As I post this, it’s the morning after the opening night performance of Regina Lyric Musical Theatre‘s production of Sweeney Todd: The Demon Barber of Fleet Street, in which I play Fogg and also sing …
My young-YA/middle-grade fantasy Fireboy, a nominee for Best Young Adult Novel in this year’s Aurora Awards, is also a finalist for the 2027 Manitoba Young Readers’ Choice Award in the Northern Lights Division. This is …
I’m thrilled to announce that I’m up for two Aurora Awards this year! Fireboy is on the ballot for Best Young Adult Novel, and The Worldshapers is once again on the ballot for Best Fan …
I spent a good chunk of today at Wordbridge, the annual writers’ conference in Lethbridge, Alberta. My main reason for coming was to launch a Shadowpaw Press title (Broken Realm by Jenna Greene, a Lethbridge …
This is Easter weekend; last weekend, I sang in the Easter concert of First Baptist Church here in Regina as a guest soloist and chorister. The whole concert is worth listening to, but if you’d …
I put a link to this in the previous post on my Aurora-eligible work for 2025, but wanted to highlight it. This was my contribution to the Shapers of Worlds Volume V anthology, and it …
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My LeaderPost review of Globe Theatre’s Mesa
My LeaderPost review of Globe Theatre’s Mesa, which oddly enough has striking similarities to my CBC review of the same production–go figure!–is online this morning.
It begins:
Mesa, Globe Theatre’s new mainstage production, is the story of a road trip — a physical journey from Calgary to Arizona, and the metaphorical journey from youth to old age.
Which sounds pretty heavy, so let me hasten to add that Mesa, well-directed by Joey Tremblay, is also very funny.
It’s 1998, and 93-year-old Bud (Sheldon Davis), is being chauffeured by his 34-year-old grandson-in-law, Paul (Curt McKinstry), on his annual winter trip to the Citrus Gardens trailer park in Mesa, Ariz. It’s the first time he hasn’t driven himself.
The characters they encounter along the way are played by Ryan Parker, also one of two musicians (with Jeremy Sauer) whose music establishes transitions — and whose rendition of The Tennessee Waltz, with its line “Now I know just how much I have lost,” provides an evocative framing device.
Permanent link to this article: https://edwardwillett.com/2009/03/my-leaderpost-review-of-globe-theatres-mesa/
