Real-life ghost stories come out of the dark in the compelling, entertaining, thoughtful The Ghost Project

Karie Richards. Photo by Tanja-Tiziana.

 

Playwright/performer/producer Karie Richards opened the Toronto premiere of her documentary solo show The Ghost Project to a sold-out house in the BMO Incubator at The Theatre Centre last night. Originally directed by Jeff Culbert, The Ghost Project was a hit at the Fringe circuit, premiering at the Halifax Fringe 2018, and went on to the London Fringe and Winnipeg Fringe in 2019. Distilling 13 stories from 28 interviews with friends and family, Richards weaves a series of monologues, all told in the first person, from the storyteller’s point of view—capturing the gamut of emotional and rational responses; and exploring the thoughts, feelings and questions about what happens to us after we die. The result is a compelling, entertaining and thoughtful piece of verbatim storytelling.

Do you believe in ghosts? Have you ever encountered one? While Karie Richards isn’t sure what she thinks, she believes the stories told to her by friends and family—personal experiences with spiritual manifestations that defy explanation and everyday frame of reference; and that ultimately make us question the nature of the afterlife. Each real-life character reveals their story, be it from their university days, childhood or adulthood, or even an experience their child had while they were present. People reacting and responding in the moment; and, in some cases, wondering aloud what it all means. Are these the actual souls or spirits of the departed, or the energy traces they left behind? Or are these encounters a chance look through a thin veil of everyday reality, providing a glimpse of another time or plane of existence while the one experiencing it remains rooted in their own?

Encounters with, and messages from, deceased loved ones; former homeowners looking in on new residents/guests; and unexplained events at a haunted theatre space (Alumnae Theatre folk and fans will be familiar) all come into play—with manifestations ranging from malevolent to friendly, frightening to calming, everyday to ethereal. Experiences of shadowy figures blacker than the darkness, a floating blue girl, a surprising encounter during an Indigenous ceremony, the comfort of a nurturing parental energy, and the high-spirited insistence of a youthful presence that evoked profound responses for the storyteller emerge in Richards’ performance. Navigating myriad emotions, from paralyzing fear, to grief and loss, confusion, relief and joy, each character is vulnerable, curious, wonder-struck and thoughtful. Do these spirits want to be noticed and acknowledged? Are they relieving boredom with their spooky shenanigans? Do they have something to tell us?

Deftly shifting from character to character—signified by the collection and return of a single costume piece or prop from a wardrobe, and remarkable adjustments to voice, facial expression and posture—with a gentle calmness and the care of ceremony, Richards conjures up each storyteller for us, presenting with nuance and profound sensitivity the experiences, reactions and thoughts of each. And her carefully, finely-drawn embodiment of each storyteller makes for a compelling and entertaining performance that goes beyond the storytelling itself. In many cases, it’s the first time the storyteller has revealed their experience to anyone—requiring a high level of trust in, and comfort with, Richards during the interview process that preceded the creation of the piece. The results are eerie, funny, deeply moving and thought-provoking.

Richards’ performance is nicely supported by Glenn Davidson’s minimalist, effective production design, as well as John Sheard’s haunting composition, and atmospheric sound effects supplied by Peter Thillaye and Steve Munro.

Whatever you believe, The Ghost Project engages as much as it challenges the audience to open up and reach out into the unknown—and entertain the suggestion that death is not the end of our journey, but the beginning of a new one. If you have the opportunity, stick around for the post-show talkback, where audience members are invited to ask questions and share their own ghost stories.

The Ghost Project continues in the Incubator space at the Theatre Centre until January 26, with evening performances at 7:00 p.m., and matinées on Saturday and Sunday at 2:00 p.m. Tickets are available online, in person at the box office, or by calling 416-538-0988. It’s a very short run and seating is limited, so advance booking or early arrival is strongly recommended; please note the 7:00 p.m. curtain time for evening performances.

 

 

NSTF: Love, grief & celebrating life in the deeply moving, resonant musical Every Silver Lining

Allison Wither & Laura Piccinin. Photo by Tanja-Tiziana.

 

Silver Lining Productions brings its Toronto Fringe 2019 breakout musical theatre hit Every Silver Lining to the Factory Theatre Mainspace for the Next Stage Theatre Festival. Written by Laura Piccinin and Allison Wither, and directed by Jennifer Stewart, with music direction by Aaron Eyre, Every Silver Lining takes us on a journey of love, friendship, grief and a celebration of life as a family and a group of high school students navigate the loss of a son, brother and friend to cancer. The songs are both profoundly insightful, revealing and catchy—resonating deep in the heart—performed with impressive vocal chops and great sensitivity.

Seventeen-year-old Andrew (Daniel Karp) has leukemia and is looking forward to his last round of chemo. Hiding his illness from even his closest friends, he just wants to get back to school, hang out with his friends and live as normal a life as possible. He and his teen sister Clara (Allison Wither) are good buds, but since his diagnosis, she’s been feeling invisible at home, drowning in the extreme life-changing routine and tension-filled atmosphere; and even having to put some of her own life on hold while she drives Andrew to appointments and keeps him company during chemo sessions. Their mother Judy (Alison J Palmer) is fearful and hovering, and getting on Andrew’s nerves; and dad Kevin (Luke Marty) is caught in the middle, acting as peacemaker between his wife and son while the family lives with the stress and uncertainty of Andrew’s prognosis.

At school, Clara’s BFF Emily (Laura Piccinin) gently prods and advises her on how to get to know the cute new guy Ben (Alex Furber). Clara’s not sure she’s up for it, but finds herself drawn to Ben; and Andrew is happy to be back with his gamer friends Jeremy (Joel Cumber), Bev (Jada Rifkin) and Sam (Ben Skipper). This period of apparent normalcy is short-lived as Andrew comes down with a critical infection, and his chances for further treatment are gone.

Andrew’s friends are stunned to learn of his death—especially as they hadn’t known he was ill—and find themselves facing the death of a loved one their own age for the first time. They’re well-supported by their arts and science teacher Ms. Vella (Starr Domingue), who gives them space to share their thoughts and feelings. Dealing with so many feelings—about Andrew, dealing with school work and tests, blossoming feelings of attraction—and experiencing the various stages of grief is painful and confusing. But, ultimately, the friends pull together to support each other, remember Andrew and celebrate his life.

Delivered with heart and impressive vocal chops—and nicely supported by musicians Aaron Eyre (piano), Erika Nielsen (cello) and Alex Panneton (percussion)—the cast takes us from laughter to tears; performing beautifully composed songs featuring moving and catchy melodies, resonant counter melodies, and soaring harmonies. Karp gives the outgoing Daniel a combination of brave face and resilient resistance; struggling, even fighting, for normalcy when his life has been turned upside down in the face of an unknown outcome. Wither’s performance as the introverted, irreverent Clara is a nuanced portrait of a teen working through complex, challenging times; the sometimes tough, give no fucks exterior belies her inner conflict and fear of losing her brother. She loves her brother, but she hates what the disease is doing to him and their family; and feels guilty for doing so. Palmer and Marty’s grounded, present performances as parents Judy and Kevin run the gamut from hope to despair; Palmer’s loving helicopter mom and Marty’s supportive middleman dad are doing the best they can while facing the unthinkable loss of a child.

Furber gives an adorkably lovable performance as the cute, somewhat nerdy Ben; there are some lovely moments with Wither as Ben and Clara get to know each other and explore their growing attraction. Piccinin and Cumber add some great, and much needed, comic relief as the effervescent extrovert Emily and the goofy, fun-loving Jeremy. Piccinin gives Emily a warm, protective, enveloping hug vibe, while Cumber’s Jeremy is more sensitive than at first glance, using gentle humour to support his friends through their grief. Rifkin gives a poignant performance as the socially awkward Bev; and Skipper does a nice job revealing Sam’s anger about Andrew’s death, and toward Andrew himself, as Sam deals with his grief. Domingue is lovely, engaging and supportive as Ms. Vella; and makes for an understanding, approachable oncologist.

Profoundly poignant and inspiring—and full of spirit, hope and love—in the end, Every Silver Lining is about recognizing and being open to the love and support of family and friends during times of fear, loss and grief; and sharing, remembering and celebrating the life of the departed loved one as part of the acknowledgment of, and working through, the stages of the mourning process.

Every Silver Lining continues in the Factory Theatre Mainspace until January 19; check the show page for exact dates, times and advance ticket purchase.

Melanie Peterson’s “Christmas Breaks My Heart” a gentle, melodic nod to holiday heartache

Melanie Peterson, live at Free Times Cafe for last night’s “Christmas Breaks My Heart” launch.

 

It was standing room only at Free Times Café last night, as Melanie Peterson celebrated the launch of her new holiday single “Christmas Breaks My Heart”, featuring the talents of fellow Toronto-based singer/songwriter guests Matt Gerber and Angela Saini.

The evening opened with the whimsically playful sounds of Matt Gerber, whose delightful tunes borrow from folk, barber shop and pop—from songs for kids for all ages, to sweet and nostalgic romantic musings. Gerber had us singing along with his acoustic set, accompanying himself on guitar and ukulele, punctuated by kazoo and some impressive harmonica chops. Give Gerber a listen, and check out upcoming dates, on his website.

Shining with positivity and poignant at times, Angela Saini both moved and entertained with genuine, heartfelt, and sometimes cheeky, observations of life, love and self-image in a pop-inspired acoustic set. And I dare you to not smile, sing along and tap your feet to her upbeat, energetic sounds. Keep up with Saini’s music, merch and gig dates on her website.

Main attraction Melanie Peterson more than lived up to her “Mary Poppins with a broken heart” reputation, treating us to a selection of folk-infused songs from her earliest recordings to her new release in an acoustic guitar set accompanied by Peter Collins on bass. The lyrics and vocals are melancholy, but hopeful, resilient and determined through heartbreak; and full of gratitude and joy in love. Combining cheer with heartache—sometimes with hilarious results (the tequila song)—Peterson’s sounds get real with the warmth and gentleness of a good long-time friend; all delivered with her signature sweet, lilting vocals.

“Christmas Breaks My Heart” offers a rarely heard take on the holiday season—not always a joyful time for some—acknowledging the loss, grief and wistful nostalgia of missing that someone special by your side. Check out the lyric video; and wrap your ears around Peterson’s catalogue and videos.

Next up for Peterson: Live at Sauce on the Danforth on Sat, Dec 28 from 4:00-7:00 pm.

Here are some snaps I took at the show last night.

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Shades of gray in the intimate, entertaining, deeply poignant Between Riverside and Crazy

Allegra Fulton & Alexander Thomas. Set design by Anna Treusch. Costume design by Michelle Bohn. Lighting design by Steve Lucas. Photo by Dahlia Katz.

 

Coal Mine Theatre opened its Toronto premiere of Stephen Adly Guirgis’s Between Riverside and Crazy to a packed house at its home on Toronto’s Danforth Avenue last night. Directed by Kelli Fox, the intimately staged storytelling plays in the gray areas of family and the legal system as a widowed retired NYPD cop holds firm in his bid for justice while being a father figure to a strange and diverse assortment of adults both in his home and on the job. Highlighting issues of politics, government, race and racism, Between Riverside and Crazy reveals, with candor and humour, a world where everyone is hustling and everybody lies.

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Jai Jai Jones, Alexander Thomas & Nabil Rajo. Set design by Anna Treusch. Costume design by Michelle Bohn. Lighting design by Steve Lucas. Photo by Dahlia Katz.

Widowed retired NYPD cop Walter “Pops” Washington (Alexander Thomas) lives in a sweet rent-controlled apartment on New York City’s Riverside Drive, which he’s currently sharing with his son Junior (Jai Jai Jones), recently released from jail; Junior’s girlfriend Lulu (Zarrin Darnell-Martin), a college student studying accounting; Junior’s friend Oswaldo (Nabil Rajo), a recovering addict and ex-con; and a dog (which we never see). He’s also juggling a discrimination suit against the City of New York after being shot six times by a white rookie, who also called him the n-word, during a raid on an after-hours bar back when he was still on the job; a lot of time and money have been going toward this bid for justice, with no immediate end in sight-and on top of losing his beloved wife Dolores, the entire ordeal has impacted on him both physically and psychologically.

Complicating matters for Walter, a friendly catch-up dinner at his place with his former partner Det. Audrey O’Connor (Claire Armstrong) and her fiancé Lt. Dave Caro (Sergio Di Zio) becomes an intervention of sorts when they try to convince him to drop the lawsuit and take the settlement the City has been offering before the deadline arrives. Cajoling turns to manipulation turns to threat, as Dave’s entreaties take a nasty turn—putting Walter’s home, and Junior’s newly acquired freedom from jail, in jeopardy. In the meantime, Junior is suspected of using the apartment to store stolen goods; Lulu says she’s pregnant; and Oswaldo’s visit to family goes terribly wrong. Then, there’s the impending drop-in from the local Church Lady (Allegra Fulton), who turns out to be a substitute for Walter’s usual church visitor—and even she has an angle to work on him!

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Clockwise from left: Sergio Di Zio, Claire Armstrong, Jai Jai Jones & Alexander Thomas. Set design by Anna Treusch. Costume design by Michelle Bohn. Lighting design by Steve Lucas. Photo by Dahlia Katz.

Stellar work from Thomas as the gruff but loveable Walter; a bear of a man, Walter has a big heart, but finds it difficult to express it. An older and less vital man than he once was, he lashes out by refusing to eat well or take his meds, and self-medicates with alcohol. But despite his stubborn, grouchy demeanour, we come to really care about Walter; during intermission, a woman who sat beside me remarked (as we were so close to the action in the living room) that, at one point, she wanted to reach out to comfort him.

Jones brings an edge of vulnerability to the cool, streetwise Junior; a young man who needs his father’s good opinion as he struggles to be a grown adult and get his life on track. Rajo’s Oswaldo is a struggling lost boy whose knowing swagger belies a fragile soul; and Darnell-Martin’s sweet but dim-witted Lulu isn’t as clueless as she appears. Armstrong’s warm, Tyne Daly-esque O’Connor plays nicely off of Di Zio’s slick, charismatic Caro; while O’Connor’s brand of manipulation is more motherly, Caro employs that reserved for the darker side of politics—shifting from flattering appeals to reason, to mercilessly going for the jugular. And Fulton’s eccentric clairvoyant Church Lady adds some much needed comic relief and magic following some intense moments at the end of the first act.

Nothing is clearly black and white here—all of these moments and relationships play out in the gray areas. Everyone’s on the hustle and everybody lies, so it can be hard to tell who and what to believe. That doesn’t necessarily mean these are bad people; just flawed and desperate, using whatever resources they can—especially manipulation—to get what they want. The big question is: will they do what’s right or what’s easy? Just like real life.

Between Riverside and Crazy continues at Coal Mine Theatre until December 22; advance tickets available online. Please note the 7:30 p.m. curtain time for evening performances; matinées are Sundays at 2:00 p.m.

 

FireWorks Festival: Navigating the media circus in the face of profound loss in the moving, razor-sharp, thought-provoking Grief Circus

Bronson Lake & Alison Dickson. Set design by Teodoro Dragonieri. Costume design by Paige Foskett. Lighting design by Liam Stewart. Photo by Bruce Peters.

 

Alumnae Theatre opened its second week of the FireWorks Festival last night, with Crystal Wood’s Grief Circus, directed by Paige Foskett. As moving as it is razor-sharp, this timely multimedia piece holds up a mirror to society’s morbid fascination, involvement and sharing in the death of strangers. A family has lost a beloved daughter and sister, an event that becomes fresh meat for the news and social media feeding frenzy. As they navigate the media circus that follows, mother and sister take very different paths to work through their grief.

Leah (Alison Dickson) speaks to us directly, our host and narrator as we witness scenes—sometimes in flashback—around the events of her older sister Jesse’s (Claire MacMaster) disappearance. Jesse’s body was later found in a ravine, and both Leah and her mother Carol (Bernadette Medhurst) find themselves in the spotlight of an often intrusive, uncaring news media—even confronted by a photographer (Jack Everett) on the steps of their small-town church when they attend Jesse’s funeral. In the aftermath, while Leah finds herself slogging through a callous, click bait world of modern news and social media, bombarded with ignorance and cruelty as she struggles to work through grief and loss, she is appalled to find her mother joining in—writing a book about the experience of losing her daughter, and working with PR folks to book interviews.

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Alison Dickson & Claire MacMaster. Set design by Teodoro Dragonieri. Costume design by Paige Foskett. Lighting design by Liam Stewart. Photo by Bruce Peters.

Alternating between past and present, we see a 15-year-old Leah interacting with Jesse, who is her best friend, advisor, confidante and go-to source of info on the state of their parents’ shaky marriage; then a few years later being invited to a party with Jesse and her friends in Toronto, where Jesse disappears after leaving on her own. We see Leah go head to head with Carol over Carol’s making an industry of Jesse’s death; and the battle for Leah’s participation in a television interview, taking place the same day as her first day at university. And Leah has a meet cute with Charlie (Bronson Lake), an awkward but sweet university student; they go on a sort of date, but his motives are called into question when an altered recording of a chat he had with their server (Everett) turns up on the news, showing Leah in the worst possible light as the troubled sister of a famous dead girl.

Lovely work from the cast in this timely, moving and razor-sharp exploration of how news and social media can intrude upon and dishonour the departed, and have a profound impact on their loved ones. Dickson gives a stand-out performance as the whip-smart, introverted, wry-witted Leah; precocious, irreverent and wise beyond her years, Leah can be her own worst enemy as she keeps herself informed about world events—events that spark deep anxiety over the possibility of catastrophe. Conflicted about engaging with the Internet following Jesse’s death, what she finds there only serves to make her journey through grief more difficult.

MacMaster gives an energetic, luminous performance as the bubbly extrovert Jesse; the best big sister Leah could have, she’s super supportive and encouraging—balancing a respect for Leah’s boundaries with gentle pushes outside her comfort zone. Medhurst does a nice job with the conflicted Carol; a mother who’s lost her daughter, she deals with her grief the only way she knows how—honour Jesse’s memory so she won’t be forgotten. Lake gives an adorably awkward performance as the bashful Charlie; somewhat of an introvert himself, Charlie is interested in Leah, but unfortunately not very media-savvy. And Everett offers a great range of news media folk, from the intrusive jerk photographer at the funeral, to serious CTV reporter, to sleazy “journalist”.

Timely, moving and sharply funny, Grief Circus incorporates video and projected social media messaging (video design by director Foskett) to illustrate the scope of the family’s loss of a wonderful, energetic young woman—and the inappropriate, at times heartless, thoughtless and intrusive, response of the public. Strangers turning up at the funeral, or making comments in person or online; and, worst of all, the anonymous social media posters who cast negative, clueless aspersions about Jesse’s character—especially the trolls who say that Jesse had it coming.

Grief Circus continues in the Alumnae Studio Theatre until November 17; get tickets online, by calling 416-364-4170 (ext. 1) or in-person at the box office one hour before curtain time (cash only). There will be a post-show talkback with the director, playwright and cast following the Saturday, November 16 matinée performance.

FireWorks continues its three-week run until November 24, presenting a new show each week. The festival closes with Genevieve Adam’s If the Shoe Fits, directed by Heather Keith (Nov 20-24).

 

FireWorks Festival: Real-life fame, fortune & fall in the entertaining, heart-felt Belle Darling Klondike Queen

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Lindsay Sutherland Boal. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

Alumnae Theatre Company (ATC) opens its annual FireWorks Festival of new works with Natalie Frijia’s Belle Darling Klondike Queen, directed by Lori Delorme, with music direction by Anita Beaty—running upstairs in the Studio. Part cabaret, part vaudeville, all heart—this highly entertaining and engaging piece of musical storytelling takes us on vaudeville star Klondike Kate’s (born Kathleen Rockwell) real-life journey of fame, fortune and fall, all set against the backdrop of fading days of the Klondike Gold Rush.

Put on your boots, leave your pick and sing along at the Portland Alaska Yukon Society’s 1931 Sourdough Reunion, featuring headliner—none other than the famous star of vaudeville stage—Klondike Kate (Lindsay Sutherland Boal)! Alumnae Theatre’s Studio Theatre has been transformed into a vaudeville music hall for this real-life tale of the highs and lows of Kate’s storied career in Canada’s North, and dreams of becoming a nation-wide vaudeville impressaria across the U.S.

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Sarah Kaufmann, Madeleine Keesmaat-Walsh, Roxhanne Norman & Lindsay Sutherland Boal. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

Accompanied by a fine ensemble of multi-talented, multi-tasking actors (Sarah Kaufmann, Roxhanne Norman and Madeleine Keesmaat-Walsh), with piano player Calvin Laveck tickling the ivories, Kate takes us on a whirlwind musical and storytelling tour of her life—from wayward Victorian Catholic schoolgirl (Kathleen), to vaudeville chorus girl (Kitty), to headliner Belle Darling Klondike Queen (Kate), and a near miss as Pantages theatre partner and impressaria.

Kate has no use for being a “lady” in the traditional Victorian sense of the word, and sets off on an adventure of her own making—breaking gender barriers and the rules as she goes. Taking us back to the “good ‘ol days” with song, story and satire, the God’s honest truth is that these meanderings of nostalgia can’t erase the personal and financial risk, danger and heartbreak of those who tried their luck—and put their strength and resolve to the test—searching for gold in those freezing cold Northern mountains. All for fame and fortune.

Sutherland Boal gives a powerhouse performance as the ambitious, fearless Klondike Kate—a role that amply showcases her considerable vocal chops as she belts out rousing music hall tunes and caresses melancholy ballads. Sassy, classy, gutsy and irreverent, Kate turns away from what’s expected of her as a “good Victorian lady” to carve out her own path and live on her own terms. And beneath the seasoned showmanship and razzmatazz of Kate’s vaudeville persona, Sutherland Boal digs deep to reveal the broken-hearted woman who reached for it all only to find her ultimate dream of business partnership taken away. Disappointed, but not discouraged, she soldiers on—the show must go on, after all.

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Sarah Kaufmann. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

She is well-supported by a stand-out ensemble; changing character on a dime in this fast-paced, alternately slapstick and poignant trip through music hall shenanigans both on and off the stage. Kaufmann is adorably Puck-like in her comic turns as the crafty entrepreneur Sophie, and a lusty young sourdough (a Yukon resident) on the make. Norman performs with a playful glint in her eye—and has an outstanding set of pipes herself—in her saucy turn as Kate’s pal and vaudeville partner Gertie; and the charming and irresistible, but false, Alexander Pantages. And Keesmaat-Walsh brings hilarity and swagger as Kate’s gruff boss Arizona Charlie and an awkward strong woman act, among others.

It’s a real-life adventure of fame, fortune and fall—told with song, story and heart. But you don’t have to believe me; check out the trailer (scroll down on the show page).

Belle Darling Klondike Queen continues in the Alumnae Studio Theatre until November 10; get advance tickets online or by calling 416-364-4170 (ext. 1), or pick up in-person at the box office one hour before curtain time (cash only). There will be a post-show talkback with the director, playwright and cast following the Saturday, November 9 matinée performance.

FireWorks continues its three-week run until November 24, presenting a new show each week: Crystal Wood’s Grief Circus, directed by Paige Foskett (Nov 13-17); and Genevieve Adam’s If the Shoe Fits, directed by Heather Keith (Nov 20-24).

 

 

Literary family snapshots told with unflinching candor & wry humour in Pamela Williams’ Evelyn’s Stories

Cover photo of Evelyn by Pamela Williams.

 

I had the pleasure of attending the launch of Pamela Williams’ new book Evelyn’s Stories at a reading to a packed room on Sunday at the Tranzac Club. Known mostly for her beautiful, haunting black and white photographs of cemetery sculpture, Williams has assembled a collection of brief stories, as told to her by her mother Evelyn—and some handed down to Evelyn by her mother—in a series of short vignettes. Evelyn’s Stories are literary snapshots of family across time and space, ranging from 1900s Glasgow, to 1930s Thornbury and into the 1970s and beyond.

Told with unflinching candor, sharp detail and wry humour, Evelyn’s Stories is a window on moments of personal history and experience; inviting us for brief peeks (the stories are postcard-sized or slightly longer) inside the world of Williams’ family, as told to her by her mother, and to her mother by her grandmother.

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Pamela Williams reads at the launch of Evelyn’s Stories

It’s family biography as comedy and drama, with eyebrow-raising tales of marriage and infidelity (“When Hector Married Stella” and “Keep Toby Out, England, 1907”); charming and funny childhood shenanigans and observations (“Bathtub Visitor” and “Divorce”); memories of brutal and sweet elementary school teachers (“Mrs. Pinch” and “Miss Chalk’s Replacement”); tragic loss (“New Spectacles, Glasgow, 1906”); hilarious social interactions (“That’s Why I Asked You” and “At the Cinema”); and harrowing but comical senior driving mishaps (“Two Motorcycles” and “A Ride on the Wild Side”).

As the family tales shift from poignant, to comic, to tragic, to saucy, Evelyn’s Stories captures the heart, lives, loves and experiences of generations of family who crossed the ocean from Glasgow, Scotland to settle in rural/small-town Ontario, Canada.

Check out Williams’ book collection online, including her photography books; order via email.