At around 4:30, Norm and I met up with Lawrence at his hotel (he’s a wonderfully cheerful fellow!) and then met Norm’s boyfriend Chris at the subway station. Heather appeared on Yonge St. (the world’s longest street), just two blocks from the Toronto Centre for the Arts, where Annie was scheduled to perform. A light dinner at the Frog and Firkin Pub, followed by an ice cream at the Dairy Queen, filled up our tummies before we headed over to the theatre, which was surrounded by luxury condominiums and a vast construction site where more were being built. We were among the first to arrive and decided to venture to the back of the building where Annie would likely depart, just to get a preview. There were two huge tour buses, silvery grey, parked by the back door and two large trucks that had backed into the loading bay. These were presumably to carry the set props and filming equipment. There was no sign of anyone at all so we went back around to the front and headed inside, waiting for the doors to open. Gradually, more people began filing in, including some very elderly women with blue hair and purple pumps. Heather turned to me and said in a terrified voice that she hoped these were not people who were going to the Annie Lennox show. I calmed her down and reminded her that there were two other shows on in the centre that night – obviously geared towards an older crowd. Finally, the doors opened and we rushed inside to get the tour merchandise. There were huge lithographs of Annie with a printed autograph on it, which were selling for $100. There were $25 mugs with the word “Solo” on it and a photo of Annie in her afro; there were “Solo” silver necklaces, a beige and a blue version of the same t-shirt (again, with the afro image) that had the tour dates on the back, which sold for $45 each, and, of course, the tour program at $30. The program is beautifully done. There are 12 full-page photos of Annie, and several smaller ones, as well as some shockingly revealing insights about her thoughts on everything from depression to the things that make her feel reflective. It reads like a diary, featuring lists of her favourite musicians, world problems she hopes can be solved and the kinds of people she dislikes. All the pages are glossy and are beautifully designed.
It was while I was standing there reading my program that I noticed a large sign saying the concert will be filmed and that cameras were strictly forbidden inside the concert hall. Heather’s father, who worked at the theatre, told her that Annie had her own team of security guards looking out for signs of any flashes. Any recording devices that were discovered would be confiscated and the contents would likely be destroyed. The sign about the filming indicated that the show was being recorded for a DVD. It said that by going into the theatre we were agreeing that we would be filmed and that our images could now be broadcast worldwide in “perpetuity.” It all sounded very glamourous and exciting! Just before the doors opened an announcer came on and reminded us that no recording devices were to be used during this concert. “Yeah, yeah, yeah! Just open the doors!” Finally the doors opened and we all funneled down a curved hallway. As we walked inside we marveled at the beauty of the place, completely bathed in pale lavender light, with just a hint of stage smoke lingering in the air. On the stage was a giant screen that said “Solo,” also in purple, and people were setting up. The first two rows of seats were removed to accommodate a track that allowed a movie camera to glide along. We noticed cameras all around the stage and other camera men in the aisles. The atmosphere was electric – everyone was so excited. The energy was tangible.
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