Sardines at the Mack

Two-time Juno-winning balladeer Chris Luedecke, a.k.a. Old Man Luedecke, is coming to The Mack on March 3 at 7:30 p.m. with a show that promises to have you craving sardines by the end of the night.

image003

You may know Luedecke from his 2015 hit song, “Early Days,” where he used humour and sentiment to describe his experience as a new parent. His catchy lyrics “You got to hold on, it goes so fast, these early days, they don’t last” instantly connected with his fans who frequently request the song at his shows. It’s also the number-one requested bedtime song of Luedecke’s three daughters who happen to be the song’s muses.

Luedecke says it was a challenge to write a song about the experience of raising his young children, “People kept saying to me that this time will go so fast and I found it hard to write that feeling in a song, but once I found the right steps to say it with some conviction, I finally felt good about it.”

Luedecke’s follow up to “Early Days” is a song about something else he loves… Brunswick Sardines. For people who know Luedecke’s eccentric personality, it comes as no surprise that he would write an entire song about one food and even dedicate a whole verse to the different types of sauces that sardines are packed in.

“Sardines are actually a way better food than what everybody thinks,” defends Luedecke. “When I serve guests a sardine lunch at my home they’re always surprised at how good they taste,” he says with a little chuckle.

After playing the Brunswick Sardine song while touring through the southern United States this past year, he discovered people in the audience who also loved sardines, so much so that he has received fan letters from people thanking him for writing the song.

He finds it great, but also a little strange that the two main songs his fans connect to are complete opposites on the emotional spectrum. Luedecke’s “goofy intelligence” (his words) is what he feels is the reason. He believes it’s what draws people to his music and lures them to come to his shows.

“I always try and end my shows in the same place, but I like to take a different path every time to get there,” says Luedecke. He goes on to say, “I listen to the vibe in the performance space and try to show the audience what I perceive through my banter.” He ends by saying, “It keeps the flow of the show moving and makes for a fun and engaging evening for the audience.

Don’t miss your chance to hear Old Man Luedecke’s contemporary lyrics coupled with the irresistible rhythms of the old-time banjo, guitar, mandolin, and fiddle.  Get your tickets now: https://www.confederationcentre.com/en/show/104-Songwriter-Series-Old-Man-Luedecke

Special thanks are extended to show sponsor Purity Dairy, and Sobeys, the title sponsor for LIVE @ the Centre! Media sponsors are The Guardian, Ocean 100, and Hot 105.5.

Advertisements

Loving the Swing

Fall in Love with the Swinging Sounds of the Valentine’s Cabaret

With love in the air, Sobeys Live @ the Centre serves up the ever popular Valentine’s Cabaret next week, sponsored by Charm Diamond Centres.

Vocalists Catherine O’Brien and Joey Kitson come together with a trio of Don Fraser on piano, Deryl Gallant on upright bass, and Alan White on drums for this must-see February 14 tradition. The musical union sets the scene for a memorable night of romance, humour, and classic love songs.

thumbnail_image002

“The Valentine’s Cabaret is a night like no other, one accented by the swinging sounds from another era that is sure to entertain, surprise, and romance,” offers Fraser, director of the Centre’s Choral Music Programme.  “February 14 is an evening out at The Mack where you will hear a varied selection of classics from the American Songbook,”

The jazz trio will back Kitson and O’Brien across two rollicking sets of ballads, blues tunes, and pop standards, including ‘My Funny Valentine’, ‘Time after Time’, ‘Skylark’, and ‘Have I told you lately that I Love you.’ Other standouts include ‘You’d be so nice to come home to’ and ‘Fly me to the Moon’

Showtime is 7:30 p.m. at The Mack and tickets are moving fast! Contact the Centre’s box office at (902) 566-1267, toll free at 1-800-565-0278, or online at confederationcentre.com.

Special thanks are extended to Sobeys, the title sponsor of Live @ the Centre, as well as media sponsors The Guardian, Hot 105.5 and Ocean 100.

Chad H’SAO at The Mack

February 21, 7:30pm
The Mack

Tickets: $20 (30 and under? Thanks to TD, save $10 off tickets when booking in person at the box office. That’s a $10 ticket to see H’Sao!)

Montréal-based band from Chad H’SAO has been capturing the hearts of small audiences and large crowds alike since 2001. The band has always been passionate about sharing its unique blend of modern sound and traditional African musical influences. H’SAO has traveled the world, delivering electrifying performances, launching three innovative albums and, most of all, developing a musical signature that spans several genres and thus transcends the “world music” category.

26165849_1814103998614230_4918405037095956281_n

At first, voices – but what voices! – were their only instrument. Then,brothers Caleb (guitar), Mossbass (bass) and Izra L (keyboard) along with their childhood friend Dono (drums) added musical instruments to their rich and inspired compositions. Today, the self-taught musicians continue to weave the impressive a cappella harmonies that made their fame into their powerful live performances.

These seasoned musician-singers have stayed true to their roots, drawing from gospel, soul, R&B, reggae and Chadian music. The result is as skillful and heartfelt as it is unique.

A Celebration of Rock, Blues, and Gables

The Charlottetown Festival 2018: A Celebration of Rock, Blues and Local Treasures

                                                      image006-1

The 2018 playbill features rock-opera Jesus Christ Superstar; a world premiere of Dutch Mason and Stories from the Red Dirt Road.

Confederation Centre of the Arts has announced a sensational lineup for next summer’s Charlottetown Festival. The 2018 Festival will run June 7 to September 22 and include the 54th season of the international sensation Anne of Green Gables–The Musical™; the phenomenal rock-opera Jesus Christ Superstar; two new Festival-spawned musicals, Dutch Mason and Stories from the Red Dirt Road.

Jesus Christ Superstar is a global phenomenon that has wowed audiences for over 40 years. It’s a timeless rock opera set against the backdrop of an extraordinary and universally known series of events but seen, unusually, through the eyes of Judas Iscariot.  Artistic Director, Adam Brazier is thrilled to be at the helm as director to put his creative stamp on the iconic piece.

“The themes of this timeless classic remain universal, their resonance today is palpable, as western civilization wrestles with existential questions about where power is held, where it should be held, and how fame affects the balance,” said Brazier.

Presented in tandem with Jesus Christ Superstar is the Island Festival’s crown jewel, Anne of Green GablesThe Musical™. With a company of 23 amazing triple threats from across the nation, this iconic musical has delighted more than 2.5 million people over 2,500 times at the Centre, and remains the quintessential Canadian musical.

At The Mack, Dutch Mason, inspired by the non-fictional book “On the Road with Dutch Mason” by David Bedford and Harvey Sawler, will take audiences on a fictional tour through Atlantic Canada with The Prime Minister of the Blues. When Dutch Mason’s regular harmonica player is sidelined, a political science professor and amateur harp player is recruited to join Dutch and his band on a historic road trip that will shock the professor out of his buttoned-down conformity.

Also at The Mack is Stories from the Red Dirt Road, adapted by our beloved festival regular, Marlane O’Brien, from the book “And My Name Is…Stories from The Quilt” by Margie Carmichael.  This is a funny, inspiring, heartfelt piece of four Island stories woven together through song and the red dirt road itself that joins our lives together.

 Additional announcements will be made at a later date, including a new Young Company production, so stay tuned.

The Centre wishes to acknowledge the Department of Canadian Heritage, the Government of P.E.I., and the City of Charlottetown for their continued support. Media sponsors are The Guardian, Hot 105.5, Ocean 100, and CTV. 

 The Pick 3 Pass is back! Pick three Charlottetown Festival shows and pay only $129. The Pick 3 Pass and Festival tickets go on sale to members of CCOA September 20 & 21 and E-news subscribers September 21. Public tickets go on sale September 22.

Jesus Christ Superstar: June 7 – September 22 (1:30/8 p.m.) – Homburg Theatre.
Anne of Green GablesThe Musical: June 18 – September 22 (1:30 p.m./7:30 p.m.) – Homburg Theatre.
Dutch Mason: June 30 – Sept 22 (8 p.m.) – The Mack.
Stories From the Red Dirt Road: August 2 – September 21 (7:30 p.m.) – The Mack.

Misfortune’s World Premiere

A Misfortune makes its world premiere tonight at The Charlottetown Festival.Sponsored by Key Murray Law, the bittersweet Canadian musical is playing a short run at the Centre’s cabaret theatre, The Mack until Sept 22.

image006

Adapted from a short story by Anton Chekhov, the musical starts with two old friends going for a walk in the woods. Their conversation soon takes a turn, revealing hidden depths to their relationship and forcing them to question the lives they’ve chosen.

 “Despite being written over a hundred years ago, the play’s themes are timeless,” says Kevin Michael Shea, scriptwriter and musical co-creator. “We’ve all loved the wrong people, or not loved the right people enough.”

 A Misfortune promises audiences a romantic, bittersweet musical about small moments and momentous decisions. Set at a dinner party among friends, sordid secrets are revealed with every shot of vodka.

Confederation Centre will present only nine performances of A Misfortune, so get your tickets for this must-see show. Please visit: http://www.confederationcentre.com/en/show/350-A-Misfortune

The cast includes Rejean Cournoyer (Andrey), Kelsey Falconer (Sofya), Connor Lucas (Ivan), Melanie Phillipson (Masha), and Brendan Wall (Pavel).

A Misfortune is directed by Eliza-Jane Scott with music by Scott Christian and lyrics by Wade Bogert-O’Brien.

Special thanks are extended to the Government of Canada for their support of Confederation Centre and to The Charlottetown Festival title sponsor, CIBC. Appreciation is extended to media sponsors Ocean 100, Hot 105.5, CTV, and The Guardian.

From Bogota to Bittergirl

Natalia

When “Bittergirl: The Musical” came back to the cabaret-style Mack Theatre in downtown Charlottetown, the capital of Prince Edward Island, it came back because it had played to laugh-out-loud crowds during its world premiere there in 2015, and everyone knew the home-grown Canadian merry-go-round about breaking up was worth seeing, or seeing again in 2017.

Based on a 1999 play lived died and written by Annabel Fitzsimmons, Alison Lawrence, and Mary Francis Moore, one of them divorced, one dropped like a hot potato, and one in the whirlpool of being dumped, and their later-on best-selling book, “BITTERGIRL: Getting Over Getting Dumped”, the musical is the best of the play and the book and 60s doo-wop mixed with 70s mega-hits.

“When he danced he held me tight, and when he walked me home that night, all the stars were shining bright, and then he kissed me.”

The show is a mash up of a live band song dance high emotion low comedy trenchant wisecracking and rip-roaring showcase performances. It’s about the one sure-fire way of hurting somebody’s feelings, which is to break up with them.

“Baby, baby, where did our love go? Ooh, don’t you want me, don’t you want me no more?”

Hooking up and heartbreak are as girl group as it gets. Taylor Swift’s ‘We Are Never Ever Getting Back Together’ was still fifty years in the making when Phil Spector’s Wall of Sound and Motown were going strong. The Shirelles were the first to hit number one on the HOT 100 in 1961 with ‘Will You Love Me Tomorrow’.

When the musical comedy wrapped up its second sold-out run at the end of August, and the last of more than 20,000 theatergoers had left the 200-seat Mack Theatre, the young woman putting away bottles of vodka and rinsing out cocktail glasses behind the bar on the far side of the stage was the one person who had seen the show more times than anyone else, save the cast, crew, and front of the house.

“I love the show,” said Natalia Agon, the Mack’s bar manager. “Sometimes on my nights off I go see it with my mom or my husband or my friends. It’s so fun and I’m so proud of it.” Since starting work at the theatre earlier in the summer she has seen “Bittergirl” close to 40 times.

The 25-year-old traced an improbable path to her first sighting of the show. She almost didn’t make it. A native of Bogota, Colombia, it took a death threat to shove her off Colombian soil and land her on the red dirt of Prince Edward Island. The threat to her family came from terrorists, in the mail, on embossed stationary, declaring them a military target.

“Bogota was good,” she said. “I grew up there. My dad worked hard, and my mom worked hard, to give us what we needed. Starting over from zero was definitely hard.”

Bogota is a 500-year-old city in the middle of Colombia, the capital city and largest city in the country. It sprawls across a high plateau in the Andes. More than 10 million people live in the metro area, the economic, political, and cultural center of northwestern South America. “Most Noble and Most Loyal City” is Bogota’s motto.

Natalia’s parents met in Panama City, Panama. “They were poor when they got together. They would buy clothes or cigarettes in Panama, where they didn’t have taxes, and bring it back to Colombia, and sell it,” she said. “They did every job on the planet.”

By the time she started school her parents had scrimped and saved and purchased and owned and operated a 1,000-acre beef and dairy farm four hours away from Bogota, while still living in the city. “We went there every weekend, my two brothers and me, whether you liked it or not.”

At the same time, “bittergirl” the stage play took off, playing from bliss to breakup and back to full houses in Toronto, traveling to London, England, and laughing its way to off-Broadway in NYC. It was the trifecta, the original recipe, extra crispy, and the Colonel’s special.

“I’ll make you happy, baby, just wait and see, for every kiss you give me I’ll give you three, oh, since the day I saw you, I have been waiting for you.”

It was a long way from the little Toronto café where the three writers dreamed up the loving and hurting story, based on themselves and everyone they knew. “We’ve had some adventures together!” said Mary Francis Moore.

“Every night our audiences were waiting for us as we came offstage with their very own stories,” the co-authors have said.

‘I got dumped in the hospital ten minutes after giving birth…’

‘He left me for my little sister and now he sits across from me at Christmas dinner…’

‘My husband worked for CSIS and said ‘You’ll never be able to find me’ and I never have…’

“Swear to God. All true.” Truth is stranger than it used to be. The snag about some hook-ups is that they’re not worth the break-up.

“My parents had a big problem with FARC,” said Natalia Agon. “It was because of the farm, about paying the vaccine.” Besides the coca trade, in other words, cocaine, which sustained the leftist group during Latin America’s longest running war, extortion ran a close second in the financial affairs of the rebels. The money payments were known as vacuna, or the vaccine.

Scottish Border Reivers ran a racket called black mal five hundred years ago, the Sicilian Mafia has always understood the protection trade, and there is little confusion about what the Russian Mafia means when they say krysha up.

The Revolutionary Armed Forces of Colombia, or FARC, was formed in 1964, a peasant army that grew to number almost 20,000 militants controlling close to 40 percent of the country. The 50-year civil war, recently ended, displaced 7 million people from their homes and resulted in 220,000 deaths, among them 11,000 people killed by land mines.

“My dad paid the vaccine for a long time,” said Natalia. “But, once they saw they could use you for other purposes, whether storing drugs or storing guns, it was a yes or no answer, no matter whether you wanted to do it or not.”

Pedro and Maria Agon said no to cocaine and guns.

Soon afterwards, just before Christmas 2007, they got a letter in the mail. “It was on thick white paper, official looking, super fancy, with their FARC logo on it. We just left, our house, the farm, all my friends I had known all my life. One day my mom said, pack a bag, you’re not going to school on Monday.”

She packed pictures and letters from her friends and the blanket she was was swaddled in when she was brought home from the hospital when she was born. “You can’t do that, my mom said. You have to leave everything.”

They left almost everything.

“We got out of there fast.”

The Agon’s were able to transfer property to sisters brothers aunts uncles, as well as convert some assets to cash. They were uncertain about relocating anywhere else in South America. They considered the United States a safe haven, but Natalia’s mother nixed moving there.

“She just didn’t like it, even though she had traveled to the States many times. She never felt welcome. She always felt a racial discrimination, even though she was going there to spend money. So we looked at a map and there was Canada. There was no thought process behind it, we just went.”

“Bittergirl: The Musical” took the Charlottetown Festival by storm when it opened in 2015, a crowd-pleaser bringing the howls and selling out all summer. Bitterness never felt better, nor misery in the hands of singers and dancers belting it out and mansplaining how he’s lost his magic and you’ve got to go.

“He’s a rebel and he’ll never ever be any good, he’s a rebel ‘cause he never ever does what he should, but just because he doesn’t do what everybody else does, that’s no reason why I can’t give him all my love.”

It went on to become a north of the border success story, having since been produced coast to coast, Edmonton, Manitoba, Vancouver.

Nine months after landing in Toronto, the Agon’s got their Permanent Resident cards. “It was a hard process,” said Natalia. “There was a lot of scrutiny, but it was never the you don’t deserve to be here kind of scrutiny.” The family rented an apartment and Natalia graduated from high school in 2010. She attended Centennial College, majoring in Food and Nutrition Management, and worked part-time in a nursing home.

In 2014 she and her husband-to-be, Miguel Cervantes, moved to Prince Edward Island. “I knew I needed a school that was going to give me a lot of interaction with professors and where there were internships to become a registered dietician.” She has an internship on tap at Humber River Hospital in Toronto when she graduates next year.

Natalia Agon enrolled at UPEI in Charlottetown. Her husband worked his way up to become the executive chef at Mavor’s, a contemporary eatery part of the Confederation Centre of the Arts. The menu ranges from the Moona Lisa burger, featuring homegrown PEI beef, to four-course dinners paired with Scottish whiskies.

Last year, looking for work, she applied at the Mack Theatre. She got the job. “I run the day-to-day operations and I’m the head bartender,” she said. She trains and schedules the other bartenders, keeps a firm hand on the inventory and cash register, and trims the sails on show days. Above all, all summer long she mixed Cowards, Mounties, and Magic Men.

“Those are the names of the three ex’s of the show, and they’re our three feature cocktails. The definite crowd favorite is the Mountie. I always tell everyone, I think you’re going to like it even more once the show starts.” At the break, however, the strains of ‘Be My Baby’ dying away, most order the drink they can relate to the most. Magic Men and Cowards give the vodka-heavy Mountie a run for his money among the crowd pressing at the bar, no matter that Mounties are renowned for saving damsels in distress.

“Ain’t no mountain high enough, ain’t no valley low enough, ain’t no river wide enough, to keep me from getting to you, babe.”

“Things have changed a lot in Colombia since we left,” said Natalia.

She has since returned several times for visits. Nevertheless, when her father went back to South America, the farm he bought was on the Ecuador border with Colombia. “He’s in love with the land. He can’t get enough of it.” One of her older brothers, a doctor, lives in Mexico and the other older brother lives in Spain. Her mother spends divergent parts of her year with her husband and far-flung children.

The Agon’s are a family of expatriates by necessity, not by choice. “My husband is from Guatemala, but he came to Canada when he was a one-year-old and never went back,” said Natalia. “His Spanish is broken. But I was born in Colombia, raised in Colombia, and most of my values are from being raised there. I loved it. Leaving was an emotional struggle.”

Although it’s true that loss is the same as change, and the world is always going to keep changing, surviving and coping with loss is difficult, especially when a chunk of your childhood goes missing. It leaves a hole in the world. It’s the price everyone pays for everything they’ve ever had, or will have.

“Weren’t you the one who tried to break me with goodbye, did you think I’d crumble, did you think I’d lay down and die, oh no not I, I will survive.”

It doesn’t matter if it’s a boyfriend or your birthplace. It doesn’t matter whether it’s played for laughs on stage or it plays out in real life. There’s a thin line between humor and hurt.

“I never get tired of the show,” said Natalia. “The ex and the girls do a great job portraying everyone, our emotions, all we’ve been through. It’s happened to me, when you’re dumped for no reason, or it’s not you, it’s me. I’ve definitely heard that one before, and I’ve totally said it, too.”

Behind the bar she hears what everyone has to say about “Bittergirl”. When a case of nerves orders a cocktail she mixes up a Coward. “The moms, maybe when they’ve had one too many, remember ordering pizza, eating their feelings. It’s just heartbreak.”

One day can be sweet as can be and the next day bitter as all get out. “You don’t know if you should laugh or cry,” said Natalia. Everyone has their share of heartbreak. If you’re singing about it, you’ve lived it. Natalia Agon has lived it and sung along with songs about it, but isn’t recording a full album of it.

Whenever bitterness tries to get in on the act, she offers it a Magic Man. “That’s my favorite,” she said. The Magic Man is a south of the border blend of Kahlua, Pepsi, milk, and crème de cacoa.

Sometimes when husbands and boyfriends are at the bar at the Mack at intermission getting drinks for wives and girlfriends, but can’t remember what they want, she suggests they “go check with the boss.”

She’s not a bitter girl.

Selfie by Natalia Agon

Originally posted on http://www.147stanleystreet.com

Fortunate Casting Announced for Misfortune

The Charlottetown Festival is in top gear this month, and producers are already preparing for the next round of productions, including the world premiere of A Misfortune, sponsored by Key Murray Law.

 image005

The bittersweet Canadian musical plays a short run from September 7-22 at Confederation Centre’s cabaret theatre, The Mack. With just nine performances on deck, blink and you may miss it, so this is one theatre event to circle on the calendar.

A Misfortune follows Ivan, a young lawyer (Connor Lucas) and Sofya, a married woman (Kelsey Falconer), in pre-revolutionary Russia on a walk through the woods; their friendship has reached an impasse.

Soon they gather with three friends (Réjean Cournoyer, Brendan Wall, and Melanie Phillipson) for a dinner party in the country. With each drink, more sordid secrets are revealed. Adapted from a short story by Anton Chekhov, one of the world’s most celebrated and enduring writers, A Misfortune is a romantic, darkly comedic musical about small moments and momentous decisions. We follow Sofya’s journey from innocence and youth towards knowledge and self-actualization.

A Misfortune is directed by Festival alumna Eliza-Jane Scott, who wowed audiences in Mamma Mia! last year, and recently landed a lead role in the musical phenomenon, Come From Away, playing this winter with Mirvish.

A Sheridan College graduate, Lucas is currently performing in the Adam Brazier-led revival of Anne of Green Gables–The Musical™ and also appeared in two previous Young Company productions, The Voices of Canada and We Are Canadian. Falconer is playing Josie Pye in Anne™ as well this summer and is a recent graduate of the Royal Conservatoire of Scotland. The Blyth, Ontario native has performed at the Edinburgh Fringe as well as in workshops for the hit Proclaimers musical, Sunshine on Leith.

Cournoyer is a household name at the Festival, having starred in Mamma Mia! last year, as well as memorable roles in Evangeline, Alice Through the Looking-Glass, The Founding Father, and Anne™.

Wall performed here last year in the acclaimed Festival/Soulpepper musical Spoon River. He is currently appearing with Soulpepper’s Festival in New York City, in Of Human Bondage and Spoon River, which is drawing international attention and strong reviews, including from the New York Times. Wall has also performed in the award-winning War Horse (West End and Mirvish) and Once (Mirvish).

Phillipson is also presently performing in Anne™, and made her Festival debut in last year’s Belles Soeurs: The Musical. The Moose Jaw native has appeared across Canada with Mirvish, Tarragon, and seven seasons at the Shaw Festival.

Scott Christian is the musical’s composer, orchestrator, and music director with lyrics from Wade Bogert-O’Brien, and book and additional lyrics by Kevin Michael Shea.

Special thanks are extended to the Government of Canada for their support of Confederation Centre; and to The Charlottetown Festival title sponsor, CIBC. Appreciation is extended to media sponsors Ocean 100, Hot 105.5, CTV, and The Guardian.