Fanshawe Pioneer Village, July 11-25: The AlvegoRoot Theatre Company will present two new plays this summer — Welcome to Bon Echo, by Aimee Adler, about pioneer suffragist Flora MacDonald Denison, and a stage version of James Reaney’s historical children’s novel The Boy with an R in His Hand.
Adam Corrigan Horowitz, AlvegoRoot’s Artistic Director, has adapted Reaney’s story to tell the tale of an orphaned brother and sister, Alec and Elizabeth, who arrive in the town of York in Upper Canada in 1826.
Though Alec and Elizabeth both seek peace and security in their new home, they find themselves on opposite sides of the Family Compact versus Reform debate. Alec falls afoul of his Tory-minded Uncle John when he becomes a printer’s apprentice in Reform politician William Lyon Mackenzie‘s print shop, setting the scene for the famous “Types Riot” by Mackenzie’s political foes.
This adaptation makes skillful use of Alec’s totem protectors — a bear, a crow, and a monkey — who help reunite the brother and sister and set right injustice from the past.
“… The essence of Reaney’s visual art is his resounding respect for play as a catalyst to unlock creativity — his and ours — and to transform the world perpetually through metaphors that resonate mythically.” (Devil’s Artisan, Issue 82, page 53)
Smart also mentioned Reaney’s interest in children’s art and the work of psychologist and educator Rhoda Kellogg, who analyzed thousands of drawings by children to show the evolution of their early non-pictorial work, or scribbling, to pictorial drawing. The child-like lone figure or “playful witness” is also a device that Reaney uses in many of his drawings and paintings.
Throughout his literary career, poet and dramatist James Reaney also produced sketches, drawings, and paintings to explore the ideas in his writing. Common themes in Reaney’s visual art are play, home, regionalism, symbolism, and the interplay between text and image.*
When: Sunday November 5 at 5:30 pm
Where: Museum London, 421 Ridout Street North, London, Ontario
Admission is free; James Stewart Reaney, James Reaney’s son, will introduce the speaker.
Our thanks to Wordsfest and the London Public Library for their support of this event. The annual lecture series celebrates the life and work of Southwestern Ontario poet James Reaney, who was born on a farm near Stratford, Ontario.
*See the Spring Exhibitions invitation, McMichael Canadian Art Collection, April 17, 2008.
From 1969 to 1970, Earle Toppings, broadcaster and editor at the Ontario Institute for Education (OISE), organized a series of interviews and recordings with 16 Canadian authors for use as a resource in high schools and colleges.
Literary Titans Revisited: The Earle Toppings Interviews with CanLit Poets and Writers of the Sixties, edited by Professor Anne Urbancic, presents exact transcripts of Earle Toppings’s interviews with Canadian authors Margaret Laurence, Morley Callaghan, Hugh Garner, Hugh MacLennan, Mordecai Richler, Sinclair Ross, Dorothy Livesay, Gwendolyn MacEwen, Al Purdy, Earle Birney, F.R. Scott, Irving Layton,Miriam Waddington, Raymond Souster, Eli Mandel, and James Reaney.
On December 14, 1970, James Reaney met interviewer Earle Toppings and asked that his recording session for the Canadian Poets on Tape series be recorded at a piano, and fortunately the basement studio of the OISE building in Toronto had one. Reaney then played musical excerpts (for example, “Beulah Land” and “The Maple Leaf Rag”) and also read poems from The Red Heart, A Suit of Nettles, Twelve Letters to a Small Town, Night Blooming Cereus, The Dance of Death at London, Ontario, One Man Masque, and Colours in the Dark. He begins this way:
[Reaney performs “Beulah Land,” a fragment of an old hymn, on the piano.]
That’s the first poem I ever heard, at an early denominational Sunday school. I’m sitting at a piano on Bloor Street near a subway that you’ll hear thundering by occasionally, and I’ve got… sort of… my collected works around me. I’m going to read from The Red Heart first of all, and I’m going to occasionally call forth from the piano pieces of music that really make a comment on the poems in a sort of way. […] [See pages 286-287.]
♦ A special evening to launch the book will be held on October 5from 6-8 pm at the EJ Pratt Library, 71 Queen’s Park Crescent East, Toronto, Ontario.
Congratulations to Helen Monroe and Jewel Weed Theatre Company for their successful adaptation of James Reaney’s children’s play Apple Butter at the Fringe Theatre Festival in Kingston, Ontario this week.
Originally conceived as a marionette play, this adaptation uses “actors, puppets, masks and a touch of magic” to bring the story of orphan Apple Butter and his sojourn at Hester Pinch’s farm to life.
Jennifer Brook designed the puppets and masks, and Peter Jarvis composed original songs for the play. The performers are Nicola Atkinson, Adrian Beattie, Kayla Farris, Connor Marois, and Reanne Spitzer.
Part of this year’s Storefront Fringe Festival, the show runs from June 23 to July 1. Order tickets here.
Director Helen Monroe has shared these photos of designs from the play:
On May 30, 1996, “An Evening with James Reaney & Friends” was held at the G.A. Wheable Adult Education Centre in London, Ontario to celebrate the publication of The Box Social and Other Stories, a collection of James Reaney’s short fiction.
I was a student at the University of Toronto in the last years of the 1950s, and James Reaney — who had been cutting an odd swath there several years before — was still an oral tradition. He was known as an enfant terrible who’d published a scandalous story called “The Box Social,” which dealt with gynecological matters unmentionable at that time, and dealt with them in a shocking fashion. (Inside the box of the title — supposed to contain a lunch — there was a fetus.) Nobody seemed to know where this story could actually be read, so its reputation was in consequence tremendous. (I’m happy to say it has now finally been republished.) Reaney was also remembered as having staged a production of Beowulf in which Beowulf himself turned out to be the monster who was murdering and eating his own faithful followers. The more you think about that, the more plausible it becomes.
I was in the Honours English course, and as a consequence we read almost no Canadian literature; but my older brother was in Honours Biology, which included a Canadian literature course. You may ponder the logic of that — why them and not us? Maybe the biologists took CanLit because it was thought to have a lot of animals in it. However, I was in the habit of reading my brother’s books, and it was in the first Robert Weaver short-story anthology that I came across Reaney’s story “The Bully.” It made a big impression on me — it seemed a way of writing about Canadian reality that did not confine itself to the strict social realism that was mostly the fashion then. I went on to read all of Reaney’s poetry available at the time: here was a fresh, brilliant, and quirky literary landscape in the process of being formed and, I should say, against considerable odds…. [Excerpted from Margaret Atwood, “Remembering James Reaney”, Brick Issue 82 (Winter 2009), page 160.]
Note from Susan Reaney: The event was part of the For the Love of Literacy Writers Festival organized by London educator Win Schell to bring local writers to the school. (James Reaney: Listening to the Wind, a film biography of James Reaney produced by Nancy Johnson of Lockwood Films, was to have had its premiere that night, but had to be delayed to the fall.)
After the introduction by Margaret Atwood, James Reaney had planned to read “The Box Social” for the audience, but decided not to and read “The Bully” instead. We were disappointed that he did not give voice to the long-lost story, but a friend from school days said that “The Bully” was an entirely appropriate story to read in a high school.
“James Reaney’s plays — Colours in the Dark (1969), Baldoon (1976), and The Donnellys (1974-7) — as well as his short stories “The Bully” and “The Box Social” (reprinted in The Box Social and Other Stories in 1996), also assume Gothic elements of the macabre rooted in nightmarish families and uncanny action. […]
What makes this locale so prone to Gothic tales is the failure of communication between family members or social groups. In the absence of communication, strange projections and psychological grotesqueries spring up and rapidly grow to unmanageable proportions. Malevolent fantasies are the source and sustenance of the Gothic tradition.”
— Michael Hurley and Allan Hepburn in The Concise Oxford Companion to Canadian Literature, pages 593-594. William Toye, Ed., Oxford University Press, 2011.
March 29, 2017 — Congratulations to the King’s Theatrical Society of King’s University College in Halifax, Nova Scotia, for their wonderful production of James Reaney’s 1967 play Colours in the Dark.
Thank you cast members Alex McVittie, Caleb Sher, Ella MacDonald, Frances Grace Fyfe, Jack Lewis, Jacob Hermant, Jeremy Earley, Julia Hancock-Song, Julia Schultz, Maxim Makarov, and Robert Sapp for your spirited performances.
Colours in the Dark was directed by James Reaney’s granddaughter, Edie Reaney Chunn, who also wrote original music for the play: “This process has been wonderful, in part because of hearing my own voice in my grandfather’s writing, but also because of the new things I have learned to do, and learned that I love doing.”
Here are pictures from the play taken by Producer Erica Guy:
The King’s Theatrical Society (KTS) is a student-run theatrical organization, and every year students propose ideas for plays. The KTS Winter Season for 2017 also featured The Woman in Black by Stephen Malatratt (directed by Jessica MacIsaac), and Bone Cage by Catherine Banks (directed by Miranda Bowron). Here’s to more great plays next season!
For more about the play, see Ophelia Stone’s review in Watch Magazine.
On March 8, the University of Toronto Faculty of Music held a 90th birthday celebration for former dean John Beckwith, and he presented a lecture on Canadian music since 1967. Congratulations on your 90th, John!
More concerts featuring John Beckwith’s music are planned:
♦ On April 28, New Music Concerts in Toronto will present a program he is curating, featuring his Avowals (1985) and the premières of two mixed instrumentation chamber works: Quintet (2015) and Calling (2016).
((( ♦ )))Archived recordings of John Beckwith’s music, including several Beckwith-Reaney works, are available for streaming at the Canadian Music Centre’s Composer Showcase.