Archives for September 2017

The Christians: for an atheist, whether or not hell exists is not a burning question

Pacific Theatre is presenting The Christians.

Playwright Lucas Heath has excellent hair, and, in The Christians, quirky theatrical instincts.

The Christians: if you’re not Christian, what’s in this play for you? Not a lot in terms of moral complexity. But a fair bit in terms of theatricality.

In Lucas Hnath’s script, Pastor Paul is the leader of a gigantic evangelical congregation: his church has thousands of seats and “a baptismal font as big as a swimming pool.” But, delivering a sermon near the top of the play, he drops a theological bomb on his flock: “We are no longer a congregation that believes in hell.” [Read more…]

Perestroika, which means “restructuring”, is faultily structured—and sometimes transcendent

The Arts Club is producing Perestroika, which is part of Tony Kushner's Angels in America: A Gay Fantasia on National Themes.

Lois Anderson makes one heck of an entrance as The Angel in Angels in America, Part 2: Perestroika.

Like a fever dream, this production of Angels in America, Part Two: Perestroika comes and goes. Sometimes, I was completely in its thrall. At other times, I popped out of the experience and thought, “Oh. I’m in a theatre. And not much is happening.” [Read more…]

September 14 Fringe reviews from Colin: Executing Justice, and Let Me Freeze Your Head

Here you go: my final reviews, Executing Justice and Let Me Freeze Your Head—critiques 28 and 29—from this year’s Vancouver Fringe.

Neither review is enthusiastic, but…there are a lot of excellent shows at the festival.

Go see Paul Strickland's Ain't True and Uncle False at the Vancouver Fringe Festival.

Solo performer Paul Strickland (Ain’t True and Uncle False) is loving Vancouver audiences. It’s mutual.

Of the performances I’ve been to, the three must-sees are: Multiple Organism, Ain’t True and Uncle False, and Six Fine Lines. (The hyperlinks I’ve just created will lead you to those reviews. Sometimes, you’ll have to hit the “Read more” button.)

I also strongly support Brain Machine (established talent Andrew Bailey) and A Night at the Rose Coloured Discotheque (fresh talent Arggy Jenati and Dylan Archambault). I had a great time giving myself over to androgynous spoken-word artist Cat Kidd at Hyena Subpoena. And especially if you have child companions, Beaver Dreams, and The Birdmann and Egg: Birdhouse are both a blast.

One more weekend! Get out there! [Read more…]

VANCOUVER GREENROOM 7: In fall, birds fly east

Vancouver Greenroom: theatre is community

 

Alexandra Lainfiesta has joined the Birmingham Academy at Stratford.

Alexandra Lainfiesta won a Jessie. Now she’s at Stratford.

FALL, AND THE BIRDS ARE FLYING…EAST?

East is the direction that Vancouver artists fly when they’re getting national recognition, so it’s a very good thing that actor Alexandra Lainfiesta, writer Crystal Verge, and multi-tasker Christine Quintana are all winging that way this autumn.

Just this spring, Lainfiesta won the Jessie for Lead Actress (Small Theatre) for her work in Solo Collective’s production of Katie Hoffman’s Green Lake. Now, she’s at Ontario’s Stratford Festival as one of only seven actors selected for the Birmingham Conservatory.

Founded in 1998 and currently headed by actor Stephen Ouimette, the Conservatory’s mandate is “to nurture young actors for a future in classical theatre.” Conservatory members also perform on Stratford stages and Lainfiesta expects to find out later this month how she will be cast in the upcoming season.

Meanwhile, playwright Verge is in Ottawa, where the Great Canadian Theatre Company is workshopping her script For the Love of Gracie. In Verge’s story, a social work student’s theories shatter when she meets a smart, challenging inmate named Gracie.

That workshop will culminate in a public reading this Saturday, September 16, from 2:00 to 4:30.

And Quintana, who works as a playwright, dramaturg, actor, and artistic producer, will soon by flying back and forth between Vancouver and Toronto, where she has become the 2017/2018 Urjo Kareda Emerging Artist Resident at Tarragon Theatre. She will be writing two new works and exploring the reasons people go to the theatre.

On Facebook, Quintana declared her faithfulness to Vancouver: “I am NOT moving away, okay?”

THIS JUST IN: I’ve just found out that Vancouver favourite Anton Lipovetsky is also a member of the Birmingham Conservatory at Stratford this year. Go Vancouver! Two out of seven!

[Read more…]

September 13 Fringe reviews from Colin: The Immaculate Big Bang, Teaching Shakespeare

Here you go: Fringe reviews numbers 26 and 27 from me. Including Deneh’s reviews, that means that there are 36 reviews on this site so far. More to come.

Stand-up comedian Bill Santiago is presenting The Immaculate Big Bang at the Vancouver Fringe Festival.

It took me a while to adjust to Bill Santiago’s energetic performance style. How Canadian is THAT reaction?

THE IMMACULATE BIG BANG

Bill Santiago’s comic monologue is so much better than the rest of the stand-up I’ve seen at this year’s Fringe that he makes the other guys look like they’re sitting down.

Sparked by the death of his father and the birth of his daughter Cielo, The Immaculate Big Bang is about the meaning of existence and the nature of reality—so, yeah, it’s ambitious. And Big Bang finds its core when that ambition kicks in—not just when Santiago explores the weirdness of the multiple, bubble-like realities posited by quantum physics, but also when he delves deeper into his family history, including his beloved father’s compulsive philandering.

Once that groove is established, some of the funniest material is about religion. This includes Santiago’s suggestion that the Bible’s book of Leviticus be replaced by Green Eggs and Ham: “Sam I am. I am Sam.” It’s so cryptic and redundant, he argues, it would fit right in.

There are some great quick jokes. Dogs are now allowed into heaven, he reveals, on the condition that they’ve only had sex people-style. And there’s a hilarious bit involving a Kermode dragon that I’ll leave you to discover for yourself.

Santiago is still working on this material and it needs tightening, but the morning after seeing Big Bang, I’m still laughing at my favourite bits.

Remaining performances at Studio 1398 on September 15 (10:25) and 17 (6:30) [Read more…]

September 12 Fringe review from Colin: Bushel and Peck

Alastair Knowles and Stephanie Morin-Robert are presenting Bushel and Peck at the Vancouver Fringe Festival.

Stephanie Morin-Robert has a big megaphone in Bushel and Peck, but what is she saying?

BUSHEL AND PECK

There’s not enough to it.

In their two-person performance, which incorporates clowning and dance, Alastair Knowles and Stephanie Morin-Robert explore the process of creation—mostly making a show, but also, potentially, building a relationship and making a baby. As Knowles reads from A Maker’s Handbook, which includes pithy questions such as “What is this show about?”, Morin-Robert’s clown character flips his pages with a blow dryer.

With its stark lighting and severe palette of black, white, and taupe costumes, Bushel and Peck looks good. And the piece includes some skilled physical business: Morin-Robert covers her head with her shirt, for instance, and places Knowles’s head on her new shoulders, but it keeps falling off.

Unfortunately, the thematic exploration manages to be both deliberate and vague, the clowning is only intermittently funny, and there’s a lot of generic, spinning dance.

Remaining performances at the Waterfront Theatre on September 13 (7:45 p.m.), 14 (8:45 p.m.), 16 (9:45 p.m.), and 17 (1:15 p.m.)

September 11: six fresh reviews from Deneh’Cho Thompson

Despite the byline above, which I can’t figure out how to remove, these reviews are by Deneh’Cho Thompson. – CT

Katharine Ferns is in Stitches is playing the Vancouver Fringe Festival.

Katharine Ferns does stand-up right: with elegance, simplicity—and depth.

KATHARINE FERNS IS IN STITCHES

It feels like Ferns and I have been best friends for years—and we have never met.

Katharine Ferns is in Stiches, an autobiographical stand-up show, is one of the most open and honest stories I have ever heard told—on-stage or off. Ferns covers a pile of dark topics, from domestic abuse to pedophilia. But it’s not all dark: “There are also jokes about kittens and cocaine. Something for everyone!”

Early in the show Ferns tells us, “I wanted to be perfect for everyone.” Then she explores the messed-up stuff that can happen to us when we strive to achieve perfection. This is a story of resilience, survival, and that all-too-human struggle to love oneself.

I have trouble with stand-up as a form, but this is how it is done right. Katharine Ferns in Stitches is very personal and it’s elegant in its simplicity. And what a journey! Even with all the truly awful things that Ferns has experienced, she ends the show with a beautiful transformation: “I don’t want to be angry anymore. I want to forgive myself for not being perfect.” 

Remaining shows at Studio 16 on September 10 (7:05 p.m.), 13 (5:20 p.m.), 16 (8:20 p.m.), and 17 (3:50 p.m.) [Read more…]

September 11 Fringe reviews from Colin: Ain’t True and Uncle False, A Night at the Rose Coloured Discotheque, and The Messenger

Paul Strickland's Ain't True and Uncle False is playing at the Vancouver Fringe Festival.

Kentucky storyteller Paul Strickland will charm your socks off—and open your heart.

AIN’T TRUE AND UNCLE FALSE

God, we’re fragile. God, we’re beautiful.

In Ain’t True and Uncle False—which is, I guarantee, one of the finest and most original shows you’ll ever see—solo artist Paul Strickland introduces us to his friends and relatives from the Big Fib Trailer Park. The main employer in Big Fib is the pea-punching plant, where locals make regular peas black-eyed.

The homespun inventiveness just keeps coming. In stories that are announced as if they are revelations from the Almighty, we hear about Will, the boy who lost his hand—simply misplaced it—when he was 7, and the conjoined twins who were born a year apart. Underlying all of this, there’s a touching meditation on temporality and decay, on dementia and death. In celebrating the trailer park, Strickland is also trying to preserve it.

“When the peculiar becomes familiar and safe, that’s when you know love”, Strickland says at one point. Just before hearing that line, I had written in my notebook, “I feel safe.”

Remaining performances at Performance Works on September 11 (6:50 p.m.), 14 (5 p.m.), and 16 (4:35 p.m.) [Read more…]

September 10 Fringe reviews from Colin: Bondage, 5-Step Guide to Being German, and 7 Ways To Die, A Love Story

Chris Lam directs Bondage at the Vancouver Fringe Festival.

What happens in a faceless erotic encounter? According to playwright David Henry Hwang, a lot of talk.

BONDAGE

The footwear is wrong.

In Bondage, we’re in a kink dungeon in LA. The dominatrix, Mistress Terri, and her submissive client, Mark, are dressed head-to-toe in fetish wear, their faces covered. So far so good. But Mark is wearing scuffed work boots and Terri sports little open-toed ankle boots with low, faux-wood heels—which no dominatrix worth paying for would be caught dead in.

Authentic kink and eroticism are both noticeably absent from this production—but one could argue that kink and eroticism are not the point. David Henry Hwang’s script is a deliberate exploration of interracial sex and love. The status-driven scenes that Terri and Mark get into are all about race. At first, she’s blonde and he is meekly Chinese. Then she’s African-American and he’s a bumbling white liberal. Finally, they become warring Chinese-Americans. As Terri and Mark, a pushy bottom if ever there was one, struggle for dominance, their encounters explore who’s wounded and who’s guilty.

The stakes intensify when Terri and Mark flirt with revealing their true identities. Why does each fear the other’s sex so much that they have to be masked?

Still: kink dungeon. She spanks him, ties him up, and makes him lick her boots. In this production, which was directed by Chris Lam, there’s no charge to any of that. The emotional risk also feels minimal. Terri and Mark wander easily, even diffidently, in and out of scenes. The transitions between passage are vague.

Because it places so much emphasis on physicality and voice, Bondage is a tough acting challenge, which the performers in this mounting only partly meet. To maintain the mystery about race, I won’t reveal the actors’ names, but I will say that the man is sometimes wooden and the woman sometimes inaudible.

The script’s ideas—as well as the performances and the overall production—are engaging enough that I was never bored. But I was never enthralled either.

Remaining performances at the Vancity Culture Lab on September 12 (7 p.m.), 14 (9 p.m.), 15 (9:25 p.m.), 16 (3:15 p.m.), and 17 (8 p.m.) [Read more…]

Deneh’Cho Thompson reviews Distractingly Sexy at the Vancouver Fringe

Despite the byline above, this review is by Deneh’Cho Thompson.

 

Mily Mumford is performing Distractingly Sexy at the Vancouver Fringe Festival.

“I think of myself as pretty sexy. I am a scientist.” Mily Mumford in Distractingly Sexy

DISRACTINGLY SEXY

Distractingly Sexy teaches, tickles and tempts—oh, and overtly challenges the patriarchy.

Once again, Mily Mumford, artistic director of Nebula Company Theatre, brings us a quirky and comedic show but, this time, instead of science fiction, Mumford is bringing science non-fiction. The show is one part The History of Women in Science, and How They Got Fucked Over and one part Mumford’s own experience of applying to be an astronaut. (Yes, a real-life astronaut; we have those in Canada.)

Right out of the gate Mumford is on the attack! She enters as scientist Tim Hunt, whose sexist comments spawned #distractinglysexy, and ultimately saw him dismissed from the University College of London. After a striptease, in which she peels Tim Hunt off and discards his presence, the audience is asked to, all at once, shout out names of famous female scientists. Only one trick: you can’t use Marie Curie.

Distractingly Sexy does a great job of pointing out the shortcomings our society still has in relationship to women, but is fun and humorous the whole way through.

Required reading for anyone who is not a woman scientist.

Remaining Shows: Studio 16 on September 10 (8:15 p.m.), 11 (10:15 p.m.), 14 (6:45 p.m.), 15 (8:35 p.m.), and 16 (2:45 p.m.)