LIVE! At The Oakville Centre by Green Light Graphics

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AT T H E O A K V I L L E C E N T R E VOLUME FOUR

I ISSUE ONE I SEPT - DEC 2011

HOWIE MANDEL RON SEXSMITH HOWARD JONES ASHLEY MacISAAC KELLYLEE EVANS ANDREA MARTIN JOHN MAYALL BARRA MacNEILS FREDDY COLE and more!

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The In2(little)art Show Nov 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 2

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Oakville Centre

HOUSE NOTES

The Oakville Centre for the Performing Arts would like to thank

THEATRE ETIQUETTE Please be considerate of those in the audience who may have allergies and avoid wearing perfume or cologne. Cell phones, pagers and watches should be turned off and refrain from unwrapping candy during the performance. Food and beverages are not permitted in the theatre, with the exception of plastic bottles of water. In the event of any disturbances, ushers will ask those individuals to leave the auditorium. Cameras, video cameras and recording devices are prohibited inside the theatre.

CANADIAN HERITAGE

LATECOMERS will be seated at a suitable break in the performance determined by the artist. Patrons who leave the theatre during the performance will also be asked to wait.

for ongoing programming support.

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

www.pch.gc.ca

SENNHEISER HEARING ASSISTANCE is installed in our Main Theatre. This service is on a first come first served basis for a fee of $5.00. The devices may be signed out at the bar. BABES IN ARMS are not permitted into the theatre. We welcome children old enough to enjoy the performance. Each person entering the theatre requires a ticket. BOX OFFICE hours are Monday to Saturday, 11am to 5pm and 2 hours prior to a performance. Tickets may be ordered by phone with a major credit card at 905815-2021 or toll free at 1-888-489-7784 or online at www.oakvillecentre.ca.

The Oakville Centre for the Performing Arts would like to thank the

TICKET EXCHANGES may only be made for another performance of the same event. Exchanges must be made at least 48 hours prior to the date shown on the original tickets. An exchange fee per ticket will be applied. All exchanges are subject to availability. No refunds. A fee will be applied to all reprinted tickets.

ONTARIO ARTS COUNCIL

PARKING is available along Church Street at several Municipal Lots. Meters located in downtown Oakville are free after 6:00pm, Monday to Saturday and all day Sunday. The Oakville Centre has a Municipal metered parking lot at the rear of the building. To access the main entrance on Navy Street, you will be required to walk up a number of stairs outside the building. There is no entry at the rear of the building for the main theatre. For your convenience, we suggest you give yourself additional time for parking.

for ongoing programming support.

VOLUNTEERS at The Oakville Centre are members of Front Row Centre. They raise funds to support programs and equipment purchases for the theatre primarily through their coat checking service. Front Row Centre meets the first Monday of every month from Sept. to June at 7:00 pm in the theatre lobby.

www.arts.on.ca

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Become A

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

Big Ticket is BEST IN CLASS Enjoy all of your family’s favourite national and international artists performing arts in every discipline.

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

Big Ticket gets you ACCESS

On the cover: ANDREA MARTIN / November 18, 2011

Barely had time to read this page? Big Ticket allows you and your family to attend as many or as few shows as you like during the year. And it’s one membership per household.

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

Big Ticket is VALUE Along with all the benefits outlined above, Big Ticket is only $55 for one full year and Big Ticket Plus is only $110 for one full year. Add to the fact that every ticket your family buys throughout that year is discounted either $7 or $11 (exceptions apply) and in no time you have paid for your family membership. We added extra value by including tax receipts, gift certificates, discounts at other merchants and other special ticket offers.

LIVE! at the Oakville Centre is published twice each year (September and January) by Green Light Graphics Inc. To advertise please contact us at green.light@sympatico.ca or 905.469.8095. Space is limited. To order tickets, go to www.oakvillecentre.ca or call 1.888.489.7785 or 905.815.2021 locally. The Oakville Centre for the Performing Arts is a division of the Recreation and Culture Department of the Town of Oakville.

Call and speak with one of our Big Ticket experts for more details at 905-815-2021 or visit www.oakvillecentre.ca

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PIONEER FAMILY POOLS presents

THE JOSHUA TREE U2 • CLASSIC ALBUMS LIVE • Saturday September 24th at 8:00pm U2 started out as a scrappy band riding the punk wave out of Ireland, but from the beginning they clearly had their sights on America. And indeed, the States 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 the country as much as its schedule allowed. The more the band’s fan base grew, the harder U2 worked to get even bigger, and in 1987 they enjoyed their breakthrough into superstadom thanks to The Joshua Tree, which went on to sell 10 million copies in the U.S. alone. Funnily enough, while The Joshua Tree once and for all catapulted U2 to permanent superstar status, the album marks something of a conscious refinement of the group’s sound. The album was nowhere near as strident as War or as radically overwrought as The Unforgettable Fire (which was, lest one forget, recorded in a frickin’ castle). Reunited with producers Daniel Lanois and Brian Eno, it’s as if the band finally took a moment to ponder the wide-open American spaces it had been traveling through for years and applied those musical and cultural observations to its songs. It’s an album made for dusty, empty flyover country. U2 have always flirted with charismatic Christianity, and The Joshua Tree songwriting process finds the band in a particularly reflective mood; I Still Haven’t Found What I’m Looking For and With or

Without You are steeped in religious imagery, but even their constant radio rotation hasn’t robbed these introspective songs of their potency or effectiveness. Smartly, U2 balanced those personal songs with more universal tracks, often with an emphasis on forgotten people and forgotten places around the globe: Red Hill Mining Town (about the mid-80s UK miners strike), Exit (inspired by Norman Mailer’s Gary Gilmore tome The Executioner’s Song), Mothers of the Disappeared (about Argentina’s murdered political dissidents), and Bullet the Blue Sky (about U.S. meddling in Central America). Bullet is one of the few Joshua Tree non-singles to remain a live U2 staple – its bluster hints at the band’s current broad aesthetic – but it’s slightly out of place among a record mostly characterized by its grace, subtlety, introspection, and beauty. That holds especially true for its more mysterious (or at least less overplayed) second half, which roughly begins and ends perfectly with the ballad Running to Stand Still (about heroin addiction) and gentle outro Mothers of the Disappeared. In between, Trip Through Your Wires is the rare blues track to prominently feature coproducer Eno’s favored novelty, the Omnichord, while One Tree Hill and the apocalyptic Exit showcase wickedly screwed up and uncharacteristic guitar solos from the Edge. ~ Joshua Klein, 2007

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Water... ...drink it or feel it – it’s good for you!

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H2 SYSTEMS presents

HOWIE MANDEL Friday September 30th at 8:00pm

crowd who immediately hired him to appear on the comedy game-show Make Me Laugh. His appearance on the show led to talk show appearances, a stint as Diana Ross’ opening act and eventually to the television series, St. Elsewhere, where Howie spent six seasons as “Dr. Wayne Fiscus” on the award-winning NBC drama. Howie’s Emmy Award-nominated animated children series, Bobby’s World, ran eight seasons on FOX and now appears in syndication six days a week in 65 countries. As the series’ creator and executive producer, Howie was closely involved in its writing, as well as providing the voice of Bobby, Bobby’s dad and other characters. Howie attributes the show’s success to drawing the story lines from real life. Howie has done countless comedy specials both on cable and network television. He has also hosted his own syndicated talk show, The Howie Mandel Show,” and continues to be a mainstay on the talk-show circuit. He frequently appears on The Tonight Show with Jay Leno performing his signature hidden-camera bits. He also is one of the first people that Regis calls to fill in for him on Live with Regis and Kelly. Howie also continues to perform as many as 200 concerts a year throughout the US and Canada. Howie lives in Los Angeles with his wife, Terry, and their three children.

Howie Mandel has remained a constant force in show business for over 30 years. This summer he has returned as a judge on NBC’s hit talent competition series America’s Got Talent alongside Sharon Osborne and Piers Morgan. Howie recently received an Emmy nomination for “Outstanding Reality/Competition Host” for Deal or No Deal and a Daytime Emmy nomination for “Outstanding Game Show Host” for the syndicated version of the show. Howie’s versatile career has encompassed virtually all aspects of the entertainment spectrum, including television, film and stage. From his work on the Emmy-Award winning St. Elsewhere, to the international animated children’s series Bobby’s World, Howie has become a mainstay of the American comedy scene. In 2009, Howie added another title to his resume, author, when he released his frank, funny, no-holds-barred memoir Here’s the Deal: Don’t Touch Me. The memoir that revealed his ongoing struggle with OCD and ADHD, and how it has shaped his life and career made the New York Times Bestseller List on its first week. Howie started his career on a dare during a trip to Los Angeles in 1979. He was at the legendary Comedy Store on amateur night and Howie was coaxed by his friends to get up and try his luck. As fate would have it, there was a producer in the

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PIONEER FAMILY POOLS presents

LET IT BE The Beatles • CLASSIC ALBUMS LIVE • Wednesday October 19th at 8:00pm “The Long and Winding Road,” then, is the spiritual opposite of “I’ve Got a Feeling.” A fitting final single for such a storied band, McCartney already had the band’s dissolution in mind when he wrote it. Lennon played bass on the song, making several well-documented mistakes that were as symbolic of the band’s breakup as McCartney’s sorrowful lyrics. Spector cited the need to cover up Lennon’s flubs when defending his decision to include massive orchestral overdubs. Uncharacteristic of the band’s normal recording style though it was, it became the The Beatles’ final farewell as a group. Which brings us to the high points of an already stellar set, “Get Back” closed the Beatles’ rooftop concert, and the studio version closes the record (with banter and applause from the live version edited in to the album by Spector). It’s the quintessential road song, its rhythms almost syncing with mileposts whizzing past the windows. It also sums up the record, in which the band was trying to “Get Back” to its roots in Chuck Berry rock ‘n’ roll. And “Let It Be” may be the greatest musical pick-me-up of all time, a cathartic burst of piano, choir, organ and guitar. The raucous horns on the original album version seem a little out of place, but Preston’s organ line and Harrison’s heavenly solos elevate the song even above McCartney’s falsetto “be-eee”s in the chorus. Many have tried, but no one since has captured the sad-yethappy feeling that “Let It Be” embodied. While its prominent role in the demise of The Beatles tarnishes its image and its flaws ensure it will never be in contention for the title of the band’s best album, Let It Be stacks up with the rest of the catalog. If nothing else, goes to show that even one of The Beatles’ lesser albums is still one of the best records ever. ~ Andrew Steadman, One Thirty BPM

Let It Be is easily the most flawed Beatles album. It may also be the most underappreciated of the band’s late output, a collection of powerful tracks that summed up The Beatles’ illustrious career, though it almost wasn’t to be. The studio sessions for the album were filmed for use in the Beatles’ Get Back movie, and the presence of cameras may have contributed to the fights that marred the Let It Be studio sessions. Though Abbey Road was actually recorded after these sessions, the band’s disagreements during the recording of Let It Be ultimately signaled the end of The Beatles. Completion of the sessions didn’t end the contentions surrounding it. The record company chose Phil Spector to produce and overdub the record. Paul McCartney, long dissatisfied with the final release, oversaw a complete remix and remaster of the album that was released as Let It Be… Naked in 2003. Even with all the distractions, the quality of the songwriting on Let It Be did not flag, and the strength of the tunes shines through on every version of the album. Much of Let It Be bore signs of the Beatles’ progression into the ‘70s, leaving the Summer of Love psychedelia behind in favor of hard rock. “Get Back,” “I’ve Got a Feeling,” “One After 909” and the chorus of “I Me Mine” wouldn’t have sounded out of place on Layla and Other Assorted Love Songs, with their chugging blues rhythms and Billy Preston’s soulful Hammond organ. “I’ve Got a Feeling,” a joyous showcase of McCartney’s delirious roar, hints at what the world might have heard from the band had it managed to survive into the next decade. The “Oh yeah!” shouts and major key rhythm guitar line belie the bad vibes flowing in the recording studio, sounding every bit like the start of something big rather than the end. The slightly out of tune guitars simply add to the charm.

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Café Galleria I T A L I A N

C U I S I N E

“Come to Italy in the heart of Downtown Oakville” More than 30 years in Downtown Oakville! 2011/2012 CONCERT SEASON

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MUSICAL SPLENDOUR November 2011 FAMILY CHRISTMAS CONCERT December 2011 ROMANTIC LEGENDS February 2012 INSPIRED GENIUS April 2012 FIESTA May 2012

Call for reservations • 905.845.7731

For dates, descriptions and ticket information:

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www.oakvillesymphony.ca

November 10

ADRIANNE PIECZONKA with special guest Laura Tucker

Experiences that inspire!

November 29 Coleman Lemieux & Compagnie

How to purchase tickets: • In person ~ 440 Locust Street • By phone ~ 905.681.6000 • Online ~ www.burlingtonpac.ca

IN PARADISUM

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

December 3 Opening Celebration Special Guest

SARAH McLACHLAN

The Box Oﬃce is Now Open

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Buca di Bacco Ristorante presents

MusselsPeperonata Buca di Bacco’s Vincenzo Ricci has agree to share his fabulous Mussels Peperonata recipe with you this issue. 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 from the Oakville Centre – you won’t be disappointed!

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, knock on their door and ask them for some fresh hot peppers 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 of olive oil in a 12” sauté pan. (if using fresh hot pepper, finely chop and add to sauté pan. If using chilli flakes, add as instructed in step 3) Place pan over medium heat and cook until onions and peppers are slightly softened, about 2 minutes. Add half the garlic and stir for approximately 30 seconds, do not let garlic burn. Remove from heat and transfer mixture to a bowl and set aside. 2 In a large pot, combine remaining ¼ cup of olive oil and the remaining garlic and cook. Stir about a minute just until garlic is softened. Add the wine and mussels, cover pot and cook over medium heat until mussels open, 4 to 5 minutes. When the mussels are open, transfer them to a bowl leaving the 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 and pepper to taste. Add the mussels and cook for 2 more minutes. Remove from heat and serve.

Buca di Bacco Ristorante 130 Thomas Street Downtown Oakville Reservations: 905.845.7396

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DAN COOPER OF ROYAL LEPAGE presents

RON SEXSMITH Saturday October 22nd at 8:00pm management saying he loved the songs. “The hard part then was how to do it, how even to afford it. Because from the movie, I sensed he was a good person and that I could trust him. And I was right.” The reassuring news for Ron’s loyal international fanbase is that Bob Rock’s production does full and eloquent justice to another wonderful collection of Sexsmith songs. And the great news for everyone else is that every one of them sounds like an honest-to-God hit you turn up when it pops up on the radio. “I’ve always been trying to make pop records, and all my heroes had hit records. When I was growing up, people I loved like Elton John and Joni Mitchell were essentially album artists who also had hits. My main objective was always to make cohesive albums but a lot of my stuff sounds like what I would like to hear on the radio. I was probably born at the wrong time!” Born in a very good year, 1964, Ron grew up in St. Catharines, brought up by his mother in lowincome family government housing. His largely absent father left behind a box of Johnny Cash and Little Anthony And The Imperials singles which were Ron’s songbook primers. A daydreamer at school, Ron was selected for a creative writing class and in his high school band played lead guitar. Ray Davies was Ron’s first and most enduring songwriting inspiration, followed by Lennon & McCartney, Paul Simon, Elton John and, he says “about 19 I started discovering people like Leonard Cohen and Gordon Lightfoot.” As a singer, Ron admires Harry Nilsson, Bing Crosby, Bill Withers and Charlie Rich, and places himself in that crooner tradition.

A singer-songwriter acclaimed by a galaxy of artists from Bob Dylan to Elton John, Chris Martin to Michael Bublé, Steve Earle to Lucinda Williams for his insight into the human heart and a melodic purity (to paraphrase admirer Elvis Costello) unheard since the heyday of Paul McCartney, you’ll find him straight after the Sex Pistols in any self-respecting encyclopedia of modern music. That’s as close as Ron Sexsmith has ever got to inyer-face hard rock. Until now. For his 11th album, Long Player Late Bloomer, the award-winning troubadour has paired himself with a fellow Canadian, the producer of bone-crunching classics by Metallica, Mötley Crüe and The Cult – the genuinely named Bob Rock. “I’d seen the Metallica documentary, Some Kind Of Monster, and I got a good vibe from Bob; he seemed the only sane person working with a band that was falling apart. Even so, I only saw Bob as a hard rock producer. “Then, a few years back at the Juno Awards, I ran into Bob at the curb waiting for a car to take us to one of the after parties. I never wanted the responsibility of producing my own music. I’m always looking for a producer who can help me frame 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 sometimes and I’m skeptical. “But at the same party there was Michael Bublé. Michael had just worked with Bob (on the multiplatinum-selling album, Crazy Love), which came as quite a surprise to me. He told me that Bob was a pop producer and that he would be great for me. That put the idea into my head of sending him the songs to see if there was any interest there. Bob’s assistant got right back to my

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DAN COOPER OF ROYAL LEPAGE presents

Howard Jones performing Human’s Lib & Dream Into Action in their entireties Tuesday & Wednesday October 25th & 26th at 8:00pm It was in 1983 that Howard Jones first burst upon the contemporary music scene and brought his very English song-writing and pioneering synthesizers to an unsuspecting world. Anyone who was around in the mid to late eighties will remember those high energy gigs and his first two albums Human’s Lib and Dream into Action. They lived in the higher reaches of the album charts in the UK, USA, Germany, Italy, Sweden, Canada, Australia and many other countries in the 1984-86 period and the hits kept coming – New Song, What is Love?, Pearl in the Shell, Hide and Seek,(which he performed at Live Aid in 1985), Like to Get to Know You Well, Look Mama, Things Can only Get Better, Everlasting Love and the quintessential No One is To Blame, which reached No.1 in the US. Now Howard Jones has re-mastered those first two classic albums Human’s Lib and Dream into Action and played them both live in their entirety for the first time on November 6th 2010 at the IndigO2 in London’s O2 Arena Complex. The re-mastered albums are available from www.howardjones.com. A special remastered box set of the 12” mixes was released in March 2011 and a DVD of the IndigO2 is now available. A classically trained pianist, Jones applied his technique to the early synths particularly the Roland Juno 60, the

Jupiter 8 and the Moog Prodigy. He also pioneered the classic Roland 808 drum machine and the Sequential Pro-One. In the early days he was triggering sequencers live on stage while playing and singing, something that no one had done before. These days he still operates on the cutting edge of today’s technology and has been one of the leading exponents of the Roland Fantom G8 and the Roland V-piano. He has also been working closely with Roland on the development of the 2011 Jupiter 80 which he will be using on stage. Many contemporary giants of the dance world have shown interest in working with Howard which has resulted in tracks such as And do you Feel Scared? with Eric Prydz and Into the Dark with Ferry Corsten. Jones continues to tour extensively and will be playing multiple dates and festivals in 2011 with Robbie Bronnimann on live sequencing/sampling and effects using Ableton Live and various controllers, and Jonathan Atkinson on electronic drums. Always one to take chances, Jones continues to write great songs inspired by his Buddhist beliefs as is evident on his latest studio album Ordinary Heroes which features a string quartet on every track and one of the best Welsh male voice choirs in the world The Morriston on the song Soon You’ll Go.

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PARADISO presents

I, CLAUDIA A 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. Claudia, 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 evokes the anguished Claudia, her grandfather, her dad’s new girlfriend, and the school janitor. Both heartbreakingly sad and wrenchingly funny, I, Claudia casts a spell of rare power in the theatre. CAST . . . . . . . . . . . . . . . . . . . . . . . . . . Michelle Polak CREATIVE TEAM Playwright . . . . . . . . . . . . . . . . . . . Kristen Thomson Director . . . . . . . . . . . . . . . . . . . . . . . Chris Abraham Set & Costume Designer . . . . . . . . . . . . . . . Julie Fox “Claudia” Costume . . . . . . . . . . . . . . . . Robin Fisher Masks Constructed . . . . . . . . . . . . . . . . Robin Fisher Lighting Designer . . . . . . . . . . . . . . . . . . . Beth Kates Sound Designer . . . . . . . . . . . . . . . . . Chris Abraham Stage Manager. . . . . . . . . . . . . . . . . . . Sarah O’Brien Production Manager . . . . . . . . . . . . . . . . . Beth Kates Touring Production Manager . . . . . Matthew Byrne CROW’S THEATRE Artistic Director . . . . . . . . . . . . . . . . . Chris Abraham Managing Director . . . . . . . . . . . . . . Monica Esteves Producer and General Manager . . . . . Hilary Green

KRISTEN THOMSON As playwright and performer, Kristen Thomson has had considerable success with I, Claudia, her first play. I, Claudia was developed over two years at Toronto’s Tarragon 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 and director Chris Abraham. For the film, Kristen was awarded a best performance Gemini and ACTRA Award, along with two Canadian Comedy Awards for performance and writing. Kristen is currently a Writer in Residence at Crow’s Theatre.

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

Each year, The Oakville Beaver contributes over e on Water Street Olympian at hom Learning under fire $300,000 in support of our community Inside

The sentiment was expressed by newly-appointed Minister of Energy and Infrastructure George Smitherman in a letter he recently sent to Regional Chair The correspond Gary Carr. ence came in response to a letter minister detailing Carr sent the Full Delivery: Food Basics, Superstore, F the Region’s Longo’s, H e Outfitters, Hom ’ Fairness for C Canadian Tire, T Wal-Mart, Halton campaign, Shoppers Drug u Mart, Superstore, which says the Longo’s, Hom H e Outfitters, region Sears Partial Delivery: modate the thousands can’t accomDominion, Pharmassist, of residents Linens-N-T called for in the N hings, Creepers, Price Chopper C Province’s Places , Ho-Lee-Ch H ow, w H e Hard Hom OA H ware, Regency to Grow plan without NIKKI WESLEY / Fireplaces, some Sobeys, Pharma Plus, Fortino’s, ing help for infrastructu hefty fund’ Zellers, Goemans was ho Bouclair, r Michael’s, re. ’ k Adam van Koeverdenvan Ko The Source, The T The campaign K Brick, Adam silver-medalist kayaker Staples Business Depot, Best Buy : Oakville Olympicof a street sign on a road to be called Queen’s Park know lets those at Harb y Pier 1 Imports, m The Barn Fruit Club, at Oakville SIGN OF HONOUR TRAINING DAY: unveiling Market M funding shortfalls about the local T ys R Us, Futur Toy the Burloak Canoe Friday with the e Shop LIESA KORTMANN Canada distribution Oakville firefighter recruits that need to be Town of Oakville Street and is near his home club, in training combat fixed — such facility on Rebecca Water as a municipal a flame created It is currently W Street. infraby a fire simul structure deficit of $300 million victim began — he attack, the in order to meet the the for police, attracting who specified in Places growth targets Koeverden Stre to Grow. The plan the most fitting the park just re www.car “It's says of people in him — perhaps town. Water staroakville.com posed Halton’s population is supBy Jon Kuiperij van Koeverde road in the entire his aid. to increase ■ By David Lea but police ■ EDITOR winds west of of hon 547 Trafalgar BEAVER SPORTS 300,000 to 780,000 by more than Street, which pect fled the scene, OAKVILLE BEAVER to the guest Rd. down day. A by and the 2031. ST TAFF had originated, Street Friday evenin rrest later in More than $2.5 kayak- Navy so that the fire 26, has been Club, where van billion will be p could n re-ignite from m van Koeverden’s Adam needed for infrastructu Burloak Canoe nthony Wilson, his was also the intense heat It took only one with a weapon re to accom2212 Wyecroft helped put Oakville Koeverden spent many of of the by t spark and the prowess Last modate award ing with robbery week’s the Rd. growth suddenly new firefighters y experience provided m developing to 2021, while found themselves with probaon Friday, training for the more than $8.6 billion Council t adolescent years on the map and facing an inferno. ure to comply With a combinatio 24 recruits from som pion athlete, will be required the favour. Department and the Oa n of diesel and to serve the population into a world-cham Adam van Town returned ing everywhere its one that they S! now has a • Full Mechanical to hospital as r YEAR increase to huge balls of orange gasoline spray- nity to redo had the The 26-year-old Repairs will also be known ictim was taken injuri Carr informed over and over FOR 252031, 20 feet into the es and flame exploded • Emissions ILLE ly named after his n the air throwing up T Testing OAKV The heated training again. g & Repairs street ceremonial But, Smitherma minister. e was treated for black smoke. at 7 a.m. at D thick plumes SERVING (Only at W day was courtesy n said the of simulator, Wyecroft location) charity ride began n Province and its r located at 180 Bike Ride. The for the Beaver Valley and Col Undeterred, the V Places to Grow firefighters manned facility on Rebecca the Petro Canada dist Friday’s Beaver Valley plan officers carr aren’t the cause and dosed the as a fall fitness program at the outset of w enforcement law Street, which shows their hoses of the problem. flame, pushing climb a tough hill what they would The ride, which began The torch run sees fire “The servicing it back until it and finally went .torchrun.org. face if a fire took Olympics Ontario. or www.ontario ATHLETES: Riders the Beaver Valley ski club. costs you indicate shrank of a w out. place fuel spill or a ruptured as th ATHLETES FOR 180 km before finishing at Enforcement Torch Run for Special rer and valley180.org Following their w across Law & Dorval ■ See Carr page visit www.beaver pipe. valuable Manufactu training, the firefighters East and moved and this year will benefit the “All last month Between Kerr 4 For more information, ued to hose down – We guarantee your care of the Paperwork for you. we brought all years contin- ers the metal piping, Oakville fire the last two funds for Special Olympics Ontario. take in here, we gave and ESS! Rebates where them all refresher rnment the fire awareness and Why is -2949 trainin D IN THE BUSIN call 905-844 m

to follow ked the youth when the earby park and a knife. he pulled out the youth’s e knife close to money, but ect demanded refused. answer, the g ‘no’ for an the ground w the youth to the young going through s. to find e suspect failed the he began slashing what the knife causinglaceraacterized as minor

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Autumn 2011 Cooking Class Schedule Tuesday September 27th @ 7:00 pm

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Paradiso Signature Dishes

Tuesday October 4th @ 7:00 pm

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Tour of Tuscany

Thursday October 13th @ 7:00 pm

$ 70

An Evening in Greece

Tuesday October 18th @ 7:00 pm

$ 80

Fish and Shellfish

Monday October 24th @ 7:00 pm

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Tuesday November 1st @ 7:00 pm

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DAN COOPER OF ROYAL LEPAGE presents

Ashley MacIsaac Saturday October 29th at 8:00pm Ashley MacIsaac was just days into recording his first album in five years when tragedy struck: his prized fiddle, a German Student make – the same instrument he picked up at age eight, the same one he played throughout his teens, had used on all his recordings, the same one he thrilled audiences with across the globe, the fiddle he knew inside and out – broke apart, right in his hands. “I literally wore it out,” Ashley wistfully recalls. “The wood had gotten so thin, it just couldn’t be saved. It was gone.” He pauses, then says firmly, “But then I remembered, ‘It’s not the truck, it’s the driver,’ and I was ready to press onward.” A suitable replacement was found – oddly enough, an exact replica of his German Student make – and an emboldened Ashley charged through the rest of the recording process like a man reborn. When Ashley MacIsaac burst on the worldwide scene with 1995’s Hi, How Are You Today? (A&M) he scored the kind of coup instrumental artists often dream of. Going triple-platinum in Canada and breaking down radio barriers with the Gaelic single Sleepy Maggie, Ashley became an immediate pop icon, rebellious and exuberant, resplendent in kilts, army boots and combat pants. Copping from rockers’ sensibilities, Ashley made an aesthetic of it onstage, effortlessly blending his Celtic heritage with contemporary elements such as punk, electronica, hip-hop and grunge. Audiences who may have felt alienated by Ashley’s disregard of convention were instantly won over by his dazzling displays of grit, passion and authority. Recalls Ashley at the time, “My father once told me, ‘If you want to play the fiddle, get mad at it or don’t play it at all.’” Perhaps it was always that way. Growing up on Cape Breton Island, Nova Scotia, Ashley never listened to pop music, with the exception of his brother’s AC/DC and Ozzy Osbourne records. Instead, he listened to the recordings of the local master fiddlers like Angus Chisholm, Winston “Scotty” Fitzgerald, and Buddy McMaster, who would become Ashley’s dominant influence. Picking up the fiddle at age eight, Ashley immersed himself in the instrument, playing anywhere and everywhere he could. By 14 he was performing at local festivals, pubs, and church and community-hall dances. Soon he was touring Celtic communities in Massachusetts and California, performing with local

musicians, and at 16 he recorded 1992’s mostly acousticbased, traditional Close To The Floor album, following it a year later with A Cape Breton Christmas. By 18 he had toured nationally with Toronto singer John McDermott and the Chieftains. “I did 160 dates in four months,” he recalls. “I was still in school but I was playing two to four nights a week doing concerts, wakes and funerals.” Tipped off by his wife, Joanne, who had seen Ashley play at a Cape Breton dance in 1992, veteran avantgarde composer Phillip Glass contacted Ashley to take part in a performance for German playwright George Bruckner’s play Woyzeck. From that success Ashley received a call from Paul Simon who asked him to perform on an Edie Brickell session he was producing. Ashley then backed Simon and Brickell at a Carnegie Hall 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 with Ashley on this bold new adventure. Aside from Ashley’s fiddling, Greenwalt developed all of the instrumentation and electronic loops himself. Tracks like Cello Song, Save Me From Tomorrow, Grapes, and Captain America were already in the can when co-producer and mixer Kevin Killen (U2, Peter Gabriel, Elvis Costello) came on board. With characteristic tact he asserted that the tracks needed real drums and bass as well as some atmospheric guitar and keyboards. “The additions made Ashley’s performances even more stellar,” recalls Killen. When the subject of vocals came up, all Greenwalt and Killen needed was one listen to Ashley’s voice and they were sold. “It’s a cool voice,” Greenwalt enthuses. “It’s really there in ‘Captain America,’ and in ‘Lay Me Down,’ where he’s a real blues belter.’” Ashley readily accepts the comparison. “Learning to sing, I always went for the blues. In fact, if I had to front a band as a singer, it’d definitely be a blues band. It’s such a true, forceful way to sing.” He pauses, then adds with a snicker, “You want to know the real reason I’m singing? I got pissed off seeing George Clooney selling bluegrass to millions of people, and I figured it was about time that somebody really cute got in there.” Whether Ashley ever threatens George Clooney’s matinee-idol status remains to be seen, but one thing is certain: Ashley MacIsaac is a stunning testament of a singularly talented artist at the top of his game.

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OAKVILLE INFINITI presents

IL VOCE A 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 “Classical Crossover” or “Popera”. Their amazing sound is created by the combination of these four magical voices and complimented by their beautiful & distinctive look. This is what truly sets IL Voce apart. IL Voce is comprised of soprano Tiffany Desrosiers, tenor Marc Devigne, coloratura soprano Melody Mercredi and baritone DJ Calhoun. Bringing passion and virtuosity to their unique interpretations of romantic, classical, pop & opera favorites, simply put, IL Voce is The Voices.

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DOWNTOWN OAKVILLE BIA presents

Kellylee Evans In the Studio Theatre • Saturday November 12th at 8:30pm The Canadian singer was approached by French label Plus Loin Music, who had discovered her through her 2nd place win at the Thelonious Monk Jazz Vocals Competition. After several years of discussion, they invited her to France in November of 2009, where she spent two days in the studio. “They said I could do whatever I wanted as long as it was standards” Evans recalls. “I had always wanted to do a Nina Simone tribute. She was one of my mom’s favourites, and my husband’s, and I love her too. So I chose her and they were really gung ho.” Evans’ love and respect for the original recordings of the music shines through, but, even in taking on some of Simone’s most iconic repertoire, the twelve tracks on the album showcase Kelly’s own versatility, creativity and innate musicality. She is reunited with guitarist Marvin Sewell (Jason Moran, Cassandra Wilson), who appeared on her first album, and joined by bassist François Moutin (Moutin Reunion Quartet, Rudresh Mahanthappa), and drummer André Ceccarelli (Dee Dee Bridgewater, Biréli Lagrène).

Kellylee just lets her career unfold, never knowing where it might lead. Her first batch of original songs, which ended up on Fight or Flight, was more jazz oriented simply because she was singing standards at the time with jazz musicians. “When I started writing my own stuff, I was always thinking that it wasn’t jazz, but everybody thought it was, and when I looked for musicians to make Fight or Flight, everybody that I knew was in the jazz world, so it sounded like jazz”, Kellylee explains. She even took second place in the prestigious Thelonius Monk International Jazz Vocals Competition, whose judges included Quincy Jones and Al Jarreau. Kellylee continues to evolve her distinctive sound with her newest release Nina. This Juno and Gemini Award nominee received accolades for her first two albums, Fight or Flight and The Good Girl, which seamlessly fuse jazz and her own unique style of “soul pop”. Nina, her new release, is a beautiful tribute to one of jazz’s greatest vocalists and pianists, Nina Simone.

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PARADISO presents

KLOROFYL

Gadfly Dance Company â&#x20AC;˘ Thursday November 17th at 8:00pm constraints of commercial demands and to finally put urban dances in the forefront that other established dancers decided to collaborate. As a result, in 2008, Canadaâ&#x20AC;&#x2122;s first contemporary urban dance ensemble was created. Now, after only two years of existence, what makes Gadfly unique among the myriad of existing dance companies is both its outstanding performers and its fresh and eccentric concept. Contemporary Urban Dancing is more than just a fusion of dances styles. Merging art with entertainment, they bring on stage a unique energy and their works breathe through that spontaneity found only in the urban dance culture.

They communicate through dialects such as Contemporary, Jazz, Hip hop, House dancing, Vogueing, Waacking and Bboyin. Their work reflects a distinct language that stands out from the masses. Rightly named Gadfly Dance Company, they personify innovation. Gadfly is the brainchild of Apolonia Velasquez and Ofilio Portillo, a creative duet originally from Montreal and now based in Toronto. Initially, these two maverick choreographers had for vision to see Urban Dance genres completed with real human qualities, and some flavor added to Contemporary dance. From there, it is from the need to express themselves without the

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The Tim Hortons Learning With the Arts program is designed for educators to bring their classes, the curriculum and the performing arts together. These special performances are for schools only and require booking through the Oakville Centre for the Performing Arts. All tickets are $7.00 per seat (with every purchase of ten tickets there will be one complimentary seat for teachers. For tickets, please call 905-338-4161 ext. 3204.

I, CLAUDIA for Grades 8-12 • Friday October 28, 2011, 1:00 pm GADFLY DANCE: KLOROFYL for Grades 4-12 • Thursday November 17, 2011, 1:00pm THE LIFE & ADVENTURES OF SANTA CLAUS for 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 WONDERLAND for Grades 1-8 • Wednesday April 11, 2012, 1:00pm SULTANS OF STRING for all Grades • Thursday, May 3, 2012, 1:00pm

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H2 SYSTEMS presents

Andrea Martin FINAL DAYS! EVERYTHING MUST GO!!

An evening of outrageous comedy and song • Friday November 18th at 8:00pm Awards for writing and received an Emmy nomination for Best Actress in a Variety series. Her additional television credits include My Big Fat Greek Life, Little Mosque on the Prairie, and Nurse Jackie. She is the recipient of 3 American Comedy Award nominations for several cable specials including her own Andrea Martin Together Again, for Showtime, which also received a Cable Ace Award nomination for writing. She has lent her voice to an impressive list of animated projects including Jimmy Neutron: Boy Genius, The Rugrats Movie, The Simpsons, Superman, Anastasia, George and Martha, and Sesame Street for which she received a special Emmy Award. Martin has received more Tony and Drama Desk Award nominations as a Featured Actress in a Musical than any other actress. Beginning with My Favorite Year in 1993 for which she won both awards as well as the Theatre World Award, she was also nominated for Young Frankenstein, Oklahoma!, and Candide. She was last seen on Broadway opposite Geoffrey Rush and Susan Sarandon in Exit the King, for which she received Drama Desk Award and Outer Critic Circle Award nominations, and also starred in the revival of The Fiddler on the Roof. Martin’s off-Broadway theater credits include her one-woman show Nude, Nude, Totally Nude, for which she received a Drama Desk Award nomination, On the Town for City Center Encores!, The Exonerated, The Vagina Monologues and The Merry Wives of Windsor. Martin has appeared regionally in The Torch-Bearers, A Midsummer Night’s Dream, The Matchmaker, The Royal Family (all at Williamstown Theatre Festival). She also starred in the Huntington Theatre Company productions of The Rose Tattoo and Betty’s Summer Vacation, for which she won the IRNE and the Elliot Norton Award for Best Actress. Ms. Martin divides her time between NY and Toronto, when she is not interfering in the life of her grown sons, Jack and Joe, who reside in LA.

Andrea Martin began her career as a singing chicken on the Captain Kangaroo television show. She was then cast in the United States Touring Company of You’re A Good Man Charlie Brown, in which she played Lucy. During the tour, she visited Toronto Canada, fell in love with the city, moved there and within a month, got cast in the Toronto production of Godspell, in what is now considered the legendary cast; Victor Garber, Martin Short, Eugene Levy, Gilda Radner, Jayne Eastwood and Paul Shaffer, their musical director. Ms Martin went on to appear in Leonard Bernstein’s Candide as well as Private Lives with Maggie Smith and Brian Bedford at the Stratford Shakespeare Festival Theatre. Andrea has appeared in numerous theatre and television productions in Canada, the most notable being, Toronto’s Second City stage show for five years which led to the critically claimed SCTV. She has hosted every televised award program in the country, is the recipient of both the Canada Walk of Fame and Women in Television and Film awards. For Martin’s work in the recent Toronto production of Love, Loss and What I Wore, as well as Final Days! Everything Must Go!, she received Broadwayworld.com’s 2010 best actress and best theatrical event awards. Ms Martin has also received four ACTRA awards for her participation in SCTV, two GEMINI nominations for hosting the 2007 Winnipeg Comedy Festival and for the CBC miniseries, St. Urban’s Horseman. Her film credits include, the newly released Breaking Upwards, My Big Fat Greek Wedding, (Sag award nomination and People’s Choice Award, best ensemble) Hedwig and the Angry Inch, All Over the Guy, Mary Walsh’s Young Triffie’s Been Made Away With, Stepping Out, Bogus, Wag the Dog, New York Minute, both the original and remake of Black Christmas, and Cannibal Girls,(co-starring Eugene Levy) for which she won the Best Actress Award at SITGES, the international horror film festival of Spain. For her work on SCTV Ms Martin won 2 Emmy

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Pour your own draft...seriously? 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 the table. We send it under the floor to your cooling unit. Your draft stays cold. And everyone loves that!”, confirms bartender Danielle Harvey. “Guests can reserve a booth (which seat 2-14) anytime”, says White. “Obviously this is a fun place to come with your sports team or your best buds. Having your own draft tap is a dream for a lot of guys but a draft system is expensive to install and maintain. This is the next best thing. Not only do you have your own tap, but we do the clean up!” At this point, guests can choose Coors Light or Canadian. Each table has 2 draft taps. Philthy McNasty’s takes reservations for the booths which are very popular especially during sporting events.

The Alcohol and Gaming Commission of Ontario recently passed a motion that will allow Ontario bars and restaurants to install draft towers right at the tables. “This has actually been going on in Europe for several years,” says Jeff White of Philthy McNasty’s Sports Pub in Oakville. White had the taps installed two years ago at his Speers Road pub but the Alcohol and Gaming Commission 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 took 2 years! The booths have been operational, but Philthy’s could not turn them on without the boards approval. They finally received that approval this past August. The system is very high tech and controlled by the service staff (who are trained by the AGCO). Patrons pre-order the draft which is then loaded into a cooling unit below the table. The guests can only access what they have paid for. So the

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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OAKVILLEâ&#x20AC;&#x2122;S MUSIC STORE We specialize in Guitar, Bass, Drums, Keyboards, PA, Recording, Lighting sales and service. 324 Kerr Street (at Florence) 905-339-3515 www.gearmusic.net

WE OFFER LESSONS FOR GUITAR, BASS, DRUMS, PIANO, KEYBOARD AND VOICE.

Hair Design for Everyone Come in for your personal complimentary consultation. We have your style!

905-842-1095 We are at 181 Church Street (on the second floor) in Beautiful Downtown Oakville 31

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INTERNATIONAL An OAKVILLE INFINITI presentation • T The International Guitar Night (IGN)is the world’s premier touring guitar festival. Each show brings together the most interesting and innovative acoustic guitarists to exchange musical ideas in a public concert setting. Each tour, IGN founder Brian Gore invites a new cast of guitar luminaries to join him for special evenings of solos, duets and quartets that highlight the virtuosity and diversity within the world of acoustic guitar. Audiences cherish the virtuosity of the playing and the friendly, informal ambiance of the performances. Participants relish the chance to play with peers from different genres, and to collaborate rather than compete. This unique brand of “guitar positivity” has helped make IGN the most successful guitar showcase of its kind.

BRIAN GORE San Francisco guitar poet Brian Gore is gaining a reputation as one of the most interesting and influential performers of “the next generation” in fingerstyle guitar. Gore’s style of playing offers strikingly beautiful tone and dynamics – qualities that are often hard to find in steel string players. His melodic, evocative songs rely heavily on the use of open tunings, extending the “stream of consciousness” style of guitar composing he grew up with in Northern California. “Music started out as a kind of therapy for me,” says Gore. “Consequently, I am a very emotional player. Now, my style of playing has also become a well honed craft. I am very grateful I can share this with people.” LULO REINHARDT Lulo Reinhardt is an extremely gifted guitarist who was taught by his father at the age of five. At twelve, he played in the Mike Reinhardt Sextett and later cofounded the group, “Django Reinhardt and the Heartbreakers.” Lulo Reinhardt is a spontaneous and

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L GUITAR NIGHT • Tuesday November 22nd at 8:00pm spirited musician who is led by the guitar into musical voyages of discovery. His curiosity has taken him to southern Spain in search of flamenco roots, and to South America, exploring various musical styles of Latin Jazz. ADRIAN LEGG While studying oboe under parental pressure (his own words), he began fashioning his own guitars, “or rather odd stringed instruments that at least could execute an acceptable twang” from pictures in newspapers, scraps from the school woodwork scrap bin, fret wire and with strings held on by head rest cover containers taken from the local bus station. While working at the airport in Liverpool, he met a young man who invited him to join a band and introduced him to country music. As popular as his catalog of recordings is, Legg’s true home is onstage. “Playing live is the whole point,” he says. “Everyone makes a journey, an effort; we all come together – me, the audience, the

people who run the venue – to share this wonderful, universal, human emotional interaction. This is where music lives.” MARCO PEREIRA Marco Pereira was born in Sao Paulo and got classical guitar lessons with the Uruguayan master Isaias Sávio and music theory lessons at the Music and Drama Conservatory of São Paulo. Marco Pereira received the important Sharp Award in two different editions: as Best Arranger (1993) for Gal Costa’s album and as Best Soloist and Best Album of the Year (1994) for Bons Encontros with the pianist Cristovão Bastos. Currently, he is a professor in the Composition Departament at the Federal University of Rio de Janeiro (UFRJ). His compositions were issued by the publisher Éditions Lemoine - Paris, France - and GSP (Guitar Solo Publications) - San Francisco, CA, USA - and have been played and recorded by important guitarists all around the world.

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DAN COOPER OF ROYAL LEPAGE presents

JOHN MAYALL Wednesday November 30th at 8:00pm Motivated by nostalgia and fond memories, in 1982, John (together with Mick Taylor and John McVie) decided to re-form the original Bluesbreakers for a couple of tours and a video concert film entitled Blues Alive, which featured Albert King, Buddy Guy, Junior Wells, Etta James, and Sippie Wallace and others. A whole new generation of followers could get a taste of how it all sounded live two decades before at the birth of the British Blues explosion. By the time Mick and John had returned to their respective careers, public reaction had convinced Mayall that he should return to his driving blues roots. As John McVie returned to Fleetwood Mac and Mick resumed his solo career, Mayall returned to Los Angeles to select his choices for a new incarnation of the Bluesbreakers. Officially launched in 1984, it included future stars in their own right, guitarists Coco Montoya and Walter Trout, as well as drummer Joe Yuele, who is still John’s rhythmic mainstay. Spring 2007 brought John Mayall’s 56th album release, on Eagle Records: In The Palace Of The King, an entire studio album that honors and pays tribute to the music of the Mayall’s long-time hero of the blues, Freddie King. The release of this popular tribute album led to such a heavy touring schedule that it began to take its toll on John physically. He therefore reluctantly decided to take time off to re-evaluate his career. In October 2008 he made the decision to disband and retire the long standing Bluesbreakers, which caused quite a stir in blues circles and led to rumors about total retirement. Since then Mayall has made some guest appearances with Mark Hummel’s Harmonica Blowout and so enjoyed the freedom that he decided to put together some new musicians with a view to touring on a more limited basis. The reaction to this plan has been so positive that two tours of Europe were put together for 2009, including several shows with BB King in the UK. As for the man himself, the father of six and the grandfather of six, John Mayall, at 78, hopes to keep the blues alive for many more years to come.

John Mayall was born 29th of November 1933 in Macclesfield, an English town near the industrial hub of Manchester – a far cry at that time from the black American 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 guitarist father’s extensive jazz record collection and felt drawn to the blues. Strongly influenced by such greats as Leadbelly, Albert Ammons, Pinetop Smith, and Eddie Lang, he taught himself to play and develop his own style with the aid of a neighbor’s piano, borrowed guitars, and secondhand harmonicas. From an art college training, to three years with the British Army in Korea, to a successful career in graphic design, his blues singing and playing took a back seat until he reached the age of 30. From 1956 until 1962, John was performing publicly on a parttime basis fronting The Powerhouse Four and, later on, The Blues Syndicate. It was then that Alexis Korner’s Blues Incorporated pioneered what was to become known as The British Blues Boom. Alexis was quick to encourage and help John make his move to London where he soon secured enough club work to be able to turn professional under the name John Mayall’s Bluesbreakers. After a couple of years and a constant turnover of musicians, he met his soulmate in Eric Clapton, who had quit the Yardbirds in favor of playing the blues. This historic union culminated in the first hit album for the Bluesbreakers and resulted in worldwide legendary status. After Clapton and Jack Bruce left the band to form Cream, a succession of great musicians defined their artistic roots under John’s leadership, and he became as well known for discovering new talent as for his hard-hitting interpretations of the fierce Chicagostyle blues he’d grown up listening to. As sidemen left to form their own groups, others took their places. Peter Green, John McVie and Mick Fleetwood became Fleetwood Mac. Andy Fraser formed Free, and Mick Taylor joined the Rolling Stones. As Eric Clapton has stated, “John Mayall has actually run an incredibly great school for musicians.”

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DAN COOPER OF ROYAL LEPAGE presents

Barra MacNeilâ&#x20AC;&#x2122;s Christmas Friday December 9th at 8:00pm live Christmas Concert Special,a visit to Cape Breton, interviews at home and music videos. Canadaâ&#x20AC;&#x2122;s Celtic ambassadors continue to perform to sold out audiences throughout Canada, the United States, the Caribbean, the United Kingdom and Europe. From headlining major festivals, concerts, special guest appearances, television specials, film and television placement (Men with Brooms Soundtrack; Racket In The Attic) and their annual Christmas tour, they have set the course with a solid foundation for success The Barra MacNeils will continue to do what they love to do best, and that is playing their music for the fans. This incredibly talented family group will tour Canada, the US and Europe to spread their distinctive brand of Celtic flavour around the world.

As a group, the six MacNeil siblings are widely regarded as one of the greatest live concert acts in the Celtic world. Hailing from Sydney Mines, Cape Breton Island, Nova Scotia, the family group is deeply rooted in Celtic music, culture, dance, language and history. Their numerous critically acclaimed recordings have included their own original songs as well as tried and true standards, both instrumental and vocal. Steeped in Cape Breton tradition with strong Celtic roots and musical artistry, this diverse and talented family group continues to wow audiences around the world with their captivating vocals, harmonies and extraordinary musicianship. Multi-award winners, they have released no less than 14 recordings including a DVD titled Cape Breton Christmas incorporating music from their

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

THE OAKVILLE NISSAN FAMILY SERIES Build your own OAKVILLE NISSAN FAMILY SERIES subscription: ANY 3 shows for $60 per person ($20.00/ticket) ANY 4 shows for $72 per person ($18.00/ticket)

ANY 5 shows for $82 per person ($16.40/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)

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H2 SYSTEMS presents

The Arrogant Worms

CHRISTMAS Thursday December 15th at 8:00pm emceed at major festivals. Their songs are in school lesson plans, in textbooks and even played on the Space Shuttle. On earth or in space, everyone digs these Worms. The Arrogant Worms are as comfortable on the radio or on camera as they are on stage Their energy and showmanship were captured on the DVD of their concert with the renowned Edmonton Symphony Orchestra. The DVD also features appearances by Worm pals figure skating champion Kurt Browning and actors Tom Cavanaugh (Ed, Love Monkey) and Nathan Fillion (Saving Private Ryan, Desperate Housewives). In recent years the Worms have been pleased to donate their time and talent to the cause of literacy in Canada through Frontier College and were awarded the Peter Gzowski Award for their efforts. So The Arrogant Worms will continue to provide tuneful and silly escapism for everyone who needs it. And if you think you don’t need it, well you’re wrong. You do. The Arrogant Worms know what’s best for you and what’s best for you is The Arrogant Worms

Three quarters of a quarter of a century ago, something magnificent happened in Kingston, Ontario, Canada. Sensing a desperate public need for musical comedy, The Arrogant Worms was formed. The Arrogant Worms began as a comedy troupe performing songs and sketches on the campus radio station in 1991. As the live show developed, the songs delighted the audience. The sketches - not so much. It began as a hobby, making fun of a big dumb world. Luckily, the world is still dumb and The Arrogant Worms (Mike McCormick, Chris Patterson and Trevor Strong) still have plenty to sing about. The shows are fast, furious and family friendly. The wit is quick, the satire is biting and the musicianship is second to none. Their appeal has earned them fans from kids to parents to grandparents to Princess Leia. The Arrogant Worms have sold more than 150,000 copies of their 12 albums and played on three continents to crowds as large as 100,000. They were recognized in 2003 as the Touring Act of the Year by the Canadian Arts Presenters Association. The Worms have entertained at corporate functions, sung anthems at sporting events and

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DAN COOPER OF ROYAL LEPAGE presents

The Good Lovelies Friday December 16th at 8:00pm

In addition to their acclaimed holiday album, Under the Mistletoe, which showcases old and new seasonal tunes (including three original songs), the Good Lovelies’ self-titled full-length album proved their blithe brand of folk music has year-round appeal. With this record, the Good Lovelies won New Emerging Artist at the Canadian Folk Music Awards. In 2010, this same album received a Juno for Roots/Traditional Album of the Year. Let the Rain Fall, their third full-length album, is an ode to camaraderie. With equal parts city and country, highway and home, wistfulness and sass, the Good Lovelies’ good humour and self-assurance shines through from the toe-tapping start of Made for Rain to the sweet final notes in the French-flecked Mrs. T. In between, you’ll hear reflections on urban imperfections with Backyard, straight-up love songs like Best I 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 Canadians, but those south of the border and across the pond too.

Funny and upbeat, with just a pinch of sass, the Good Lovelies’ textbook three-part harmonies, constant instrument swapping and witty on-stage banter have enlivened the folk music landscape since they joined forces in 2006 for their first show at Toronto’s funky Gladstone Hotel. How the Good Lovelies (Caroline Brooks, Kerri Ough and Sue Passmore) got together is a bit of a mystery: Sue remembers meeting her band mates during a limbo competition, Caroline thinks they met at a chess tournament, but Kerri is convinced they first crossed paths during a bar fight. Whatever the story may be, the ladies immediately realized they had something special, so they hit the road on a mission to charm Canadian audiences coast to coast. Lighthearted songwriting and irresistibly buoyant dispositions have made them the darlings of the summer festival circuit, including spots at the storied Mariposa and Hillside Festivals and the Montreal Jazz Festival. They have toured with Stuart McLean and the Vinyl Café and appeared on stages and in studios with Broken Social Scene, Kathleen Edwards and Jill Barber.

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A TASTE OF DOWNTOWN September 16th to 30th Downtown Oakville

HARVEST FESTIVAL Saturday October 15th

TINY TOTS ON PARADE in Downtown Oakville

Saturday October 15th Downtown Oakville

TREE LIGHTING CEREMONY Friday November 18th Downtown Oakville

HOLIDAY MAGIC November 26th â&#x20AC;&#x201C; December 18th

www.oakvilledowntown.com 41

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DOWNTOWN OAKVILLE BIA presents

Freddy Cole THE FREDDY COLE CHRISTMAS HOLIDAY SHOW Saturday December 17th at 8:00pm that continues to flourish to this day. He developed a vast repertoire of songs in Manhattan bistros and concurrently began to supplement his live performances with television and radio commercial jingle work. A resident of Atlanta since 1972, he currently leads a trio made up of himself, guitarist Randy Napoleon, drummer Curtis Boyd and bassist Elias Bailey that regularly tours the US, Europe, the Far East and South America. Freddy has been a recording artist since 1952, when his first single, The Joke’s on Me, was released on an obscure Chicagobased label. Cole doesn’t apologize for sounding like his brother, Nat “King” Cole. There are certain unmistakable similarities. He plays piano and sings and performs live with guitar and upright bass, just like Nat. Yet his voice is raspier, smokier, jazzier even. But he has emerged from the awesome shadow cast by his elder brother. In truth, his phrasing is far closer to that of Frank Sinatra or Billie Holiday than that of his brother and his timing swings a little more. His vocals - suave, elegant, formidable, and articulate - are among the most respected in jazz. Cole’s career continues to ascend as he has moved into the front ranks of America’s homegrown art form with a style and musical sophistication all his own.

Lionel Frederick Cole was born on October 15, 1931, the youngest of Edward and Paulina Nancy Cole’s five children. His three elder brothers, Eddie, Ike and Nat (twelve years Freddy’s senior) were all musicians. “I started playing piano at five or six,” Freddy remembers. “Music was all around me.” In the Chicago home of his youth, visitors included Duke Ellington, Count Basie, and Lionel Hampton. He also credits Billy Eckstine as a major influence. “ He was a fantastic entertainer,” Freddy recalls. “ I learned so much from just watching and being around him.” After a possible career with the NFL was shelved due to a hand injury, he began playing and singing in Chicago clubs as a teenager. Although he was ready to hit the road at 18, his mother intervened and he continued his musical education at the Roosevelt Institute in Chicago. Freddy moved to New York in 1951, where he studied at the Juilliard School of Music and found himself profoundly influenced by John Lewis, Oscar Peterson and Teddy Wilson. He got a Master’s degree at the New England Conservatory of Music and then spent several months on the road as a member of an Earl Bostic band that also included Johnny Coles and Benny Golson. It was back in New York that Freddy successfully laid the groundwork for a career

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OAKVILLE INFINITI presents

QUARTETTOGELATO CHRISTMAS AROUND THE WORLD • Sunday, December 18th at 3:00pm cast. Recent concerts have included performances with the Toronto and Quebec symphonies, as well as prestige engagements including the Toronto Luminato Arts Festival, 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 Wine Country DVD is seen regularly on PBS. Their seven CDs have sold over 150,000 units to date and they have been featured on the Hollywood soundtrack “Only You.” Always active in the recording studio, the quartet has just recorded its seventh CD Musica Latina featuring music of Latin America. The public release is scheduled for the spring of 2009. Previously, QG released Quartetto Gelato Travels the Orient Express celebrating the original journey of the famous luxury train and featuring music from London to Istanbul. Since the release in spring of 2004, the recording has met with extensive critical and public acclaim. The previous recordings, which have played a significant role in the group’s increasing popularity, are Neapolitan Café, Aria Fresca, Rustic Chivalry, and their debut recording, simply entitled Quartetto Gelato. The latter two CDs have literally been heard around the world, since they accompanied Canadian astronaut, Dr. Robert Thirsk, during his NASA flight on board the space shuttle Columbia in 1997.

Virtuosic showpieces, romantic tenor arias, gypsy pyrotechniques and a world accordion champion – this is Quartetto Gelato. Where music meets theatre and audiences are taken on an unforgettable musical journey! For over a decade, this dazzling ensemble has enchanted audiences and critics worldwide with their exotic blend of musical virtuosity, artistic passion, and charismatic anecdotes. Classical in training – eclectic by design – Quartetto Gelato (QG) not only thrills its audiences with its multi-instrument mastery, but also offers the bonus of a brilliant operatic tenor. With a performance repertoire that travels the globe including classical masterworks, operatic arias, the sizzling energy of tangos, gypsy and folk songs, the group’s theatrical stage presence and relaxed humor establishes an intimate rapport with audiences worldwide. QG established themselves as dominant forces on the music scene early in their career by winning the coveted title of NPR Performance Today’s Debut Artist of the Year. The selection panel concluding the quartet was “an amazing ensemble that achieves the nearly impossible: they play salon music with real style and classical music with real precision; Great chops and a commitment in all that they play.” In 2007, the group’s first DVD Quartetto Gelato: A Concert in Wine Country! was picked up by PBS throughout the U.S. for broad-

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PIONEER FAMILY POOLS presents

best of woodstock CLASSIC ALBUMS LIVE • Wednesday December 21st at 8:00pm Woodstock was originally released as a three-LP set in a gatefold sleeve. It topped the Billboard Charts for four weeks and sold two million copies. It sold so well that Cotillion issued a sequel double album of more music from the festival that never appeared in the film. The LPs took the music out of the historical sequence of the festival and re-ordered (and edited) it for a sense of flow. Whether or not it accomplished its objective has been the subject of much debate and beyond this review’s scope. What is relevant is that these performances signified via their spotty recording quality – and sometimes dodgy performances – that there was an amazing array of legendary talent on hand at Woodstock; though not all of it is captured here. Rhino’s 2009 remastered edition of this set on a double CD is the cleanest edition yet, but even it has problems: the source tapes were problematic at best. It restores the original LP order and has more photos in the booklet. Musically, the second disc sounds the least dated with its over the top performances by a shockingly great Santana with Soul Sacrifice, Ten Years After’s guitar workout on I’m Goin’ Home, Jimi Hendrix’s Star Spangled Banner medley (still a stunner after all these decades), Jefferson Airplane’s rocking and raucous version of Volunteers, and the orgiastic Sly & the Family Stone medley that includes Dance to the Music, Music Lover, and an insanely great I Want to Take You Higher. There is some filler as well thanks to a drippy John Sebastian track called Rainbows All Over Your Blues, and an indulgent Love March by an

out-of-their-prime Butterfield Blues Band. Disc one is more complex. There are some fine moments here, especially the CS&N and CSN&Y tunes, including Suite: Judy Blue Eyes (perhaps not perfect in voice but a very inspired performance), and Wooden Ships, with a decent if not thrilling Sea of Madness, in between. There is a desultory We’re Not Gonna Take It from the Who that is out of context, given they performed the entirety of Tommy. While Canned Heat’s Goin’ Up the Country” has aged well, Country Joe & the Fish’s famous The Fish Cheer / I-Feel-Like-I’mFixin’-To-Die Rag has not, nor has Joan Baez’s performance of Drug Store Truck Drivin’ Man. Her version of Joe Hill is generic. Richie Havens’ Freedom is still thrilling, especially since it is preceded by Sebastian opening the entire set up with another dullerthan-dull I Had a Dream. The “Summer of Love” had been over for two years by the time Woodstock took place, and riots in Watts, Detroit, Newark, and other places had occurred, as well as an escalation in the Vietnam War. The most out of place thing here is Sha Na Na’s At the Hop, which sounds surreal but ragged and right, and Joe Cocker’s With a Little Help from My Friends, that closes disc one; it’s electrifying if rather out of tune. So as it stands, Woodstock is a wildly mixed bag, and not particularly pleasant to listen to, but it does indeed have a significant place in the rock pantheon and should be regarded more as an artifact than as an album in its own right. ~ by Thom Jurek; Allmusic.com

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IN JUST A FEW WEEKS, YOUR DOG BECOMES A GOOD FAMILY MEMBER! Just listen to our students . . . 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, commented today on how much he has improved in only a few weeks! BRANTFORD I didn’t realize how much fun it can be coming to class each week.

CAMBRIDGE I’m so fortunate that my vet highly recommended McCann Dog Trainers for my dog. CAMPBELLVILLE McCann Dog Trainers has a program that doesn’t waste time and produces results. DUNDAS I recommend McCann Dog Trainers to anyone who asks for a good training school (I work at a vet clinic). This is my second dog being trained here and if we had a third it would also come here. GUELPH It is worth the drive from Guelph! GRIMSBY I like that they have alternatives for training if one method doesn’t work. HAMILTON This is my third dog that I’ve trained at McCann Dog Trainers and I am as impressed now as I was back then. Many people comment on how well behaved they are and I always say that it’s all due to attending class at McCann Dog Trainers. KITCHENER The staff’s availability to answer problems or questions on the phone or in person was exceptional. MILTON I have been to other obedience schools that were not nearly as effective. We noticed an improvement in our dog after just one class at McCann Dog Trainers. MISSISSAUGA I have made great strides with my dog since being enrolled in this class. OAKVILLE I love the fact that there are so many instructors in each class to give feedback and individual attention. I receive many compliments on how well my dog behaves, especially for such a big dog. STONEY CREEK We would never have believed our dog could learn so much so quickly. TORONTO I found classes at McCann Dog Trainers to be fast paced and interesting. WATERLOO The drive was definitely worth it from Waterloo. Money well spent!

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

www.McCannDogs.com S E RV I N G S O U T H E R N O N TA R I O S I N C E 19 8 2

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The VolunteerArm of the Oakville Centre for the PerformingArts presents

FRONT ROW CENTRE

2011Raffle

1st Draw 1 2nd2 Draw 3rd 3 Draw

Ernie Ball Music Man Albert Lee signature Electric Guitar, in Translucent Blue from Gear Music

(Value $2,000)

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) Panasonic Viera 42” LCD 1080p full HD flat screen television from H2 Systems

(Value $1,100)

Draw to be held on

DECEMBER 21, 2011 at the Oakville Centre at approximately 9:00 pm Tickets are $5 each or 3 for $10 LOTTERY LICENSE # M638251