But the film isn’t just a cinematic escape back into the theatres we miss. It is a story of four neurodiverse brothers as told by Smith, and woven into the art and science of piano tuning. It’s an honest and personal exploration as one of the four brothers living with obsessive-compulsive disorder, autism, bipolar disorder, and schizophrenia.

“An instrument goes out of tune whether or not anyone plays it.”

Part memoir, performance art, and piano lesson, the film offers us insight to families living with mental health challenges.  Lessons in Temperament opens with Smith at the piano playing the profoundly moving Beethoven’s Sonata No 8 in C minor .  The piece itself is both tragic and beautiful — the melody has a way of bringing tears to the eyes. Smith explains the intricacies of piano tuning will offering memories of his family. But it’s not all heavy, Smith does inject a few lighter moments.

Outside the March, a Toronto-based company known to create some of the city’s most unique theatre experiences, worked with Smith to adapt his award-winning play into a film presentation. Directed by Mitchell Cushman, we are given an intimate visual both of the mind and of the theatres and spaces featured in the film —  characters in their own right. Cautiously and methodically we are viewing the Smith alone in spaces we are familiar with but in a very different light.

While Smith’s story, the audience may even find a deeper connection at this time when we’re trying to navigate our way out of nearly two years of loneliness and isolation.

And the piano tuning? Yes, relatable in life and in so many ways. It’s about finding the right distance and balance with patience. Some of the most beautiful music can emerge in unexpected ways.

Lessons in Temperament is unexpectedly moving and will more than likely stay with you afterwards. It’s a film experience worth checking into.  More in-person screenings are happening in the various theatre spaces where the filming took place. Virtual screenings are also scheduled. Full schedule available here at www.outsidethemarch.ca.

100% of Box Office ticket proceeds go directly to mental health affiliated charities including CAMH, Kerry’s Place, Stella’s Place, Homes First, EveryMind and True North Aid. Also, as the material may be sensitive, present at each screening is an active listener trained staff who will offer emotional support and additional resources for anyone who may need.

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Developed with the support of TO Live,  The Spectators’ Odyssey – o dell’Inferno, is an immersive, contemporary multimedia theatrical experience that takes the audience behind the scenes of two of Toronto’s most iconic buildings making the audience the central character in the narrative they experience.

Created by Daniele Bartolini, artistic director, The Spectators’ Odyssey – o dell’Inferno represents a major expansion in terms of form in the way it combines the immersive qualities of alternate reality gaming and the emotional impact of high-level theatre to deliver a choose-your-own-adventure experience with deep emotional stakes.

We had the opportunity to learn more about the production form Bartolini…

Danté’s Inferno and Homer’s The Odyssey, how did you landed on these two to serve as inspiration?

DB: They are two voyages, epic and visionary, that connect a web of ancient and mythic stories. These stories are immortal. This creation looks at a golden thread that catapults archaic stories into our contemporary world. We know that Homer pulled from the oral tradition, Virgil looked at Homer, Dante looked at Virgil who looked at Homer. Today in Toronto we take inspiration and reimagine these epic poems, placing the spectator at the centre of the narrative: they therefore become Dante lost in the underworld, Ulysses lost in the ocean of the human experience. Homer and Dante are two visionaries, revolutionaries, who project humans, with their mortality, into the inexplicable – and unspeakable – world of the god(s). The mysteries and enigmas of the cosmos.

Participants are taking behind the scenes at one of Toronto’s most cherished performance venues, a rarity in itself. How did this opportunity come up?

DB: This creation is conceived to throw the audience in the mystery of creation. It is about stepping into the world normally hidden to the spectator, the backstage. Giving light to the underworld of the secrets of theatre, when the curtain is closed. Therefore being in an iconic Toronto venue was fundamental. Josephine Ridge and I connected during the pandemic, and a wonderful collaboration with TO Live and DLT started. This piece has always been conceived to be in a theatre. Pre-pandemic the show was set to open at National Arts Centre in Ottawa and it was developed in association with National Arts Centre’s National Creation Fund. It is a creation about theatre conceived for large scale theatrical spaces, conceived for the theatre as a whole, the theatron, the place where the mortal beholds. With this piece we want to generate an intimate encounter between the spectator and the agitation of the inspirations of the artistic and theatrical soul. In addition to this, like in every DLT show, you are then invited to step in the threshold of reality and artifice and you will find yourself lost outside, in a neighbourhood at night time. The theatre explodes and opens the gates of the real living street.

The experience also helps to support Toronto’s theatre industry. What can you tell us?

DB: There are about forty extraordinary artists working on this show. A stellar team of collaborators coming from different disciplines and practices, an odyssey of people and artistic forms. The international creative team of Italian and Canadian artists includes video direction by Canadian filmmaking legend Bruce MacDonald, choreographer Esie Mensah, poet and writer Luke Reece, co-Director, Technical Director and Sound Designer Matteo Ciardi, Montreal based singer Fred Péloquin, journalist and writer Megan Williams, experimental musician Andrea Gozzi, Italian Canadian performer Maddalena Vallecchi Williams and many more.

There are many layers to the productions that are outside of traditional theatre and you’ve created some incredible experiences. What inspired this unique way of telling stories?

DB: Lots of it comes from direct life experience of being an immigrant in this country. I found myself lost in the city of Toronto shortly after arriving here, walking around and looking at strangers around me. At a certain point I had the idea that this displacement could become a performance itself. It is as if the city became a stage.

Some of other inspirations is that at DLT we have a profound love for work that questions the basics of any art form and that reinvents it. We find ourselves interested when there are intrusions of different art forms and mediums and how these push the concept of what is considered theatre (or art in general, life). We are interested in work that is ephemeral and unrepeatable, brought to life by the encounter of audiences and artists. The audience is the centre of our work, and this is why we call it audience-specific theatre. We design experiences/adventures where your role is shifted from viewer to protagonist and where you are invited to let your imagination go.

Covid has created some additional challenges for every industry. How has it affected the way you’re presenting these new works?

DB: The Spectators’ Odyssey – o dell’Inferno is conceived to happen with the restrictions in place due to the pandemic, by bringing a small group of 8 spectators at a time together, safely and distanced to a live and in-person event. We believe that having a limited number of audience members at a time will be an ideal reintroduction to live theatre for the public. They will have the opportunity to experience a live show again in an intimate and safe environment without the possible anxiety of being in a large crowd of people.  Previously, in the Summer of 2020, DLT presented a live, in-person production during the pandemic at the Venice Biennale.  We gained hands-on experience as to how we can safely bring audiences back to live events.

Differently from other DLT shows, where the performers interact physically with the audience members, for example by holding hands, painting together or dancing in close proximity, this show has been created in a way where the spectator-performer connection is still at the heart of the show, but without any physical touch.

There are two productions, how do we select what to do first?

DB: Audiences are strongly encouraged to see both. The two journeys are interconnected and designed in a way that it does not matter which one you see first, like in some Cortazar’s or Calvino’s novels you can choose your path, what to see first. So, how should you choose? Flip a coin and see what comes to you.

The invitation is to go towards the unknown, towards life.

Think this:

“Midway along the journey of my life I found myself…”

How do you want to continue?

Blue or Red?

*****

The Spectators’ Odyssey – o dell ’Inferno will be performed with timed entry. Groups of 8 will begin their voyage every 15 minutes for one of two different journeys downtown Toronto, each approximately one hour. Audience can choose to do journey A or B or both.

TICKETS: $49 general/$29 arts workers per journey or combined ticket of $75 general/$55 arts workers. Tickets are available online at www.tolive.com, by phone at 416-366-7723 & 1-800-708-6754, or by email at boxoffice@tolive.com.

Founded in 2006 in Florence, Italy by Artistic Director Daniele Bartolini, DopoLavoro Teatrale (DLT) is devoted to audience specific creations and multi-disciplinary contemporary performance. Presenting shows that roam anywhere – alleyways and hidden corners of Toronto, foggy canals in East London, independent theatres in West Berlin, ancient markets, secret beaches in Mumbai, abandoned clocktowers in remote villages of Tuscany, deconsecrated churches in the old town of Florence and exceptional showcases such as La Biennale di Venezia. DLT is now based in Toronto. DLT pursue an artistic discourse that places the spectators at its centre – www.dltexperience.com 

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In this new work, Silven invites intimate groups of no more than 30 into the world of his childhood home in Scotland where the power of place and connection takes audience member on a personal journey of discovery. Silven uses audience participation to weave a spellbinding story that leaves you in wonder.

“Memory and nostalgia form a big part of my work, and Scotland was such a formative part of my childhood and what I do today —  the mythical landscape provides constant inspiration for me,” says Silven. “Serendipitously, returning back to Scotland and my childhood home this year made me recognize the power of place and how that stays with us, and I knew I wanted to create an experience that would ask an audience the same questions. I began creating The Journey based around the landscape and myths of my childhood and discovered that I wanted to take my audience on a virtual adventure from their home to mine and to use their imaginations and memories as the guide. It adds an authenticity to the experience that I’m not performing on stage in a studio or theatre, but inviting the audience into my home and us sharing in the experience together.”

Ahead of his scheduled performances with Toronto audiences, we had a chance to speak with Silven to find out more…

When did you discover your love for the art of illusions?

SS: Scotland is a place where myth and mystery is woven into the fabric of its identity, so being connected to those stories and surroundings as a kid really instilled a sense of wonder in me and a love for magic. We live in a time where everything is often easily explainable and it’s inspiring to see the myths of this landscape still alive today. My grandfather was also a big influence on my work, he taught me some simple tricks when I was very young and set me on the journey of becoming an illusionist. I remember doing lots of vanishes and reappearances as a little kid, which usually involved asking family members to close their eyes whilst I ran behind the sofa. I promise my skills have improved since then!

Do you have a favourite trick/experience that either you’ve witnessed or have performed?

SS: Whilst traditional magicians often focus on tricks or elaborate props, as a mentalist my work is not driven by any of this, but by the power of story, by memory and the mind. That for me is always exciting but makes it difficult to choose a single favourite illusion as each effect I create is personal for the audience. In The Journey, I’ve created what I believe are some of my most powerful illusions so far.  My goal is never to convince an audience that magic is real but to lead them to an impossible place of wonder.

This latest endeavour will all be performed online – what can we expect?

SS: The challenges of the online format have allowed unique opportunities to connect with the audience on a deeper level that I wouldn’t otherwise be able to do in a live environment. We send the audience exclusive advance content- special films and a binaural sound experience- that they can interact with before they engage with the show. As well as this, there’s something very powerful about audience members sitting in the comfort of their own homes. They are asked to bring objects of meaning to them to the performance itself, which I hope makes it a far more personal and dynamic experience than sitting in the usual darkened space of a theatre. Mostly for me, it’s exciting to connect with audiences across the world every night.

The experience will be shared through the magic of the internet. What other technology are you incorporating into the show?

SS: I wanted The Journey to feel as close to my live shows as possible. What we have created is something that not only feels like a live experience but is deeply interactive and immersive, as the audience’s input directly affects key moments of the show. To achieve this, we had to design custom technology that allows the audience to be projected into the room as well as develop intricate sound design that envelops them in the story. I was able to bring together an incredible creative team of Broadway and West End veterans, including Designer Jeff Sugg and Sound Designer Gareth Fry. By combining breakthrough technology, projection mapping, high definition visuals, and stereo sound to help tell my story, we have hopefully created something audiences will have never experienced in the online realm before.

You were in Toronto performing during Luminato in 2018, what you loved about our city?

SS: I’ve lived in NYC for the past few years so I’m used to city living, but I found the rhythm of Toronto pretty unique. It’s got the metropolitan buzz of a major city but it’s also connected to nature in a beautiful way. I remember spending some lovely afternoons in Rouge Park after a busy day exploring the arts and culture scene in the city. I can’t wait to visit again in person hopefully sometime soon.

COVID has impacted us in many ways but have there been any silver linings for you?

SS: I think for me the opportunity to slow down and be in the one place for a period of time has been surprisingly rewarding. I went from a schedule of touring around the world with 500 shows a year to being back in my family home. For me, it’s allowed a moment to reflect, reconnect with family and friends, and has really inspired me creatively.

I’m hugely excited to be bringing The Journey to TO Live for its Canadian premiere — I’ve hopefully crafted an experience that audiences will never have seen in the online realm before, I can’t wait for them to experience it. Bring some headphones, an object of meaning, and prepare for an adventure you hopefully won’t forget!

Performances run February 16-21, 2021 and March 16-28, 2021
Tuesday -Saturday performances will begin at 6:00pm and 8:00pm EST
Sunday performances will begin at 2:00pm and 4:00pm EST
Running time is approximately 55 minutes
Ticket prices start at $45.00 and can be purchased at  tolive.com/thejourney

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The series provides a fun and creative way to explore a variety of performing arts. Each episode of The Arts Squad will focus on a different artistic discipline: music, theatre, storytelling, dance, and comic arts; with each discipline taught by a different artist. The participating artists are actor and director Herbie Barnes (theatre); choreographer and dancer Edz Gyamfi (dance); comic book illustrator Kean Soo (comics); writer/storyteller Nathalie Vachon (storytelling); and actor, singer, and conductor Tahirih Vejdani (music).

The series launched on June 22 with five episodes already in place. Each episode lasts between 8 to 15 minutes in duration with easy to follow instructions. New content will be added each Monday to the existing series. The episodes will continue to be available online so kids, families and caregivers can explore them at their own pace. Visit the site www.tolive.com/kids to watch the current episodes now.

We were happy to learn that Edz Gyamfi, a Ghanaian-Canadian dance choreographer from Ottawa, was on the roster. Edz was exposed to various music genres throughout his life, but his dance foundation is in Hip Hop, Dance Hall and Reggae. Edz has been competing, teaching, and choreographing for over 10 years and is known for incorporating a range of dance styles to clients of all ages. He’s also worked on various music videos.

While watching Edz Gyamfi first dance episode with TO LIVE The Arts Squad, we admit to getting off the couch and got grooving right with him! Yes, we learned a few new dance moves that we’ll have to incorporate into our next family TikTok clip.  We had a chance to chat with Edz to find out more about his love for dance and how to keep kids learning and engaged while having fun.

Do you remember when you were introduced to the world of dance?

Edz: I was introduced to the world of dance at a very early age with my two older brothers, Bismark and Maxwell. We were always dancing in the living room and at Ghanaian ‘Outdoorings’ (community gatherings). I always enjoyed dancing as a kid especially when watching various music videos such as MC Hammers music video “Can’t Touch This”, Michael Jackson’s “Beat It” and Maestro Fresh Wes “Let your Back Bone Slide” to name a few. I also grew up watching THE ICONIC movie called “Breakin” starring Shabba Doo and Boogaloo Shrimp Chambers. Those influenced me at a young age which connected and carried through after High School. That’s when I actually started to dance and eventually developed a passion for the art form.”

Having danced most of your life, what would you want parents to know about the art form?

Edz: I’d want parents to know that dance “is like a box of chocolates, you just never know what you’re going to get”. Just made a Forrest Gump reference but seriously, dance as an art form is filled with so many great elements. Aside from dance keeping you fit and active, it has also been a huge source of therapy and a guide to unlocking many things from within. Dance as an art form has enabled me to dig deep spiritually, mentally and emotionally. It has made me appreciate music, movements, dance disciplines and cultures from all over the world.

You’ve taught all ages, what’s fun about teaching kids?

Edz: Out of all ages that I’ve taught in the span of my career, I’d say that kids are the most fun and energetic to teach. I find that music hits them completely different from the other age groups. It could very well be that they’re at their purest during those ages and aren’t caged or pressed down by what society expects them to be. There’s a sense of liberation and freedom whenever they’re being taught and dancing, which is really amazing and empowering to witness.

What tips do you have for parents who are introducing their kids to dance?

Edz: I would advise parents to do their research before enlisting their kids in dance. The reason being is that dance can be an expensive venture to get into and as a parent, you’d not only want your kids to have fun but also learn something along the way. Parents should do the following when landing on a studio: Checking out their Credibility. Checking out FACULTY (IS A MUST)

Making sure that each faculty member has a resume that backs up the style of dance that they specialize in. The key is that these instructors should be knowledgeable about what they’re teaching, just like any other profession.

Doing that homework as a parent will ensure that you’re getting the bang for your hard-earned bucks. DANCE AIN’T CHEAP!!!

In the meantime, young kids and their families can have fun learning simple dance steps with Edz and TO LIVE The Arts Squad right from their own living rooms this summer.

Here’s a quick link to his episode:

TO Live is one of Canada’s largest multi-arts organizations, operating three iconic venues: Meridian Hall, the St. Lawrence Centre for the Arts and Meridian Arts Centre. In addition, TO Live presents a full range of performing arts, theatrical and concert events at these venues in both downtown and uptown Toronto. TO Live continues to inspire local and international artists, connect audiences and reflects on Toronto’s range and diversity.

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