LOCAL ARTISTS CREATE COLLABORATIVE CONTEMPORARY PROJECT

By Jelena Subotic

Local artists Pascal Paquette and Sean Martindale have joined forces in a collaborative project just one of many featured in the Art Gallery of Ontario’s Young Gallery (317 Dundas St. W.).

Their project centres on a collaborative and do-it-yourself structure. Paquette and Martindale use their different art backgrounds to incorporate fine art, design, graffiti, and painting into their works. The pieces featured range from video, projections, and sculpture. One piece in particular, Now Up, incorporates mixed media and video projection and captures the changing appearance of a wall as Paquette and Martindale repeatedly write “now” in new and old graffiti styles.

Their NOW  installation is collaborative and interactive in nature because it gives visitors a chance to post their own answers on the comment wall.

Questions like “What defines our current moment?” and “What’s on your mind now?” enables people to contribute their own thoughts to the artwork.

Martindale graduated from Emily Carr University and completed his MFA from OCAD University (100 McCaul St.). He mixes fine art and street art with works of natural elements and recyclable materials.

A graduate from La Cité Collégiale in the graphic arts program, Paquette mainly paints, but also works under the name Mon Petit Chou as a graffiti writer.

Collaboration is a central theme with each piece, whether it is with each other, the audience, or other local artists. Paquette and Martindale build on the idea of community existing in art. Whitewash  is a video that includes local street art and graffiti artists that each individually paint onto a communal wall. At the end, the wall is painted over by Paquette and Martindale, and then another artist uses the space. The piece represents the reality graffiti artists face when their artwork is whitewashed by the city and other artists.

Paquette says that there are two things with collaboration, “direct collaboration,” which Paquette, Martindale, and Katherine Dennis, curator of the NOW exhibit, are involved with, and “collaborating with the audience,” being able to engage everyone.

Martindale explains that because Whitewash  is still ongoing it requires a lot of hard work for both himself and Paquette. Usually at night, they film themselves painting over the wall which is time-consuming but also involves a lot of dedication.

Because of the kind of work he does, depending on the size of the work, “physically they’re challenging, economically they’re challenging,” Paquette says, “As an artist you need to figure out how to make your ends meet and that forces an artist to become more serious.”

Paquette always enjoyed making art but was first interested in pursuing it as a career when he was introduced to Alex Colville on a school trip to the National Gallery of Canada in Ottawa. His teacher explained that Colville is a living artist, a painter that has his work exhibited in galleries, and Pascal says at that moment he thought, “Okay, that’s the job I want.”

Taking inspiration from his daily environment, Paquette says that he goes around the city to find these big walls that he thinks would be great if they were filled with positive art. “I want to give something to my environment, at the same time I want to discuss my environment with others in it.”

He considers himself as a chameleon artist, working with different forms of art Paquette is “not an artist that just does one thing,” but rather his “take on art, that stays the same,” is the advice he gives to young aspiring artists. He says “to really keep going, exploring your voice and add your voice to a bigger conversation.” Networking is extremely important, “but be yourself, talk to your audience as well, don’t just talk to the people you feel matter, talk to everyone.”

The shift street art and graffiti has made—by making a presence in galleries and museums—is something Paquette knows a lot about. He says this shift is extremely important because without it the art scene would be boring. Adding, “Street art in a way, like a lot of forms that are completely different from the norm, challenge the norm.” He says that shifts are important but “happen not because of a select few,” but rather “they happen when everybody decides it’s time to change.”

These projects demonstrate that Toronto has a voice in the art scene and has a lot to offer, Paquette adds. “Toronto is still trying to get on the art world map,” and has some great talents.

There has been a push-pull effect, he says, with some graffiti artists not wanting graffiti in galleries and others for it. “The street artists that do have problems with street art being in galleries generally are talking to themselves,” and it’s important to recognize “the ones who are saying worthwhile things open up to a greater audience.”

The project, featured in the Young Gallery, is part of the Toronto Now series which includes contemporary art projects by local artists. About every two months a new project takes over the gallery.

The NOW exhibit, curated by Dennis, ended April 1. Young Gallery invites the public free of charge and encourages visitors to stay and interact with the art, while even providing a work space and free Wi-Fi access.

THE GLEANER SITS DOWN WITH LOCAL CROONER SAM BROVERMAN

Sam Broverman, a tenured professor of Actuarial Science at U of T, finally found a chance to professionally recorded a jazz album after singing all his life. Perry King/Gleaner News.

By Perry King

When it came time to choose a graduate program, a young Sam Broverman was at a crucial crossroads of his existence.

A Winnipeg native, and singing for most his life, Broverman also came to enjoy mathematics. As a math undergrad at the University of Manitoba, Broverman had applied to graduate programs for both music and mathematics. He was accepted to both programs, but U of M only permitted him to choose one program.

With his first studio album, Dream Maker, Heartbreaker: Sam Broverman Sings Johnny Mercer, under his belt, I sat down with Broverman at Diverso restaurant (328 Dupont St.) to pick his brain about that crucial decision, and life since then.

Broverman’s formative years struck an uncanny balance between music and math. “I sang professionally when I was a university student. It helped me pay my way through,” said Broverman, who made appearances at cabaret shows and CBC radio and television at the time.

But Broverman’s aptitude for math was strong, and he decided to join the Faculty of Science. “I knew that an arts-singing-performing-oriented career is a tough road. People love it and they do it, and you have to sacrifice for it. But, I didn’t love mathematics any less, and I felt that I could have a good career on the math side and be able to continue musically.” And he did, continuing informal vocal studies at U of M, and performing in Winnipeg to fund his education.

Then real life kicked in. “When my PhD studies and the development of my career took over, I didn’t have as much time for music because, to be on top it, you have to devote yourself to it,” said Broverman, who is now a tenured professor of actuarial science at U of T, an institution he has taught at since 1980.

Broverman has come a long way, with academic stints at U of T in the mid-1970s, and a two years at the University of Texas. Broverman now resides in the Annex with his wife, Sue. He absolutely loves the neighbourhood. “My wife always wanted to be downtown, and I was a little resistant to it,” he said, but he eventually came around, and his family benefited from the central location—in close proximity to many activities for his three daughters and work for Broverman.

Looking back, deciding a math career was the right decision. “The only thing that I have a regret is that I didn’t spend as much time on formal musical studies. I had singing lessons, but if you go to a university program, you’re much more intensively learning history and theory.”

Being apart of the Toronto Mendelssohn Choir for many years satisfied Broverman’s passion for music when academia became his calling. “But the last few years, my kids have grown up, and the bug kind of took over.” Hence, the recording of Dream Maker, Heartbreaker, a channeling of ballads based on the recordings of jazz great Johnny Mercer. Produced by Ken Whiteley, the Juno award-winning mind behind the likes of Fred Penner and the Toronto Mass Choir, the album captures the time capsule of Mercer precisely.

Listening to the recordings, you immediately think of a big band, mid-1950s jazz ensemble, with Frank Sinatra laying down smooth vocals. Released in small circulation last year, the album has gotten positive acclaim. “Broverman really connects emotionally with the lyrics, and vocally he’s spot on,” said Harold Sanditen, of the Cabaret Scenes Review. “Broverman sings it with just the right amount of sweetness, yearning and poignancy,” said Sharna Searle, of the locally-published Whotenote Magazine.

With the very minor exposure on CBC radio and Jazz FM 91, Broverman has become very content with how his musical resume has developed. “I’m very happy with my career as a university professor, and I’m enjoying doing the singing. I don’t have any allusions about where that will take me, I’m just enjoying doing it. Broverman is planning on recording more music in the future, but he definitely is enjoying the ride.

For more information about Broverman and his musical work, visit www.brovermusic.com.

MEETING CALLED TO MEDIATE CURRENT NOISE DISPUTE

The first floor of CSI Annex (720 Bathurst St.) is now a large-scale space for events, including this launch of Spacing's national magazine in mid-February. Perry King/Gleaner News.

By Perry King

The issues that have plagued residents of Markham Street and the Centre for Social Innovation for nearly a year has resulted in a public meeting to sort them out.

On Mar. 27, this meeting—called by Councillor Mike Layton (Ward 19, Trinity-Spadina)—will discuss significant noise and facility usage conditions between CSI, who acquired their Annex building  (720 Bathurst St.) in 2010, and the longtime residents who directly reside across the alley. The local community has been invited to sit in and contribute to the meeting.

Much of the current dispute was initiated when CSI informed Markham residents of construction of CSI Annex’s first floor, now a 7,000 square foot facility. CSI had informed the residents that the work would require an adjustment to the space. Many of the residents were fine with an adjustment, and implicitly assumed the space would be used for meetings, conferences, and the like. The subsequent events after the committee hearing were not pleasant. “First off, we had no expectation [that] the construction process would be such a protracted, and messy one,” said Roy Sawyer, one of the residents.

Ken Balderson, in an email on behalf of the residents, cited that the construction obstructed access to garages. As well, “they left garbage strewn all over the alley. Heavy equipment ripped up the roadway. Although complaints were lodged for months, CSI was unable (or unwilling) to resolve the problem,” wrote Balderson.

CSI, despite being perceived by some residents to be negligent and cold, have been trying to empathize act in the interest of the residents. “Before the noise issue, our construction general manager and his trades frequently parked their vehicles in the lane behind the building, also causing a disruption. I spoke with the tradespeople, but they often continued to park in the alley, forcing the neighbours to complain and take action,” wrote Colleen Diamond, CSI Annex’s community animator.

CSI then began licensing their space for various events in December and January, and the situation became too much to bear. Donna McFarlane, also a Markham resident, cited vibrating floors and loss of sleep. When Layton’s office received word of these issues from some residents, they called the meeting, offering to host. “I can say quite clearly, that if we had known they had intended to play amplified music and serve alcohol late into the evening, I think we would have raised a concern with the Committee of Adjustment when we got the request,” says Sawyer,  who endorses CSI’s purchase and repurposing of the building, but has found this experience jarring.

Eli Malinsky, CSI’s director, says they have also made internal adjustments in order to be more considerate. “We’ve reduced the number of late night events, ensured that a paid CSI representative is on site, and lowered the volume of music that is played in our space. I think we are on the road to sorting out the challenges we’ve been experiencing and establishing a positive relationship with the community,” wrote Malinsky.

Erin Cluley, who runs the CSI Annex Coffee Pub, says that the facility is also seeking a liquor license, rather than acquiring Special Event permits for late evening events. “ Having a liquor license, rather than working off of special event permits, can and likely will help regulate the events situation here. We want them to know that we are looking to add more professionalism with the liquor license, and not the opposite,” she wrote in an email.

The March meeting will be the first formal face-to-face discussion of issues. They are staying tight-lipped about what they would like to see emerge from the meeting, and Malinsky says that they will take a lead from how the discussions emerge.

Markham Street residents are not unfamiliar with noise disputes. McFarlane cited a healthy exchange of ideas with Victory Cafe (581 Markham St.) when the restaurant was planning for a patio expansion in 2010. The Victory does not get “extra privileges,” and neither does CSI, says McFarlane.

Sawyer would like the late night events to completely stop, but is open to compromise. He believes that CSI has used up the residents’ good will. “At this point, my feeling is I’m still happy with CSI as a neighbour. They’ve made a couple of fairly serious missteps in terms of having good neighbourly relations,” said Sawyer. “I’m looking forward to the meeting on March 27, and I’m really hoping that the CSI team are going to address the current issues in a forthright and leaderly [sic] fashion, and that they’re also going to demonstrate to us, in good faith, that they want to be good neighbours and that we’re not going to have an ongoing series of neighbourly disagreements.”

Gleaner Community Press, a former tenant of 720 Bathurst prior to and after the acquisition of the building in 2010, moved out of the facility in early January.

The meeting takes place March 27 in the first-floor of CSI Annex, beginning at 7 p.m.

HISTORIC THEATRE OFFERS EXCITING SCREENINGS FOR LOCAL RESIDENTS

Bloor Hot Docs Cinema opened Mar. 14. Renovations had been ongoing since last summer. New chairs, theatrical lighting, and surround sound are new additions to the updated theatre. Courtesy Joseph Michael.

By Alexa Huffman

New chairs and a screen are the first sight seen when entering the newly renovated Bloor Hot Docs Cinema (506 Bloor St. W). These are not the only changes to be found.

The projectors have been refurbished. There is surround sound, theatrical lighting, and a public address system to help assist in live events.

The changes, along with the partnership between the Hot Docs Canadian Documentary Festival and the Toronto-based filmed company, Blue Ice Group, are set to serve the Annex community.

“We met with hundreds of community members, local businesses and audience members over the past eight months and incorporated as much of their input as possible,” said Chris McDonald, HotDocs’ executive director.

“These are difficult times for the arts and cultural community in this city,” said McDonald, in his opening speech of the special media preview on Feb. 29. He has high hopes for the theatre as it will be hosting not only the Hot Docs Festival this April, but will continue to rent the theatre to other local film festivals.

Neil Tabatznik of Blue Ice is also very optimistic about the opening as he talked among the ladders and drywall on the stage. He says the sound and the fury of documentaries are being lost on the computer and television screens at home.

“That’s why the idea is to create a home for permanent documentary releases is great,” said Tabatznik. “Build it and they will come.”

The home has been months in the making. A large part of the responsibility has been on architect Siamak Hariri, who Tabatznik says “… changed the tired old lady into the beautiful women that she is.”

“We engaged in an interesting process which is the story of Toronto,” says Hariri. “It’s a wonderful combination between memories and desire.”

Hariri utilized all the space available, looking at old pictures from the days when the Bloor Cinema was a vaudeville theatre. A person would walk into the middle of the theatre and see the stage. Today there is a glass screen where you can view the main gallery.

[pullquote]“Build it and they will come”—Neil Tabatznik, Blue Ice Group Principal Director[/pullquote]

It is a way to reclaim and rejuvenate the past while connecting with the technology of today. This is a passion of Robin Smith, the cinema programmer for Bloor Hot Docs Cinema. He is excited choose which documentaries to screen.

“I always knew there was a large documentary audience,” said Smith, who joined Hot Docs last August. “Stand up comic films are documentaries, concert films are documentaries, so you can really play around with this to appeal to people who wouldn’t even call themselves documentary fans.”

Although the cinema will mainly focus on documentaries, fictional films will also be shown, including cult classics. Smith says it’s all about having the community have a cinematic experience. “There’s something social, something warm and inviting,” said Smith. “Cinemas are a place to have discussions.”

Bloor Hot Docs will try to create this social atmosphere with filmmaker’s speeches and panel discussions.

The goal is to have an event theatre especially for Annex residents who have been heavily invested in what is going on in the cinema. “The Bloor was a landmark for the Annex and a staple for people who lived in the Annex,” said Smith.

“This is now [a] unique venue. It’s rare to find a historic cinema like this with its bones kind of kept the same but revamped into the 21st century.

Bloor Hot Docs Cinema underwent extensive renovations since the summer. Hot Docs and Blue Ice Films have been able to renovate and renew every last detail of the facility. The Bloor reopened its doors this month. Courtesy Lisa Logan.

With the screen capable of screening high definition movies and old reels, prices cheaper then mainstream movie theatres and old Bloor membership cards being recognized for finite period of time, there should be an eager audience.

“We know we have to open our doors and kind of re win people back,” said Smith. “I think we are all excited by that.

Doors open on Mar. 14 with a week of special screenings and events. The first public screening is Mar. 16 with a showing of Being Elmo: A Puppeteer’s Journey.

NEWSPAPER ANNOUNCES PLANS FOR NEW BUILDING

The site of future development of the expansion for the Globe and Mail offices is now a Toyota car dealership. Perry King/Gleaner News

By Alexa Huffman

The Globe and Mail office plans were received with applause on Jan. 30 after a community meeting unveiled the new design.

The new building (444 Front St. W.), lies just west of Spadina Avenue. It will replace the Toyota dealership currently on the site.

The local community meeting was held to discuss the 480,000 square foot proposal.  About 120 people showed up for the discussion. Councillor Adam Vaughan (Ward 20, Trinity-Spadina) described the project as moving very quickly.

“The building got applause at the end of the presentation, and at the end of the question and answer section so the neighbourhood is actually quite happy with it,” said Vaughan.

Kuwabara Payne McKenna Blumberg (KPMB) Architects and the Globe and Mail started planning in late December, working with Vaughan to create a proposal to submit to the city.

The building is an interesting piece of architecture that Vaughan describes as a rolled up newspaper shape.  “It looks like the Saturday morning paper when it gets dropped on your front step. It really captures the imagination of the neighbourhood.”

The office complex will include a large podium with a large multimedia event space and a restaurant. The podium will house the Globe and Mail’s newsroom and a mixed-use tower for tenancy. The architectural design invites people in with an open lobby. Visitors can also walk through the building from east to west. There is also a 300-seat venue in the front lobby. All this will allow the Globe and Mail to expand or shrink, depending the industry’s requirements.

[pullquote]“This is a real gift to the city. It’s ready to go forward”—Marianne McKenna, KPMB partner[/pullquote]

This part of the city was chosen because the Globe and Mail owns a large portion of land near Draper, Front, and Wellington streets and Spadina Avenue. “They were looking to stay in the same area,” said Vaughan. “They just wanted to redevelop their property.”

Not only do the offices open doors for the newspaper, other tenants will contribute to the Liberty Village neighbourhood, combining residential redevelopment and workspace. Vaughan said this is key to building a strong city.

The building will boast green technology, that lowers energy consumption, and there is talk of a miniature park area with network of small streets and walkways.

Liberty Village also benefits because the development will pull commercial development along Front Street, allowing the space to become more integrated with the city in the future. Right now there are condominiums in the area but Vaughan’s says the street life can be improved.

“With a strong tenant at Spadina and with major transportation at Union Station, the opportunity for some revitalization for some storefronts and building sites that are still in that part of the city is there,” said Vaughan. “The Globe and Mail may just be the catalyst to build a downtown west in this part of the city.”

As it stands now, the architecture provides no challenges, so it’s just a matter of getting the application approved and the building started. “There have only been a couple of buildings that have received this type of reception in this neighbourhood,” said Vaughan, who plans to help facilitate the development process.

Marianne McKenna, the partner in charge of the project from KPMB, also speaks highly about how the building will benefit the direct community of newspaper readers. “The news business is changing. The vision of the building is going to reflect so there is openness,” said McKenna. “The Globe and Mail can connect with the readers and customers.” “There are no challenging issues present,” said McKenna. “This is a real gift to the city. It’s ready to go forward.”

NEIGHBOURHOOD’S NEW RESIDENTS’ ASSOCIATION PROVIDES COLLECTIVE VOICE

By Sean Frankling

It has only been in the last decade or so that Liberty Village has been a residential area, but newly-built condominiums have brought a massive influx of people. They in turn have brought their views on how their new neighbourhood should be run.

The Liberty Village Residents’ Association (LVRA) was formed to represent these views and has been gaining momentum in the new year.

“It seemed when I was living in Liberty Village that a lot of people were really passionate about the area,” said Todd Hofley, the organization’s founder and president, who started the organization this past October. “Nobody was asking us what we wanted to happen … I thought we needed to speak with one voice instead of yelling with a thousand voices.”

Hofley is a new resident. He says that starting the organization was a matter of building connections between the condo buildings, which had already become close-knit communities in their own right.

[pullquote]“The one unique thing about the area is that they still have a lot of neighbours coming. This will actually be a growing association …”—Councillor Mike Layton [/pullquote]

The association plans to deal specifically with traffic and parking policies in the area, get involved in development choices and improve contact between residents and local businesses.

To accomplish this, the LVRA is organized into three committees. The Neighbourhood Planning Committee is involved in infrastructure, development and traffic management. The Design and Business Development Committee is charged with working with developers and businesses to build a “cohesive” design vision for the Village as a whole. The Social Events Committee is tasked with bringing the community together by planning gatherings and events.

“They decide which [issues] they want to tackle, priority-wise and my job as president is to help them achieve the goals that they set,” said Hofley.

The organization plans to work closely with Councillor Mike Layton (Ward 19, Trinity-Spadina) as well as the Liberty Village BIA. “The one unique thing about the area is that they still have a lot of neighbours coming. This will actually be a growing association … You’re about to add 4,000 new people to the neighbourhood.” said Councillor Layton.

“[In other neighbourhoods] they’ve fought against this, they’ve rallied around that. They really have a history, whereas we’re building that new history, that second generation, that Liberty Village 2.0 right now. To have a strong group with a strong leader, that’s really the energizer.”

Layton says the residents need to think about what issues will attract people to the community, specifically echoing Hofley’s stance on traffic and parking as well as improved public transit.

In the coming year, the LVRA plans to take a role in the building of the new pedestrian bridge between King and Liberty Streets, encouraging movement toward creating an intersection at Lynn Williams and East Liberty Street, and improving traffic safety along East Liberty Street. The organization has several events planned for 2012, including a massive neighbourhood garage sale, a food truck day and an as-yet unspecified community-wide event in the late spring.

The LVRA can be visited at their facebook page or on twitter, @libertyresident.

Many InfoToGoPillars are standing at spots around the downtown core. Perry King/Gleaner News

By Mike Shulman

The growing presence of pillars with reduced information and more advertising have drawn the ire of public space advocates, city councillors, and local residents and businesses.

Critics of the pillars, installed by Astral Media, say they give priority to advertising while neglecting safety, sidewalk access, and their ostensible purpose of providing a way-finding system to local area residents and tourists.

“They are basically advertising pillars. The information is on the spine of the pillars that supports the advertisement. People who have tried to use the maps are complaining that they’re basically confusing and completely ineffective,” said Jayme Turney, executive director of the Toronto Public Space Initiative (TPSI).

The majority of the issues surrounding the pillars have surfaced since a redesign was proposed by Astral and approved by city council last July.

The controversial redesign features a reduction in the information panel by 50 per cent and an increase of the size of the advertising panel by 60 per cent.

The previous design, titled InfoToGo Pillar, featured a 3×5 advertising panel and a large information component. Only five of these were built in total before the redesign was pursued.

According to public space activist Gord Brown, the InfoToGo design was meant to be installed in parks, outside major buildings, and tourist areas, but it was “never really intended that they were going to try and jam them onto narrow downtown sidewalks.”

The city’s public works and infrastructure committee (PWIC) asked that a report be developed on the viability of design changes, and contractual obligations in order to address the concerns raised by the public and create a better way-finding strategy. On Jan. 4, public works voted unanimously at their meeting prevent the installation of further pillars.  Council will vote on Feb. 6. on whether the pillars should have additional approval before being installed.

Councillor Adam Vaughan (Ward 20, Trinity-Spadina) is against the pillars and says this is what occurs when “the city has sold its sidewalks to an advertising conglomerate.”

Ron Hutchinson, senior vice president of real estate at Astral, concedes that “yes, the ad-panel is larger than it was in the original design,” but according to him, “it is the same size as the transit ad-panel and there is no increase in the amount of advertising in square footage that is on the street—that is governed by the contract as well.”

The city’s Vibrant Street Guidelines—established through public consultation and laid out to pre-emptivily deal with issues related to the Street Furniture Program—specify that “no furniture shall obstruct pedestrian, cyclist, or driver sightlines.”

According to the Harbord Village Residents’ Association (HVRA), pedestrians clearways have have been reduced to about half a metre less than the minimum guideline calls for. HVRA representatives said the pillars’ perpendicular placement to the curb design and its standardized construction does not account for the various widths of downtown sidewalks.

This reduced sidewalk space has the potential to increase congestion and issues for those with mobility or visual impairment. “If you create bottlenecks in the sidewalk, that’s a problem, but especially if you’re a new family with stroller or you’re in a wheelchair, or if you have a visual impairment—that creates all kinds of problems” said Turney.

Herb Van den Dool, a resident cyclist representing Ibiketo, noted the pillars’ effects on sightlines.  “While cycling on the street I have also noticed how imposing the info pillars are as the lighted ads draw attention away from the street and can be distracting.”

Vaughan argues that the current design “has made it harder to walk down the sidewalk, harder to ride a bicycle, and a bigger challenge even for people driving cars because they block sightlines.”

The pillars are the latest product of Astral’s 20-year Street Furniture Program, signed in 2007.  The contract provided the city with an upfront payment and the contract secured the greater of either an annual minimum guaranteed fee or a previously assigned percentage of gross advertising revenues from Astral.

The company plans to have 120 pillars up in the city by the end of the year.

COUNCILLOR TALKS TUNNELS, TAXIS, AND CASINOS AT TOWN HALL MEETING

uncillor Adam Vaughan (Ward 20, Trinity-Spadina) speaks with residents of the Bathurst and Queen’s Quay area at Windward Co-operative Homes on Feb 29. Rasheed Clarke/Gleaner News.

By Rasheed Clarke

The Bathurst Quay Neighbourhood Association hosted a town hall meeting with Councillor Adam Vaughan (Ward 20, Trinity-Spadina) on Feb. 29 to give area residents a chance to discuss the issues affecting the neighbourhood with their city hall representative.

Inside the Waterview Room at Windward Co-operative Homes (34 Little Norway Cres.), Vaughan provided residents with updates on construction, development, and traffic management for the area.

One of the most pressing concerns identified by neighbourhood residents was the planned construction of an underwater pedestrian tunnel to Billy Bishop Toronto City Airport, which is now only accessible by ferry.

While residents have opposed the tunnel for fear of increased congestion, according to Vaughan the underwater pedestrian passageway is imminent. “The tunnel project has been approved, it’s moving ahead, it’s been tendered and there is a constructor on contract,” he said. The next step is the creation of a construction liaison committee, which will outline a construction management agreement. “The agreement will ensure the neighbourhood is as protected as it can be from noise, dust, and trucks driving through,” said Vaughan. “We’ve already achieved some agreements on that. The trucks are not to cut through this neighbourhood as they take waste away or deliver material to the construction site.” Additional airport-related construction is about to get underway, according to Suzanna Birchwood, spokesperson for the Toronto Port Authority. “We are now starting to put up a noise barrier that will reduce noise for this immediate area,” she said. “It did take a very long time (to put up the barrier) but there are different levels of government at work trying to come up with solutions, so it’s not a pretty or quick process.”

While construction plans move forward in the neighbourhood, residents remain frustrated with taxi congestion. “Taxis are always an issue in our area,” said Sandra Taylor, who owns two condominiums in the neighbourhood. She worries that the pedestrian tunnel to the island airport will mean more taxis jamming local streets. A number of parents who attended the town hall also expressed their concern that the increased taxi presence was posing a risk to children on their way to and from The Waterfront School (635 Queens Quay W.).

Vaughan’s response was a planned proposal that cars travelling northbound from the island airport on Eireann Quay not be allowed to make left or right turns onto Queens Quay W. Additionally, Vaughan stated that crossing times at intersections would be examined. “We want to make sure that kids and people who need to cross, and who don’t move at the speed of light but rather move at the speed of people, can get across safely,” he said. Vaughan revealed that community council had approved a plan for speed bumps to be installed on Eireann Quay. However, the Toronto Port Authority took that decision to court, arguing that speed bumps would impede emergency vehicles from reaching the island airport in the event of a plane crash. “The day to day safety of the children walking on that street has to be spoken to,” said Vaughan. “The safety of children in this neighbourhood trumps everything.

“We’ll stop at nothing to make that street safe, I don’t care how many lawsuits the Port Authority throws at me.”

While activity increases around the island airport, residents were also interested to hear about the future plans for the now quiet Ontario Place lands. The construction of a casino on the grounds is one of the ideas being mulled by the province, which owns Ontario Place. Vaughan expressed his outright opposition to a casino, which he believes could nurture gambling problems, amidst other drawbacks. “It’s not a moral issue to me, although there are moral implications, but it’s an urban fabric issue, it’s a planning issue. Casinos are really bad in big cities. “It would transform the social dynamic on the street, it would transform the way people use this neighbourhood.”

Vaughan added that the provincial government has stated that it will not put a casino in a community that is not willing. Plenty of heads around the Waterview Room nodded to Vaughan’s comments, suggesting this neighbourhood would not welcome a casino in their community.

TENNESSEE WILLIAMS’ THE NIGHT OF THE IGUANA COMES TO HART HOUSE

Hart House Theatre will warm up this March with the American classic, The Night of the Iguana. Rasheed Clarke/Gleaner News.

By Rasheed Clarke

When winter’s frigid fingers are desperately clinging onto you this March, Hart House Theatre (7 Hart House Circle) will offer up an escape down to Mexico; the sweaty setting for Tennessee Williams’ play The Night of the Iguana.

The performance will mark the final show of Hart House Theatre’s 2011/2012 schedule.

The story follows Reverend T. Lawrence Shannon, a disgraced minister who works as a tour guide in Mexico after being expelled from his American church. As the Reverend struggles with his broken faith, he leads a group of female tourists through Mexico and begins a romantic relationship with a young girl in the tour group, Charlotte Goodall.

Shannon brings the group to a hotel run by his friend Maxine Faulk, who lusts after the Reverend. Add one more woman into the mix, the spinster Hannah Jelkes, and you get a complex tale of interwoven relationships between seemingly unrelated people who work towards accepting their lives, as flawed as they may be, and moving on.

Director Jeremy Hutton has been charged with the responsibility of bringing Williams’ play to the stage. He is also in his second year as Hart House Theatre’s artistic director. Hutton says the time was right to perform The Night of the Iguana.

“We almost always do a Shakespeare, we almost always do a musical, and then the other shows in the season are left freer in terms of all the different things we can do with it. We had never done an American classic that wasn’t a musical, so it just seemed like a good time to tackle some Tennessee Williams.”

As director of Iguana, Hutton says that his job is not to exhibit any particular thematic angle, but to ensure that the play’s distinctive characters stand out for the audience.

“It’s a character piece, not a director piece. There are no huge interpretations or spins that a director can put on it. You have these really deeply damaged people who are on the precipice of their lives, they’re all ready to crack, but there’s a potential that these characters can attain something real, that they can get past the issues and damages that they have. Maybe not find something perfect, but something acceptable.”

The production enlists some top talent, with David Ferry taking on the role of Reverend Shannon. Ferry won the 2011 Barbara Hamilton Award for excellence in the performing arts, and has featured in Richard III and Titus Andronicus at the Stratford Shakespeare Festival.

Starring alongside Ferry will be Allegra Fulton, who plays Maxine Faulk. Her long list of credits includes performances at the Stratford Shakespeare Festival, Tarragon Theatre, SoulPepper Theatre, and the Canadian Stage Company.

Andrea Wasserman, marketing coordinator at Hart House Theatre, says that the show’s added star power will likely bring in a diverse crowd.

“With the inclusion of David Ferry and Allegra Fulton we’re going to get a lot of folks coming from the theatre community at large, as well as general playgoers.”

“One of the great things of this particular production,” adds Wasserman, “is that a lot of the folks who study English or Theatre will have looked at this play or at least the plays of Tennessee Williams, and that will attract a student audience absolutely.”

The Night of the Iguana is on stage from Mar. 2 to 10 at Hart House Theatre. For tickets and showtimes, visit www.harthouse.ca/hart-house-theatre.

LOCAL PERFORMER WRAPS UP MANGA-INSPIRED ENSEMBLE

Maxine Heppner has lived in the Annex since the late '70s. Courtesy Maxine Heppner.

By Rebecca Payne

Maxine Heppner has been involved in dance her whole life. The choreographer, performer, and teacher has been an Annex resident since the late ’70s.

“I wouldn’t want to live anywhere else in the city, quite frankly.”

She says the diversity of the neighbourhood is what makes it such a vibrant and inspirational place for artists. “If you stop to pay attention, there’s a lot of material.”

A run of Heppner’s latest project my heart is a spoon, which she choreographed and directed, just concluded at The Theatre Centre (1087 Queen St. W.). She began to develop the piece almost six years ago, when she was touring Asia. During her time performing in Tokyo, she was introduced to manga, a Japanese style of cartooning. The manga books inspired her because “the books are really energetic and they are powerful when you open up a page. The artists are really free in the way they draw.”

[pullquote]“If you take this amazingly difficult experience and you swallow it, you hold it inside”—Maxine Heppner [/pullquote]

Modern manga is a direct development from traditional drawings and wood etchings, also known as manga, that have been dated back to the 17th century. Heppner also studied these traditional works of art, and was stirred by the difference between the two. “It seemed to me that they kind of sucked you in; all the soft colours, you look inside the painting to see all the detail. Whereas the [modern manga] kind of leapt out at me.”

The differences in the energies of these two forms interested Heppner, and this lead her to consider and observe how people contain and release energy.

my heart is a spoon also explores the condition of rage, which she notes is, from a psychological perspective, more about a release of pressure than the violent-anger definition that usually comes to mind. According to Heppner, this release can happen in many ways, which the piece explores. In putting it together, she spoke to psychologists, sociologists, political scientists, and those in the medical field.

She also spoke to survivors of Hiroshima. “I was told that they, and [other survivors] were told that they should swallow their rage, and this was a strong statement to me. [Because] it meant that if you take this amazingly difficult experience and you swallow it, you hold it inside. But at the same time I thought, it’s interesting because if you swallow something then you digest it, and it becomes a part of you. This was the beginning of my thinking about alternate ways we live with difficulties in our lives.”

In the spring, Heppner will be leading various workshops, as well as contributing to a project with Kaeja d’Dance Company. She is one of five choreographers who will be creating dances that are to be performed in the Porch View dance series. These performances will take place, as the name suggests, on community members’ porches and front lawns in the Seaton Village area, and will be free for the public to attend.

For more information on Heppner and her upcoming workshops, please visit www.acrossoceans.org. For more information on the Porch View series, please visit www.kaeja.org.

14 DIVISION TO OPEN NEW HEADQUARTERS THIS SEPTEMBER

By Perry King

14 Division's new headquarters on Dovercourt Road is to open this fall. Perry King/Gleaner News.

Toronto police’s 14 Division may have had a great 2011, but New Year’s Day was not a time for them to rest on their laurels.

The New Year’s stabbing death of Mike Pimentel in Liberty Village “was only one isolated event that raised concerns to me on New Year’s Eve. There were other events as well that raised concerns for me,” said 14‘s Superintendent Mario di Tommaso, who, with Inspector Dave Vickers, sat down with the Gleaner at their headquarters (150 Harrison St.) to review 2011 and discuss changes for 14 in 2012.

With parties going on throughout the division, 14 wanted to to stay proactive that night, and planned as best as possible for every scenario. “Those issues come to my attention, they come to Inspector Vickers’ attention, and we formulate plans around ‘What could we have done better? Was there anything that could have been done better to prevent this?,’” said di Tommaso. The division calls weekly planning meetings between Homicide, crime analysts, and his constables to plan ahead.

With a year where Mayor Rob Ford emphasized cost-cutting and making all police divisions more financially equitable, the division has been focusing on “improving service delivery” for some time.

“We are very cognizant that we have to employ the resources that we do have in a cost effective basis, but that money is there to be spent and it is there to be spent wisely. This money belongs to the taxpayers, and when you spend that money, we try to do it as effectively and efficiently as possible,” says di Tommaso, who deploys his squad based on facts developed through the division’s relationship with the local community.

Pimentel’s death on Liberty Street the morning of Jan. 1 was the first homicide in 14 this year. The investigation, as of press date, is still open and no arrests have been made.

But, the homicide rate in 14 is not a high one. In 2011, there were four, the same amount in 2010. In fact, crime across six major statistical categories all dropped in 2011, including assaults (down five per cent), auto thefts (eight per cent) and break and enter offenses (20 per cent). “The major crime indicators is a really good representation of what crime’s doing in a particular area or a city. We’ve dropped about 20 per cent over the last two years, and that’s a reduction from three years ago,” said Vickers.

A NEW TOP DOG

The division was able to do their job amidst many changes in the ranks.

The most glaring change in the ranks has come at the top. The departure of unit commander Ruth White and the arrival of di Tommaso in November may mark a significant shift in how the division will be shaped moving forward.“Every unit commander is in charge of their station and their community and every unit commander—either a superintendent or staff inspector in Toronto—has the autonomy to have a look at what the issues are of that particular community, and create and lead initiatives to make sure that the service is being provided to [the community] and that the safety of the community is paramount ,” said Vickers.

“Historically, I think that can be said for all unit commanders, that we all have the same common goal, but how we go about it could be a little different.”

Di Tommaso, with two-year stints in Toronto’s 52 Division, the Intelligence Unit and the Drug Squad, says that he will incorporating that experience into the community policing approach that 14 has instituted and the knowledge of his staff, who have been the division much longer. “It’s a very effective and efficient unit [Ruth White has] left, and that was her legacy to me,” said di Tommaso.

14 Division saw the execution of several drug sweeps, including Project Blue Rabbit (a project di Tommaso was involved in), and Projects Klondike and Decepticon—which resulted in the arrests of 49 people combined, and the seizure of illicit drugs, valued in the thousands of dollars.

[pullquote]We are very cognizant that we have to employ the resources that we do have in a cost effective basis—Superintendent Mario di Tommaso[/pullquote]

Blue Rabbit, which was executed through an increased presence in various locations in the division, saw the reduction of robberies by 44 per cent, break and enters by 73 per cent, and assaults by 72 per cent over ten weeks. “I draw upon a lot of those experiences to help me here. I also rely on the good judgment and advice of Inspector Vickers and all of my senior section heads. We run this unit collectively as a team, but at the end of the day, the buck stops here, I am in charge.” he said.

SETTING BOUNDARIES

On Sept. 26, 14 division also changed their western borders with 11 Division. They now border at Dufferin Street, and monitor further west and south on Queen Street to Roncesvalles Avenue. The feedback on the changes have been positive so far. “We have lots of consultation with the communities that are involved there … the people of South Parkdale feel like the policing has increased their feeling of satisfaction from the service they’ve been provided,” said Vickers.

However, as a result, the division handed over 30 constables and a sergeant to 11 Division, and the Community Response Unit will be leaving their base at the Exhibition Place sub-station. But, “This process is not yet over,” said di Tommaso. “What we’re doing, on a monthly basis, is evaluating the data that comes in.”

In a few months, the neighbouring divisions will take into account that data—including the calls for service, which is way down in 14 but higher in 11, the amount of arrests and the enforcement strategies—in a comparison of pre- and post-boundary changes, and determine whether the deployment changes have been adequate and effective.

As well, 14 Division wants to, with the city’s blessing, retain the Exhibition Place building rather than close and sell, as it can still be “an operational asset,” says di Tommaso.

The Community Response Unit, like everyone else, is moving into the new 14 Division headquarters this fall, one of the many changes that di Tommaso and Vickers are excited to see this year. They are also excited to see other initiatives gather momentum, including the growth of the Youth Community Policing Liaison Community (Youth CPLC).

“During the initial meetings, there were some growing pains,” says di Tommaso, but the perspectives from these young people—from bullying to mental health issues—can definitely help the division plan and work with others down the road.

DOWN, DOWN, DOWN

How much had the crime rate decreased in 14 Division in 2011? Check out this graph below.

ANNEX-BASED MUSIC DUO PUT ON INTERACTIVE SHOW

By Alexa Huffman

Alex McMaster plays on her cello-courtesy Sarah Mackie

Two Annex-based musicians will be busting out the cello, gong, and glockenspiel while they sing and perform in a new show.

Alex McMaster and Ed Reifel will be immersing themselves in a powerful performance inEverything Under The Moon, which tells the story of a bat and a bee trying to save themselves and their respective species. It touches on the themes of environment, loss, adaptation, friendship and community.

McMaster and Reifel are working together with fellow musician Christine Fellows and artist Shary Boyle.

“It’s nice because I have a bit more of an input creatively,” said Reifel. “We all kind of contribute, work together, and add suggestions.”

McMaster agrees. “It’s definitely fun to be part of a show where you have something to do with the end result.”

The two are heavily involved in Everything Under The Moon. They will be playing the instruments they are known for—McMaster on her cello, and Reifel on a variety of percussion instruments including the gongs, glockenspiel and more unusual ones like cans and a water gong, with McMaster also on the clarinet and trumpet.

The two will also be dressing as a variety of characters. McMaster will be an owl and the bat. Reifel is the bee and an Inuit elder.

“The show is accessible to people of all ages and is open to interpretation,” said Reifel. “It’s interesting, reading it over lately, there is a friendship theme, growing up looking back to your roots. Even though you had different relationships in your life, different relationships with your family, you always look back to your early years.”

Ed Reifel plays percussion in the show-courtesy Sarah Mackie

Both musicians are able to recall music being an influential part of their own early years. McMaster has been playing the cello for 33 years, starting when she was in kindergarten.  Reifel actually started off playing the cello, but by Grade 7, he saw a drum set in the band room at his school and never turned back.

He has now been on percussion for 26 years, mostly playing in orchestras. McMaster mainly records classic albums live.

Both have played around North America but are now based in the Annex area.

“The subway is right outside my front door,” said McMaster “There are three health food stores and countless restaurants. It’s sad but true, I seldom leave the area.”

Since she enjoys listening to music so much, McMaster regularly checks out Lee’s Palace (529 Bloor St. W.) and Trinity-St. Paul’s Church (427 Bloor St. W.). Reifel also praises the church, saying there is a real atmosphere about the place, a fact he noticed when he played at a service.

Not only do Reifel and McMaster praise the Annex, they admire Toronto as a whole.  Reifel sees his career expanding in the city and McMaster feels the same way.

Ed Reifel and Alex McMaster outside the Aroma Cafe in the Annex

“Toronto seems to be the place where you can make a living doing interesting things,” said McMaster. “I don’t think there’s any other place like it in Canada.”

Currently they are focused on getting ready for Everything Under The Moon, which will run on Feb. 18 to 23 at the Enwave Theatre. The cast did three workshops in early December where they recorded the live music from the show.  The rehearsal will continue in February including a full week of rehearsals on Toronto Island and two full days in the theatre.

McMaster and Reifel are enthusiastic about this current project as it is so visually appealing and interactive compared to some of the other gigs they have played. They praise Boyle, who puts on visuals on projections and has designed paper cut outs for the performance including totem poles that are cardboard animal heads.

The show is about creating art on the spot and the music follows what you see on the screen.

“I know that not all the work we end up doing will be super challenging, or rewarding, or creative, but even if one of these things comes along every year, stretches the brain, it’s great,” said McMaster.