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May 2023

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Back at the beginning of the year I announced that The Girl had decreed that this would be the year in which we finally achieved that long-dreamed of bucket-list item – the visit to Botswana for an African safari.

I recall also writing that I would be giving much more detail – chapter and verse – as the event approached. I feel quite guilty that I have not been keeping my part in that bargain. Sorry about that…

Well – here we are! I am writing this from a hotel room in the UK. We flew in yesterday and we are busy acclimatising ourselves to the time-zone change before heading south tomorrow to Johannesburg, from which we immediately set forth for Botswana. Once there we will be out of Internet range for much of the expedition, so further updates – and, of course, pictures – will have to await our return. Expect the full meal deal then, though.

It is a good thing that The Girl enjoys the planning process. Even in these high-tech and enlightened times setting up such a trip is a fairly major operation. Two matters in particular have complicated things. In Botswana the transfers between safari lodges will be effected in small planes. Small planes means small luggage, so we had to purchase really quite diminutive duffle bags and to pack with particular care.

The matter of what to pack was complicated further by the likes and dislikes of the wild-life. The big (and small) beasts do not care for bright colours, or for whites. The bugs and mosquitoes – on the other hand – really have a thing for blues and blacks. Clearly there is good reason for khaki being the colour of choice for African explorers.

All of this meant that an almost entirely new wardrobe of high-tech and lightweight clothing – in taupe and khaki – was required. Fortunately Canadians are passionate about the great outdoors and there are many outlets that provide just the sort of gear required.

When it came to packing we did the obvious; we packed our safari bags and then loaded them into bigger suitcases – along with the additional items that will see us through a few days in London once we get back. My brother will kindly look after all those items ‘not required on voyage’.

Yesterday’s flights from Canada were long and tiring. This is not the time or the place to vent about what used to bill itself as the ‘world’s favourite’ airline, but that will definitely come later. Suffice to say that I was not surprised when – the day before we set out – the airline contacted us by email to tell us that our flight from Seattle (don’t ask!) had been cancelled and instead of our business class trip into Heathrow we had been re-booked on a lesser airline in economy!!

The Girl, naturally, hit the roof! After an intense hour on the phone we found ourslves in business class again – this time on Aer Lingus – but with an additional stop-over in Dublin!

As I say… that whole sorry saga can wait until later. For now – let’s go… on safari!

 

 

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Scarcely a fortnight had passed since our faith in Canadian theatre received a significant boost as a result of our attendance at The Belfry for Halifax-based 2B Theatre’s production of Ben Caplan, Christian Barry and Hannah Moscovitch’s musical play – “Old Stock” – before we found ourselves once again cheering on a Canadian musical production and enjoying ourselves hugely to boot.

In this instance the show concerned has already garnered a considerably reputation – being none other than the multi-award winning (including an Olivier Award for Best New Musical) – “Come From Away“.

That “Come From Away” (which tells the story of the 7,000 airline passengers who found themselves stranded in Gander, Newfoundland, following the September 11th attacks on the World Trade Centre in 2001) might be the most successful musical to have come out of Canada is arguable… but it wouldn’t be a very long argument.

The show is a fabulous ensemble piece, excellently staged and choreographed, which uses the music of Newfoundland and Labrador to paint vivid vignettes of many of those who were involved. Newfie music is, of course, fundamentally Celtic and, in particular, Irish. As you might imagine there is a fair bit of foot stomping and hand-clapping, delivered with a general all-round panache and enthusiastic energy.

The basic message of the work – which celebrates the kindness and generosity with which the communities concerned pulled together to provide comfort and shelter for those caught up in the tragic crisis – sits so centrally in the spectrum of what it is to be Canadian – that I found myself afterwards declaring to anyone who would listen that this was surely the most Canadian thing that I had ever seen. Further, I pronounced myself amazed that no-one had previously (to my knowledge, anyway) used Newfie music as the basis of a show.

I must admit that I felt slightly guilty that the show had been so successfully re-staged in so many places around the world (including on Broadway and in the West End) for so long before we finally caught up with the North American touring production at the Royal Theatre here in Victoria.

Still – better late than never…

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Following on from my ‘Matters Musical – 1‘ posting a couple of weeks back… herewith the second and concluding part.

I mentioned in the aforesaid posting that Anam Danu had been featured on no less than three compilations of independent music made available through Tom Hilton’s ‘Aldora Britain Records‘ – in addition to being featured in an article in the associated e-Zine. The Chanteuse and I were most flattered by the attention and grateful for the coverage.

We were further offered a single release on the label during April. The advantage of this would be, of course, that our name and our music would be pushed in its own right and thus be all the more visible. We happily agreed to this proposal and offered our January single – ‘Perfect‘ – paired with a re-issue of a song from our first collection (‘Winds of Change‘) entitled ‘The Journey Home‘.

Having been written and recorded back in 2019, ‘The Journey Home‘ was one of our earlier experiments in working together. As one would expect, we have made a great deal of progress since then – both technically and artistically – so we decided that we should re-work the track, lengthening it and updating sounds and instrumentation. The original recording featured a fiddle part that I had played on a halfway decent sampled instrument, but – since part of our expansion plans for this year include starting to work with other musicians – we thought that this would be a good opportunity to experiment. We were introduced by a friend to Victoria violinist, Kate Rhodes, who agreed to play the session for us and thus became the first person other than The Chanteuse and I to appear on an Anam Danu recording.

The two tracks were duly released last month and can be found on Bandcamp here. We were most excited subsequently to find that the release had entered the Aldora Britain Independent Top 20 – the which records the tracks on the ABR Bandcamp site that receive the most plays. At the time of writing we are at number 13 on that playlist.

We will also be releasing ‘The Journey Home‘ under our own auspices to all the usual streaming and download sites during June. More on that come the time.

The Chanteuse and I have also been busy working our how we can play all of this music that we have been creating for a live audience. As mentioned above, this will inevitable entail finding other like-minded individuals who are keen to play with us. Reworking the material for live performance also requires a considerable amount of work – but we are making good progress.

Thank you for listening!

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For God’s sake, let us sit upon the ground
And tell sad stories of the death of kings;
How some have been deposed; some slain in war,
Some haunted by the ghosts they have deposed;
Some poison’d by their wives: some sleeping kill’d;
All murder’d: for within the hollow crown
That rounds the mortal temples of a king
Keeps Death his court and there the antic sits,
Scoffing his state and grinning at his pomp,
Allowing him a breath, a little scene,
To monarchize, be fear’d and kill with looks,
Infusing him with self and vain conceit,
As if this flesh which walls about our life,
Were brass impregnable, and humour’d thus
Comes at the last and with a little pin
Bores through his castle wall, and farewell king!

William Shakespeare – Richard II

Out here on the far distant west coast of Canada it feels a long way away from today’s events in London. I was not of a mind to get up in the middle of the night to watch the Coronation events unfold, though I will no doubt catch up with the news coverage later.

I am a staunch believer in the monarchy, although this is as much for fear of there being something far, far worse in its place should the republican adherents ever get their way. They protest loudly that as a nation Great Britain should be able to choose an elected and accountable head of state; and that somehow not to do so infantilises us. I’m afraid to say that, over this last decade, we have done ourselves no favours at all through our wildly negligent choices and find ourselves as a result sadly diminished as a nation. Not exactly a good precedent.

I wish Charles the very best fortune in his long anticipated role. I can’t say that he looks exactly comfortable with it but I do believe that he still has some power to do good.

Back in October last – when writing about my Canadian Citizenship Ceremony – I wrote of the strangeness of being obliged to swear allegiance to the monarch – something I had never done as a Brit. Interesting to see that, as an optional element in the Coronation rituals, the population of the United Kingdom have now been invited to do the same.

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To the Belfry Theatre the weekend just passed to catch “Old Stock”, the last production of the current theatrical season there.

You may recall – should you be a continuing consumer of this random reportage – that The Girl and I are long(ish) standing season ticket holders at the home of Victorian fringe theatre. Each year at about this time we have to decide whether or not to renew our subscription for the coming season (the which commences in the autumn). We do this by contemplating just how impressed (or otherwise) we have been by the season just closing and by studying the advance notices of next year’s programme. No surprises there…

It has to be said that there have been years in which we have come close to giving it a miss; this coming year conceivably – until the weekend just gone – being one of them. It would be no exaggeration to say that, for the past couple of seasons, we have not been exactly enthralled by what we have seen. Whereas we must be fair – noting that the tail end of the Covid pandemic has made things a whole lot more difficult for theatre companies far and wide – we cannot ignore the fact that sitting packed together with others in a theatre audience (the majority these days going un-masked!) still carries a fair degree of risk. Should we choose to take that risk it really had better be for something worthwhile…

…which brings us neatly to Halifax-based 2B Theatre’s production of Ben Caplan, Christian Barry and Hannah Moscovitch’s musical play – “Old Stock” (which bears the subtitle “A Refugee Love Story“).

Let us not beat around the bush. This quite brilliant production has gone a long way towards restoring our faith in Canadian theatre. It is witty but sensitive, riotously risque but touching, beautifully performed by musicians and actor/musicians alike and splendidly directed and staged. The show made us fall about laughing one moment and blub like babies the next. It had plenty to say without being puritanical about it. Most importantly it took the sort of risks that theatre must take to be any good (in any sense!) without being mealy-mouthed about it.

Brilliant!

If theatre companies on this side of the pond really want to win the ongoing and unflagging support of folks like us then they need to do a lot more of ‘this sort of thing‘!

IMHO…

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