What I remember most from when I watched 'Running Sushi' was clarity. I remember clear lines, shapes, characters and intentions. There were sharp movements, humorous gestural work, and an economical use of props to accent the metaphors in the still images and movements. The props I remember are chopsticks, oranges and sushi. The sushi was associated to the names of the scenes and distributed through the audience to determine the order the performance. I saw honesty and depth through each vignette which encompassed the major events from life to death and addressed current cultural milestones. The lighting usually...
A stark, minimalist stage upon entering the theatre, having just waited outside for half an hour, where the performers handed out sushi to guests whether they wanted it or not. I felt anticipation.
A series of vignettes. Manga, sound effects, lip syncing, hilarious antics with oranges and chopsticks... as I watched I felt relaxed. I was able to laugh and enjoy much of the performance. The bodies onstage were shaping themselves into their characters perfectly. All media and design elements were integrated thoughtfully. I couldn't quite make out where the noises were coming from. I didn't care.
The evening begins with an “audio house tour” - which turns out to be an engaging lecture by choreographer / dancer Peggy Baker explaining how the art of Canadian artist Sylvia Safdie inspired and influenced the creation for her trio coalesce. Safdie provided not only paintings but also a series of short films where she utilized a combination of slow motion, reverse and looping techniques to depict the motion of a beetle. "This beetle was lying on its back, and it was basically in its death throes," Baker is quoted in a recent interview with the North Shore News. "It was going through...
The foyer was as full as I have ever seen it at The Queen Elizabeth Theatre, in itself a fantastic sight, the audience a wonderful colourful array of princesses and ballerinas. An electric buzz filled the air, the kind of buzz that theatre and Christmas should be filled with. The wonder and anticipation that something is about to happen, something spectacular and awe-inspiring.
The conductor strikes up the orchestra from the VSO for a brief warm up, the audience is electrified, rapturous applause followed the brief interlude. The orchestra take what will be the first of three highly deserved...
Alberta Ballet Artists Hayna Gutierrez and Garrett Groat Photography by Yin Yi
Hotel Bethlehem is a must see this holiday season, especially if you want a break from the syrupy sweet rhetoric of Christmas-themed stories. It is refreshing to see a play that is funny, clever and sometimes teetering on the edge of appropriateness. The premise of the play is to tell the story behind the story, what was going on at the inn in Bethlehem the day that Jesus was born. The next 110 minutes is a fast paced, witty combination of farce and satire.
As any farce would dictate, physical humour is in attendance including the proverbial multiple entrances and...
Congratulations to Theatre Replacement on Jack and the Beanstalk: An East Van Panto. Children giggled, adults guffawed and by the end I couldn't wipe the smile off my face. This performance offers a fitting kick-off for the grand opening of the Cultch's newest space, The York Theatre.
Though not lucky enough to catch the opening night festivities, I was fortunate to see the matinee the next afternoon with my young friend Tania. As one of many children in the house, Tania enjoyed participating in the traditional pantomime audience hijinks and was particularly good at loudly booing the nasty villain. However, she was curious as to why the show had two...
I have been to Thailand but never seen Rodgers & Hammerstein's classic musical The King and I. Based on a fictionalized account of a true story, the plot involves a young widowed British schoolteacher who moves to the kingdom of Siam with her young son to teach the children of the King. Events of this story occurred in the 1860s and the musical premiered nearly 100 years later in 1951. As the fifth musical created by Rodgers & Hammerstein, there were high expectations that it would be a Broadway success... which it was.
Jovanni Sy, the new Artistic Director of...
Cast members of The King & I (photo by David Cooper)
Tonight I went to experience Corporations in our Heads - here's my tweet-a-long thoughts for your reading pleasure. If you aren't familiar with forum theatre, you may want to read up on the topic first by visiting the Theatre For Living site OR the project page.
@theatre4living Excited to be at Corporations in our Heads at Gallery Gachet 88 E Cordova. #corporations2013
Tonight's event takes 2.5 to 3 hours and is joked by David Diamond. We are waiting for the show to begin!
Tagline is: Theatre without a net. No actors. No play. No script. Just what are we going...
Benjamin Britten’s Albert Herring is playing at the Queen Elizabeth Theatre until Dec 8th, a co-production between Pacific Opera Victoria and Vancouver Opera. Albert Herring is advertised as a comic opera dealing with the themes of isolation and alienation. It was certainly more a comedy of errors than the comedic existential struggle I had been anticipating.
In 1947 in England when the opera was first performed, the subject matter was more relevant than it is to today’s Vancouver audience. The structure of Britten’s “chamber opera" was designed to tour in order to be more accessible to the general public. I...
Lawrence Wiliford as Albert Herring. Photo by David Cooper. Courtesy Pacific Opera Victoria.
In act two Karin says of Romeo and Juliet “You know how it will end and yet you still feel for them.” That is exactly how I felt watching The Romeo Initiative at the Cultch by Touchstone Theatre.
Even knowing what to expect, my heart still broke. I still had hope for the lovers right up to the end. I like to think that this was due to the persuasive writing and electric chemistry between Lindsey Angell’s Karin and Daniel Arnold’s Markus more than to my naïve nature, I’m not usually one for happy endings.
Sometimes it is simply wonderful to see theatre with new eyes. It was my privilege to attend the Arts Club Theatre's new production of Mary Poppins with a young friend of mine (who is a seven year-old named Tania). Since Tania wasn't able to make the show on opening night (because the 8 pm curtain is getting past her bedtime), we went to the Sunday matinee at 2 pm.
We arrived at the Stanley Theatre and stood in line to collect our tickets from the box office. Once in the lobby (after waiting in another line), we pre-ordered orange juice for intermission (which Tania told...
Sean Devine has written an intentionally confusing play (and also stars in it). Directed by Richard Wolfe (who is also in the show), this incredibly slick production earned loud applause on opening night. Kudos to the cast and creative team for a job well done.
The play has two main storylines (well make that three). First, in 1965, a think tank of academics gather to discuss why war is good (based partially on Report From Iron Mountain click here for the Wikipedia entry). Then in 2015 (leading up to the next federal election), a conservative radio host...
Robert Maloney as Tommy Bane (photo by Tim Matheson)
Sarah McLachlan was in attendance at the opening night of Fumbling Towards Ecstasy, produced by Ballet BC and performed by Alberta Ballet. I think most of the audience was there for her more than the ballet and McLachlan’s music was certainly the predominant element of the performance. Unfortunately the result was more like a live balletic music video than a cohesive production.
The music IS beautiful. McLachlan’s hauntingly clear voice soared around the dancers and bounced off the walls: a sophisticated, poignant and stirring melody. Compared to that, the visual design felt clumsy. The animated graphics...
Alberta Ballet dancers in Fumbling Towards Ecstasy
Christian Barry of 2b theatre company (based in Halifax) has collaborated with musician Hawksley Workman to create a one-man show based on Euripides' The Bacchae. Workman plays multiple instruments and multiple characters in this 75-minute show which has been touring Canada as a work-in-progress, opened officially in Calgary this spring and now has landed at the Cultch Historic Theatre for two weeks.
For The God Who Comes, the theatre is set up cabaret-style with additional seating around tables and chairs on the floor near the stage. The small raised stage boasts lush red curtains, a plethora of musical instruments and mannequin heads wearing bright wigs. Rather...
Hawksley Workman - channeling ancient history through modern rock'n'roll
Vancouver Opera’s current production of Puccini’s Tosca is passionate, well-executed and highly atmospheric. The cast and technical team have created a truly moving piece. I often find myself at the opera trying to forget my acting training to focus instead on the music, costumes and set, but Tosca drew me in completely. It was the most enjoyable evening I have spent at the Vancouver Opera yet.
At 6:30pm (I’m not sure if this is exclusive to opening night) Vancouver Opera does this great thing: a preview talk to provide historical context for the plot and production history not necessarily included...
