It’s hard to imagine a concert where Van Morrison’s “Crazy Love,” the Gershwin brothers’ “Lady be Good,” Orlando di Lasso’s “Bonjour, mon coeur,” John Dowland’s “Can She Excuse,” and a reading of Carl Sandburg’s poem, “Haze,” could comfortably sit shoulder-to-shoulder on the same programme.
But not only did they coexist, they melded happily for both performers and audience last night at Toronto Masque Theatre’s latest show, Masques of Love, at the acoustically and aesthetically rewarding Enoch Turner Schoolhouse.
The show repeats tonight at 8, and is as close as one can get to a guarantee of going home afterward with a big smile and a warmed heart.
Toronto Masque Theatre founding artistic director Larry Beckwith is the brains behind the show, but he was the first to invoke the casual atmosphere last night as he welcomed the audience.
“This is the first time I’ve introduced a show with a beer in my hand,” he smiled, then sat down among the chairs and cabaret-style round tables in the full house to enjoy the impeccably layered and smoothly transitioned mix-and-match of musical styles gathered to celebrate (and lament) love, in all its guises.
The musical accompaniment came from roots singer/guitarist Ken Whiteley and lute player Terry McKenna, who represent either spectrum of the Western guitar-player’s art. But just like the rest of the talented cast, they played together as beautifully as when they accompanied their respective specialties.
Whiteley is a treat all by himself, his white mane and beard belied by incredible energy, nimble fingers and a still youthful-sounding voice.
He received backup help from a nicely matched quartet of classical singers: soprano Teri Dunn, alto Vicky St. Pierre, tenor Michiel Schrey and bass Giles Tomkins. Thy would then turn around to sing a perfectly turned madrigal. Soprano Patricia O’Callaghan was also on hand to sing a few carefully chosen solos.
Actor Martin Julien jumped in from time to time to add an emotionally spot-on reading of poetry.
At the centre of the show was a full-cast performance of Neruda Canciones, commissioned by Toronto Masque Theatre from composer Omar Daniel, and premiered by the company nearly six years ago. The cycle is well worth hearing again.
Daniel chose four contrasted poems — “El inconstante,” “El desvio,” “La bandera” and “El tigre” — representing romantic love, pathological possessiveness, solidarity and the predator. He set them to highly evocative music that relies on the power of the voice — in this instance, O’Callghan in solo duty, backed up by a madrigal-like chorus (think Gesualdo at his most hair-raising) — to pierce the listener’s soul.
In all, the programme was layered like a well-assembled pastry, just as tasty, yet totally heart-healthy.
It’s no small feat to have the performers visibly and audibly enjoying themselves as much as the audience.
This is the sort of love we should all share as often as possible.
For show details, click here.