The setting for The Passion of Joan of Arc, staged at Christ Church Cathedral on Burrard street, lent a aura of rarefied theatricality to this event. The church's vaulted ceilings, echoing with the buzz of the audience, the polished wood floors and intricate lighting fixtures, the dramatic architecture of the nave itself, with its adjacent alcoves like wings to a stage – these conspired to create a sense of immanent revelation. Where a black box theatre lets distractions disappear form view, the finely-crafted environment of a church makes the setting itself a player in the drama.
The Passion of Joan...
Maria Falconetti in The Passion of Joan of Arc, 1928
Wow – it's supercool to enter the Roundhouse by the train exhibit and use that area as the lobby. I love it! However, another audience member said it was a problem since there were no public bathrooms... (A small price to pay, I think.)
Awkward dance sequences - void of sound and fury signifying nothing
Witnessing has its costs, its collateral damage. Artists run the risk of vicarious traumatization, but being forced to look is a far different act than forcing a look. This distinction is made between a present-day Métis journalist, Angeline, and the 19th Century photographer, Edward Curtis.
In a published conversation included in the program for Theatre at UBC’s production of Romeo and Juliet, director Catriona Leger uses the word “fun” four times.
Is that Sister Lawrence in the back? Megs Chenosky and Jameson Parker with Barbara Kozicki doing some fire dance behind them. Photo Tim Matheson
Among a slew of high profile events, So Percussion’s back-to-back performances on the beautiful main floor of Heritage Hall may be PuSh Festival’s hidden gem.
With Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe, members of Catalyst Theatre display their considerable talent for physical theatre by interpreting the life-story of the famous American man-of-letters.
