The Godchild Movie Review

Space and time can be altered, but the truth never changes. This sci-fi fantasy film redefines the space time continuum through one unique boy's journey.

“Everyone’s connected,” says Peter as he shares some of his lessons to the audience regarding his travels through time and space. This interconnectedness is displayed in various ways throughout The Godchild.

The Godchild is a 2010 indie film by Canadian independent film director Philip Spink, which stars Kari Townsend, Steve Dhillon, Riah Fielding-Walters, Michael Heltay, Grant Spink and Hazel Valdez. This independent film features an all-Albertan cast and crew. The themes of interconnectivity, love, loss, fear and truth are clearly communicated in this work.

The Godchild Plot

Peter, played by Grant Spink, is a young boy from the Midwest. His godmother (and guardian) has been missing for quite some time. On what seems to be a normal day at school, Peter’s class is discussing Pompeii. When Kate, the teacher, compliments Peter on his drawing of ancient Roman columns, Peter informs her “I am there now.” In this way, the “mystery of Peter” is introduced.

As Sister Beth Myers, played by Kari Townsend, along with Peter’s teachers (Riah Fielding-Walters and Hazel Valdez) doctor (Steve Dhillon) and lawyer (Michael Heltay) attempt to solve the mystery behind Peter’s “episodes,” they are drawn into his world and are forced to face their own inner demons in the process. No character remains unchanged at the end of the journey.

Well Paced and Well Balanced Story in The Godchild

Although Grant Spink (Knights of Bloodsteel) plays the central character Peter in The Godchild, the true “star” of the movie is the story itself. There are four interconnected stories that weave around Peter's story. For the most part, these are well balanced, giving each leading actor a chance to shine, without seeming contrived.

Philip Spink captured the fleeting emotions on each character’s face effectively through lighting and camerawork as they wrestled with their thoughts and fears. The transformation from shock to disbelief to fear was artfully done when Kate is transported away from the school. Riah Fielding-Walters (The Wizard's Christmas) does a spectacular job of projecting those emotions through only her eyes.

The lighting was especially effective when Steve Dhillon (Money, ODC, 419: The Nigerian Scam) as the guilt-ridden doctor faced himself in his apartment. The theatre felt chillier with the dim steel blue lighting and the haunting strains of the soundtrack.

If anything, more information on Kate’s back story would have brought a bit more depth to her character. The doctor’s story did receive more screen time, but also could have been fleshed out just a bit more, although for both characters, the essentials were covered for their stories.

Michael Heltay as Bernie (Knights of Bloodsteel) and Hazel Valdez as Sister Valdez also deliver strong performances in the film. Valdez even injects a bit of Filipino cultural humour into one scene.

The movie soundtrack weaves into the story seamlessly. The melancholy minimalist themes enhance the character's emotions beautifully, from angst to frustration and from sadness to desperation.

The soundtrack is scored by Canadians James Guttridge (Voyage of the Unicorn, X-Files) and Peter Jancewicz. The Godchild marks Jancewicz’s debut in composing for film. His compositions are published by Alfred Music Publishing and Alberta Keys.

Grant Spink and Kari Townsend Shine in The Godchild

Grant Spink and Kari Townsend (The Call, Who Dressed You This Morning?) both delivered riveting performances in this movie. Both roles demanded a wide spectrum of emotions (some work with the blue screen). Their stories are fleshed out the most throughout the movie.

Townsend’s Sister Beth was portrayed as a strong woman trying to keep her world – the school – afloat. As the story progresses and viewers learn of her tragic story, Townsend aptly project’s the good nun’s vulnerabilities and desires.

Grant Spink brings a balance of youthful impetuousness, tempered by sweetness to the role. Both are needed to help audiences relate to his extraordinary character. At his core, Peter is just a child who’s trying to find his godmother. Trying to find the truth.

The Godchild – The Facts

The Godchild (2010) is a sci-fi fantasy movie rated PG. Running time is 83 minutes.

This sci fi film is based on an original screenplay by Philip Spink. Among Spink’s writing and directing credits are numerous sci-fi TV shows and mini-series, including Knights of Bloodsteel, The White Crane Killers, Once in a Blue Moon and Voyage of the Unicorn, which was ranked as Hallmark Entertainment’s highest rated two-night mini-series. His works have also appeared on RHI, SPIKE TV, Showtime TV and the Sy Fy Channel. He runs a production company, Philip Spink Productions in Calgary, Alberta.

The Godchild is available to buy or rent on the movie's website.

The Godchild – More Than a Time Travel Story

The story of The Godchild is well-paced. The development of the characters and the projection of their emotions are not rushed in the least. Although the premise of the story is space time travel, it’s the interconnecting storylines, along with the interaction between all the main characters that make this film enjoyable to watch (the space travel metaphysics is just a bonus for sci-fi fans).

The coin-flipping scene from the trailer and the film's ending? They need to be seen to be fully appreciated.

The Godchild stars Kari Townsend, Steve Dhillon, Riah Fielding-Walters, Michael Heltay, Grant Spink and Hazel Valdez. It had a limited run in Calgary, showing at the Canyon Meadows Cinemas on October 16, 23 and 30, 2010 at 10:00 A.M. Tickets and CD soundtrack were $5.00 each. This science fiction movie premiered Saturday, October 9, 2010 in Calgary, Alberta.

Rating: 4.5/5

Originally published on October 12, 2010 on Suite101.com. Updated March 21, 2013. All rights reserved by Rhona-Mae Arca.

Review of Johnny Summers – Piano Sessions Vol. 1 CD Release Concert

Calgary multi-instrumentalist Johnny Summers and friends delivered an intimate and passionate performance on Saturday, March 16, 2013 at the University of Calgary's Rozsa Centre. The event was a CD Release Party to introduce Summers’ third jazz album, Piano Sessions Vol. 1.

The Calgary event also featured Chris Andrew on piano, Al Muirhead on trumpet, Jason Valleau on bass and vocals, Sheldon Valleau on ukulele and vocals and finally, Shane Statz on tenor sax. Johnny Summers performed on vocals, trumpet and flugelhorn.

Swing, Ballads and Blues Featured in Johnny Summers' Piano Sessions Vol. 1

The concert opened with "She Thinks that I Still Care". Unlike with George Jones' original country stylings, this interpretation was injected with a "hot summer's day in New Orleans" feel.

The dramatic pauses at the ends of key phrases set a playful tone to the number. The trumpet and piano solos were longer than they were on the album, giving Johnny Summers and Chris Andrew an opportunity to really expand on their ideas.

Between numbers, Johnny explained some of his inspirations for recording this jazz album.  Listening to great crooners such as Harry Connick Jr. and Tony Bennett, as well as instrumentalists Bill Evans, Chet Baker and Paul Blaine instilled the idea of an album featuring piano and voice. "That's beautiful to me," he said.

"You're extremely exposed," he divulged. Johnny added, "You have to have a good sense of time."

During the recording sessions, four additional songs were recorded, which didn't make it onto the album: "I'll Be Home for Christmas" and "Winter Wonderland", "Look for the Silver Lining" and "Mood Indigo." The classic Christmas songs were bundled together in Winter Wonderland.  The other two made it onto Saturday's programme.

Jerome Kern & B.G. DeSylva's "Look for the Silver Lining" was made famous by Chet Baker. This medium swing song had a light, breezy feel to it.

Chris' solo was peppered with syncopated rhythms and impressive runs. In contrast, Johnny's solo on his brand new Yamaha flugelhorn was tender and warm, gradually blossoming into each a high point. Partway through, the groove became more animated and the two traded 4's.

The ballad "Maybe This Time" has been recorded by many artists, including crooner Tony Bennett. Johnny shared some of his memories of hearing Bennett sing live in concert. "He walks on stage...and you feel the electricity...When he sings, he fills you."

Johnny's interpretation was soulful and wistful, with an unhurried tempo throughout. That made the climax more impassioned. The piano shakes were performed in a dreamy fashion.

Jason and Sheldon Valleau of the band, The Polyjesters, lent their talents to "My Baby Just Cares for Me". This jazz standard by Walter Donaldson and Gus Kahn has been considered the signature piece of Nina Simone.

This medium swing number featured a soft, easygoing piano solo by Chris. The crescendo towards a soft, fermata in Johnny's trumpet solo was a short reprieve before the melody shot up to the instrument's upper register. The lyrics were delivered with a cheeky and humourous flair. The impromptu "doo-doo-doo" at the end of the tag was by Sheldon was a nice touch.

Variety, Extended Solos and Delightful Surprises at Johnny Summers CD Release Concert

One of the highlights in the second set was Nat King Cole's "I'm an Errand Boy for Rhythm". After a slow introduction on voice and piano, the mood shifted to a lively upswing. The interlude featured a rhythmic piano solo, followed by Al's elegantly shaped phrases. In contrast, Johnny's trumpet solo weaved and raced to the top with rapid runs. The trumpet dialogue between Al and Johnny was playful. At times, it sounded just like scatting. Other times, it sounded like a car race.

This interpretation of Duke Ellington's "Mood Indigo" had shades of Nina Simone. It featured solos by Shane Statz on tenor sax, Johnny on trumpet and Chris on piano.

The final song of the evening was a rousing performance of Johnny Cash's "Folsom Prison Blues". One of the most delightful things about music is that you never hear the same performance twice. This was especially true in this case.

The piano intro was extended for the live performance, gathering momentum just as a train does when it pulls out. The sax solo was grittier, exploring the lower range of the instrument. In contrast, Al's solo was lighter and higher, much like birds chirping. Chris' solo featured a  healthy dose of "crunchy" chords and driving rhythms, while Johnny's trumpet solo spun and shot up - higher - and higher.

Jason performed a percussion solo on his bass before Johnny and Jason scatted. Jason's surprise trumpet-like squeal led to various instruments being imitated.

The entire audience rose quickly to give everyone a standing ovation. The ensemble performed one encore, "St. James Infirmary."

Six more songs were performed at the Piano Sessions Vol. 1 CD Release. Four more other songs were performed in the first set: "Dream a Little Dream of Me", "You Don't Know Me", "Going Home" and "Exactly Like You". The second half also featured "I Wonder, I Wonder" and "Simple Song".

Piano Sessions Vol. 1 Concert Review

From the opening line, the balance between the voice and piano and later, the remaining instruments, was nothing short of perfect. The ensemble made full use of the acoustics that the Rozsa Centre offers, delivering a crisp and clear sound. They definitively demonstrated that the album's Global Music Awards for Best Listener Impact and Best Male Vocalist are well deserved.

Technical proficiency, when coupled with artistry, is a winning combination. What more could a performer or listener ask for? Well, perhaps for the lead vocalist to not have strep throat, perhaps.

The live performance offered listeners different type of performance. Feeding off the energy from the audience and the ensemble can push a musician to new heights of artistry. This manifested on Saturday into spontaneous moments of brilliance that lead to new directions for improvisation. Yes, live was slightly different from the album, but just as beautiful in its own right.

About Johnny Summers

Johnny Summers is a Calgary-based multi-instrumentalist who performs jazz, soul, gospel, blues and almost everything in between. He's a singer and songwriter, as well as a trumpet and flugelhorn player. As the director of the Calgary Jazz Orchestra, he serves as composer, arranger and band leader.

Piano Sessions Vol. 1 is currently available on CD Baby and iTunes on March 16, 2013. Click here to read my album review.

So You Want to Get Into Voice Acting

This came through my news feed earlier this week. It's about voice actors talking about the business and not getting into "The Anime Trap". If you're thinking that it's all fun and games, glitz and glamour - you are so very wrong.

As with any art form, voice acting involves a lot of hard work and taking on a variety of gigs. Many have another job to pay the bills. Read on:

The Anime Trap, or, Why Do You Really Want To Be A Voice Actor?

Make A Break Into Anime Voice Acting

Voice Acting 101

ACTRA Calgary - Voice Acting Classes

CWS Concert Review Music of Mysteries, Legends and Ritual

The Calgary Wind Symphony performed a selection of mysterious and sweeping music on a snowy Sunday, March 3, 2013 at the University of Calgary’s Rozsa Centre. Dubbed "Music of Mysteries, Legends and Ritual", the concert featured Terri Shouldice on flute and Dr. Jeremy Brown on alto saxophone. It also included two premières: the Canadian première of Kenneth Fuch's Rush - Concerto in E flat for Alto Saxophone and the Alberta première of Paul Hart's Cartoon.

Recently, when Dr. Jeremy Brown was conducting the University of Calgary Jazz Ensemble in the United States, he had the opportunity to meet with Daniel Bukvich, who composed the first piece, entitled Voodoo. Bukvich was delighted to hear that the Calgary Wind Symphony was working on Voodoo and promised to send another one of his works.

Calgary Wind Symphony Conjures Vivid Imagery at Calgary Concert

At the downbeat , the Rozsa Centre was draped in darkness, with only the twinkling lights from the music stands and Dr. Jeremy Brown's blue glow-in -the-dark baton. Voodoo painted a vivid picture for listeners.It was as if the audience was transported into the middle of a David Attenborough nature documentary, complete with bird calls and trombone slides to depict swinging monkeys. The rain sticks and flash lights gave the effect of a rainstorm, while the clapping and chanting evoked images of aborginal peoples celebrating a successful hunt.

Charles Griffes' Poem for Flute and Orchestrafeatured CWS flautist Terri Shouldice. This Impressionistic inspired work offered listeners aural post cards of contrasting scenes. It opened with the low brass instruments. The winds echoed back the theme before the flute's entrance. The languid first theme showcased. The solo flute passages varied from sweeping motives to a mysterious Spanish-infused theme.The applause lasted for several minutes after the performance.

Old Churches by Pullitzer prize winner Michael Colgrass evoked images crumbling, abandoned churches. The melancholy soundscape was peppered with momentary shots of dissonance, created by the aleatoric segments. At times, it sounded like debris blowing in the wind and hitting against broken glass, while the stainless steel mixing bowls sounded like an iron gate clanging against a broken latch.

The final work for the first half, Cartoon by Paul Hart was an absolute treat to hear. Dr. Brown introduced it as a "sophisticated musical stew."

It opened with a lively march, a la Bugs Bunny. The scurrying dialogue between the winds and percussion mimicked a chase à la Tom & Jerry, while the muted trombones sounded an awful lot like the teacher from Peanuts.

The slower middle theme contained Gershin-esque harmonies and sweeping melodies which conjured images of Pepe le Pew on a night on the town. "Music Mysteries, Legends & Ritual" marked what Dr. Brown believed was the Alberta première performance of this entertaining work.

Haunting Flute Music Performed by the Parthenia Flute Choir

Concert patrons enjoyed some otherworldly music in the lobby during intermission, performed by the Parthenia Flute Choir. The flute ensemble, under the direction of Wendy Freeman, performed Eric Ewazen's Harmony in Blue and Gold. 

Comprised of four movements, Harmony was inspired by James McNeill Whistler’s "Peacock Room" located at the Smithsonian Institution's Freer Gallery. Eric Ewazen composed this work for Femme Flutale.

A Canadian Premiere and a Rarely Performed Work at the CWS Concert

The Calgary Wind Symphony delivered the Canadian première performance of Rush - Concerto for E flat Alto Saxophone, American composer Kenneth Fuchs. This demanding work featured Dr. Jeremy Brown on saxophone and Wendy Freeman as the conductor.

The first movement, "Evening" opened with a saxophone solo that featured long soulful tones. The ensemble soon joined in with a grand sweeping theme. As the saxophone continued to play a pensive melody, the flutes and percussion played carefully placed notes, depicting stars lighting up the sky, one by one. The saxophone part traversed the alto saxophone's entire range and showcased Dr. Brown's beautiful tone.

The second movement, "Morning", revealed several contrasting moods. It began with a lyrical sax solo. This soon gave way to a rhythmic passage, featuring the winds in the upper range against a sweeping motif played by the saxophones. As the movement progressed, the music featured more syncopated rhythms, pushing towards a dramatic climax.

The music of Kenneth Fuchs is gaining recognition worldwide and has led to successful collaborations. He has worked with Pulitzer Prize-winning playwright Lanford Wilson and the London Symphony Orchestra, under the direction of JoFalletta recorded three albums featuring Fuch's music. The first album was nominated for two Grammys.

Flute Cocktail by Harry Simeone was a light hearted piece. It opened with the flutes playing a Baroque-styled theme, which soon gave way to the  brass and percussion instruments, while the flutes played a bubbly motif underneath. Snippets of London Bridge weaved throughout the work.

The Calgary Wind Symphony closed with La Fiesta Mexicana by H. Owen Reed. Dr. Brown explained that due to the work's length of 18 minutes, it is rarely performed. "Maybe once every 10 years," he said.

One interesting feature for this work is the fact that various musicians went off-stage to perform, mimicking a mariachi band heard in the distance. The work is comprised of three movements: a rhythmic and energetic "Prelude and Aztec Dance", a reverent "Mass" and a toe-tapping "Carnival".

About the Calgary Wind Symphony

The Calgary Wind Symphony is a 60-member ensemble, directed by Dr. Jeremy Brown of the University of Calgary. Formerly known as the Calgary Concert Band, the ensemble has been active in Calgary’s musical community since 1947.

Music aficionados can check out the Calgary Wind Symphony on Sunday, June 2 at 2:30 p.m. The CWS will present “Apollo Sings! Music that Soars”. For more information and to buy concert tickets, please visit the CWS’s website.

For those who braved the terrible winter roads on March 3, 2013, the Calgary Wind Symphony’s “Music of Mysteries, Legends and Ritual” concert proved to be a diverse and highly entertaining programme of eerie and grand music.

Making Real Connections Through Virtual Choir

They sang as individuals but became part of something bigger in Eric Whitacre's Virtual Choir. Seven members share their journey and their connections.

In December 2011, composer Eric Whitacre made an announcement on his website about his third Virtual Choir project: "Water Night". Singers from around the world were invited to prepare and submit a video for one or more of the 14 voice parts in this choral work from Whitacre's Grammy-winning album, Light & Gold. A record number of 3,746 videos were submitted by singers representing 73 countries.

Singers uploaded their video(s) either to Eric Whitacre's website or Youtube. The video and audio were scrubbed for every submission. The videos were then synchronized to become one massive multi-track. VC3's "Water Night" was launched on April 2, 2012, via live stream at the Lincoln Arts Center in New York, NY. VC3 has recently received over 200,000 views on Youtube.

Yours truly had the opportunity to speak with seven members of Eric Whitacre's Virtual Choir 3.0: Melissa Ann Cody (Goshen, NY, USA), Bren Wrona Norris (Sonoma, CA, USA), Maria Petrova (New York, NY, USA), Jack Rowland (Tampa Bay, FL, USA), Scott Simmons (San Antonio, TX, USA), Kristen Soo (Burnaby, BC, CAN) and Chrissie Vincent (Petersfield, Hampshire, UK). Their individual stories intersect and connect to create the Virtual Choir story.

Discovering the Music of Eric Whitacre

“I happened to be at the concert where they premiered “Water Night”," says Maria Petrova. "I was not ready for this at all. I wasn't even that much of a fan of choral music. I just went because I'm a graphic designer and I was designing the concert programme for the arts centre at BYU.

“I was absolutely – just – entranced by “Water Night”. I remember very clearly the moment when it came on,” she says. “I felt like it literally washed every cell of my body.”

Kristen Soo was on campus at Simon Fraser University when she watched Virtual Choir 2 - “Sleep”: “I was crying in my lab. It was so beautiful.”

In her studio, Bren Wrona Norris, a voting member of the Recording Academy, was listening to the nominees in choral music for the 54th Annual Grammys. When she came to Eric Whitacre's Light and Gold album, Bren said, “Oh my gosh, this is phenomenal!”

“I immediately voted for him and then I went online to find out what he does, where he's from and how he came to be,” Bren gushes. “It was the week or two before we had to have our videos in for VC3. It was that fast. I said, 'All right! I'll do it!' ”

Virtual Choir Members Make Connections

“I was trying to record a couple of weeks before the deadline,” recalls Kristen. “I was having a clipping problem with my mic. When I sang too loudly, it would just make these really weird noises. I made a post on the Facebook page. It turned out that Jack [Rowland] as well as David Johnson responded and they were able to help me out.”

As the initial deadline and later, the extended deadline approached, more people were experiencing challenges. They flocked to the Virtual Choir Facebook page for help.“I put in two videos and I asked a question to the Facebook page,” says Scott Simmons. “One of them's better than the other one. Which one should I put in?” With a smile, he adds, “Of course, Jack [Rowland] pipes up and says, “Take the best one and put it in.”

As Scott scrolled down the FB page, he read more comments by Jack. “Wow! He's helping a lot of people.” A thought popped into Scott's mind, “I love technology. I love music. This is a sweet spot for me, so I went in and started helping everyone else out.”

The helpers were commenting so often, that some people were banned from commenting. Jack Rowland was one who landed in “Facebook Jail”, not once, but twice. “What really caused it was we were answering so many questions,” recounts Jack. “I had a cheat sheet so that I could copy/paste. I could rapid-fire responses to common questions.”

One person Jack helped was Christy-Lyn Marais. “We take for granted that we have wi-fi everywhere,” says Jack. “So she's talking to me about how she's trying to send using a 3G cell phone. At one point, I say, “ 'Can you find a McDonald's?' because they all have free wi-fi now.”

Her reply: “The nearest McDonald's is like, 400 miles away from here.” That's when Jack discovered that Christy-Lyn lives in a remote part of South Africa.

“On the last day when there were a lot of problems,” says Kristen. “Everyone was trying to submit at the same time.” She thought, “Maybe I'll just join one of these [Google] Hangouts, say 'Hi' and just see how it goes.” She's glad she did. “It happened to be that I met over 10 people that night. I actually got to meet Jack face-to-face, which was really great as I got to thank him for helping me with my microphone. Chrissie [Vincent] was in that Hangout as well.”

Virtual Choir – A Global Choir

“I was very struck and amazed by how much of a connection I had,” recalls Jack. “Even though when I watched Virtual Choir 1, I was thinking, 'This isn't choral singing.' But when I sang my part and Eric conducted, the connection that I had with him – looking into his eyes and watching him conduct was every bit as real to me as if I were standing on a stage, and that surprised me.”

“To think there is someone in Syria who sang with us, despite this incredible turmoil that they're in,” comments Maria. “And this girl in Japan named Hitomi, who leads a totally different life than I do and is 22 hours ahead of me. She was able to sing at the same time as me, although she actually sang at a totally different time than me. That we all somehow ended up singing at the same synchronized performance – and that to me is an absolute miracle,” she adds.

Maria attended the launch of "Water Night" and Water Night CD Release along with fellow VC members Julie Souin, Kevin Callahan, Lynna Schaefer and Jack Rowland. “In many ways, I saw that it was technically not as superior as a professional performance of a hand-picked 24 singers. The beauty, on the other hand, was just how many voices [there were] and the different times of the consonants. They're kind of the things that one would consider imperfections from a technical point of view were in a beautiful way of reinforcing the multiplicity of people's backgrounds, of people's places, of people's times, of people's identities.”

Virtual Choir – An Online Community Without Borders

The Virtual Choir connection didn't end after any of these singers submitted their videos. Melissa Ann Cody has kept in touch with Jack Rowland since Virtual Choir 2. “Jack was working on another virtual choir project,” she explained. “There's a group on Facebook called Let's Sing for Japan. I did post a video for that.”

Chrissie Vincent watched the premiere of “Water Night” online with several of her Virtual Choir friends. “That was very exciting,” she recalls. “The fact that we were online and we actually watched the premiere. That's pretty special.”

Maria noticed Scott's support of others in the group and dropped him a line: “I'm lucky enough to live in New York and I'm going to be at the CD signing. Would you like a CD?” Scott replied, “Yeah, of course I would love one.”

“So I got him one and sent it to him,” says Maria. “He just wrote me this morning that he put the cheque in the mail and I said, 'Oh my gosh! It will be so weird to get a physical object from you.' ”

The online groups continue to thrive. “What I find fascinating is that people are so friendly, so great on VC Friends. Everyday I check it just to see what's going on,” says Bren.

“It's really different,” says Scott. “It's really nice to have a group of friends like that, who have the same passion for music that you do and that I do. That helps keep those connections alive.”

“I met so many people,” says Kristen. “We all just got talking and then having fun – as though we were sitting in the same room together, making jokes, supporting each other; just learning about each other's lives.”

“It's very enriching. It has enlarged my circle, which is tremendous,” says Chrissie. “It just goes to show what these online communities can actually do.”Sources:

Skype/Facebook video interviews with Melissa Ann Cody (April 15, 2012), Bren Wrona Norris (April 13, 2012), Maria Petrova (April 16, 2012), Jack Rowland (April 26, 2012), Scott Simmons (April 15, 2012), Kristen Soo (April 21, 2012) and Chrissie Vincent (April 13, 2012).

Originally published May 26, 2012 on Suite101.com. All rights reserved by Rhona-Mae Arca.