James Reaney: Words and Music with Stephen Holowitz and Oliver Whitehead

Sunday November 15, 2020 – Thank you all for joining us at Wordsfest via Zoom for James Reaney: Words & Music. You can view an archived version of the event here: https://fb.watch/1NryVbGfTv/

Stephen Holowitz, Sonja Gustafson, Oliver Whitehead, and Ingrid Crozman at Aeolian Hall, October 18, 2020

A big thank you to Sonja Gustafson (soprano), Ingrid Crozman (flute), Stephen Holowitz (piano), and Oliver Whitehead (guitar) for your wonderful performances of selections from James Reaney’s poem “Brushstrokes Decorating a Fan” and Colleen Thibaudeau’s poems “Watermelon Summer” and “Lullaby of the Child for the Mother.”

Sonja Gustafson performs “Ernie’s Barber Salon Near the College” from “Brushstrokes Decorating a Fan”

And thank you, Carolyn Doyle, for being an excellent moderator and drawing forth the stories and recollections behind the music. Composers Stephen Holowitz and Oliver Whitehead first got the idea to set music to James Reaney’s “Brushstrokes Decorating a Fan” when they were asked to perform at his 81st birthday party on September 1, 2007. Their success with James Reaney’s work led to an appreciation for Colleen Thibaudeau’s poetry and composing the music for Adam Corrigan Holowitz‘s 2013 play Colleening.

Our grateful thanks to Joshua Lambier and Gregory De Souza at Wordsfest for helping us put James Reaney: Words & Music together. 

About the composers: Composers Stephen Holowitz and Oliver Whitehead are members of the London jazz group The Antler River Projecthttps://www.youtube.com/watch?v=Hteyhpy3gcM

James Reaney’s Souwesto Home (2005) and Colleen Thibaudeau’s The Artemesia Book (1991) are available from Brick Books.

James Reaney and Colleen Thibaudeau at the farmhouse near Stratford in 1982.
Colleen Thibaudeau and James Reaney at the University of Toronto, 1950

Earlier Wordsfest lectures on James Reaney:

2016: John Beckwith on James Reaney and Music 
2017: Tom Smart on James Reaney: The Iconography of His Imagination 
2018: James Stewart Reaney on James Reaney’s Plays for Children
2019: Stan Dragland on James Reaney on the grid

The James Reaney Memorial Lecture series celebrates the life and work of Southwestern Ontario poet and dramatist James Reaney, who was born on a farm near Stratford, Ontario and found a creative home in London, Ontario.

Our thanks to Wordsfest and the London Public Library for their support of the lecture series, and to Poetry Stratford and the Stratford Public Library for their support in hosting the earlier lectures (2010-2015).

Words and Music: James Reaney Memorial Lecture November 15 at Wordsfest

Sunday November 15 at 3:00 pm EST — Join us at Wordsfest via Zoom to hear James Reaney’s and Colleen Thibaudeau’s poems set to music by London composers Stephen Holowitz and Oliver Whitehead. Soprano Sonja Gustafson and flautist Ingrid Crozman are among the performers recorded earlier at Aeolian Hall for this online presentation.

Stephen Holowitz, Sonja Gustafson, Oliver Whitehead, and Ingrid Crozman at Aeolian Hall, October 18, 2020

Following the music, host Carolyn Doyle of the London Public Library will lead a discussion about the relationship between Words and Music, and the stories behind the poems. The theme of Words and Music plays off “Words & Music”, an old downtown London cultural outpost beloved by Colleen and Jamie when they moved to London in 1960.

((o)) Register here for the Zoom Webinar: 

https://westernuniversity.zoom.us/webinar/register/WN_EqVD_KYHRq6bq2yHHg9myg

The James Reaney Memorial Lecture series celebrates the life and work of Southwestern Ontario poet and dramatist James Reaney, who was born on a farm near Stratford, Ontario and found a creative home in London, Ontario. 

Local history into fiction: James Reaney on Alice Munro

Alice Munro 2016

Alice Munro Country: Essays on Her Works and its companion Alice Munro Everlasting form a two-volume collection celebrating the work of Canadian writer Alice Munro.  Editor J.R. (Tim) Struthers has brought together critical appreciations from 34 contributors, including Catherine Sheldrick Ross, George Elliott Clarke, Jack Hodgins, Judith Thompson, Monika Lee, and James Reaney

Like James Reaney, Alice Munro grew up in Southwestern Ontario and many of her stories are set in Wingham, Ontario, in Huron County. Reaney’s essay, “An ABC to Ontario Literature and Culture,” outlines a graduate course he taught at the University of Western Ontario in the early 1970s. 

Alice Munro’s novel Lives of Girls and Women, along with Orlo Miller’s The Donnellys Must Die and Sara Jeanette Duncan’s The Imperialist, were essential texts for the eighth lecture:

JULY 18: VIII. Through the Years in West Nissouri, Miller, Duncan, Munro.
This was local history into fiction day since Alice Munro in Lives of Girls and Women has an historian uncle whose idea of writing is to pile up droplets from the parish pump (Who was the reeve in 1901? When did the school trustees put in cement platforms around the porch?) and never try to drive a line through them. Eventually, the tin box with his research in it is thoroughly drowned by the Maitland River in flood.

Since Sara Jeanette Duncan’s novel about Brantford is our first successful realist novel, you should read it to see how these things should be done; what is frequently depressing about the run-of-the-mill novel about us nowadays is the imprecision of viewpoint; all right, you’re not going to tell us much of a story, but could you have dug out some photographic details just a tiny bit less clichéd than these? [Volume I, page 54]

Alice Munro Country: Essays on Her Works and Alice Munro Everlasting: Essays on Her Works are available from Guernica Editions.

James Reaney’s “An ABC to Ontario Literature and Culture” originally appeared in Black Moss, Ser. 2, No. 3 (Spring 1977).

See also Stan Dragland’s Wordsfest lecture James Reaney on the grid (November 2, 2019) where Dragland recalls being part of an earlier team-taught version of the course when he first came to Western.

The Alice Munro Literary Garden in Wingham, Ontario

Steady Theatre scores with Listen to the Wind

February 5, 2020 — Congratulations to Steady Theatre Collective and director Julia Schultz for your ingenious production of James Reaney’s 1966 play Listen to the Wind.

The production was staged at McCully House, an old Halifax mansion, allowing the audience to move through the house and through the play – Act I in the attic, down to the lower floor for Act II, and back up to the attic for Act III.

McCully House, 2507 Brunswick Street in Halifax, Nova Scotia
McCully House, 2507 Brunswick Street in Halifax, Nova Scotia

The web of actors, music, and intimate setting kept us close to the action and drew us into the world of Owen, Harriet, Ann, and Jenny, the four children who put on the play. Four chairs can be anything!

Producer: Kirsten Bruce
Director: Julia Schultz
Music: Edie Reaney Chunn
Stage Manager: Sophie Schade
Set and Costume Designer: Emma Roode
Fight Choreographer: Anika Riopel
Weathervane designed and crafted by Kelly Trout

Cast: Lou Campbell, Henricus Gielus, Kyle Gillis, Stepheny Hunter, Brittany Kamras, Michael Kamras, Rachel Lloyd, Briony Merritt, Noella Murphy, Peter Sarty, and Sam Vigneault

Act I Scene 2: Owen & Chorus: Let’s hear the North Wind. (Rehearsal photographs courtesy Steady Theatre)
Act III Scene 44: Sam Vigneault as Owen and Peter Sarty as Mitch

OWEN: … Mitch, sit down and talk to me.
MITCH: Will I do your favourite cartoon?
OWEN: Yes. Now you rock in the rocking chair and I say… (gets off the bed)
Grandma, how about  a dime so I can get an ice cream cone and cool myself off?
MITCH: Ah, I’ll tell you a ghost story instead son. It’ll freeze your bones and chill you off twice as fast. Listen!

More about Steady Theatre Collective and the play

Steady Theatre Collective’s Kirsten Bruce and Julia Schultz

Interview with Producer Kirsten Bruce and Director Julia Schultz in Halifax January 29, 2020:  https://globalnews.ca/video/6477010/steady-theatre-collective

What reviewers are saying:

The Coast: https://www.thecoast.ca/halifax/the-steady-theatre-co-steers-on/Content?oid=23416845

The Way I See It Theatre Blog: http://www.twisitheatreblog.com/take-a-moment-to-listen-to-the-wind/

For more about the play, see “James Reaney’s Listen to the Wind in Halifax February 4-9”: https://jamesreaney.com/2020/01/25/james-reaneys-listen-to-the-wind-in-halifax-february-4-9/

Listen to the Wind Act II: Rogue and Douglas
Listen to the Wind Act II: Angela, Arthur & Sir Edward
Listen to the Wind: Lower floor McCully House
Listen to the Wind: Front of house reception area
At McCully House: James Reaney’s children’s story “The Boy Who Lived in the Sun” on view for audience members

James Reaney’s Listen to the Wind in Halifax February 4-9

On February 4-9 in Halifax, Steady Theatre will present Listen to the Wind, a play by James Reaney.

With the help of their families and neighbours, four children put on The Saga of Caresfoot Court – a melodrama set in a old manorhouse.

“… We watch a double story: Owen fighting illness and trying to get his parents together again; Angela Caresfoot threading her way through a world of evil manorhouses and sinister Lady Eldreds. The two stories illuminate each other….” James Reaney, 1966 Program Notes

When & Where: February 4 to 8 at 7:00 pm at the Jonathan McCully Mansion, 2507 Brunswick Street, Halifax B3K 2Z5

February 9 at 6:00 pm at the Maritime Conservatory for the Performing Arts, 6199 Chebucto Road, Halifax B3L 1K7

Tickets: To order tickets and for details about accessibility at the two locations, see the TicketHalifax page: https://www.tickethalifax.com/events/104629667/listen-to-the-wind

James Reaney’s 1966 play Listen to the Wind is available from Talonbooks: https://talonbooks.com/books/listen-to-the-wind

James Reaney (Photo courtesy Talonbooks)

Songs of London Poetry and Painting with Serenata Music on January 18

Join us on Saturday January 18 at 8:00 pm at Western’s von Kuster Auditorium for a musical evening of “Songs of London Poetry and Painting” by local composers Oliver Whitehead (guitar) and Steve Holowitz (piano). 

Inspired by poems and art with a Southwestern Ontario connection, Whitehead and Holowitz have set to music poems from James Reaney’s Souwesto Home and Colleen Thibaudeau’s The Artemesia Book.

The performers are London musicians Sonja Gustafson, soprano, and Adam Iannetta, baritone, along with  Ingrid Crozman on flute and Patrick Theriault on cello (replacing Christine Newland). 

When & Where: Saturday January 18, 8:00 pm, von Kuster Auditorium, Don Wright Faculty of Music, Western University

Tickets are available at the door or online from the Grand Theatre Box Office and OnStageDirect. Students $20 and Adults $40

For more about upcoming concerts and events, visit Serenata Music: http://serenatamusic.com

Souwesto Home, Brick Books 2005
James Reaney and Colleen Thibaudeau near Stratford, Ontario, 1982.

Wordsfest 2019: Stan Dragland on “James Reaney on the grid”

Saturday November 2, 2019 — Thank you all for joining us at Wordsfest at Museum London for the Tenth Annual James Reaney Memorial Lecture, and thank you, Stan Dragland, for coming all the way from St. John’s, Newfoundland to share your thoughts on James Reaney’s use of structure or “grids of meaning.”

Stan Dragland’s lecture “James Reaney on the grid” November 2, 2019 at Wordsfest in London, Ontario.

In his lecture James Reaney on the grid, Stan Dragland explains how Reaney drew material from the local and particular and used archetypal patterns to link and clarify it:

What about the grids? “Grid” is not Reaney’s own word, of course. He picked it up from others at the long-liner’s conference [a 1984 conference on the Canadian long poem], and the literal meaning, with all those right angles, is not the best image for what he does. He’d be more likely to say pattern, or formula, or catalogue, or paradigm, or list. Also backbone. I’ll keep on with grid here, but really list is the better word.

“There is something about lists that hypnotizes me,” Reaney says, introducing the “Catalogue Poems” section of Performance Poems [1990]. Now watch how he slides disparate things together in metaphor as he goes on: “I think this fascination is connected with our joy in the rainbow’s week of colours, in the 92 element candle you see in a physics lab at school, but then see all around you like a segmented serpent we’re all tied together by. Our backbones, with their xylophone vertebrae, are such sentences; lists of symbolic objects in some sort of mysterious, overwhelming progression I have elsewhere called the backbones of whales, and indeed they are, for they are capable of becoming a paradigm . . . used as a secret structure.” His play, Canada Dash, Canada Dot [1965] is built on lists of various sorts. So is Colours in the Dark [1967]. In fact lists or catalogues are everywhere in his work…

A video of Stan Dragland’s lecture is available here, and the full text version is here.

About the speaker

Stan Dragland’s immersion in James Reaney’s work began in 1970 when he arrived in London to teach at the University of Western Ontario. One of the first courses he taught was English 138 Canadian Literature and Culture, a team-taught course designed by James Reaney. Stan Dragland is also a co-founder of Brick Books, a local poetry press now celebrating its 45th anniversary.

Souwesto Home by James Reaney, 2005, Brick Books.

The James Reaney Memorial Lecture series celebrates the life and work of Southwestern Ontario poet and dramatist James Reaney, who was born on a farm near Stratford, Ontario and found a creative home in London, Ontario.

Our thanks to Wordsfest and the London Public Library for their support of the lecture series, and to Poetry Stratford and the Stratford Public Library for their support in hosting the earlier lectures (2010-2015).

2010: Colleen Thibaudeau
2011: Marion Johnson and Peter Denny
2012: Jean McKay
2013: David Ferry
2014: Tim Inkster
2015: Thomas Gerry
2016: John Beckwith
2017: Tom Smart
2018: James Stewart Reaney
2019: Stan Dragland

James Reaney Memorial Lecture: November 2 at Wordsfest

James Reaney at the farm near Stratford, Ontario, Summer 1979. (Photo by Les Kohalmi)

Join us at Wordsfest on November 2, 2019 at 12:00 pm at Museum London’s Lecture Theatre for the 10th annual James Reaney Memorial Lecture.

Stan Dragland, poet, novelist, and literary critic, will speak on James Reaney’s love of lists and how he uses them to express his vision, particularly in plays like The Donnellys.

Styling his lecture as “James Reaney on the grid”, Dragland explores how Reaney’s immersion in his local environment brings forth the universal in his art.

James Reaney’s The Donnellys: Sticks and Stones Act I
Mr Donnelly: And this earth in my hand, the earth of my farm
That I fought for and was smashed and burnt for
(Jerry Franken as Mr Donnelly, Tarragon Theatre, 1973)

When: Saturday November 2 at 12:00 pm
Where: Wordsfest at Museum London, 421 Ridout Street, London, Ontario
Admission is free.

Earlier Wordsfest lectures on James Reaney:

2016: John Beckwith on James Reaney and Music
2017: Tom Smart on James Reaney: The Iconography of His Imagination
2018: James Stewart Reaney on James Reaney’s Plays for Children

The James Reaney Memorial Lecture series celebrates the life and work of Southwestern Ontario poet and dramatist James Reaney, who was born on a farm near Stratford, Ontario and found a creative home in London, Ontario.

Our thanks to Wordsfest and the London Public Library for their support of the lecture series, and to Poetry Stratford and the Stratford Public Library for their support in hosting the earlier lectures (2010-2015).

Souwesto Home by James Reaney, 2005, Brick Books.

Marvellous Playhouses — Thomas Gerry on James Reaney’s emblem poems

In the Summer 2019 issue of Queen’s Quarterly, Thomas Gerry’s article “Marvellous Playhouses” celebrates James Reaney’s emblem poems. For Gerry, the poems “put into play” Reaney’s artistic process, a “magnetic method” he developed for generating meaning through the use of wit.

The emblem poems are theatre-like devices that draw readers into the activity of making meaning. As with audiences for dramatic performances, emblem-readers’ participation is vital. [Queen’s Quarterly, Summer 2019, page 196]

James Reaney’s emblem poem “The Castle” first appeared in Poetry (Chicago) (1969). See Queen’s Quarterly, Summer 2019, page 197.
Summer 1979: James Reaney working in the garden near Stratford, Ontario
(Photo by Les Kohalmi)

For a full discussion of all ten emblem poems and James Reaney’s artistic process, see The Emblems of James Reaney, available from The Porcupine’s Quill.

See also Thomas Gerry‘s 2015 lecture on “Theatrical Features of James Reaney’s Emblem Poems”.

Village Opera presents The Great Lakes Suite May 4-5

May 4-5 in London, Ontario — In celebration of Canadian composers, the Village Opera directed by Adam Corrigan-Holowitz will present The Great Lakes Suite, which features six poems by James Reaney set to music by John Beckwith.

Reaney and Beckwith became friends when they were students at the University of Toronto in the late 1940s. The Great Lakes Suite is from The Red Heart (1949), James Reaney’s first poetry collection. Inspired by the poems, John Beckwith created a chamber cycle for two voices accompanied by a trio.

Along with John Beckwith, this presentation by the Village Opera also includes works by John Greer, London’s Matthew Emery, and two songs by Ontario composer Jeff Enns. The performers are Katy Clark, soprano, and Paul Grambo, baritone.

When: Saturday May 4 at 7:30 and Sunday May 5 at 3:00
Where: Elmwood Avenue Presbyterian Church, London, Ontario
Tickets: $25/$15 for students: https://villageopera.com/buy-tickets

James Reaney’s poem“Lake Superior” begins the suite:

Lake Superior

I am Lake Superior
Cold and gray.
I have no superior;
All other lakes
Haven’t got what it takes;
All are inferior.
I am Lake Superior
Cold and gray.
I am so cold
That because I chill them
The girls of Fort William
Can’t swim in me.
I am so deep
That when people drown in me
Their relatives weep
For they’ll never find them.
In me swims the fearsome
Great big sturgeon.
My shores are made of iron
Lined with tough, wizened trees.
No knife of a surgeon
Is sharper than these
Waves of mine
That glitter and shine
In the light of the Moon, my mother
In the light of the Sun, my grandmother.

James Reaney, 1949

For more about John Beckwith and James Reaney’s musical collaborations, see John Beckwith’s lecture on James Reaney and Music from November 2016: https://jamesreaney.com/gallery/john-beckwith-on-james-reaney-and-music-november-5-2016-at-museum-london/

For more about composer John Beckwith, see his 2012 autobiography Unheard of: Memoirs of a Canadian Composer, available from Wilfrid Laurier University Press, and also the Canadian Music Centre’s Composer Showcase: http://www.musiccentre.ca/node/37279/showcase

James Reaney and John Beckwith, Summer 2003, in London, Ontario. Photo by Colleen Reaney