Reviews

It’s 1972 and the theatre scene in Canada has reached peak hippy. An experimental theatre group sends its young actors out to work with and observe local farmers in order to create a play based on their experiences. And so it is that naïve bohemian Miles hilariously crashes into the stable world of farmers Morgan and Angus. Morgan manages the farm but also acts as carer to Angus, who has brain damage which cost him his short-term memory. In spite of his disability, Angus is able to provide useful work around the farm.

Omega Ensemble is renowned for its forward thinking and innovative work which is defined by commissioning original compositions and collaborating with solo artists and virtuosos. Elevator music provides a superb example of this approach and highlights compositions that bring the clarinet to the forefront of the performance. This program is predominantly showcasing contemporary works that are bright, lively and often deeply moving. Elevator music is aptly described as raucous and irreverent and provides an evening of delectable pleasure.

There are many ways to kill a play; a bad review, a lack of funding or unambitious management, for example. We are accustomed to this occurring. This play recalls (or anticipates) a time when ideas are considered simply Wrong or Fake, and truths are rewritten by those in power, their originators removed from society. Implausible now, but common in the early C20th Soviet Union in which The Master and Margarita is set.

SO INFECTIOUS was the explosion of talent, exuberance and enthusiasm of the cast that I felt as if I had inadvertently stumbled on to the TV set of Glee.

In truth that I did not expect to enjoy - or even like – this musical. Jukebox musicals always present something of a difficulty to me. However, there is a strong contemporary positive message of being true to oneself - on many different levels.