By: Natalie Clark
When the quaint and beloved Westdale Theatre closed down in early 2017, residents of the Westdale community and many McMaster students were especially upset. Although fairly run down, the Westdale had been the community’s hot spot for Friday night dates, Hollywood’s must-see films and the best popcorn in town for as long as anyone could remember.
On Feb. 14, the Westdale community celebrated the long-awaited re-opening of the Westdale Theatre. Guests were told to dress in period attire for a special event accompanied by cocktails and a screening of the 1942 classic, Casablanca. The event also featured a silent auction, where guests could explore the new and improved venue while admiring local Hamilton art.
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With searchlights lighting up the night sky and a red carpet gracing the floor of the doors of the theatre, the Westdale certainly dressed to impress for their grand re-opening. The 350 ticket event sold out in two weeks.
For the past 30 years, the Westdale was owned by an elderly man in Toronto. It wasn’t until he passed away that his family put the theatre up for sale, allowing new owners to claim the theatre, known as the Westdale Cinema Group.
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“An enormous amount of changes were made… the theatre was in terrible condition, we spent 2.5 million dollars restoring it,” mentioned Fred Fuchs, chairperson of the Westdale Cinema Group.
“Besides equipping it with state-of-the-art projection, screens, new seats, new sound, new acoustic panelling, we also had to completely redo the air conditioning and the heating, the electrical system, the roof, the bathrooms — it was a complete overhaul of the entire theatre,” said Fuchs.
About two years later, the Westdale Theatre is back open for business, and the community is thrilled. Westdale resident and Silhouette alumnus, David Simpson, had one word to describe the re-opening event, “fabulous”.
“I think that the re-opening will be great for Westdale and for McMaster too, creating a hub for the community,” said Simpson.
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Members of the Westdale community are thrilled about the re-opening of the theatre but are also admiring the other advantages that the theatre welcomes to the community.
“It’s wonderful to see it revitalized, and to see hundreds of people in the theatre is great,” said Vivian Lewis, a member of the Westdale community.
“I think that the theatre is going to bring a diversity of films to the community,” mentioned Lewis. “Right now in Hamilton we just have lots of box theatres that are showing the same thing on every screen, and so this theatre will be our chance to see more art films and more alternative films that aren’t currently available in Hamilton.”
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Aside from standard film movies, the Westdale Theatre will also be hosting frequent live music shows, talks, performances and other special events.
“I’m excited about the idea that it’s not just a movie theatre anymore and that it’s also performance based,” said Sue Trerise-Adamson, another Westdale resident.
“I think that is a really good idea, and it expands all the possibilities of the theatre… I think it’s a real anchor for the whole community of Westdale,” mentioned Trerise-Adamson.
Westdale locals have already begun visiting the theatre for their regular screenings and are grateful to have the theatre back in the community.
Experience the new and improved Westdale Theatre on your own and check out all available screenings and shows on their website: https://www.thewestdale.ca/now-playing/
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By: Natalie Clark
Hamilton has been getting its fair share of the winter weather this season, so in what better way to embrace it than to explore all that Winterfest 2019 has to offer?
Winterfest is a two-week long affair that features winter events in and around the city. Beginning Feb. 1, there will be free and paid events held throughout Hamilton such as open skate, live music and various themed events. Take a break from studying and enjoy the winter weather while taking part in this timely Hamilton tradition.
Juno Award winner and Hamilton born indie rock singer/songwriter Matt Mays will be performing at Hamilton Central Public Library on Feb. 10. Mays is currently on his Dark Promises Tour and will be making a pit stop in his hometown for an intimate show. Head on down to Hamilton Central Public Library for some of the best music Hamilton has to offer. This is a paid event and tickets can be purchased on Eventbrite.
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Frost Bites is a four-day event in partnership with Hamilton Fringe featuring some of Hamilton’s best theatre performers. Each night, artists will perform “bites” of theatre shows that are meant to last no longer than 20 minutes each. The festival will also be taking place on Feb. 14 to Feb. 17 at two community locations, the New Vision United Church and St. Paul’s Presbyterian Church.
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On Feb. 13, Winterfest will be holding a lecture featuring guest speaker Kojo “Easy” Damptey, an afro-soul musician and scholar-practitioner. Born and raised in Ghana, he attempts to address societal issues and enact change in the world with his lyrics. He will be speaking on behalf of stories of existence, resilience and resistance. The event is free and will be held at the Historic Ancaster Old Town Hall. All are welcome to join the celebration and commemoration of Black History Month.
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Stressed? Bored? Dying to pick up a new hobby? If any of those resonate with you then this beginners knitting course may be up your alley. For $90 you’ll learn the basics of knitting over the course of three classes, running on Wednesdays from Feb. 13 to Feb. 27. Grab a group of friends and head down to the Art Aggregate in East Hamilton for all the tips and tricks you need to know about knitting.
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In honour of the beginning of the Chinese New Year on Feb. 5, Barton Stone Church will be hosting a Fung Loy Kok Taoist Tai Chi Open House on Feb. 9. This event is free and includes a demonstration and class, as well as various hot drinks including tea and apple cider! There will be volunteer staff available to chat with you about their class schedule, as well as information about the benefits of Taoist Tai Chi. The event is sure to be a warm evening full of new learning experiences.
The Canteen is one of Hamilton Winterfest’s signature events. Featuring live music from a variety of artists, including Hamilton-based singer/songwriter Ellis, a cozy fire, winter marketplace and various other events, this event is worth the trip to the Battlefield House Museum & Park National Historic Site on 77 King Street West. The location is also known as one of Canada’s most significant monuments of the War of 1812. Aside from participating in the event’s attractions, you are also welcome to explore the museum and historic grounds on site. This is an all-day event taking place on Feb. 16 starting at 10 a.m.
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Grease has never been a favourite of mine. I like about two of the songs; I’ve never watched the John Travolta movie all the way through in one sitting; the plot is hazy and the themes it supposedly tackles are simply not there. In fact, as expected of a story set in a high school, the messages it sends out about social and gender hierarchies are disturbing. Its strengths have always been in how upbeat the soundtrack and how lively the dancing is, making it fit perfectly in the stereotype mold for musical theatre, but at the end of the day, that had always been it.
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Nonetheless, I admit to being swept up in the hype that preceded FOX’s Grease: Live.
With a big Broadway name like Aaron Tveit starring as Danny Zuko and countless behind-the-scenes videos taking Grease enthusiasts through the rigorous process behind the production, I was hopeful and excited. By the time news was released that Hamilton director Tommy Kail was on board, I was more than ready for Jan. 31.
Unfortunately, all the things that FOX seemed to take pride in with their take on a televised musical — the celebrity-studded cast, the songs specifically composed for this adaptation, the interaction with the live audience, the set design split across the Warner Bros. Studios — are also the same things that ultimately ruined Grease: Live for me.
That said, the cast was good, but it did not impress more than it could have. While I’d loved Tveit since his Catch Me If You Can days, my appreciation for him as Danny Zuko was half-hearted. His singing did not disappoint, and certainly sparked an eagerness to see him back on the Broadway stage, but standing in the shadow of Travolta’s Zuko and with co-star Julianne Hough overtaking him every choreographed step of the way, his dancing fell a little flat. The opposite holds true for Hough, who despite being one of the best I’ve seen dancing as Sandy Young, gave a half-hearted performance during “Hopelessly Devoted To You.” Her cheerleading tryout scene opposite Heathers’ Elle McLemore as Patty Simcox, however, was by itself enough to establish her as the real star of the show for me, even if her singing was not quite as impressive as her dancing.
Vanessa Hudgens’ performance as Rizzo was incredible in its own right, especially with the passing of her father just the night before the show; the cast dedicated the production of the show to him. Alongside her as the other Pink Ladies are Keke Palmer as Marty and Carly Rae Jepsen as Frenchy, who both delivered where they needed to. Jessie J, Joe Jonas and Boyz II Men all cameo to perform various songs, and with household faces like Mario Lopez in the cast, there was no shortage of applause from the audience when it came to close—up shots, no dancing nor singing needed.
The production went where NBC’s live musicals have not gone before. There is a dazzling charm in the blending of theatre and television that FOX attempted to accomplish with Grease: Live, and it’s certainly different, if nothing else. It was big, it was flashy, the theatricality was impressive, it brought in ratings — and for a FOX production, that probably means they’d checked everything off their list. I am embarrassed to admit I expected more, possibly too much, for if they were willing to try new things, so much so that they would have a new song composed, wouldn’t this mean moving away from the soullessness of the original Grease? To my chagrin, apparently not.
The result of FOX’s attempt at a televised musical is a production that felt like one of Glee’s Super Bowl special episodes which I happen to appreciate more than despise, because it usually meant story and character progress (finally) and a lot of show-stopping songs. With the weaknesses remaining where they always were, and the strengths the same as they always were, my opinion of Grease stands.
Photo Credit: Kevin Estrada/ FOX
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Those who fall under the grand umbrella of “singer-songwriter” often exude a similar aesthetic: dreamy troubadours with an acoustic guitar and a penchant for sensitive, lovelorn lyrics. British folk artist Ben Howard is an anomaly to this foolproof formula for commercial success; he prefers staying in the dark and allowing his music — a mix of lilting guitar riffs and raw vocals — to do the selling.
Currently on his North American tour, Ben Howard graced the historic Massey Hall in Toronto on Feb. 1. Montreal native The Franklin Electric, a young folk-pop band that is likely to impress you if you’re a fan of Howard’s style, opened up the show. A hybrid of Half Moon Run and Mumford & Sons, The Franklin Electric impressed with their charming stage presence and catchy, sumptuous melodies that included refreshing brass and string components (check out the quintet’s first album, This Is How I Let You Down).
Howard’s show, very much like his career, was an ode to darkness. His preference towards staying out of the limelight was evident from the start in a subtle but dramatic entrance. Surrounded by a five-piece band (including India Bourne, the face behind the haunting harmonies on most of his tracks), Howard was seated at centre stage and was barely visible. The stage was illuminated only by low backlight, and he rested in shadows as he opened with “Small Things,” a track from his latest album, I Forget Where We Were. The distortion of the opening riff reverberated around the concert hall, from the hollow of his guitar to the curvature of the ceiling, and delivered an ache characteristic of his introspective tunes. The set list was mostly comprised of songs from I Forget Where We Were, an album reflective of a darker, more pensive Howard, who embraces disappointment and heartache just as he embraces the shadows from which he performed most of his 100 minute set.
Few can argue Howard’s impressive musicality. From fingerpicking with stunning agility on his acoustic guitar to hammering out delayed notes on his electric, his prowess on the instrument is second to few, and his live execution is astounding. When Howard was the focus, you could feel the audience at the edge of their seats, afraid to move so as to not disturb the evanescence before them. Though the permanent tremor and vulnerability of his voice stood out, it is worth mentioning that the five band members who accompanied him worked together seamlessly. Perhaps one of the downfalls of Howard’s show is the little recognition towards his band; though the play on light and dark is a thematic success, it failed to highlight the incredible accompaniment of the multi-instrumentalists who shared the stage with him. While Howard had the spotlight on him despite the darkness surrounding him, his colleagues were, quite literally, shrouded in his shadows.
Much of the concert felt like a storm. There were quiet, vulnerable moments, but there were also loud, punchy tracks. In “End of the Affair,” what starts off as an ardent, acoustic tune turns into one infused with electronic beats and Howard seemingly pleading in desperation. The lighting very much followed the course of the music, with darkness accompanying more meditative lyrics, and flashing lights following the sudden thumping of escalating percussion. Eventually, all songs found their ending in a calm space, once again with the flashing lights a passing memory and Howard and his band shrouded in a reflective silence.
If you have a chance, be sure to check Ben Howard out next time he’s on tour. While his music may be lacklustre to some, he possesses a quiet strength that may surprise you in a live setting. A great live performer, he has a captivating presence and equally infectious music catalogue. If you’re a concert goer who considers a prime concert experience as one that focuses more on wholesome, gratifying music than on-stage banter, Ben Howard will show you the bright side of performing out of the limelight and in darkness instead.
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Although Toronto’s Kool Haus is better fit for raves than psychedelic rock concerts, the easygoing Aussies that comprise Tame Impala made themselves at home this past Saturday. The quintet of Kevin Parker (vocals/guitar), Jay Watson (synth, vocals), Dominic Simper (guitar/synth), Nick Allbrook (bass) and Julien Barbagglo (drums) displayed an ability to acclimatize that seems beyond their years. An eclectic sold-out crowd upwards of 2000 people filled the warehouse-like venue, attesting to the band’s heady rise to prominence as a must-see act. From the stonewashed Levis-wearing older men who probably have Rolling Stone subscriptions and stories about the Aerosmith shows they drove cross-country to see in the ‘70s to the bespectacled hipsters who just got off shifts at artisanal, fair-trade coffee shops on Queen Street, I was among good company.
Fellow Perth natives The Growl did a good job of keeping the anxious crowd attentive - or at least as well as anyone opening for Tame Impala can. “Smoke It Down to the Bone” was a groovy piece of stoner blues-rock that was commandeered by an earth-shaking bassline and the frontman’s grizzly vocals. To say that they are the Aussie version of The Black Keys — except they haven’t sold out (no shots, though) — would be fair, but they exceed the comparison.
After a quick soundcheck, which may have just felt that way because of the plentiful number of drinks imbibed, Tame Impala suddenly strode on stage to clamorous applause. Without greeting the multitude of fans, the band complacently jammed before launching into Innerspeaker standout “Solitude Is Bliss.” Even when distorted by vocoder, Parker’s John Lennon-like vocals sent girls swooning into fits. Although the song is about the frontman’s introverted mentality, it brought the crowd together as they ironically sang along to lyrics meant to alienate him from others: “you will never come close to how I feel.”
Flanked by a projection screen that displayed trippy visuals and whose fluctuations seemed to be synced with Parker’s Rickenbacker guitar, the band deftly wove their way through Lonerism’s “Apocalypse Dreams” without appearing to be phased by the large crowd. Heavily touted for their live performances, the band showed their worth with “Music To Walk Home By,” which, even through the Kool Haus’ shoddy sound system, sounded better than the studio version. Sure, the band might’ve employed a genius sound engineer, but the jam-packed closing minute of the song was too well performed to be a fluke. Not content to give the crowd a breather, Allbrook sent the fans into a rabid state with the visceral bassline of “Elephant”. Those who had been politely swaying to and fro lost any sense of middle-class reservation and avidly banged their heads along to the fuzzy jam reminiscent of the ‘60s.
Tame Impala ramped the energy up even further with Lonerism’s clear standout, “Feels Like We Only Go Backwards.” In a brief three minutes, the band expressed their mastery of the oft-done wrong psychedelic genre in a perfect sonic blend of their maximalist use of technology. The 14-song set was tight, but short (too much so) enough to leave everyone pining for more.
Although he had the crowd ready to proclaim him Toronto’s new mayor (God knows he’d fare better than the current KFC poster-boy in office), Parker maintained a steady distance from the concert-goers and made little banter other than to thank everyone for their support. But even without that paltry bit of interaction, the band’s music was more than enough to captivate. Tame Impala is clearly on their way to selling out bigger venues, and next time they roll through Toronto they may well have graduated to the stunning acoustics of Massey Hall. Along with many others, I look forward to it.
tomi milos
The evening of Sunday Feb. 17 a homecoming of sorts took place in downtown Hamilton. 227 people eagerly flooded into This Ain’t Hollywood to see Arkells play their first hometown show in over a year. The show was a secret one only announced on Friday morning, and proceeds benefited Boys and Girls Clubs of Hamilton. It was sweaty, loud and passionate show - everything the band has come to be known for.
The show was dubbed “a celebration of downtown Hamilton,” and as such, tickets were only available in hard-copy from downtown icons Dr. Disc and Cheapies Records. As if there was any doubt in the show’s buzz, it sold out in less than 15 minutes. Thanks to a break in classes, a spur-of-the-moment decision and a dash across Main to catch a bus, I managed to get my hands on two of them.
New Hands, young natives of - you guessed it - Hamilton, were chosen to warm up the crowd just after 10 p.m. Their new-wave indie-rock goodness got plenty of heads bobbing and rightfully garnered some new fans. Midway through their set, vocalist Spence Newell asked, “So who’s excited to see Charlemagne?”, eliciting a few cheers and laughs from fans who knew Arkells’ former moniker back from their McMaster days.
The headliners were introduced by the amiable venue owner Lou Mollinaro, with a short story about booking Charlemagne when they were just a fledgling quintet. Mike, Max, Nick, Tim and Anthony followed to take the stage to overwhelming cheers. Here was a band who, just four days prior, had opened for Canadian heavyweights The Tragically Hip at a sold out ACC, playing to 13,000 people. After the show frontman Max Kerman told me what the change in audience was like: “tonight was much more fun. And more sweaty, too.”
They got right to it: launching into “Tragic Flaw,” a song that has been around since their Deadlines EP, followed by the infectiously-cheerful “Michigan Left” and 19 other songs that spanned almost their entire catalogue. The band’s raw, energetic, soulful sound was proudly and loudly exhibited.
Picking highlights for a show that cemented itself as the best you’ve ever been to is difficult, but my standouts are: “Abigail” (and its necessary ode to the Jackson Square food court), “Oh, the Boss is Coming!”, “Ticats Are Hummin’”, “Where You Goin’” and a cover of the Clash’s “Rock the Casbah”. Max constantly exhibited his impressive stage presence, talked about the HSR and sung a verse of “Whistleblower” with me.
The show’s encore saw New Hands and some venue staff on stage for two covers; the crowd-pleasing, dance-inducing “Book Club”, where the audience contested Max for the loudest singing of its retrospective lyrics and Hamilton name-drop; and lastly a send-off with John Lennon, an ode to nights at McMaster and living in Westdale, among other things.
The audience danced through the entire set. The sober people sang, the drunk people sang, and genuine smiles flashed across the faces of the five as they played their hearts out.
It all started not so long ago. Arkells met through a collective love of music and an ambitious dream to make it their jobs. They got kicked out of the basement of Woodstock for jamming too loudly. They lived in student houses. They took courses, wrote papers and did and didn’t go to class. They named themselves after the Westdale street where a couple of them lived and rehearsed. They devoted endless hours to their craft and weathered the early struggles it brought. A change of keyboardist didn’t slow their momentum. Today it seems they’ve figured out what works: talking to fans after shows, sending out signed postcards at Christmas, interacting through social media, releasing surprise recordings and collaborations.
Arkells have had quite an evolution since the 2006 McMaster Campus Music Explosion. Guitarist Mike DeAngelis explained his initial hopes for the band: “I didn’t have big expectations at first. Back then I just wanted to open for another band at the Casbah, that’s it. When Max called me and told me we got a spot doing that, I couldn’t believe it. I thought I couldn’t do it.”
Even with their seemingly-endless tour schedule which has brought them across continents and a fan base that has quickly multiplied, Arkells are always quick to acknowledge their humble roots and be grateful for where they’ve risen to. They have proudly taken on the role of Hamilton’s rock ambassadors while hitting new stages and crafting new material. Even though each is originally from another city, the band was born in Hamilton, and they’ll undoubtedly continue to tell that to the world. Their tenacity and ambition has garnered them their deserving success, past, present and future. If you weren’t aware of it yet, the future of this band is definitely something to watch.
Lucas Canzona
Katija Bonin
The Silhouette
After five years of conceptual design, paired with a successful grant from the Canada Foundation for Innovation and support from McMaster University, the L.I.V.E. Performance Laboratory is under construction.
Located in McMaster’s Psychology Building, the facility will include a small concert hall and stage with seats for one hundred.
Although seemingly simplistic, it is the incorporated technology that defines this project as a Large Interactive Virtual Environment (L.I.V.E.), which will facilitate research in the areas of music and neuroscience.
The walls of the lab will be lined with a dense array of loudspeakers, which will allow users to mimic virtually any acoustic environment – “from a subway station to Carnegie Hall,” said project director Laurel Trainor.
The lab aims to fuel investigation into basic questions pertaining to the significance and universality of music in human society. “Why do people still go to concerts, when they could just listen to music at home?” said Trainor. “How do people coordinate and entertain together when playing music?”
The audience seats will be wired to measure physiological responses such as heart rate, breathing rate, skin responses, and muscle tension responses through the fingers. Thirty of the seats will be equipped with EEG sensors, enabling researchers to monitor audience neural activity. Performers will also have an EEG system, able to track four musicians at one time.
Additionally, there will be a motion capture system, tracking the movement of performers while making music and audience movements in response to music, and the back of the stage will house an array of monitors to measure the effects of visual stimuli.
The technology will allow researchers to investigate everything from how a musician’s brain copes when fellow performers make a mistake to an audience member’s physical and psychological responses to different types of music.
The concept of such a laboratory originated in McMaster’s Institute for The Music and The Mind, a multi-disciplinary institute incorporating psychology, neuroscience, engineering, music, mathematics, kinesiology and the health sciences. It is an extension of a three-tiered mandate aimed at promoting research in music cognition, music education, and music activities in the community.
It is known that music plays a role in altering mood, and music is traditionally used in many social gatherings, from parties to weddings to funerals. Research has found that “people engaging in music making or dance feel a closer social bond. This facility will enable us to test such theories,” said Trainor.
The design and technology of the facility, although originally intended to discover how music affects people, will also enable research on a variety of topics.
Already, Steven Brown and Matthew Woolhouse, researchers in the field, plan to use the space to test the psychological response to dance, while Sue Becker and Ian Bruce plan to test how well hearing aids work in realistic auditory environments, and Joe Kim, professor of Psychology at McMaster, plans on using the space to forward his research in pedagogy – the method and practice of effective teaching.
Trainor affirmed that this project is “like no other, and its potential is unlimited.”
Construction began in early January, and in the current timeframe, will be complete by Spring 2013.
