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Toronto Star
3 days ago
- Entertainment
- Toronto Star
‘After the Rain': This new Canadian musical strikes gold in song, but falls flat in its story
After the Rain 2.5 stars (out of 4) Music and lyrics by Suzy Wilde, book by Rose Napoli, directed by Marie Farsi. Until June 22 at the Tarragon Theatre Mainspace, 30 Bridgman Ave. or 416-531-1827 When 'After the Rain' breaks into song, it strikes gold. Nay, perhaps even platinum. That's not altogether surprising. After all, this new musical, which opened Wednesday at Tarragon Theatre, is about a fictional, 'Canada famous' band, the Evans Stone. And its folk-rock score is written by none other than Suzy Wilde, one of Toronto's most talented yet underrated composers, who's already made a mark with shows like 'Be Kind, Rewind' and 'The Carrette Sisters.' Unfortunately, the rest of 'After the Rain' isn't nearly as sterling — hampered by Rose Napoli's awkward book and some ineffectual direction by Marie Farsi. ARTICLE CONTINUES BELOW The musical's story, inspired by true events (its lead character is based on Wilde herself), recalls other shows in the small but growing genre of fictional bands. Its behind-the-scenes drama is reminiscent of the acclaimed Broadway play 'Stereophonic,' about a rock group on the cusp of superstardom. And its sweet, coming-of-age tale mines similar thematic territory as the 2016 film 'Sing Street.' But the intimate narrative of 'After the Rain' remains frustratingly hazy, never managing to emerge from the shadow of Wilde's galvanizing music. At its centre is Suzie (Annika Tupper), the 20-something daughter of Ashley Evans (Andrew Penner) and Jean Stone (Deborah Hay), the two core members of the Evans Stone band. Andrew Penner and Deborah Hay in 'After the Rain.' Dahlia Katz/Tarragon Theatre The trio aren't necessarily a dysfunctional family, but a sense of dysfunctional ennui permeates their lives. As they prepare to head out on a new tour, Ashley and Jean are at loggerheads about how they can replicate the band's success from the '90s. Ashley wants to stick with what's tried and true; Jean feels their only path forward is to write new songs and innovate. Meanwhile, Suzie, who narrates the show, doesn't know where she belongs — or if that's even in the band. But she finds clarity when she unexpectedly agrees to take on one of her father's piano students, Jean (also played by Hay), a complete beginner who only wants to master one song: Erik Satie's wistful 'Gymnopédie No. 1.' Wilde's songs do much of the heavy lifting throughout the musical. Many are full-fledged bangers — with rousing choruses, soaring harmonies and virtuosic instrumentals. (Can we get a cast recording, please?) ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW Her lyrics are startling as well. Deeply suggestive, they set the mood for the rest of the show, hinting at the melancholy, hope and frustration of each of the characters. The music in 'After the Rain,' however, is unlike that of a traditional musical, in which spoken dialogue seamlessly transitions into song, with the characters unaware that they're singing. Here, the score is almost entirely diegetic, originating within the world of the show. The numbers are meant to be songs that the characters have written. They're mostly performed by the band in concert or in rehearsal — and when they're sung, there's a sense of self-awareness. Shaemus Swets and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre In that way, 'After the Rain' could be considered more of a play with music than a standard musical, because the songs can't completely probe the inner thoughts and emotions of each character. Instead, it's up to the dialogue to do that. But Napoli's book scenes, linking the musical numbers together, aren't up to that task and largely disappoint. While she does a compelling job early on of establishing the high strung atmosphere in the band's rehearsal room, it comes at the expense of developing the musical's characters, along with the key conflicts among them. The tension in the first act almost entirely hinges on the reveal of why Jean only wants to learn one song. Other supporting characters (such as the rest of the band members, played by Joe 'Jojo' Bowden on drums and Brandon McGibbon on bass guitar) are introduced then entirely forgotten. Suzie, too, remains an indistinct protagonist. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW The second half of 'After the Rain' is the stronger act. But still, important emotional beats rarely land with the impact that they could have, because they lack the necessary foregrounding earlier in the musical. By far the most underdeveloped relationship: the one between Suzie and her mother. What's not in short supply in this show, however, is audience participation. (If you're sitting anywhere in the first row: beware.) But all of it, though charming at first, feels misplaced, and mostly distracts from the story. Farsi's direction also mostly misses. She's completely transformed the Tarragon Theatre Mainspace for this production. Gone is the normal proscenium setting. In its place is a traverse stage, with the audience sitting on opposite sides of the action. From left: Joe 'Jojo' Bowden, Brandon McGibbon, Deborah Hay, Andrew Penner and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre David Boechler's set features a raised platform at its centre, which neatly transforms into a grand piano when the action shifts to Jean's home. It's an innovative setup, but also results in some cumbersome staging. Particularly when there's only one character on that raised platform, Farsi has them constantly turning back and forth between the two sets of audiences. The cast make the most of their underwritten roles. Tupper possesses a shimmering voice; Hay accentuates the contrasts between her two characters; and Penner, with his distinctively husky voice and a chain necklace around his neck (the costumes are by Ming Wong), leans into Ashley's full rocker persona. But together, when they sing, the music-making is glorious. Close your eyes, and you'll be transported.
Toronto Star
4 days ago
- Entertainment
- Toronto Star
‘After the Rain' review: This new Canadian musical strikes gold in song, but falls flat in its story
After the Rain 2.5 stars (out of 4) Music and lyrics by Suzy Wilde, book by Rose Napoli, directed by Marie Farsi. Until June 22 at the Tarragon Theatre Mainspace, 30 Bridgman Ave. or 416-531-1827 When 'After the Rain' breaks into song, it strikes gold. Nay, perhaps even platinum. That's not altogether surprising. After all, this new musical, which opened Wednesday at Tarragon Theatre, is about a fictional, 'Canada famous' band, the Evans Stone. And its folk-rock score is written by none other than Suzy Wilde, one of Toronto's most talented yet underrated composers, who's already made a mark with shows like 'Be Kind, Rewind' and 'The Carrette Sisters.' Unfortunately, the rest of 'After the Rain' isn't nearly as sterling — hampered by Rose Napoli's awkward book and some ineffectual direction by Marie Farsi. ARTICLE CONTINUES BELOW The musical's story, inspired by true events (its lead character is based on Wilde herself), recalls other shows in the small but growing genre of fictional bands. Its behind-the-scenes drama is reminiscent of the acclaimed Broadway play 'Stereophonic,' about a rock group on the cusp of superstardom. And its sweet, coming-of-age tale mines similar thematic territory as the 2016 film 'Sing Street.' But the intimate narrative of 'After the Rain' remains frustratingly hazy, never managing to emerge from the shadow of Wilde's galvanizing music. At its centre is Suzie (Annika Tupper), the 20-something daughter of Ashley Evans (Andrew Penner) and Jean Stone (Deborah Hay), the two core members of the Evans Stone band. Andrew Penner and Deborah Hay in 'After the Rain.' Dahlia Katz/Tarragon Theatre The trio aren't necessarily a dysfunctional family, but a sense of dysfunctional ennui permeates their lives. As they prepare to head out on a new tour, Ashley and Jean are at loggerheads about how they can replicate the band's success from the '90s. Ashley wants to stick with what's tried and true; Jean feels their only path forward is to write new songs and innovate. Meanwhile, Suzie, who narrates the show, doesn't know where she belongs — or if that's even in the band. But she finds clarity when she unexpectedly agrees to take on one of her father's piano students, Jean (also played by Hay), a complete beginner who only wants to master one song: Erik Satie's wistful 'Gymnopédie No. 1.' Wilde's songs do much of the heavy lifting throughout the musical. Many are full-fledged bangers — with rousing choruses, soaring harmonies and virtuosic instrumentals. (Can we get a cast recording, please?) ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW Her lyrics are startling as well. Deeply suggestive, they set the mood for the rest of the show, hinting at the melancholy, hope and frustration of each of the characters. The music in 'After the Rain,' however, is unlike that of a traditional musical, in which spoken dialogue seamlessly transitions into song, with the characters unaware that they're singing. Here, the score is almost entirely diegetic, originating within the world of the show. The numbers are meant to be songs that the characters have written. They're mostly performed by the band in concert or in rehearsal — and when they're sung, there's a sense of self-awareness. Shaemus Swets and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre In that way, 'After the Rain' could be considered more of a play with music than a standard musical, because the songs can't completely probe the inner thoughts and emotions of each character. Instead, it's up to the dialogue to do that. But Napoli's book scenes, linking the musical numbers together, aren't up to that task and largely disappoint. While she does a compelling job early on of establishing the high strung atmosphere in the band's rehearsal room, it comes at the expense of developing the musical's characters, along with the key conflicts among them. The tension in the first act almost entirely hinges on the reveal of why Jean only wants to learn one song. Other supporting characters (such as the rest of the band members, played by Joe 'Jojo' Bowden on drums and Brandon McGibbon on bass guitar) are introduced then entirely forgotten. Suzie, too, remains an indistinct protagonist. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW The second half of 'After the Rain' is the stronger act. But still, important emotional beats rarely land with the impact that they could have, because they lack the necessary foregrounding earlier in the musical. By far the most underdeveloped relationship: the one between Suzie and her mother. What's not in short supply in this show, however, is audience participation. (If you're sitting anywhere in the first row: beware.) But all of it, though charming at first, feels misplaced, and mostly distracts from the story. Farsi's direction also mostly misses. She's completely transformed the Tarragon Theatre Mainspace for this production. Gone is the normal proscenium setting. In its place is a traverse stage, with the audience sitting on opposite sides of the action. From left: Joe 'Jojo' Bowden, Brandon McGibbon, Deborah Hay, Andrew Penner and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre David Boechler's set features a raised platform at its centre, which neatly transforms into a grand piano when the action shifts to Jean's home. It's an innovative setup, but also results in some cumbersome staging. Particularly when there's only one character on that raised platform, Farsi has them constantly turning back and forth between the two sets of audiences. The cast make the most of their underwritten roles. Tupper possesses a shimmering voice; Hay accentuates the contrasts between her two characters; and Penner, with his distinctively husky voice and a chain necklace around his neck (the costumes are by Ming Wong), leans into Ashley's full rocker persona. But together, when they sing, the music-making is glorious. Close your eyes, and you'll be transported.
Wales Online
12-05-2025
- Entertainment
- Wales Online
42-year-old dad started dating teenage Welsh girl and it caused such a stir they both quit their jobs
42-year-old dad started dating teenage Welsh girl and it caused such a stir they both quit their jobs Mark Hillary, 45, and Ellie Liptrot, 21, have been a couple for the past three years and say it 'wasn't a shock' to their friends and family when they got together Mark Hillary and Ellie Liptrot have been together for three years (Image: Instagram // Mark Hillary ) Mark Hillary, 45, and Ellie Liptrot, 21, are a couple making waves on TikTok with nearly 80,000 followers. Ellie, originally from Wales, and the father-of-two, have faced some criticism due to their 24-year age gap, but say they relish in the attention—especially from online trolls. The couple, known by their username 'It's The Hillary's', started their relationship when Mark was 42 and Ellie was just 18, after years of friendship, reports the Manchester Evening News. The two are now expecting their first child together. Mark explains, "The relationship grew naturally as we had known of each other for a while beforehand." He adds, "So people knew us as friends first before being together, so there wasn't a really shocking factor for our family and friends because they saw it happen naturally. Our friend groups have mixed for quite a while." Mark Hillary and Ellie Liptrot share their lives on TikTok (Image: Instagram // Mark Hillary ) Their rise to social media fame was unintentional. What began as simple posts of trendy videos and vlogs soon exploded into a full-time career, allowing them to leave their regular jobs behind. Ellie, who previously worked as a dental nurse, says, "We were just posting like everyone else, and it just blew up. We would always reply to comments with more videos, so it just kept going. It was by accident, really. What started as us posting about living our lives has turned into this." Article continues below Now, as full-time content creators, Ellie shares, "It grew so big that we were able to leave our jobs. We didn't really consider it a risk because at that point, we didn't have to worry about working because we already had that income." Despite their online success, they've continued to deal with the occasional rude comment, but the couple insists they are unbothered. Mark says, "We're very thick-skinned. If we weren't, we would never have started this and put ourselves out there on social media. "The rude comments don't really get to us. We have quite a laugh with it because it's usually people with #BeKind in their bio who have something hateful to write under our videos of us just being us." Ellie added: "If anything, we like the attention. We find it funny." For the latest TV and showbiz gossip sign up to our newsletter The dynamic duo has recently been nominated for the Best Family award at the National Influencer Awards, which will take place in Liverpool on May 16 at the Crowne Plaza Hotel. The event will celebrate digital influencers making a positive impact in fields like fashion, beauty, travel, fitness, technology, and lifestyle. The couple are now expecting their first child together (Image: Instagram // Mark Hillary ) Article continues below Speaking to the Liverpool Echo, Ellie expressed her surprise and excitement about the nomination. "It was a surprise to be nominated, but it's exciting at the same time," she shared. "We've never done anything like this before because it's all new to us." Looking to the future, Ellie revealed plans for the family to start producing YouTube-style vlogs, aiming to release a new episode every week after their first child arrives.
Los Angeles Times
30-04-2025
- Entertainment
- Los Angeles Times
Seven can't-miss newcomers keeping the spirit of jazz going
Herbie Hancock, who at 85 years young is one of the elder statesmen and authorities of jazz, says jazz is a spirit. Though traditions of the genre remain consistent through the decades, jazz has also historically been about expanding the genre. That remains very much the case in 2025. In the jazz up and comers of today, the hallmarks of improvisation, musicality, humanity and depth are very much present. But they're being presented by a new generation with vitality, freshness and innovation. Here are seven elite newcomers keeping the spirit of jazz alive at the top level. Annahstasia Annahstasia's stunning debut, 'Tether,' (out June 13) is a deceptively powerful record. Gentle, soft, elegant and graceful in a way that calls to mind a female Nick Drake, it is actually a bold statement to dare listeners to think and feel this much in these tumultuous times. 'With my record the important messages in it are our empathy, rest, kindness, slowness and intention, which I think in today's world we all need to take moments for,' the L.A.-based artist says of the magnificent 'Tether.' From the gorgeous opener, 'Be Kind,' to the uplifting closer, 'Believer,' this 11-song statement is as beautiful a record as you will hear this year and heralds the arrival of a major talent. Jazz influences: Billie Holiday, Alice Coltrane, John Coltrane, Carlos Nino, Laraaji Maya Delilah The 24-year-old Brit pulls off a pretty nifty trick on her superb debut, 'The Long Way Round.' The guitar prodigy, who says she grew up playing in a jazz band, has effectively captured nostalgia for a time she wasn't alive for. 'When making this record I was referring to a lot of records I grew up on such as 'Tapestry,' Carole King; 'Blue,' Joni Mitchell; 'Bryter Layter,' Nick Drake — so for me this record feels very nostalgic. I really hope it has the essence of nostalgia for others too,' Delilah says. Indeed, much of the album has a laidback '70s vibe, punctuated by Delilah's scintillating guitar work. But given Delilah's age it all comes with a contemporary feel. Combined, it makes for a timeless and gorgeous introduction. Jazz influences: Herbie Hancock, Kamasi Washington, Norah Jones, Keith Jarrett Ashley Henry With Henry, a vocalist/pianist/band leader primarily pounding away on the keys at the piano, this masterful album mostly carries the feel of a traditional jazz ensemble. But the multitalented British artist consistently transcends one genre, like on the song 'Take Me Higher,' which has a strong '70s disco/funk vibe. 'Each of these songs holds an attempt to understand and strive for liberation or collective possibility,' Henry says of the 14 songs on his 2024 album 'Who We Are,' written to provide a respite from 'these times we find ourselves in.' There is a soaring quality to much of the album, particularly the aptly named 'Fly Away,' featuring Aja Monet. Jazz influences: Patrice Rushen, George Benson, Geri Allen, Jackie Mittoo Sage Bava Bava's deeply soulful forthcoming debut, 'In Whose Eyes' (produced by four-time Grammy winner Larry Klein and featuring appearances by Christian McBride and L.A.'s Braxton Cook), is rooted in her jazz upbringing. 'I grew up on a farm, listening almost exclusively to legends like Ella Fitzgerald, Judy Garland, Billie Holiday, Mel Tormé and Duke Ellington,' she says. But her musically adventurous and curious mind melds those classic influences with a decidedly 21st century bent, resulting in multiple industry comparisons to Fiona Apple. Bava, who is at her best when she lets her beautiful vocals shine through on songs like 'Slow' and 'Love and Control,' also taps into her strong connection to nature. The result is a thoughtful and introspective personal collection. Jazz influences: Esperanza Spalding, Melody Gardot, Antônio Carlos Jobim and Thelonious Monk Brandon Woody Baltimore trumpeter Woody brings a quiet resolve and elegance to his excellent debut 'For the Love of It All' (out May 9). On a track like 'Wisdom: Terrace on St. Paul St.' that elegance and resolve is underscored by a steely grit. 'I want folks to take away a feeling of the journey me and my collective have had. The feeling of the perseverance we've had to take to get where we are now, the feeling of my city Baltimore,' Woody says. 'This album is a presentation of us being us, with no glamour but in the most raw honest and natural way we can.' That honesty is felt throughout every note of these six songs. Jazz influences: Theljon Allen, Craig Alston, Tim Green, Marc Cary, Quincy Phillips, Gary Thomas, Rodney James, Troy Long, Michael Saunders. 'My friends are my biggest influences. All of my favorite musicians come out of the Baltimore area,' he says. Milena Casado Like Annahstasia and Bava's exceptional debuts, New York-based trumpeter/producer Casado's engrossing 'Reflections of Another Self' (out May 16) is a gorgeous collection that comes from deep within. Infusing mostly rich, ethereal instrumentals with the music of her Spanish roots and Brazilian vibes, Casado, born in Spain, creates an intoxicating space to dwell and think. 'This is a really personal record, going through a journey of introspection, and acceptance, and finally, self-love. What I want is to be able to inspire people to go through that journey with me,' she says. Jazz influences: Wayne Shorter, whose sample vocals you can actually hear in there. Miles Davis, Thelonious Monk, Ornette Coleman Aron! A few decades earlier and Aron! (born Aron Stornaiuolo) would have been playing in the background in a Woody Allen film set in the '40s or in a jazz cafe. On his oh-so-enjoyable EP 'Cozy You (and Other Nice Songs)' (out June 6), the young crooner transports us to a bygone era where love is everywhere. 'I'd love for this EP to be the soundtrack to simple moments in people's lives. Whether you're driving, cooking, cleaning, reading, studying — really any kind of -ing — there's beauty in these ordinary moments, because it's a gateway to presence,' he says. He takes the simple beauty and elegance of Laufey back to its more traditional roots and just like she did, watch for him to blow up among Gen Z. Jazz: influences: 'The songwriters from the Great American Songbook era,' he says. 'Writers like Cole Porter, Johnny Mercer, Billy Strayhorn and Matt Dennis — those guys had such a beautiful way of expressing timeless emotions through melody and lyric. I've been obsessed with arrangers like Axel Stordahl and Nelson Riddle since I was 10. I remember laying in my bed at night as a kid and getting emotional because I could feel what they were trying to do, and I wanted to do it too. When it comes to straight-ahead jazz (because I consider a lot of Sinatra's stuff more pop than jazz), I've really been getting into Bud Powell, Duke Ellington's suites and 'Birth of the Cool' — I just can't get over that one.'
Yahoo
07-04-2025
- Politics
- Yahoo
Editorial: When lawyers apply a law aimed at VHS rentals to the streaming world of today
In the 1980s, when the late Judge Robert Bork faced Senate scrutiny over his ill-fated nomination to the U.S. Supreme Court, a small independent newspaper published a list of his rentals at a local video store. The movies he and his family rented were perfectly innocuous, but Congress lost its collective mind over the idea that its members' rental histories could undergo public scrutiny and swiftly passed the bipartisan Video Privacy Protection Act. Fast forward to 2025, and the same law is being invoked to attack Weigel Broadcasting, a Chicago media company said to have shared data from its free MeTV platform with the parent of Facebook to make online advertising more effective. Like other well-intended laws aimed at protecting consumer privacy, the 'Bork Act' has become a tool for class-action lawyers playing 'gotcha' with the routine marketing efforts of legitimate businesses. For decades, lawmakers have struggled to protect privacy rights in the face of technology that advances at light speed. MeTV, for instance, is being targeted under a law written to protect Americans against disclosures from 'video tape service providers' — the 'Be Kind, Rewind' people who long ago went extinct. Springfield lawmakers opened a new front in 2008 when they approved a law restricting the use of biometric data such as fingerprints, retina scans and facial recognition. While this page supported the effort to rein in businesses abusing such incredibly personal information, the result has been a feast for plaintiffs' lawyers, curbing innovation and potentially depriving Illinois residents of cutting-edge products and services in the future. By now, Americans should be aware that practically every keystroke on every website could potentially be tracked by those with an economic interest in their online activities. Typically, they get no more disclosure than the fine print found in 'terms and conditions' that hardly anyone reads when creating an account or logging in. Yet most Americans are still surprised to learn how much of their personal information is being collected. And once it's given away, there's no getting it back. The public obviously has an interest in this fraught topic. Individuals need protection from unwanted surveillance and identify theft. At the same time, businesses should be able to use data to improve service and reduce costs, as well as make money. No comprehensive federal standard exists, and to get a glimpse of how existing rules can backfire, consider the lawsuit targeting MeTV, which the 7th U.S. Circuit Court of Appeals just reinstated after a federal judge in Chicago dismissed it. Weigel's MeTV provides access to classic shows from the 1930s through the 1990s at no charge to its viewers via its website and app, making money by selling ads. The class-action lawyers allege that if someone who was signed into Facebook were to use the same browser to access MeTV, the accounts could be linked without the explicit consent supposedly required under the Bork Act. Similar cases have cropped up across the country, stretching the 1988 law to target not just streaming companies, but practically any companies that post videos on their websites. America evidently leads the world in producing entrepreneurial lawyers eager to expand liability in ways never anticipated under the statutes they invoke. Can we all agree that routine business practices should not suddenly get turned into federal cases? Especially not cases based on rules written for a different era? And hastily written rules, at that? The same overreach has happened with laws originally aimed at protecting consumers in credit reporting, debt collection and just about anything involving their telephones. The resulting litigation sometimes seems more like a stickup than a worthy defense of injured parties. Predictably, the case against MeTV has turned on parsing the antiquated language of the Bork Act. The mighty judges of the 7th Circuit come off as rather lame when they define MeTV as 'a video tape service provider' and the plaintiffs who watch a free service as 'consumers,' then pompously defend these outdated definitions by saying, 'Linguistic imprecision is part of the human condition.' Other appellate courts have wrestled with the same vague language in the Bork Act and come up with incompatible conclusions. In 2013, after Netflix got stung by exploitative litigation, Congress amended the law. Obviously, it didn't do enough to make the rules clear and relevant in today's digital landscape. America needs strong principles to protect online identity and privacy. It also needs to ensure that its businesses can adopt new technology without getting dragged into expensive and counterproductive court battles like this one. Submit a letter, of no more than 400 words, to the editor here or email letters@
