Whitby's The Little Details are taking big strides in unique gift market

It began small but it grew, its the Little Details, they make a difference.

Leanne Fahy and Lorraine White

Leanne Fahy and Lorraine White are the minds behind a new business, The Little Details, one which is grabbing hold of folks and decking them in customized warm wooly socks, scarfs, hoodies and raglan Ts.

For now, as befits a Canadian start-up, the focus is on seasonal wintery items, Xmas gifts and decor. Tree feeling cold? Wrap it in a custom branded message skirt. Santa need a sack or a name plated wooden gift box? Does the wall need an Advent calendar? Meet The Little Details. They even make cozy wraps for tabletop cutlery.

Fahy and White met and became friends about a decade ago, bonding over roots, family, and an interest in the arts, there may have been some wine involved. Fahy has a background in fashion design, White in web design, together they figured out a way to stay home with their respective families, raising children, pets, gardens and raising some extra dollars at the same time. The time is now two years.

The common roots Fahy and White have, have grown into a viable business, one that is branching out. The branches are reaching out from local town of Whitby, Ont., to their global village. The Little Details is as Canadian and Cottage Country rootsy, as late evening blanketed shoulders and hands cupped around warm chocolate, as friends and bonfires, maple marshmallows and the Hip’s “Bobcaygeon”.

The internet makes it easier to find the others, those interested in the same things, those who value the same things, those who are about the same things. The internet allows an idea to find firm footing and the right idea, like a plant in the right environment, will raise itself.

The Little Details is that idea, the idea that details matter, the idea that customized matters, the idea that, like these two creative maker friends, other people want that something special, a something that speaks to them and their values and their family. And the idea that an idea plus friendship can take root and grow, if you take care of the little details.

VISIT THEIR WEBSITE HERE -> 

SCC's 'Operation Daddy: Here Comes The War Brides' puts a song in the heart

OPERATION DADDY:  HERE COME THE WAR BRIDES
Scugog Choral Society
Produced and Directed by Liz Auston, Music Direction by Alissa Smith
November 17 – 26, 2016

In 1946, thousands of War Brides sailed to Canada to be re-united with the servicemen(Army, Navy and Air Force) who stole their hearts.  Inspired by this important historical event in our country, and by her grandmother Sarah Cooper, who was a war bride, SCS President Liz Auston set out on a quest to complete an original musical based on the lives of these beautiful women whom she affectionately calls “My Girls”.   

Ms. Auston spoke to more than two dozen women from the Durham, Scugog and GTA to learn of their stories of the war bride experience.  The result of all this research and discussion is a World War Two era musical which focuses on the lives of three women with one thing in common:  they have fallen for a Canadian serviceman and find themselves bound for Canada and for a husband whom many barely knew in order to begin life anew.  Some of these stories turn out happy, some poignant, while some are truly sad. 

What an appropriate and fitting time to stage this remount in honour of the 70th anniversary of Canada’s war brides. Here Come the War Brides is a lovely, sentimental, often poignant original work.  To produce, to direct, to set design and to co-ordinate costumes at the same time is a task in itself, but Auston’s passion and zeal for this project is highly evident.  Her incredibly hard working twenty-five cast and thirty plus crew members also wanted to do her proud while maintaining the truth and dignity of the story since there were a few war brides present in the audience on Friday, November 18.

The set of a 1940s bar makes full use of the Town Hall stage.  At times, there is a traffic jam when the entire company of actors/singers enters and exits the stage when the full sound is needed for some of the musical numbers.  This jam could also account for the lengthy three-hour production with intermission.  Two or three songs from each act could or might be eliminated to help cut down on performance time.

It was obvious a great deal of thought and work had gone into researching the costume design, makeup and hair of the 1940s.  The uniforms of the male ensemble servicemen appear highly realistic while the dresses of the female central characters and ensemble were colourful and bright.  All areas of the stage were lit appropriately when necessary.  

Music Director Alissa Smith, along with Ms. Auston, has inserted toe tapping swing music and victory anthems of the 1940s.  I’m always a stickler for sound especially in a musical where it is important to hear the lyrics of each song.  The three-piece band takes us back to the big band era with fond remembrance.  For the most part, we can hear the singers but, as performances continue this week, I’m sure an equal balance will be struck so the band does not overpower the singers.

Kathy Knight, Susan Ellis and Diane Juzcow play the older Charlotte, Katherine and Maggie with very distinct and likeable personalities.  Kyffen Gaudet plays the young Charlotte (known as Lottie) with sass and verve.  She marries the serviceman Frank (solid performance by Dale Woitte).  There are no children from this marriage.  Jennifer Mance plays Kate, the young Katherine, with sweetness and vulnerability.  Her husband is serviceman Eddy Jones (nicely played by Darren Klingenberg).  They have a daughter, Annie.

There are a number of memorable moments worth mention.  The conclusion of the first act with the entire company certainly begins to tug at the heartstrings.  Some poignant musical numbers occur in the second act as the young Kate, Maggie and Lottie sing “Someone to Watch Over Me” while they are on board the ship sailing to Canada. There is a nice rendition by Melanie Brennan as Nurse Nightingale along with the female ensemble when they sing “A Nightingale Sang in Barkley Square”.  For me, the most poignant moment occurs when Darren Klingenberg as Eddy sings “Daddy’s Little Girl” while he holds his baby daughter, Annie, in his arms for the first time.  Whenever I hear this song, I am often reminded of the father – daughter dance at weddings that normally will bring a tear as the wedding guests witness a beautiful moment between father and daughter.

Bravo to all of the performers and crew who will continue to highlight this historical Canadian event at Port Perry’s Town Hall.  At the conclusion of the performance, a vintage film reel showing us war brides on board the ships are an important reminder once again of this Canadian moment.

Operation Daddy:  Here Come the War Brides continues at the Town Hall, 302 Queen Street in Port Perry November 24, 25 and 26 at 8 pm.  There is a matinee on November 26 as well at 2 pm.  Tickets may be purchased at the door before each performance.  For further information, please visit www.townhall1873.ca or their website or call (905) 985-8181.

Oshawa Little Theatre succeeds with Pulitzer Prize winning play says Joe

How To Succeed in Business without Really Trying
Oshawa Little Theatre

Produced by Janet Gilliland and Michael Schneider, Directed by Michael Schneider, Musical Direction by Sam Moffatt, Choreography by Baiba Senecal

The 1960s has returned to the Oshawa Little Theatre.  Although I was probably one of the few who did not watch MAD MEN when it was televised (except for trailers announcing a new season), I do remember the show’s advertisements and commercials resplendent with the fashion, food and songs from this time.  Since I was born in 1960, I can still recall historical moments from the latter part of the era whether they were on television, LP vinyl records (how’s that for dating myself), and even some clothing that would have been worn.

According to Michael Schneider’s Director notes, How to Succeed was in the rare category of winning a Pulitzer Prize when it debuted in 1962.  What is it about this show that would make any community theatre company want to stage it for a twenty first century audience? More about this later.

The story begins with young window washer J. Pierrepont Finch (Todd Appleton) who, with the help of the book HOW TO SUCCEED IN BUSINESS WITH REALLY TRYING, ambitiously climbs to the top to become chairman of the Board of the World Wide Wicket Company.  Throughout this quest, he encounters love in the sweet and naïve Rosemary Pilkington (Mary Soln) while having to dodge the nerdy office bully mama’s boy Bud Frump (Johnny Soln).

A big shout out of thanks is extended to Music Director Sam Moffat and the sound operators for clearly establishing an excellent balance with the music, the orchestra and the actors/singers.  I like to sit in the last row of the auditorium when I see any production in order to hear the dialogue and lyrics.  The local community spends their hard earned money to be entertained, and all members of the local arts community want to make sure our audiences are happy.

The visual look of OLT’s H 2 $ succeeds on many levels.  Baiba Senecal’s creative choreography is spirited, inventive and lively.  Ian Handscomb’s set design functions well as performers can move set pieces and staircases with ease and safety.  Scenic design from Mr. Handscomb and his team has captured nicely colours and designs that would have been popular at this time.  

One would expect nothing less of OLT when it comes to costume and make up design.  Cynthia Garland has clearly done her homework to capture the shades and tones of the fashion for both men and women.  Donna Lajeunesse’s work in make up highlights beautifully the contours in the faces of each performer for distinctive characteristics.  On the large OLT stage, lighting is critical to set and heighten particular moments.  In this production, lighting transitions are smooth and effective.

Although the look of the 1960s has been captured successfully, what is missing from the production I saw the first Saturday night is the joy or (as the French call it) the elan of the 1960s.  It could be this diverse age range in the cast of twenty-eight performers who are probably tired.  They’re coming off the first week of shows where one expects to spend long hours at the theatre in what is affectionately known as hell week.  All the leads and supporting players are clearly able-bodied singers and actors who have been well rehearsed to hit their mark when necessary.  Nevertheless, much of what I saw was mechanical and rote where the performers were going through the motions of being where they’re supposed to be in each scene and musical number.  There appears to be no 60s panache and flair.

The reason why H2$ works for any professional or non professional theatre group is the fact the text itself becomes a nudge-nudge, wink wink of 1960s big business conglomerates of an old boys’ club mentality in major corporations.  A challenge for any community theatre group in staging H2$ is to ensure the text is not overshadowed by pandering, mugging or “face acting” to the audience for laughs.  Some mugging for laughs begins to overshadow which becomes distracting.  Sexist song titles “A Secretary Is Not a Toy” and “Paris Original” are hysterically funny when you listen clearly to the lyrics.  I was hoping the audience would have blown the roof off with uproarious laughter during these two numbers; instead, there was the only customary applause.

And yet, in the second act, the song “Brotherhood of Man” was a showstopper because it captured beautifully that 60s sparkle as each performer understood the humorous subtext of the song.  From the diligent office employees, to the goof offs, the slackers, the wannabees – there is a brotherhood of an old boys’ club who will look out for each other.  

There were some wonderful performances on this night from some of the supporting players who come dangerously close to stealing the show as they had understood and captured the 60s spirit.  Chad Richards as the stuffy, big boss J. B. Biggley , was comically wonderful especially in those moments where he was sounding off to one of his employees, knitting to calm his nerves and then became a domesticated pussycat around the office sexpot Hedy LaRue (Jennifer Smart).   Steve Gilliland as Bratt, Biggley’s yes man, is brash and bold and full of hot air.  Newcomer to OLT Jill McMillan as the sassy office confidante Smitty combines just the right amount of cheekiness as she finishes her Metrecal (I remember commercials for Metrecal!) while being compassionate in helping to solve any personal problems of her office colleagues.  Donna Lajeunesse as Miss Jones, J. B. Biggley’s secretary listens carefully and watches as the action unfolds around her. But when she belts out a solo during “Brotherhood of Man”, the song takes right off through the rafters.

How to Succeed in Business Without Really Trying continues at the Oshawa Little Theatre, 62 Russett Avenue, November 24, 25, 26, December 1, 2 and 3 at 8:00 pm.  There is a matinee performance on November 27 at 2:00 pm.  Tickets may be purchased at the door before each performance.  Visit the website for further information or telephone (905) 723-0282.

Joe says I'll be back to Ajax Community Theatre

I’ll Be Back Before Midnight'

Produced by Janice Donnelly and Directed by Mark Salonius
AJAX COMMUNITY THEATRE Ajax’s St. Francis Centre
November 17-26, 2016

Even as we prepare for the Christmas season, we humans for some reason still always like a good scare and to have a good laugh after having that scare.  This is an oddity about our nature, but it is something that all of us have enjoyed either when we were young, invincible and sometimes foolish or something that we might still like to do.   The challenge for any local community theatre production in presenting a good thriller live on stage is, what I call, ‘the hokey factor’.  Can a community theatre prepare a good scare, make us laugh as a release while build again for the next scare that is going to take place without it seeming all contrived?

Canadian Peter Colley’s 'I’ll Be Back Before Midnight' has become a staple of local community theatre groups that has entertained audiences for years.  It’s a tough one to perform as actor readiness, special effects and sound cues have to hit the mark immediately if the scare factor is to work.  Despite a few technical glitches on this opening night performance, this cast and crew at the intimate venue of Ajax’s St. Francis Centre does their best to provide laughs, screams, bumps and chills down the spine.  

After suffering a nervous breakdown, the fragile Jan (Sarah-Liis Salonius) is in need of rest.  She and her archaeologist husband, Greg (Paul Love) rent an old farmhouse haunted by the ghost of a murder victim, or so says their quirky landlord, George (Todd Bowles).  When Greg’s sister, Laura (Sharon Berman), arrives at the farmhouse, things begin to deteriorate further.   Jan blames Laura’s relationship with her brother as one of the factors to incite problems in their marriage.  A series of unexplained events in the farmhouse lead Jan to believe whether she is suffering another relapse OR is something more afoot within the farmhouse? 

So much work has gone on behind the scenes of any community theatre production, and these selfless individuals must also be acknowledged for their contribution.  Dave Edwards’ set design fills the entire stage to create the rustic look of a farmhouse right down to the wood burning stove.  The dark rich colours on the walls and the curtains that sway in the breeze create that feeling of encroaching entrapment from which Jan wishes to escape.  There was a nice selection of orchestral music that played before the performance began and during the intermission that creates an ominous atmosphere.   For the most part lighting and sound worked but, as performances continue, I’m positive these cues will be picked up quicker.  Modern day costumes remind the audiences that, even though this story was written in the early 1980s, this story could have taken place yesterday.

I’ll Be Back Before Midnight continues at the St. Francis Centre, 78 Church Street, South in Ajax, November 18, 19, 24, 25 and 26 at 8 pm.  There is a matinee performance at 2 pm only on Saturday November 20.  Tickets may be purchased at the door before performance or contact (289) 892-4132.  For further information, visit their site. 

Joe Szek goes to Whitby for August: Osage County by Tracy Letts

AUGUST:  OSAGE COUNTY by Tracey Letts
Produced by Michael Trites and Directed by Margo Rodgers
Whitby Courthouse
November 17-19, 24–26, 2016.

When I heard August:  Osage County was going to be performed in Port Perry and Whitby within the span of a month this autumn, I wondered what was it that makes actors want to perform this play with all of its raging and raw emotions in front of an audience who might be unprepared for this onslaught?  It came clear to me when I saw the play a second time.  

Producer Mike Trites notes that August is the perfect storm of creativity that Mr. Letts has created for crew, actors and for audience.   The dialogue (and yes even the deluge of profanity effused throughout the plot) is crisp, clean, lean and mean.  WCT and the Borelians have clearly done their homework in rehearsal so that, as Violet Weston aptly points out, the audience can ‘fasten [its] seat belts because it’s going to be a bumpy night’.  

Margo Rodgers states in her Director Notes that she loves this play, and it was certainly obvious that her passion for this 3 hour and 15 minute production drove this opening night performance forward with monumental intensity.  Erastus Burley’s three level set design is exquisitely claustrophobic right down to papers askew on patriarch Beverley Weston’s (an impressive performance by Tim Westhead) desk.  To paraphrase awkwardly from Linda Loman in Death of a Salesman, attention has most certainly been paid to minute detailed elements of decoration that heighten the feeling of suffocation in the Weston home.  Bravo to the team of builders, decorators and painters who, I’m sure, have spent countless hours just on the look of the interior of the house.

Countless hours of work are also spent in makeup, hair and costume designs from many individuals behind the scenes, and these accoutrements were appropriate and fitting for each of the thirteen cast members.  Mattie Fae Aiken’s clothing and wig is especially a comic throwback to the 60s look and style, and Nancy Gleed wears this fashion with great aplomb.  Sound is another key element in this production.  Boyd Tattrie has composed and recorded some skillful guitar accompaniment while Margo Rodgers has selected key off stage and realistic sound effects to bring us into the immediacy of the action on stage.

A show of this caliber also requires an understanding of how lighting heightens the array of reactions the audience feels in this production.  Brandon Rideout has created some impressive visual effects – one occurs in the moment where the pill popping Violet believes her husband, Beverley, has returned after he mysteriously vanishes.  The other haunting image occurs at the end of the play as the Cheyenne housekeeper, Johanna Monevata, calmly and compassionately holds the terminally ill Violet who deteriorates before our eyes.   

This WCT company of solid actors, under the gentle yet firm guidance of Mrs. Rodgers, delivers powerhouse performances.   There are a number of poignant, sad and comic moments, but what struck me the second time in seeing this story is the inherent despondency and brokenness found in each of Mr. Letts’ characters that can never be repaired, and which this company has captured so artistically. The Weston daughters (Raissa Chernushenko, Melissa Gibson and Lisa Feirreira) are bitchy, spiteful and conceited toward each other and to the delusional, spineless and lily livered men in their lives (Desmond Harty, Craig Martin, Peter Mazzucco and Greg White).  These seven actors adeptly move us from bitterness to disgust, anger to pathos in only a matter of minutes as secrets upon secrets are reared.

There are two highly uncomfortable moments in the play involving Barbara and Bill Fordham’s precocious and ill-tempered daughter, Jean (an electric performance by Caroline Rodway) and the creepy Steve Heidebrecht (so convincingly played by Greg White that you want to rush up and pull Caroline out of these two situations).  Rodway and White never cross the line, but we are glued to the action in front of us because we want to see how it’s going to turn out.   

During one moment, I applauded loudly as I did in Port Perry when Shael Risman, as obsequious Charlie Aiken, stands up to his domineering wife and Violet’s sister, Mattie Fae (a welcome return by Nancy Gleed to WCT) whose ballooned ego is burst until her secret is revealed.  As the Cheyenne housekeeper, Johanna Monevato, Nicole Vezeau’s performance strength lies in those quiet moments where she listens intently to another actor or watches fixedly as the action unfolds around her before she responds.

Finally, Barbara Clifford as the terminally ill, drug infused and foul-mouthed matriarch Violet Weston is compelling and dynamic.  Our hearts break with emotion especially when we see those times where Violet is scared at what lies ahead in the future.  For me, Eric Clapton’s “Lay Down Sally” will certainly conjure the concluding moment of both stagings of this play in my mind.

Thank you to those individuals from WCT and the Borelians, and to others who encouraged me to complete these two commentaries on Tracey Letts’ August:  Osage County.  This writing exercise has allowed me to appreciate even more the work of the Borelians and WCT, their directors, their crew and cast have undertaken in peeling back the layers of intent and meaning behind this gripping script.  I invite you to read the Borelians commentary of August linked here.

August:  Osage County continues at the Whitby Centennial Building November 17-19 and November 24-26, 2016.  Curtain is 8 pm.  There is one matinee performance at 2 pm on Saturday, November 19, 2016.  Tickets may be purchased at the door or on line.  For further information, please visit the website or call 905-668-8111.