AMY DODINGTON’S “OLD TIMES’ SAKE”

A Diva’s Green Travelogue in Time and Space

The Gravenhurst Opera House felt rather like a Victorian parlor on Friday evening, 22 July, 2011, lending its warm acoustics to the sunny voice and presence of Amy Dodington, soprano. Her program, “Old Times’ Sake”, is a delightful, eclectic, array of gems from opera, music hall, classics, traditional folk music, operetta, musical comedy and parlor songs, encompassing not only hundreds, but thousands of years.

 The program began with the lute of the legendary Orpheus,  and proceeded smoothly and surely through different styles and periods. The magic carpet comes to mind as a perfect vehicle for all this traveling in time. Lift-offs were impeccable, and landings airy on a variety of musical terrains. Amy Dodington’s flexible voice is equally at home in the lyric, dramatic, and - perhaps even more equally - the coloratura repertoire. This much was evident in the first half of the program. Then in the second half, she revealed an affinity with the Celtic tradition as if she’d been born to sing the Irish “My Lagan Love” and the Welsh, “David of the White Rock”. Without a doubt in my mind, she was.

Amy Dodington’s gifts extend beyond her musicianship to the knack of drawing an audience into the charmed world of a carefully crafted program inspired from the heart, where “pin drop” after “pin drop” silences descend between the final note of a song and the applause. I’ve never heard so many such hushed moments in any one concert by anybody.

The more than 100-year-old stage of the Gravenhurst Opera House lent itself to dressing like the diva that Amy Dodington is for the first half of a concert, then stepping out in costume of the early 1900s in the second half. In a few well chosen phrases she shared a family background of her father’s classical records and a tuneful mother with a lovely voice - the latter now silenced forever. When Nora Dodington passed on in 2009 at the age of 65, the Cellar Singers dedicated their performance of the Bach B Minor Mass to her. The second part of her daughter’s concert begins with Dvořák’s “Songs My Mother Taught Me”, beautifully shaped and textured.

Back to Amy Dodington’s musicianship, she delivers each song from the inside out; she is the song, while cloaked in its vintage and style. We may have heard “I Could Have Danced All Night” from “My Fair Lady” adorably sung by a galaxy of great sopranos from Julie Andrews to Audra McDonald. Amy from Port Carling also makes it hers. I suspect that she has more than one feeling for interpreting any song afresh every performance.

The accompanist for this concert was the multi-talented Geoffrey Conquer, who also treated us to four glittering solos that reflected his own personal assimilation of the Russian schools of piano. He has studied with internationally renowned masters like Marina Mdivani, a pupil of the great Emil Gilels. Keep an eye and ear open for the name Geoffrey Conquer.

Thankfully, this review is not an adjudication, but merely an appreciation intended to re-create at least in part a delightful experience. Still, I have to give excellent  German and Italian pronunciation its due recognition. When it is as authentic as Amy Dodington’s it could easily go unrecognized, seamless with the song. German can be a lovely language when lovingly pronounced. In this concert it was easy for the fussiest germanophile to stay entirely enchanted by Wolf’s setting of Goethe’s exquisite poem, “Anakreons Grab”.

I wish I could go on about each tasty morsel of the whole program, “Old Times’ Sake”, and gush about that gorgeous gown the colour of ruby red wine, but rather than get completely carried away, I have one more thing to say before ending this review. Pause for me to get up on a soap box.

More than 20 years ago I put together a list of songs about green growing things like trees, the water and sun that nourish them and the creatures that live in them. Only recently did I begin a blog to suggest to artists that they include “green” pieces in their programs. Something to that effect must be capturing the attention of many who aspire to keeping our planet green.

Amy Dodington begins with a song about Orpheus playing his lute to the trees, the mountains, plants, flowers, the sun, showers, the sea. “Anakreons Grab” depicts a poet’s last resting place, sweet with the scent of roses and the sound of turtle doves, planted with laurels and green bushes and under the care of the gods. The second-last piece is Oscar Rasbach’s “Trees”. The concert ends with a song by "Annie Laurie" composer, Alicia Scott, evoking the sweet perfume of jasmine.

When a graduate from Zoology, Anthropology and Environmental Sciences puts together a program called “Old Times’ Sake”, no wonder it’s green. Thank you, Amy, for a refreshing, reflective evening sparkling with your unique sense of humour.


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ASARO AND HUTTON MAKE MASTERFUL STRIDES ON TWO PIANOS

Jack Hutton can’t get over stride piano player Paul Asaro’s left hand. That’s the hand that can play “Tea for Two” while the right hand tinkles out “Indian Love Song” or whatever other tune takes Asaro’s fancy. Together, Asaro’s gifted hands and equally flexible voice dazzled and delighted an appreciative audience crowding the Gravenhurst Opera House on the evening of Saturday 9 July 2011.

Once again an artist of the ragtime persuasion has triumphed over the Steinway on that venerable stage. Occasional high and mighty visiting pianists may have been overheard complaining about the keys being “stiff”. Yet, magically, the ragtime guys and gals who come to Gravenhurst year after year, thanks to Jack Hutton, manage to electrify the staid Steinway with sheer joy and boundless enthusiasm.

The great Mimi Blais, “Ragtime” Bob Darch and Dick Hyman love to play “stride”, but seemed only to mention it in passing, as if we all knew what it was. To my recollection, they never stopped long enough to spell out exactly what stride is. It sounded big, very masculine like a cowboy marching toward a bull to ride. I was poised with flashlight and notebook for heroic, loud sounds to be diligently analyzed. Those were there, all right, but only when called for. The dynamics were subtle and varied as were the rhythms. I relaxed, entranced.

“Carolina Shout” has a robust and tuneful bass, with a delicate treble accompaniment that occasionally picks up the melody, then throws it back to the left hand. This piece  by “The Father of Stride”, James P. Johnson was “a major rite of passage for aspiring Harlem stride piano players” according to Ted Gioia.

Johnson himself can be heard on youtube playing “Carolina Shout” recorded from a piano roll - hence no scratchy 1920’s recording sounds. http://www.youtube.com/watch?v=nSFGyipsNsg

And so I gathered, at last, that stride is an intricate and sophisticated  school of music that arose in the 1920’s when ragtime met jazz. The blending of these two streams opened out new freedom to improvise, new demands for virtuosity and oceans of fun. The stride style demands more of the left hand than ragtime ever did. The bass no longer thumps out an oom-pa-pa tuba part derived from military marches, as in early ragtime - around the 1860’s and the American Civil War. The left hand of a stride pianist ranges widely up and down the bass register, with the little finger sometimes assigned to a melody of its own. For an example of this, see http://www.youtube.com/watch?v=68c6XrIT0_w&feature=related

No doubt about it, Paul Asaro is, as one reviewer called him, a “one man band”. In fact that’s what a ragtime piano player is, all the more so when s/he moves into stride. You can hear the brass band in the bass, while clarinets, trumpets, flutes and violins warble in the treble. As it happens, Asaro’s is possibly the most colourful piano playing I’ve ever heard, from the classics onward.

Inspired by “Professor” Ragtime Bob Darch, young Paul put on a playful professorial hat to give us a crash course in What Ragtime Is All About. We heard Scot Joplin’s “Maple Leaf Rag” played first in ragtime, and then in stride. After “Riffs” by Johnson we were treated to Willie “The Lion” Smith’s delicate, almost Chopin-like “Echoes of Spring”.

The upright piano on centre stage was all set for Asaro/Hutton duos beginning with “Ain’t Misbehavin’” by Fats Waller. There hadn’t been time for a rehearsal, but it was easy to guess the spontaneity on stage sprang from long experience and pure improvisation. As Jack wrote following the show: “Paul and I have played together twice at Alexandria Bay, N.Y., and have developed a pretty good sense of what the other one is going to play.  We fit together very well because we have both been listening for many years to the same recordings.”
Clip from duo above on 9 July 2011 http://www.youtube.com/watch?v=nuJf1wgO4Lo

All this listening to legacy recordings must be part of the training for ragtime and stride piano players. The first time Jack heard Paul playing in another room, he wondered momentarily whether Fats Waller had come back to life. And no, this was not Jelly Roll Morton either, fitting his fingers into the keys of a player piano at full speed.

After intermission an exuberant Paul Asaro treated us to Jelly Roll Morton’s beginnings in New Orleans, when Mamie, the lady next door, used to play the blues every morning with eight fingers - she was missing two. Mamie’s blues evolved into Morton’s. We heard “The Jelly Roll Blues”, “Mr. Jelly Lord”, the tango-like “Crave”, “Animule Dance” and a roaring “Tiger Rag”. (First time I heard that piece with such a ROAR in the bass.)

Jack returned for a duo “China Boy”, lots of fun for both players, and for us.

Then it was “Aloysius, Do The Dishes”, a haunting tune that you can hear Paul Asaro perform at http://www.youtube.com/watch?v=G8TXge1OKgQ

“Handful of Keys” was a foretaste of the final piece, and “The Blind Pig Blues” is an Asaro composition.

The grand finale was Paul Asaro’s interpretation of Jelly Roll Morton’s “Fingerbreaker”, which Jack Hutton classifies as “an incredibly difficult piece that I will NEVER be able to play. Paul Asaro makes it sound easy. Our audience heard one of the best stride piano players on this planet last night -- and he is only 43!”

Notes from Jack Hutton about winding down in the Trillium Court:

Downstairs, Paul and I played  together until close to 11 p.m. That included “Honeysuckle Rose” by Fats Waller, “Echo of Spring” by Willie “the Lion” Smith and “I’ve Got My Fingers Crossed”, which Fats Waller played in the Lena Horne movie, “Stormy Weather”. That last tune was our best of the whole night --  very close to the way Fats played it!

We did Willie the Lion’s signature tune, “Relaxing”, before we finished.  I started playing it after Paul got up to leave and he rushed back to join me.  Willie used to play it late at night and play it differently with every chorus.  Paul and I had great fun doing the same thing. Have you noticed that many of my concerts last longer downstairs than they do upstairs!

Dale Peacock wrote asking what is stride piano, and I’ve tried to incorporate some notion of this while writing a review, which is something like playing two different pieces with each hand.

Dick Hyman’s demonstration “from ragtime to stride” can be found on youtube at
http://www.youtube.com/watch?v=Eo_365T1B2o&feature=related

And finally, here is Paul Asaro playing "Fingerbreaker":
http://www.youtube.com/watch?v=Lf3ozxMjsLU&feature=related

Thank you, Paul and Jack for a wonderful melodic, rhythmic evening.

http://www.gravenhurstoperahouse.com/

How to Review the Cottage Country Comedy Festival Without being a Spoiler

At last! The Cottage Country Comedy Festival made it to the Gravenhurst Opera House in 2011 on the evening of 23 June for the Gala Opening of its fourth summer season. In the deeply Muskokan atmosphere of a seemingly simple set, the comedians are encouraged to get their words flowing, with the well-timed silences and human and non-human sounds that are all part of the process. The CBC was filming and recording, and so picked up the boisterous enthusiasm of an audience more than ready for an evening that was clearly beyond their high expectations.

As Bracebridge native Tyler Morrison, Creative Director, and multi-award winner, writes on the CCCF website, the festival brings “comedians together from all over the world for a great weekend filled with laughs and a true Muskokan experience”. The intention here is, “to build shows with a dynamic all killer no filler appeal...  the energy is very tangible, something that the audience can feel through the performances.”

Last night that energy bounced back and forth between audience and comedians as I have rarely seen happen at the Gravenhurst Opera House since Dave Broadfoot's First Final Tour in 2001. When we delighted in Dave, we were witnessing the mature talent of a Canadian icon, ever fresh and youthful.

On 23 June 2011, we heard a performer shout how thrilled he was to crown his career by making it to the stage of the Gravenhurst Opera House. Part of the laugh there included our knowledge that, like all his buddies on stage that evening, he has much to look forward to. And so have we. This is a young show, which perhaps partly explains the thread of pre-occupation with aging.

Unknown to the team, near the back of the hall was an 80-year-old reviewer-blogger who had decided to leave her notebook at home and just enjoy the show. The Cottage Country Comedy Festival with comic after comic prancing onto the stage did not seem an occasion to crouch in the dark making frantic notes in invisible writing.

The CCCF rampage continues at The Rosseau on 24 June and Port Carling Community Centre on 25 June. Bracebridge’s Griffin Pub on 12 August and the Rene M. Caisse Theatre on 13 August, as can be seen and heard on the CCCF website http://www.cottagecomedy.com/

They are updating it as I type. It’s a very generous, entertaining and informative site, with video samplings, also letting us glimpse part of the set, to whet appetites.

Click to return to the Gravenhurst Opera House website.

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Velvet on the Soul

AN ENTHUSIASTIC AUDIENCE WELCOMES JACK HUTTON AND FRIENDS

“Velvet on the soul” were the words that occurred to me, at the Gravenhurst Opera House on Friday evening, 27 August 2010, hearing a smooth and vibrant blend of saxophone, string bass, piano, trombone and banjo by Jack Hutton and Friends. The warm acoustics of the Opera House were perfect for bringing to life music of the twenties, thirties and forties.

The grey-haired, multi-talented quintette played for a mainly grey-haired audience buzzing with renewed energies from their teen-aged years. The musicians evoked memories of Dunn’s Pavillion, where Duke Ellington  played six engagements and lapped up ice cream in between numbers. Now follows the line-up of artists and the pieces they played, with notes by Jack Hutton.

Ric Giorgi, string bass and violin, Toronto

Bob Livingston, trombone, Midland

Brian Bauer, clarinet and every saxophone known to man, Buffalo

Jack Hutton, piano and leader, Bala

FIRST HALF

Black Bottom (E flat)

Written by Perry Bradford, a black ragtime pianist and composer around 1909. It set off the Black Bottom dance craze after being featured in a New York variety show in 1927. We usually play it exactly the way it was originally recorded, but Brian finished with a Charleston ending that came from a recording that none of the rest of us had ever heard. That’s what makes playing with this group so interesting (and unexpected).

Clarinet Marmalade (F) 

The cutting piece which aspiring jazz clarinet musicians had to be able to play in the 1920s and 1930s

Crazy Words and Crazy Tunes, 1927, as performed by the Varsity Collegians at Gerry Dunn’s first dance hall in Bala in the 1930s. In the piano chorus, I put Fats Waller’s stride classic "Handful of Keys" on top of the tune.

Everything I Have Is Yours 1933, performed at the first and second Dunn’s Pavilions. Brian Bauer played it in the style of Frankie Trumbauer.

I’ll Never Smile Again (F)

Bob Livingston solo of the Canadian tune written by Ruth Lowe in 1939 and recorded by Tommy Dorsey in 1941 with a skinny new singer, Frank Sinatra (his first recording).

Mood Indigo (B flat) 

Recalling Duke Ellington’s six appearances at Dunn’s Pavilion

Songs of the Golden Era

Ain’t Cha Glad, written by Fats Waller G (Willie sings). Piano tried to evoke the way that Fats would have played it (he never recorded it, to our knowledge) (Helen cuts in here: And, Jack, the Waller style came across clearly.)

Georgia Cabin (E flat)

Composed by Sidney Bechet (Ric sings)

Nuages (Clouds) Django Rheinhardt 

Beautifully rendered by Will Wilson on the guitar.

　

SECOND HALF

Tribute to Richard Rodgers

If They Asked Me I Could Write A Book 

Will Wilson vocal and also Jack vocal (not scheduled)

Manhattan

Tune that launched career for Richard Rodgers and Lorenz Hart

You Took Advantage of Me (E flat)

I’m Getting Sentimental Over You (B flat)

Audience request. Bob Livingston plays signature piece of Tommy Dorsey as played at Dunn’s Pavilion.

Michelle sung by Will Wilson

Embraceable You

Gershwin tune played at request of audience member

Body and Soul (D flat) 

Tribute to Hart Wheeler

(Note from Helen: anybody who plays anything in five flats has my awed admiration!)

The Sheik of Araby 

Request of audience member, with audience participation in refrains like “Without no pants on”

Struttin’ With Some BBQ  (E flat)

Lady is a Tramp (Rodgers Hart) FINALE

ENCORE: Lady Be Good (Gershwin) at request of audience member

　　

Thanks to Jack Hutton emailing the playlist and the fascinating background material. Jack also writes: “We had so many requests over the intermission that we could have played till dawn if we had played them all.

“There were a couple more in the second half that were unexpected ones, bowing to audience requests, but I would have to listen to cassette recordings to remember what they were! I am pretty sure that one of them was "Nothing Could Be Finer Than To Be In Carolina" by Walter Donaldson, one of the greatest composers in the 1920s.

“As you probably gathered, there is quite a love relationship between the band and that special audience, some of whom have not missed one of the seven or eight concerts at the Opera House since our first one. Also, a number of jazz scholars drive up from the GTA and New York State every time they hear that we are playing anywhere. They know we play tunes that you will not hear anywhere else, played as faithfully as we can possibly do it from long-lost old 78 rpm records.”

Again, thank you Jack!

Here is Helen to wind up this accolade with, “A grand old time was had by all.”

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Traveling Back in Time

“ENGLISH ROSE” GASSED OUT ON ITS FIRST NIGHT, A GAS ON THE SECOND

From accounts by Helen Heubi in "The Muskoka Times"

Friday 28 September, 2001, was to be the first night of two for Peter Scott’s well-knit play, “English Rose”, starring Muskoka’s own Robin Clipsham. By showtime, 8 pm, the Gravenhurst Opera House was comfortably full, the audience primed for an evening of inspired comedy and the artist ready to prance onto the stage and liven it up as if she were a whole troupe of players. That Friday evening performance, however, simply didn’t take place. Seconds before curtain time the Opera House had to be evacuated because of a gas leak.

“I was all set to step out on the stage,” said Robin Clipsham, “When I peeped through a chink and saw people getting up and leaving.” At first she thought that someone must have fallen ill and had to be taken out. Then the whole hall emptied - in less than two minutes. Robin groped her way in the blacked out stage to the headset to try to find out what was going on, couldn’t see what button to press, so pressed them all. After what seemed like a very long time, but was only a few minutes, she learned why the Opera House was being evacuated. Imagine being about to perform, only to see your audience quietly evaporate. And they didn’t have to scramble out of costume and makeup and into street clothes.

Without waste of time my friend and I had joined the orderly audience gently streaming down the stairs by the elevator and out the south entrance. As I look back I am reminded of one of those dreamlike slow motion sequences in a film, with a slight blurring and little or no sound.Outside, we saw three fire engines strategically positioned. Firemen were shrugging on their coats and heading toward the entrances. Later I asked the fire chief if the sirens had been on, and indeed they had, although we inside did not hear them. My friend and I joined the crowd on the pavements around the Opera House, and waited about half an hour until someone strolled over and said, “Robin’s gone home.”

Two teams of firefighters were sent into the Opera House to discover the source of the strong smell of gas, and found it in the basement under the Trillium Court. They also found three or four people backstage who were not aware of the evacuation, and joined us rapidly outside. Within the hour the gas people had removed the offending boiler and turned off the furnace until repairs could be completed. For the rest of the night, however, no one was allowed back in the building.

Meanwhile, across the street at the Rickshaw for a late supper I reminisced about the Saturday afternoon back in the 1940s when cottagers at Muldrew Lake decided to celebrate our annual regatta by going to the show in town, only to find the movie theatre closed for a death in the manager’s family. The town was full of Norweigian airmen, tourists, cottagers and town residents at loose ends. The younger and wilder of us crashed a dance in the town hall - now the Opera House. Other more sedate members of our party ended up in that very same Chinese restaurant for a coffee and milkshake to fortify us for the three-mile walk back to Indian Landing.

My friend couldn't join me when I saw the full performance of "English Rose". I enjoyed it enough for two people. A full review follows in a later post.

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Three Standing Ovations for Victoria Banks

by Helen Heubi

Thunderous applause and a standing ovation welcomed Victoria Banks to the stage of the Gravenhurst Opera House on Saturday 7 August, 2010. The dazzling evening began with a cymbal salute from the band, introducing “The Wheel”, Victoria’s award-winning single, and ended on an intimate note with “The Other Side”, interpreted by no other instrument than her expressive voice. A final standing ovation had brought on this moving encore, and another followed it.

Victoria couldn’t help repeating from time to time that she always loves to return to Gravenhurst to perform in her native Muskoka. It’s been a long way from Port Carling, where she was born, to Toronto University for a BA in zoology, to Nashville, the “City of Dreams”, where she has worked for the past ten years. Pursuing her greatest passion, song writing, has not been easy. “Nashville gives you a roller-coaster ride of emotions,” she says.

Powerful words and music roll out of Victoria’s life experiences. In between songs, she shared some of these with us. Her songs tell it like it is. What to do with a wedding ring that would not go away by itself, years after the joyous marriage, the painful awakening and the inevitable divorce? The answer came in a song. 

Victoria’s gifts for writing lyrics and music had been discovered not long after she came to Nashville. She tailors her songs to the singers who request them. One artist she collaborated with is Jessica Simpson, whose rendering of “Come on Over” was rated highest charting debut country artist's single in Billboard history. Victoria knew her career had moved up a vital notch when, driving along a country road near Nashville, she heard one of her own compositions on the air for the first time. Her car radio was broadcasting Sara Evans singing “Saints and Angels”.

While flying to flooded Nashville in May of this year, after being away during the worst of its disaster, Victoria wrote a song of courage and survival, inspired by  emails from her friends there. Some had lost everything. Beneath her plane, where she expected to see downtown lights, she saw only darkness. The Grand Old Opry sat in ten feet of water. Other musicians rallied to  produce her song, “City of Dreams”, as a video, now available on the Red Cross site www.CityOfDreamsNashville.com. All proceeds from the video downloads on this site go to the Red Cross for victims of the Tennessee flood. 

You are now reading a review written by someone who grew up steeped in traditional folk music, and plenty of classical, has heard a lot of jazz and kind of gets it, but is basically unfamiliar with Country. Like Victoria's Dad, mine had a large collection of music by Mozart, Bach, Beethoven, and many others whose names are not all easy to spell. Unlike her, I did not have a rock-and-roll epiphany in high school. On this sketchy background are based my perceptions of her powerful 2010 Saturday night concert at the Gravenhurst Opera House.

Despite differences in genre and generation, every song has roots. Listening to Victoria’s compositions arising from her own life, I realized that they come to her from a variety of sources like the blues, rock-and-roll, the simplest of folk melodies and more, all subtly grounded in the classics of her childhood. She speaks many languages of music, has made them her own and invented more, setting herself free to fly into new dimensions. In “Saints and Angels” the melody seems to have upward motions like wings.

In July Victoria Banks was nominated by the CCMA for the categories “Female Artist of the Year” and “Songwriter of the year”. The CCMA Awards show will be broadcast from Edmonton, Alberta, on Sunday 12 September on CBC and CMT. According to the tour destinations on her website, she will be performing in Edmonton on the previous day.

Now I share with you what Victoria and an audience member wrote in Facebook about Saturday’s concert. First Victoria:

“Wow, what an amazing show tonight at the Gravenhurst Opera House! Thanks to my hometown crowd for making me feel so welcome!” 

And now Susan Penwarden from the audience:

“Thanks for the amazing concert tonight. You now officially have one more true fan my husband. You blew him away with your very last song. We both believe a true test of a singer’s ability is to sing with no back up and you passed with flying colours. We will definitely will be seeing you again! Thanks again. You made our hearts happy. 

Les and Sue

P.S. best of luck at the CCMA's”

Victoria Banks has an informative, user-friendly website, where you can find her music, tour details, journal, store for CDs and t-shirts, and her biography in written and video form. This video really drew me in with its warmth and brilliance. Hers is an attractive, tuneful site to enjoy, and to keep in touch with her and her career path as it gathers more and more glitter overlaying the gold of her life story. 

http://www.victoriabanks.net

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Celebrating Dave Broadfoot, Nine Years Later

DAVE BROADFOOT’S “FIRST FAREWELL TOUR” OF 2001

from the archives of “The Muskoka Times”

by Helen Heubi

“Dave Broadfoot’s First Farewell Tour” stopped for three sold-out performances August 30 and 31 at the Gravenhurst Opera House near the end of the Straw Hat Festival of 2001.

This was not the first time that the Dean of Canadian comedy has trod our boards, and we may hope it is not the last. I have muzzy memories of him in earlier Straw Hat days, about the era of the Davis family, Barbara Hamilton and Charmion King, to mention a sparkle of the outstanding theatre folk steeped in the Muskoka tradition.

Oddly enough there was a moment when a lock of my hair near the back of my crown lifted, as if some other personality were also haunting the place, the better to see how Dave is working the audience in 2001, some fifty years after first appearing here.

“He sneaks up on you,” remarked one fan. A master of timing, Dave also manages to be always a heartbeat ahead, still checking our reflexes. “Am I speaking too quickly?”

Another signature jibe, in the middle of a  diatribe, “Am I touching a nerve?”

That’s the whole idea. Dave’s got an irreverent finger on the pulse of Canada and of an audience. This “old dog”, as he calls himself at 75, is always teaching himself, and us, new tricks. For half a century he has been constantly refining his unique vision of our country and its world.

“I think of Gravenhurst as the gateway to -- Bala!” may touch a nerve -- the one on the funny-bone.

A ticket to a Broadfoot show entitles us to what amounts to a three-ringed circus. At centre stage: one spry commentator on our life and times, who has us laughing before we know it at very unamusing topics, like pollution.

Stage right: a parade of real-life animals, notably our politicians, expertly caricatured.

State left: Dave’s own creations -- characters so numerous that he can afford to be selective in customizing each show, and fine-tuning to each audience. The line-up in the current  show includes the fuzzy-minded hockey player, Big Bobby Clobber; the sharp TV evangelist who’ll made sure of your credit card number; the memory expert who plaintively inquires of us, the audience, whether we’ve seen a set of keys. Heroic Sergeant-Major Renfrew of the Mounties copes with California, while, back home, homeless Bartholomew X can’t wait to get deported so he can see the world.

Probably by popular request (or did I strike a nerve complaining that the MP from Kicking Horse Pass was missing from the 2000 show?) the cowboy-hatted parliamentarian was back. You’d never know he’d been in mothballs.

After the warm standing ovation of Dave’s opening performance, a few of us matinée types trickled down to the Trillium Room in hopes of the artist coming out to sign videos, which he graciously did. After a short old home week with a long-time fan from the Beaches and earlier days, Dave was on to preparations for the night’s performance.

And I was out into the sunlight, wondering how I would recreate this delightful afternoon beyond writing, “Wunnerful!” all over the page -- shades of this Canadian icon’s first appearance on the Ed Sullivan Show in 1955.

“We grew up with him,” said one of a group lingering outside. “His timing was always impeccable,” she added. “I thought it couldn’t be improved, but in this show it’s the best ever.”

“But does anyone else know him besides our generation?” piped up an anxious voice. I rather thought so, according to my impromptu survey at the hair stylist’s the day before.

“Hang on a moment, and we’ll see,” I said, and asked two passers-by to help us out. The teenager admitted ignorance, then looked toward her mother as to an oracle. Mother, who didn’t look old enough to have a teenaged daughter, had been waiting with an indulgent smile to settle the matter beyond all doubt.

“Dave Broadfoot,” she pronounced slowly and clearly for us all to hear, “Is the quintessential Canadian comedian.”

Posted in "The Muskoka Times" Sept. 7, 2001

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