summer Vacation, for which she won the IRNEand the Elliot Norton Award for Best Actress. Ms. Martin divides her time between NY andToronto, when she is not interfering in the life of hergrown sons, Jack and Joe, who reside in LA.


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Pour your own draft...seriously?The Alcohol and Gaming Commission of Ontariorecently passed a motion that will allow Ontariobars and restaurants to install draft towers rightat the tables. “This has actually been going on inEurope for several years,” says Jeff White ofPhilthy McNasty’s Sports Pub in Oakville. White had the taps installed two years ago athis Speers Road pub but the Alcohol and GamingCommission wouldn’t allow him to turn them on.The AGCO wanted to investigate the system first.What was supposed to be a 2 month review took2 years! The booths have been operational, butPhilthy’s could not turn them on without theboards approval. They finally received thatapproval this past August. The system is very high tech and controlled bythe service staff (who are trained by the AGCO).Patrons pre-order the draft which is then loadedinto a cooling unit below the table. The guestscan only access what they have paid for. So the

server remains in control. It’s not a free pour(unfortunately!). “It would be the same as ordering a pitcher.But instead of bringing you the pitcher to thetable. We send it under the floor to your coolingunit. Your draft stays cold. And everyone lovesthat!”, confirms bartender Danielle Harvey. “Guests can reserve a booth (which seat 2-14)anytime”, says White. “Obviously this is a funplace to come with your sports team or your bestbuds. Having your own draft tap is a dream for alot of guys but a draft system is expensive toinstall and maintain. This is the next best thing.Not only do you have your own tap, but we do theclean up!” At this point, guests can choose Coors Light orCanadian. Each table has 2 draft taps. PhilthyMcNasty’s takes reservations for the boothswhich are very popular especially duringsporting events.

Philthy McNasty’s Sports Pub is located at 379 Speers Road (just west of Dorval).The “Pour Your Own” taps will be operational as of October 1st, 2011. Cheers!


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INTERNATIONAL An OAKVILLE INFINITI presentation • T

BRIAN GORESan Francisco guitar poet Brian Gore is gaining a rep-utation as one of the most interesting and influentialperformers of “the next generation” in fingerstyle gui-tar. Gore’s style of playing offers strikingly beautifultone and dynamics – qualities that are often hard tofind in steel string players. His melodic, evocativesongs rely heavily on the use of open tunings, extend-ing the “stream of consciousness” style of guitarcomposing he grew up with in Northern California.“Music started out as a kind of therapy for me,” saysGore. “Consequently, I am a very emotional player.Now, my style of playing has also become a well honedcraft. I am very grateful I can share this with people.”

LULO REINHARDT Lulo Reinhardt is an extremely gifted guitarist whowas taught by his father at the age of five. At twelve,he played in the Mike Reinhardt Sextett and later co-founded the group, “Django Reinhardt and theHeartbreakers.” Lulo Reinhardt is a spontaneous and

The International Guitar Night (IGN)is the world’spremier touring guitar festival. Each show bringstogether the most interesting and innovativeacoustic guitarists to exchange musical ideas in apublic concert setting. Each tour, IGN founder BrianGore invites a new cast of guitar luminaries to joinhim for special evenings of solos, duets and quartetsthat highlight the virtuosity and diversity withinthe world of acoustic guitar. Audiences cherish the virtuosity of the playingand the friendly, informal ambiance of theperformances. Participants relish the chance to playwith peers from different genres, and to collaboraterather than compete. This unique brand of “guitarpositivity” has helped make IGN the most successfulguitar showcase of its kind.


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L GUITAR NIGHT • Tuesday November 22nd at 8:00pm

spirited musician who is led by the guitar into musi-cal voyages of discovery. His curiosity has taken himto southern Spain in search of flamenco roots, and toSouth America, exploring various musical styles ofLatin Jazz.

ADRIAN LEGGWhile studying oboe under parental pressure (hisown words), he began fashioning his own guitars,“or rather odd stringed instruments that at leastcould execute an acceptable twang” from pictures innewspapers, scraps from the school woodwork scrapbin, fret wire and with strings held on by head restcover containers taken from the local bus station.While working at the airport in Liverpool, he met ayoung man who invited him to join a band and intro-duced him to country music. As popular as his catalog of recordings is, Legg’strue home is onstage. “Playing live is the wholepoint,” he says. “Everyone makes a journey, aneffort; we all come together – me, the audience, the

people who run the venue – to share this wonderful,universal, human emotional interaction. This iswhere music lives.”

MARCO PEREIRAMarco Pereira was born in Sao Paulo and got classi-cal guitar lessons with the Uruguayan master IsaiasSávio and music theory lessons at the Music andDrama Conservatory of São Paulo. Marco Pereirareceived the important Sharp Award in two differenteditions: as Best Arranger (1993) for Gal Costa’salbum and as Best Soloist and Best Album of theYear (1994) for Bons Encontros with the pianistCristovão Bastos. Currently, he is a professor in the CompositionDepartament at the Federal University of Rio deJaneiro (UFRJ). His compositions were issued by thepublisher Éditions Lemoine - Paris, France - and GSP(Guitar Solo Publications) - San Francisco, CA, USA- and have been played and recorded by importantguitarists all around the world.


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JOHN MAYALLWednesday November 30th at 8:00pm

John Mayall was born 29th of November 1933 in Mac-clesfield, an English town near the industrial hub ofManchester – a far cry at that time from the blackAmerican blues culture we are familiar with today.The eldest of three from humble working class origins,this skinny English lad grew up listening to his gui-tarist father’s extensive jazz record collection and feltdrawn to the blues. Strongly influenced by such greatsas Leadbelly, Albert Ammons, Pinetop Smith, andEddie Lang, he taught himself to play and develop hisown style with the aid of a neighbor’s piano, borrowedguitars, and secondhand harmonicas. From an art college training, to three years withthe British Army in Korea, to a successful career ingraphic design, his blues singing and playing took aback seat until he reached the age of 30. From 1956until 1962, John was performing publicly on a part-time basis fronting The Powerhouse Four and, lateron, The Blues Syndicate. It was then that AlexisKorner’s Blues Incorporated pioneered what was tobecome known as The British Blues Boom. Alexiswas quick to encourage and help John make hismove to London where he soon secured enough clubwork to be able to turn professional under the nameJohn Mayall’s Bluesbreakers. After a couple of yearsand a constant turnover of musicians, he met hissoulmate in Eric Clapton, who had quit the Yardbirdsin favor of playing the blues. This historic union cul-minated in the first hit album for the Bluesbreakersand resulted in worldwide legendary status. After Clapton and Jack Bruce left the band to formCream, a succession of great musicians defined theirartistic roots under John’s leadership, and he becameas well known for discovering new talent as for hishard-hitting interpretations of the fierce Chicago-style blues he’d grown up listening to. As sidemenleft to form their own groups, others took theirplaces. Peter Green, John McVie and Mick Fleetwoodbecame Fleetwood Mac. Andy Fraser formed Free,and Mick Taylor joined the Rolling Stones. As EricClapton has stated, “John Mayall has actually run anincredibly great school for musicians.”

Motivated by nostalgia and fond memories, in1982, John (together with Mick Taylor and JohnMcVie) decided to re-form the original Bluesbreakersfor a couple of tours and a video concert film entitledBlues Alive, which featured Albert King, Buddy Guy,Junior Wells, Etta James, and Sippie Wallace andothers. A whole new generation of followers couldget a taste of how it all sounded live two decadesbefore at the birth of the British Blues explosion. Bythe time Mick and John had returned to their respec-tive careers, public reaction had convinced Mayallthat he should return to his driving blues roots. AsJohn McVie returned to Fleetwood Mac and Mickresumed his solo career, Mayall returned to LosAngeles to select his choices for a new incarnation ofthe Bluesbreakers. Officially launched in 1984, itincluded future stars in their own right, guitaristsCoco Montoya and Walter Trout, as well as drummerJoe Yuele, who is still John’s rhythmic mainstay. Spring 2007 brought John Mayall’s 56th albumrelease, on Eagle Records: In The Palace Of The King,an entire studio album that honors and pays tributeto the music of the Mayall’s long-time hero of theblues, Freddie King. The release of this popular tribute album led tosuch a heavy touring schedule that it began to takeits toll on John physically. He therefore reluctantlydecided to take time off to re-evaluate his career. InOctober 2008 he made the decision to disband andretire the long standing Bluesbreakers, which causedquite a stir in blues circles and led to rumors abouttotal retirement. Since then Mayall has made someguest appearances with Mark Hummel’s HarmonicaBlowout and so enjoyed the freedom that he decidedto put together some new musicians with a view totouring on a more limited basis. The reaction to thisplan has been so positive that two tours of Europewere put together for 2009, including several showswith BB King in the UK. As for the man himself, the father of six and thegrandfather of six, John Mayall, at 78, hopes to keepthe blues alive for many more years to come.


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Barra MacNeil’s ChristmasFriday December 9th at 8:00pm

As a group, the six MacNeil siblings are widelyregarded as one of the greatest live concert acts inthe Celtic world. Hailing from Sydney Mines, CapeBreton Island, Nova Scotia, the family group isdeeply rooted in Celtic music, culture, dance, lan-guage and history. Their numerous criticallyacclaimed recordings have included their ownoriginal songs as well as tried and true standards,both instrumental and vocal. Steeped in Cape Breton tradition with strongCeltic roots and musical artistry, this diverse andtalented family group continues to wow audiencesaround the world with their captivating vocals,harmonies and extraordinary musicianship. Multi-award winners, they have released no lessthan 14 recordings including a DVD titled CapeBreton Christmas incorporating music from their

live Christmas Concert Special,a visit to Cape Bre-ton, interviews at home and music videos. Canada’s Celtic ambassadors continue to per-form to sold out audiences throughout Canada,the United States, the Caribbean, the United King-dom and Europe. From headlining major festivals,concerts, special guest appearances, televisionspecials, film and television placement (Men withBrooms Soundtrack; Racket In The Attic) and theirannual Christmas tour, they have set the coursewith a solid foundation for success The Barra MacNeils will continue to do whatthey love to do best, and that is playing their musicfor the fans. This incredibly talented family groupwill tour Canada, the US and Europe to spreadtheir distinctive brand of Celtic flavour around theworld.


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THE OAKVILLE NISSAN FAMILY SERIESBuild your own OAKVILLE NISSAN FAMILY SERIES subscription:ANY 3 shows for $60 per person ($20.00/ticket) ANY 5 shows for $82 per person ($16.40/ticket)ANY 4 shows for $72 per person ($18.00/ticket) ALL 6 shows for $90 per person ($15.00/ticket)

BIG & SMALL September 18 (ages 2 to 5) • MIRACLE ON MERCER STREET December 10 (ages 6 to 12)THE LIFE & ADVENTURES OF SANTA CLAUS December 20 (ages 5 to 10)

THE WIND IN THE WILLOWS January 4 and 5 (ages 3 to 8) • BUSYTOWN March 4 (ages 2 to 5)ALICE IN WONDERLAND April 11 (ages 6 to 10)

Come in and check out our great selection of Stocking Stuffers and Unique Gifts!


38

H2 SYSTEMS presents

TheArrogantWormsCHRISTMAS

Thursday December 15th at 8:00pm

Three quarters of a quarter of a century ago,something magnificent happened in Kingston,Ontario, Canada. Sensing a desperate public needfor musical comedy, The Arrogant Worms wasformed. The Arrogant Worms began as a comedytroupe performing songs and sketches on thecampus radio station in 1991. Asthe live show developed, thesongs delighted the audience.The sketches - not so much. It began as a hobby, makingfun of a big dumb world. Luckily,the world is still dumb and TheArrogant Worms (MikeMcCormick, Chris Patterson andTrevor Strong) still have plenty tosing about. The shows are fast,furious and family friendly. Thewit is quick, the satire is bitingand the musicianship is second tonone. Their appeal has earnedthem fans from kids to parents tograndparents to Princess Leia. The Arrogant Worms have sold more than150,000 copies of their 12 albums and played onthree continents to crowds as large as 100,000.They were recognized in 2003 as the Touring Actof the Year by the Canadian Arts Presenters Asso-ciation. The Worms have entertained at corporatefunctions, sung anthems at sporting events and

emceed at major festivals. Their songs are inschool lesson plans, in textbooks and even playedon the Space Shuttle. On earth or in space, every-one digs these Worms. The Arrogant Worms are as comfortable on theradio or on camera as they are on stage Their

energy and showmanship werecaptured on the DVD of theirconcert with the renownedEdmonton Symphony Orchestra.The DVD also features appear-ances by Worm pals figureskating champion Kurt Browningand actors Tom Cavanaugh (Ed,Love Monkey) and Nathan Fillion(Saving Private Ryan, DesperateHousewives).In recent years the Worms

have been pleased to donatetheir time and talent to the causeof literacy in Canada throughFrontier College and wereawarded the Peter Gzowski

Award for their efforts. So The Arrogant Worms will continue to pro-vide tuneful and silly escapism for everyone whoneeds it. And if you think you don’t need it, wellyou’re wrong. You do. The Arrogant Worms knowwhat’s best for you and what’s best for you is TheArrogant Worms


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40


The Good LoveliesFriday December 16th at 8:00pm

Funny and upbeat, with just a pinch of sass, the GoodLovelies’ textbook three-part harmonies, constantinstrument swapping and witty on-stage banter haveenlivened the folk music landscape since they joinedforces in 2006 for their first show at Toronto’s funkyGladstone Hotel. How the Good Lovelies (Caroline Brooks, KerriOugh and Sue Passmore) got together is a bit of amystery: Sue remembers meeting her band matesduring a limbo competition, Caroline thinks they metat a chess tournament, but Kerri is convinced they firstcrossed paths during a bar fight. Whatever the storymay be, the ladies immediately realized they hadsomething special, so they hit the road on a missionto charm Canadian audiences coast to coast. Lighthearted songwriting and irresistiblybuoyant dispositions have made them thedarlings of the summer festival circuit,including spots at the storied Mariposaand Hillside Festivals and the MontrealJazz Festival. They have toured withStuart McLean and the Vinyl Caféand appeared on stages and in stu-dios with Broken Social Scene,Kathleen Edwards and Jill Barber.

In addition to their acclaimed holiday album, Underthe Mistletoe, which showcases old and new seasonaltunes (including three original songs), the GoodLovelies’ self-titled full-length album proved theirblithe brand of folk music has year-round appeal. Withthis record, the Good Lovelies won New EmergingArtist at the Canadian Folk Music Awards. In 2010, thissame album received a Juno for Roots/TraditionalAlbum of the Year. Let the Rain Fall, their third full-length album, is anode to camaraderie. With equal parts city and country,highway and home, wistfulness and sass, the GoodLovelies’ good humour and self-assurance shinesthrough from the toe-tapping start of Made for Rain tothe sweet final notes in the French-flecked Mrs. T. In between, you’ll hear reflections on urban imper-fections with Backyard, straight-up love songs like BestI Know and upbeat numbers like Kiss Me in the Kitchen. The album, like the Good Lovelies, has a universal

appeal, sure to please not just their fellow Canadi-ans, but those south of the border and across thepond too.


41

www.oakvilledowntown.com

A TASTE OF DOWNTOWNSeptember 16th to 30th

Downtown Oakville

HARVEST FESTIVALSaturday October 15th

TINY TOTS ON PARADEin Downtown Oakville

Saturday October 15th

Downtown Oakville

TREE LIGHTING CEREMONYFriday November 18th

Downtown Oakville

HOLIDAY MAGICNovember 26th – December 18th


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43

DOWNTOWN OAKVILLE BIA presents

FreddyColeTHE FREDDY COLE CHRISTMAS HOLIDAY SHOW

Saturday December 17th at 8:00pm

Lionel Frederick Cole was born on October15, 1931, the youngest of Edward andPaulina Nancy Cole’s five children. His threeelder brothers, Eddie, Ike and Nat (twelveyears Freddy’s senior) were all musicians. “I started playing piano at five or six,”Freddy remembers. “Music was all aroundme.” In the Chicago home of his youth, visi-tors included Duke Ellington, Count Basie,and Lionel Hampton. He also credits BillyEckstine as a major influence. “ He was a fan-tastic entertainer,” Freddy recalls. “ I learnedso much from just watching and beingaround him.” After a possible career with theNFL was shelved due to a hand injury, hebegan playing and singing in Chicago clubsas a teenager. Although he was ready to hitthe road at 18, his mother intervened and hecontinued his musical education at the Roo-sevelt Institute in Chicago. Freddy moved to New York in 1951, wherehe studied at the Juilliard School of Musicand found himself profoundly influenced byJohn Lewis, Oscar Peterson and Teddy Wil-son. He got a Master’s degree at the NewEngland Conservatory of Music and thenspent several months on the road as a mem-ber of an Earl Bostic band that also includedJohnny Coles and Benny Golson. It was back in New York that Freddy suc-cessfully laid the groundwork for a career

that continues to flourish to this day. Hedeveloped a vast repertoire of songs in Man-hattan bistros and concurrently began tosupplement his live performances with tele-vision and radio commercial jingle work. A resident of Atlanta since 1972, he cur-rently leads a trio made up of himself,guitarist Randy Napoleon, drummer CurtisBoyd and bassist Elias Bailey that regularlytours the US, Europe, the Far East and SouthAmerica. Freddy has been a recording artistsince 1952, when his first single, The Joke’son Me, was released on an obscure Chicago-based label. Cole doesn’t apologize for sounding likehis brother, Nat “King” Cole. There are cer-tain unmistakable similarities. He playspiano and sings and performs live with gui-tar and upright bass, just like Nat. Yet hisvoice is raspier, smokier, jazzier even. But hehas emerged from the awesome shadow castby his elder brother. In truth, his phrasing isfar closer to that of Frank Sinatra or BillieHoliday than that of his brother and his tim-ing swings a little more. His vocals - suave,elegant, formidable, and articulate - areamong the most respected in jazz. Cole’scareer continues to ascend as he has movedinto the front ranks of America’s homegrownart form with a style and musical sophistica-tion all his own.


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OAKVILLE INFINITI presents

QUARTETTOGELATOCHRISTMAS AROUND THE WORLD • Sunday, December 18th at 3:00pm

Virtuosic showpieces, romantic tenor arias, gypsypyrotechniques and a world accordion champion –this is Quartetto Gelato. Where music meets theatreand audiences are taken on an unforgettable musicaljourney! For over a decade, this dazzling ensemble hasenchanted audiences and critics worldwide with theirexotic blend of musical virtuosity, artistic passion, andcharismatic anecdotes. Classical in training – eclecticby design – Quartetto Gelato (QG) not only thrills itsaudiences with its multi-instrument mastery, but alsooffers the bonus of a brilliant operatic tenor. With aperformance repertoire that travels the globe includ-ing classical masterworks, operatic arias, the sizzlingenergy of tangos, gypsy and folk songs, the group’stheatrical stage presence and relaxed humor estab-lishes an intimate rapport with audiences worldwide. QG established themselves as dominant forces onthe music scene early in their career by winning thecoveted title of NPR Performance Today’s Debut Artistof the Year. The selection panel concluding the quartetwas “an amazing ensemble that achieves the nearlyimpossible: they play salon music with real style andclassical music with real precision; Great chops and acommitment in all that they play.” In 2007, the group’sfirst DVD Quartetto Gelato: A Concert in Wine Country!was picked up by PBS throughout the U.S. for broad-

cast. Recent concerts have included performances withthe Toronto and Quebec symphonies, as well as pres-tige engagements including the Toronto Luminato ArtsFestival, the Calgary Moziac Festival, and the “4X4”Festival in Binghampton, NY. QG is regularly heard on CBC, Classical 96.3 FM,NPR, PRI, and NUR networks. Their Concert in WineCountry DVD is seen regularly on PBS. Their seven CDshave sold over 150,000 units to date and they have beenfeatured on the Hollywood soundtrack “Only You.” Always active in the recording studio, the quartethas just recorded its seventh CD Musica Latina featur-ing music of Latin America. The public release isscheduled for the spring of 2009. Previously, QGreleased Quartetto Gelato Travels the Orient Express cel-ebrating the original journey of the famous luxurytrain and featuring music from London to Istanbul.Since the release in spring of 2004, the recording hasmet with extensive critical and public acclaim. Theprevious recordings, which have played a significantrole in the group’s increasing popularity, are Neapoli-tan Café, Aria Fresca, Rustic Chivalry, and their debutrecording, simply entitled Quartetto Gelato. The lattertwo CDs have literally been heard around the world,since they accompanied Canadian astronaut, Dr.Robert Thirsk, during his NASA flight on board thespace shuttle Columbia in 1997.


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45


PIONEER FAMILY POOLS presents

CLASSIC ALBUMS LIVE • Wednesday December 21st at 8:00pm

Woodstock was originally released as a three-LP setin a gatefold sleeve. It topped the Billboard Chartsfor four weeks and sold two million copies. It sold sowell that Cotillion issued a sequel double album ofmore music from the festival that never appeared inthe film. The LPs took the music out of the historicalsequence of the festival and re-ordered (and edited)it for a sense of flow. Whether or not it accomplishedits objective has been the subject of much debate andbeyond this review’s scope. What is relevant is thatthese performancessignified via theirspotty recording qual-ity – and sometimesdodgy perform-ances – that there wasan amazing array oflegendary talent onhand at Woodstock;though not all of it iscaptured here.Rhino’s 2009 remas-tered edition of thisset on a double CD isthe cleanest editionyet, but even it hasproblems: the sourcetapes were problematic at best. It restores the origi-nal LP order and has more photos in the booklet. Musically, the second disc sounds the least datedwith its over the top performances by a shockinglygreat Santana with Soul Sacrifice, Ten Years After’sguitar workout on I’m Goin’ Home, Jimi Hendrix’sStar Spangled Bannermedley (still a stunner after allthese decades), Jefferson Airplane’s rocking and rau-cous version of Volunteers, and the orgiastic Sly & theFamily Stone medley that includes Dance to theMusic, Music Lover, and an insanely great I Want toTake You Higher. There is some filler as well thanks toa drippy John Sebastian track called Rainbows AllOver Your Blues, and an indulgent Love March by an

out-of-their-prime Butterfield Blues Band. Disc one is more complex. There are some finemoments here, especially the CS&N and CSN&Ytunes, including Suite: Judy Blue Eyes (perhaps notperfect in voice but a very inspired performance),and Wooden Ships, with a decent if not thrilling Seaof Madness, in between. There is a desultory We’reNot Gonna Take It from the Who that is out of con-text, given they performed the entirety of Tommy.

While Canned Heat’s Goin’ Up theCountry” has aged well, Country

Joe & the Fish’s famous TheFish Cheer / I-Feel-Like-I’m-Fixin’-To-Die Rag has not,nor has Joan Baez’sperformance of DrugStore Truck Drivin’Man. Her version ofJoe Hill is generic.Richie Havens’ Free-dom is still thrilling,especially since it ispreceded by Sebastian

opening the entire setup with another duller-

than-dull I Had a Dream.The “Summer of Love” had

been over for two years by the timeWoodstock took place, and riots in Watts, Detroit,Newark, and other places had occurred, as well as anescalation in the Vietnam War. The most out of placething here is Sha Na Na’s At the Hop, which soundssurreal but ragged and right, and Joe Cocker’s Witha Little Help from My Friends, that closes disc one; it’selectrifying if rather out of tune. So as it stands, Woodstock is a wildly mixed bag,and not particularly pleasant to listen to, but it doesindeed have a significant place in the rock pantheonand should be regarded more as an artifact than asan album in its own right.

~ by Thom Jurek; Allmusic.com

best of woodstock

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47

IN JUST A FEW WEEKS,YOUR DOG BECOMES A GOOD

FAMILY MEMBER!

BURLINGTON All the books in the world (and I have them all!) cannot take the place of the one-on-one feedback at McCann Dog Trainers. A total stranger, who saw our first attempts of going for a walk with our dog, commentedtoday on how much he has improved in only a few weeks! BRANTFORDI didn’t realize how much fun it can be coming to class each week.CAMBRIDGE I’m so fortunate that my vet highly recommendedMcCann Dog Trainers for my dog. CAMPBELLVILLE McCann Dog

Trainers has a program that doesn’t waste time and producesresults. DUNDAS I recommend McCann Dog Trainers to anyonewho asks for a good training school (I work at a vet clinic). This ismy second dog being trained here and if we had a third it wouldalso come here. GUELPH It is worth the drive from Guelph!GRIMSBY I like that they have alternatives for training if onemethod doesn’t work. HAMILTON This is my third dog that I’vetrained at McCann Dog Trainers and I am as impressed now as I wasback then. Many people comment on how well behaved they are and Ialways say that it’s all due to attending class at McCann Dog Trainers.KITCHENER The staff’s availability to answer problems or questions onthe phone or in person was exceptional. MILTON I have been to otherobedience schools that were not nearly as effective. We noticed animprovement in our dog after just one class at McCann Dog Trainers.MISSISSAUGA I have made great strides with my dog since beingenrolled in this class. OAKVILLE I love the fact that there are so manyinstructors in each class to give feedback and individual attention. Ireceive many compliments on how well my dog behaves, especially forsuch a big dog. STONEY CREEKWe would never have believed our dogcould learn so much so quickly. TORONTO I found classes at McCann

Dog Trainers to be fast paced and interesting. WATERLOO The drivewas definitely worth it from Waterloo. Money well spent!

Just listen to our students . . .

www.McCannDogs.comSERVING SOUT HERN ONTARIO S INCE 1982

For more information please visitour website or call 1-888-681-7877Ask about our Full Money-Back Offer!Visitors are always welcome at McCanns


4848

The VolunteerArm of theOakville Centre for the PerformingArts presents

FRONT ROW CENTRE2011Raffle1

2

3

1st Draw Ernie Ball Music Man Albert Lee signature Electric Guitar, in Translucent Blue from Gear Music (Value $2,000)

2nd Draw Pair of tickets for five Big Ticket Performances throughout the 2012 calendar year plus five “Dinner for Two” packages from Paradiso Restaurant (Value $1,250)

3rd Draw Panasonic Viera 42” LCD 1080p full HD flat screen television from H2 Systems (Value $1,100)

Draw to be held onDECEMBER 21, 2011at the Oakville Centre at approximately 9:00 pmTickets are $5 each or 3 for $10LOTTERY LICENSE # M638251


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