Category Archives: Random reviews

What’s so important about TIMBER? (an art review)

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What’s so important about TIMBER?

An Art Installation by Alexis Bulman @ this town is small’s market gallery

Reviewed by Cindy Lapeña

Like many communities in Canada, several homes on PEI still rely on wood for fuel during the winter. Besides being more economical than fossil fuels or electricity, wood burning stoves and fireplaces carry with them a certain charm and coziness you just can’t get from turning on a switch.

I never experienced using firewood and marvel at the stories Alexis Bulman shared about how her grandparents, then her parents, turned the collection of firewood for home heating into what could be called tradition. It speaks of how closely tied families still are to the land, to the trees, the wood that fuels the fires of homes.

In her installation TIMBER at the new Market Gallery at the Charlottetown Farmer’s Market, Ms. Bulman filled two spaces with two different kinds of timber. The first frame is comprised of evenly cut blocks of six-inch-length by four inches wide and approximately an inch thick. The blocks are arranged methodically like bricks laid in a neat self-contained pile within a frame that stands between the upper and lower dining areas at the Market. You can stare at this part of the two-part installation and notice the light wood colouring, occasional wood burns from a mitre saw, and occasional rough hewing of the rectangular ends. There is a certain blandness that makes you overlook this part of the installation, much like ordinary brick walls you might see everyday in a building frequently visited. You might see this solid section as a wall, or even the ends of wood planks piled up in a lumberyard.

The second part of the installation is a completely different presentation. Ms. Bulman used roughly cut chunks of wood—and I use the term literally, because the wood used is raw wood, cut from gathered firewood in various stages of aging and dryness. The pieces of wood were cut into roughly six-inch lengths to fit the depth of the frame, as with the first part. That would be where the similarity ends between the two frames. The pieces of wood in the second frame are cut from logs that have been chopped, mostly in quarters, but many times, into smaller than 45 degree sections. The raw wood is meticulously fitted within the frame, but reminds you of piles of firewood adorning backyards and side yards throughout the island, especially during winter. The marks of a mitre saw decorate the occasional piece as well, revealing which pieces were harder to cut. Triangular streams of light seep through gaps between the pieces, highlighting the individuality of each wedge. If you are like me and sit long enough in front of the piece, you might eventually see the arced patterns formed by contiguous pieces of wood, and even shapes and figures. In many ways, it reminds me of those mosaic-like outlines that we had to fill with colours depending on which ones were dotted, until a picture revealed itself. It is a veritable mosaic of wedges with various textures and shades—individual pieces as unique as each tree they were taken from.

More than just being a contrast between two types of timber for firewood, I see a dichotomy of lifestyles: traditional vs. modern, old vs. new, rural vs. urban. In the wedges, I see people taking the time to collect the wood and chop it into manageable pieces. I see families sharing this chore and turning it into a tradition and a craft, seen in the meticulous attention given to the chopping and stacking of firewood. I see the celebration the completion of the task by families enjoying the warmth generated by the painstakingly-cut wedges, sitting close together in front of the wood stove or fireplace. In the blocks, I see machines and engines and sawmills churning out utilitarian pieces with the same purpose. It speaks to the dichotomy of PEI as well, which is both traditional and modern, old and new, rural and urban. Unlike the framed installations, the island dichotomies are not as pronounced or contained as Ms. Bulman’s Timber.

More than anything else, the knowledge that the installation will revert to its intended role as firewood makes me reflect on the functionality of art and nature as well as of its impermanence. It is something the Japanese have known and reflected in their culture for centuries—in their traditional architecture, paper art, flower arrangements, and especially their haiku. Ms. Bulman’s Timber is a celebration of that impermanence, calling to us to notice a living entity that we have depended on for so long, and that will continue to be a part of Island lives for a long time to come.

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Another comment on The Lost Amulets!

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Sharing another message:

Hi Cindy,
I finally got around to reading your book. I just purchased the kindle edition after reading the sample. I could have waited a few more days so I could read your book for free with my amazon subscription but 5 days is too long for me. I guess you could tell I liked your book.
…I’m not done reading the book but it stirs my imagination !!!!

 

-Sol Theh

“Where is Book 2?”

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This review just in!

“Where is Book 2?”

The Lost Amulets is the first book in the series of The Amulets of Panagaea. It centres around four children who were chosen to help the Littlefolk (dwarves) find their king and, subsequently, the three missing amulets that would save the land of Dapit-Adlaw. With the company of other mythical beings the young Kingseekers are at once immersed in an exciting and dangerous adventure as they try to solve riddles that would lead them to the amulets.

The book is divided into bite-size chapters which seamlessly weave the characters and adventures into the fabric of the story. The author’s skilful description, particularly of the mythical beings, makes it easy to imagine their appearance and their personalities. This is especially appreciated if you are not familiar with Philippine folklore, myths or legends – the source of Otherfolk and Darkfolk.

The story is fast-paced and easy to follow, with enough excitement to keep you interested and sufficient emotion to keep you engaged.

The ending? Of course it is a frustrating cliffhanger. However, while waiting for the next book of the series to be published you can contemplate on nature: Is that really just a flock of large birds flying overhead? Did that grassy mound you passed make you stop? Will the subtle perfume of flowers reveal a secret?

I would recommend this book to fans of fantasy novels, teenagers, or anyone who would like an easy escape to another dimension.

-Marian Ironmonger

Anne & Gilbert: Island Through and Through

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“You’re never safe from surprises till you’re dead” is what Rachel Lynde always reminds Marilla. It’s perfect advice for the first-timer to a performance of Anne & Gilbert The Musical, running at The Guild until October.

As I do every time, I entered The Guild with no expectations and a lot of questions in my head, all wondering how this play would connect with my experiences watching Anne of Green Gables The Musical. I have been to The Guild several times and from the moment I learned that Anne & Gilbert would be staged there, I was thinking that the small stage and narrow hall would constrict the performers and box in the performance too much. I was pleasantly surprised to see that the black box had been completely transformed. The whole orientation was shifted 90 degrees so that the performance space included the whole length of the theatre, as did the audience space, which was transformed by several risers providing every row of the audience with perfect sight lines. Already, I was pleased.

Soon enough, the play began with the lively opening number of Avonlea schoolgirls in a passionate rendition of “Mr. Blythe” led by Brieonna Locche as Josie Pye. This song establishes the fact that Gilbert Blythe is the most sought after bachelor in town and Josie is out to make sure he becomes hers despite his known love for Anne. Margot Sampson’s portrayal of Rachel Lynde is livelier, wackier, and more endearing than the same character in Anne of Green Gables The Musical, albeit somewhat sedate in her first number “Gilbert Loves Anne of Green Gables.” Carroll Godsman’s Marilla Cuthbert still bustles around but her role as Anne’s adoptive mother has become stronger and more assertive. Ironically, it is through a letter to Anne at College that she reveals a depth of love for a former beau, which begins Anne’s journey to accepting her feelings of love. PEI’s most beloved character Anne Shirley, portrayed beautifully by Ellen Denny, is only slightly more restrained as a young adult, but still passionate and dramatic. Ellen Denny’s sweet, clear soprano voice reveals itself little by little and is at its best in her solos, my favourite being “Someone Handed Me the Moon.” Her best friend, Diana Barry, is played wonderfully by Brittany Banks, and shares Anne’s trepidation for married life. Unlike Anne, however, Diana is more excited, as she already has a beau and eagerly plunges ahead into marriage, while Anne continues holding Gilbert at bay, denying that she has any feelings for him. Patrick Cook is the perfect Gilbert, somewhat cocky, but utterly devoted to Anne, and certainly the best-looking guy in town. With his voice and looks, he most certainly will find not only all of Avonlea’s schoolgirls, but all of Charlottetown’s, hankering after him.

In the same way she instantly befriends kindred spirits, Anne befriends the wealthy Philippa Gordon, played by Morgan Wagner, whose bubbly but ever-pragmatic personality dominates the stage so that the fiery red-head seems quite sedate by comparison.

The projected backdrops were amazing, the proximity to the audience making one feel part of the scene, especially at the end of Act I. The sets were completely manageable and the execution of scene changes was disciplined and efficient. The costumes were reminiscent of the times. The music original, varied, and covering every range of emotions felt by the characters. The lighting was spot-on although I wonder if the space restricted back lighting and side lighting so that larger-than-life shadows were thrown about on the floor and backdrop, sometimes in more than one direction. Because the stage was much wider than it was deep, certain scenes had characters at opposite ends beyond peripheral vision, which limited the view for the rows nearest the stage. Having to turn your head to one side then glance quickly to the other just to see if something significant was happening there was a bit of a stretch. The best thing, however, was the absence of mikes. Hearing natural stage voices is something I really miss, because so many productions take advantage of wireless mikes, which can be a problem with a big cast and a lot of movement. Overall, though, the technical aspects of the production enhanced every minute of the performance and helped to draw the audience deeper into the atmosphere of Anne & Gilbert’s Avonlea.

Indeed, the surprises were plentiful in this play and, I am happy to say, they were wonderful surprises! The thrill of courtship, the warmth of a close-knit community, and the cheer brought on by song and dance were conveyed over and over again throughout the play. Brittany Banks’s lively and masterful choreography enhanced every mood and the Young Company players and cast executed it precisely and enthusiastically.

Patrick O’Bryan, a gentleman from Chicago sitting a seat away from me at the performance aptly summarizes what everyone in the audience must have been thinking by the end of the first act: “I am very impressed with the professionalism. The dancing, the singing, the music—all excellent!” To add to that, I say Broadway move aside, Charlottetown is here!

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Coming Home to The Shore Field

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Even if one did not know who Anton Chekhov was or had never seen nor read The Cherry Orchard, he or she would find much to appreciate in Duncan McIntosh’s The Shore Field, which McIntosh based on Chekhov’s play. What will make it endearing to PEI audiences is that McIntosh’s play is set in PEI, just outside North Rustico in 1973.

The story revolves around a famous actress Alfie Rainey, who returns with her daughter to her family home in PEI one summer. Her homecoming, however, albeit rife with nostalgia, is not a very happy one, as she learns that the property is in arrears and that she needs to make a decision to either subdivide and sell or lose everything on the auction block.

While waiting for her to make a decision, two potential romances crop up—one between her housekeeper Donna, played by Laurie Campbell, and their former farmhand-turned-successful businessman Larry, played by Jody Racicot; the other between her daughter Anna, played by Rebecca Parent, and her dead son’s former tutor Joey, played by Jonathan Widdifield.

Alfie’s role is masterfully portrayed by Gracie Finley, a former long-running star in the Charlottetown festival musical Anne of Green Gables, who returns to the PEI stage after a long absence. Alfie shares several nostalgic memories with her brother Augustus “Gus” McNeil, played by itinerant Toronto-based actor Jonathan Whittacker, who has perfectly portrayed the typical Islander male’s amusing and endearing, if not bordering on the annoying, penchant for long-windedness. Rounding off the cast is Teresa Costello as the family’s long-time nanny who still takes caring for Alfie and Gus as her main purpose in life.

Even if it is based on Chekhov’s play, The Shore Field reveals much of Islanders’ sentimentality and attachment to the Island and how difficult and painful it is to say goodbye to the past, to old possessions, old lifestyles, even people who were always in their lives. Like Chekhov’s play, The Shore Field explores deeper issues such as the breakdown of social structures, the shifting economy, and the reasons for the diaspora from rural PEI to other provinces. It shows the fall of the landed gentry and the rise of the lower class to mold a more uniform class structure that meets somewhere in between. All the old things, the things and people of the past who cannot change are left behind.

Duncan McIntosh has created an extremely thought-provoking play that replicates a vital cross-section of PEI society in the 70s that could still very well be the exact same society in PEI today. Although most of the characters were not particularly dynamic and maintained pretty much the same outlook from beginning to end so that they were very much stereotypes, the strong performances of each member of the cast served the script well.

Because of the nature of the thrust stage and layout of the seats in the Watermark Theatre, formerly the L.M. Montgomery Theatre, blocking and set design were quite a challenge. I feel that the audience would have benefited more if the main characters faced outward towards the audience more often than they faced inward during the first scene. That way, everyone in the audience would be able to appreciate the expressiveness of the actors rather than watch their backs. I might have reversed the staircase so that the characters could all face the audience more, or modified the blocking so that it was the minor characters that had their backs to the audience.

That said, this is nonetheless a mini-masterpiece of PEI theatre that is something every islander must definitely see this summer.

-30-

**This post is also available on ONRPEI.ca

So Glad for the Plaids

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by Cindy Lapeña

                  Once again, director Catherine O’Brien delivers an outstanding production of a show that can only be one of the most entertaining trips down memory lane in Forever Plaid. In tandem with musical director Patrick Burwell, who cameo-ed as the “pianist that came with the room” and requires a union “smoke” break every hour or so, O’Brien has brought together an astounding quartet of male actors to deliver standards from the 50s with the same hip, hurray, and huzzah of the “guy groups” of the 50s, reminding us of the clean cut and harmless ivy league look that our parents or grandparents preferred.

Rather than being a play, however, this performance is really a musical revue with a bit of talking between the 29 songs, during which the audience learns bits and pieces of the quartet’s lives before their fatal accident. The humour sometimes borders on the hilarious, picking up more as the show goes on, while the reminiscing and sentimentality are very well handled and never quite become maudlin.

The four cast members, while very youthful, bring an impressive wealth of stage experience to the Harbourfront Theatre. More than that, they bring amazing voices that blend in perfect harmony punctuated by originally funny choreography that highlights the comicality of missteps and forgotten steps that were most certainly practiced but were delivered with natural spontaneity.

Mark Allan, performing in PEI for the first time, plays Frankie, who seems to be the leader and the main motivator of the quartet, and sings in a beautifully clear tenor. Since I first came to PEI and began watching performances, I have watched Ian Cheverie mature as an actor and a singer and as Jinx, his baritone/tenor voice can be soft and sweet or powerful and belting. Nathan Carroll is another borrowed talent, whose energy and expressiveness stand out in the character of Sparky. I must say his stage antics and tenor remind me of another excellent actor who is a friend of mine, and it almost felt like I was watching my friend when I was watching Nathan. Last, but not the least, Sam Plett is also a visitor to the PEI stage who will always be welcome with his amazing baritone/bass voice, in the role of Smudge, who could very well be dyslexic. Besides being a magnificent singing quartet, each of the players brought other curious talents to the stage—from juggling balls to playing a mouth organ, to playing the piano. Needless to say, each song is an act in itself and extremely entertaining. Too bad that some of the wit and humour in the dialogue and stage business was lost on the audience. My favourite number? The Ed Sullivan show in 3 ½ minutes, because of the skill, perfect timing, energy, and enthusiasm it was performed with.

The only thing that might have helped create better focus was, perhaps, to reduce the size of the stage a tad bit—possibly drawing the curtains in up to where the legs ended so that it would seem like a more intimate set, especially when the quartet separated into different corners of the stage, preventing the viewer from seeing all the actors at the same time. Nonetheless, the majority of numbers did make the use of most of the stage, and the lighting helped concentrate the audience’s focus on the actors.

It’s too bad that the show doesn’t draw a full house every performance, because it is the type of show that would be great fun with a larger audience. Still, I would definitely see this show with this particular cast again and again because their music will never get tiring!

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Evangeline: The World Premiere of a World-Class Musical

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                  I was in 5th grade when I first encountered the poem Evangeline by Henry Wadsworth Longfellow, who was already one of my favourite poets, because of another popular poem he had written, “The Song of Hiawatha.” Back then, I thought nothing of the significance of the poem, living on the other side of the world where anything about the West was almost a fairy tale. When I learned that the poem had been turned into a musical play, I just knew I had to see it and, in the meantime, refreshed my memory by digging up an old copy of the poem. Ted Dykstra did not disappoint with his well-woven script and amazing songs and music that ranged from spine-tingling spiritual choruses and deeply moving duets for Evangeline and Gabriel, to lively and rousing chorus numbers that had the house tapping and bobbing their heads in accompaniment. Under the masterful direction of Anne Allan, Dykstra’s script was transformed into a powerful performance that deserves Dora Mavor Moore Awards across several categories.

 

The musical Evangeline closely follows the story of Longfellow’s poem with a few artistic liberties, mainly the addition of the antagonist Captain Hampson, played by Rejean Cournoyer, a re-ordering of Evangeline’s stay with the Quakers, and letting Baptiste Leblanc, played by David Cotton, accompany Evangeline on her search for Gabriel, rather than his father, Basil, played by Tim Koetting, who did not remarry either in the poem. The character of Albert Arsenault’s Rene Leblanc in the musical is a merging of the poem’s notary public and story-teller, and the town fiddler, Michael. Evangeline’s encounter with the Creoles in Atchafalaya was represented by the character of Claiborne, played by the marvelous voiced Marcus Nance.  Nonetheless, the changes created the perfect mix for the musical by enhancing the roles of the supporting characters in the poem.

 

The title role of Evangeline Bellefontaine was beautifully executed with passion and strength by Chilina Kennedy, while Adam Brazier as Gabriel Lajeunesse, complemented her with his character’s devotion and undying love for Evangeline. Sandy Winsby played Evangeline’s devoted father Benedict Bellefontaine, while Olivier Leblanc, played as a boy by Nathaniel Ing and as a young man by Louie Rossetti, is an invented character who plays a foil for Gabriel and does what Gabriel’s more reserved and restrained character cannot do. The full cast and crew have been assembled from all over Canada, with several well-known names from around PEI. The choreography was simple and appropriate, although one of the female dancers lost her stride and danced to a different beat in the opening scene. The audio was extremely well-balanced, except for a few times speaking or singing volumes rose suddenly because of character proximity, but the balance was quickly and masterfully restored.

 

The meticulous detail with which costumes and sets have been designed by Patrick Clark is highly commendable as was the execution of the remarkably flexible sets. One thing that makes this production still more astounding is Jamie Nesbitt’s cycloramic video backdrop, which executes a panoramic view that translates Longfellow’s descriptions of the landscape and events into graphic depictions that emphasize the milieu of this story of a woman’s undying love and her strength, courage and determination to overcome all odds to be reunited with her husband.

 

Without doubt, this brand new musical that depicts the resilient spirit of Canadians in general, and Acadians and women in particular, will be welcomed with much applause wherever it is performed in Canada and around the world.

 

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 *This review is also available on ONRPEI.ca

**Evangeline formally opened at the Confederation Centre of the Arts Homburg Theatre, Charlottetown, PE on July 6, 2013 as part of the Charlottetown Festival 2013.

 

 

When Love is All You Need (movie review)

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                  Because I’m not a big fan of sentimental and mushy love stories, I’ll have to admit the actual reason that convinced me to watch a movie with the tell-tale title Love is All You Need was Pierce Brosnan. I was pleasantly surprised to find that it was not your usual sentimental rehashed mush. Au contraire.

                  This is the story of Ida, a Danish hairdresser who has just finished chemotherapy treatments but is not sure she is in complete remission. She finds out her husband Leif, who both their children think is one big jerk, has been cheating on her with his accountant and neither of them are hiding the fact. Meanwhile, her daughter Astrid is about to be married to Patrick, the impetuous and confused son of fruit and vegetable trade magnate, the widower Philip. They all meet in Italy, where only family and close friends are invited to the ceremony. Philip’s family includes his boisterous and pushy sister-in-law, who has her own designs on Philip, believing he has always loved her and not her sister. Amidst the awkwardness of the situation and all the mishaps that occur, the characters come to realize many things, the most important of which are whether or not they really love, and whom they really love.

It is not a complex story. In fact, it is poignant in its simplicity. Sure, it’s a twist on poor-girl-meets-rich-boy romance, but the characters are so real, each with his or her foibles and quirks, each with fears and insecurities that they need to face. The roles are well acted, never going overboard, never boring, never flat. The script by Anders Thomas Jensen is witty, funny, and real. Susanne Bier’s directing is marvelous and there are several picture-perfect postcard moments that remind us how beautiful the world is, how lovely humans are, how love is all the more beautiful when it is gentle, quiet, and kind, and how love is all you really need to get by and overcome all difficulties.

Danish actress Trine Dyrholm as Ida and Pierce Brosnan as Philip have such wonderful chemistry together, and the supporting cast with Kim Bodnia as Ida’s errant husband Leif, Paprika Steen as Philip’s sister-in-law, Molly Blixt Egelind as Astrid, and Sebastian Jessen as Patrick make a wonderful ensemble. I would definitely see this film again—and not just for Pierce Brosnan.

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The Attic, The Pearls & 3 Fine Girls Make One Very Fine Evening!

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(This article is also available on onrpei.ca)

I love comedy. There. I’ve said it. There are many other things I’ll say I love, but the evening of November 3 has gotten me out and admitting that I love comedy, and I just loved this performance, so wonderfully directed by Laurel Smyth! CONGRATULATIONS, Laurel!

Of course, without the cast, the play would have been nothing at all, and it was mainly the cast that made the play so amusingly and amazingly human.

The playwrights, whom, I have learned, started writing the play as improvisational theatre and worked on it over several years, have captured the essence of family and sisterhood in their delightfully delectable and infinitely humorous script. Tell me if there are too many superlatives…but I can’t really think of enough.

Three sisters, Jojo (the eldest, played by Melissa Mullen), Jane (the in-betweener, played by Kathleen Hamilton) and Jelly (the baby, played by Gill Mahen) have to deal with their father’s death and the party he requested as his dying wish. But it is not just the party and his death they have to deal with, apparently. Like any normal family, they have had issues about each other and with each other, as well as with their lives outside their sisterhood.

Jojo has been in a couple of failed relationships after giving up her one true love, Umesh, to be with Jane at her “death bed” which, as it turns out, was not final. Jane, who is plagued with episodes of some unnamed condition (asthma? a weak heart?) has also been in several relationships, and is as yet unable to come out in the open about her sexuality. Jelly is a struggling artist who has decided to return home and take care of their ailing father in his last year of life.

Jojo is angry at Jane for many things, but mainly the loss of her one true love and for having slept with her ex-husband, then inviting him to the party. Jane is obsessed with her work, her girlfriend, and her former lover, Mrs. Gray, who is also at the party. Jelly is the only without any real hidden anger, and interprets her life in her art, particularly for an upcoming exhibit in Munich.

Their father’s death has thrown the three together in the house they grew up in, full of memories of good times and bad times, and the script constantly throws us back and forth between past and present. Most of the memories are literally and figuratively stored in the attic, which is where the girls are reminded of most of them.

How they confront each other and their pasts is alternatingly poignant and hilarious, as Jane and Jojo lapse into rambunctious remembering in between blaming and bickering. Jelly finds herself more and more in the role of mother and peacekeeper, emphasized by the way she is supposed to look so like their mother and how she does things the way their mother did. Still, she is the “baby” who is constantly ignored and not heard, until she finally finds a way to get their attention and make them listen to her. In the end, they find the best solution, which really was Jelly’s suggestion in the first place.

The actresses were superb in their roles, which all seemed so natural. It’s no wonder after all, since Laurel told me that they had about two years to go over the script and work on the characters before they finally decided on a definite run.

The sets, executed by Anne Putnam, had all the charm of a rustic aging attic—indeed, the whole house seemed like an attic, fraught with memories—and served the performers well. David Bennet’s lighting, including a few special effects, worked excellently with scene changes, except for one tiny forgivable execution in timing, which revealed an exit that should have been hidden. The costuming was both whimsical and characteristic of the teacher, the businesswoman, and the artist in each of the three characters. And the music! The sound effects and the music that triggered many of the memories were the icing on the cake.

If I could, I would watch this show every night of its run! One performance is not enough to savour every little aspect of the play, or even to just enjoy the quick and witty dialogue and the little surprises every scene change brought. Definitely a play to catch before the month is over!

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Did someone say bananas?

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Have you had a Coldstone Creamery ice cream with bananas? Because if you have, you will most likely have heard someone behind the counter yell “Did someone say bananas?” followed by the whole Coldstone Squad at the counter belting out a banana song.

Actually, many of the songs are more cheers than songs–verses written out to the tune or beat of old college cheers or popular ditties (like the Flintstones theme song).

Actually, there aren’t that many songs. In total, I’ve probably heard 4 or 5 that are repeated over and over again, day in and day out. If you’re a customer and you hear the songs only when you’re there, it might not be so bad. But if you work there as well, it can be completely nerve-wracking. That’s also because, while the songs were sung with a certain amount of energy when Coldstone was a novelty, they are now sung weakly and half-heartedly most of the time that I hear them. No energy. No delight. No excitement. No enthusiasm.

It seems that the honeymoon is over. Don’t get me wrong. The ice cream itself is exotic. It’s delicious, creamy beyond words, and the mixes are superb. It’s also very very sweet. And too much of sweet is cloying. After a while, you don’t really want it anymore—unless you’re a kid or you have a really sweet tooth. And it’s pricey. I can’t imagine myself indulging in a cup or cone of Coldstone every day, or even every week. Not even every month. Too rich–in sweetness, creaminess, and pricing. It’s not something your average islander will look for. Again, unless you’re a kid or have a really sweet tooth. Or are an ice cream gourmet. Or a connoisseur of ice cream.

When the Creamery had just opened in the first week of April 2011, the lines, the lines were endless! People couldn’t wait to get a taste of the newest ice cream in town. I’m sure people came in just to see what it was like. Then, people came in to try a different flavor each time, or a different cone, or different toppings. Then, people came in to use free coupons or promotional coupons.

Many times, people also come in to bring home a pack of ice cream cupcakes or ice cream cookie sandwiches. People also come in to get specialty cakes and birthday cakes. Specialty products for special occasions. I guess they thought it would be worth it to splurge a little.

But how many people can afford to splurge on a Coldstone cake? Last I saw, the tiniest, 6-inch cake cost quite a pretty penny. I would never be able to easily afford that. Besides, that would have to be a tiny party–4 to 6 people at the most sharing that one cake. So unless the party is just for a small family, or just for the celebrant, it wouldn’t be the cake to get. And for the same price of less, I can get a much much bigger ice cream cake at DQ and share that with a whole lot more people! After all, at a party, who cares what the brand of ice cream is? Or how creamy? Or how fancy? And don’t bother asking about the 8-inch cakes or the signature cakes. For that price, I could get a cold steak dinner at Papa Joe’s, complete with bottomless drinks, and still get change on my bill!

Come to think of it, unless you have special dietary needs because you’re lactose intolerant or diabetic or gluten-sensitive or allergic to nuts, people generally eat ice cream for one reason: it’s cold and yummy. Okay. Two reasons.

After the novelty has worn off, people tend to forget the product, or patronize it as an occasional treat. I can also imagine, when the school year begins, students will be grabbing ice creams for lunch, instead of their usual (healthier?) bagels toasted with butter or muffins or cookies and milk. (I never claimed students ate healthy lunches, okay?) They might also grab a milkshake or a fruit shake, but the cost, the cost, will make you spend the most!

If someone says bananas again, I will go bananas.

The Coldstone banana has split.