When I think of what I saw watching 7th Sense, I remember the dancers in clear spacial patterns, their black clothing with white trim, the white stage, and fabric columns hanging upstage a few feet from the back drop. The dancers moved with a dynamic and expansive aesthetic that was often stationary when not moving in tangent with other dancers, they had articulation through the limbs, and used a lot of isolation. I remember seeing horizontal lines in the spacial arrangements with the dancers and a lot of elevation during the partner work. The stage was clean and...
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
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
Last night my friend and I attended Ballet BC’s Tilt, a three piece performance comprised of two world premieres (Jorma Elo’s I and I am You and Emily Molnar’s 16 + and a Room) and a remount of Johan Inger’s Walking Mad. It’s only gracing our city for three nights. Go see it if you can. Check out the trailer at http://www.balletbc.com/movies/2013_14_tilt.html
D: As far as I’m concerned Ballet BC is the strongest performing arts company in Vancouver. I know the Queen Elizabeth Theatre is a large venue, but I can’t believe opening night wasn’t full to bursting. At...
Movent takes us to a new location on Main Street (10th at Broadway in the Ukrainian Centre) but brings along their dance floor and black drapes. Its 29th iteration features James Fagan Tait as the poetry-quoting emcee and a diverse line-up of dancers co-curated by Julie-Anne Saroyan and Karissa Barry. Come early to enjoy perogies and sausages (or just grab a drink and chat with friends).
The evening features nine different choreographies. Overall, it feels somewhat sci-fi and futuristic to me (which I think is a combination of costumes, music and titles). Small Stage has a special place in my...
Recently at the Havana Cafe, I was having lunch with David Bloom (Artistic Director, actor, writer, fight master - all-round Renaissance Man of Vancouver's alternative theatre scene). To arrange this meeting was an exercise in perseverance. Why? Bloom is a dervish of activity - just finished a role in Three Sisters, already gearing up to teach at Capilano University and now plunged into rehearsal for his next appearance in Brief Encounters.
At that my mind reels. Brief Encounters?! I cry out, “Why would you do a Noel Coward play?! Is there an audience for that in small theatre? Isn’t...
Brief Encounters is produced by the Tomorrow Collective
We muse little on the cult of death in 2013. Instead of funerals, everyone is invited to attend a celebration of life. But a funeral is what it is. A memorial service. A remembrance of a soul gone from this earth.
As we enter the theatre, fog is everywhere. A man in a top hat wanders and mutters. There is a printed card on my seat which reads: "All kinds of black fur and seal-skin are worn in deep mourning." Now the man climbs up near the balcony and he keens: "Listen to the little lady!" The little...
