Peace Country: Go there

Publicity photo for Peace Country

The stellar cast of Peace Country: Angus Yam, Sofía Rodríguez, Manuela Sosa, Kaitlin Yott, and Sara Vickruck.
(Photo by Pedro Augusto Meza)

Peace Country is a huge accomplishment. I love its urgency, its complexity, its humour — and its weirdness.

Its weirdness — well, its eccentricity — lies in the play’s structure. Pedro Chamale’s new script is set in an area also known as Peace River Country, an aspen forest that stretches from northwestern Alberta to the Rocky Mountains in northeastern BC. Rather than being driven by plot, as most scripts are, Peace Country offers immersion in the relationships of a group of friends who grew up in the Peace and mostly still live there.

It’s set in the near future. A new political party, the British Columbia Environmental Alliance, has swept to power provincially and it’s working to limit the impacts of climate change. The party has canceled the pipeline project that helped to keep the friends’ town afloat. Canfor, the logging giant, has left. Oil-and-gas company Suncor may be next.

So Peace Country is about the tension between the urgent need for long-delayed environmental action and the economic impact of that action on resource-based communities that are too often ignored or demonized in the discussion. [Read more…]

Happy Valley: Great destination, but getting there involves a major detour

publicity photo for Happy Valley

Derek Chan in Happy Valley (Photo by Pedro Augusto Meza)

I won’t give away the confession in Derek Chan’s Happy Valley, but it’s the best part of the script.

In this interdisciplinary solo, Chan sings and recites poetry — often in Cantonese with English surtitles. We also get Cantonese surtitles.

Chan grew up in Hong Kong when it was still a British colony and he refers to the British handover of the territory to China in 1997 as The Apocalypse. In various artistic forms, he tells us that he lost the beloved site of his childhood: he can never go home again and he is both furious and sorrowful. He rails against the feckless British colonizers and the social, political, and criminal abuses of the current Communist overlords. Happy Valley is an agonized expression of dislocation. The song “Swallow” begins, “How much shit can a motherfucker swallow/Before they have to spit?” [Read more…]

A Christmas Carol — straight up

publicity photo for a Christmas Carol

(Photo of Sanjay Talwar by Jam Hamidi)

For me as kid and even as a young adult, watching the annual TV appearance of the Alistair Sim version of A Christmas Carol was a religious experience. I watched it every year, preferably by myself so that others who might be less devout wouldn’t distract me. I have sucked the life out of that text, which makes me a less than ideal audience member for Blue Bridge Repertory Theatre’s one-man Christmas Carol. [Read more…]

Courage Now: We need this production

publicity photo for Courage Now

Ryota Kaneko and Manami Hara in Courage Now (Photo by Youn Park)

I was afraid that Courage Now might be ploddingly literal, but it’s a moving piece of art.

There is no doubt that more people need to know the real-life story of Chiune Sugihara, who was Japan’s vice-consul in Kaunas, Lithuania near the beginning of World War II. In 1940, Lithuanian Jews, as well as Jews fleeing German-occupied western Poland, were increasingly desperate to get out of Lithuania — and Europe. But to do so, they needed travel visas, which were virtually impossible to get. Seeing the situation for what it was, Sugihara defied repeated direct orders from Japan and started issuing travel documents on July 16, often working 20 hours a day. By August 3, when he was called back to Berlin, he had issued enough documents to allow between 4,500 and 6,000 people to travel across Russia and then to Japan. Many of those refugees arrived in Vancouver. It’s estimated that 100,000 people are alive today because of his efforts.

In doing this, Sugihara risked his life and the lives of his family. When he returned to Japan, he was fired from the diplomatic service and disgraced. In 1985, a year before his death, Israel honoured him as one of the Righteous Among the Nations.

None of these facts can be considered spoilers: they’re all in the program. And I don’t think knowing them in advance should make much difference; I knew all of this going in and I was still deeply moved by watching how it unfolds in this telling. [Read more…]

Yellow Fever: oddly conceived, well performed

publicity photo: Yellow Fever

Agnes Tong and Hiro Kanagawa get INTO it in Yellow Fever. (Photo by Emily Cooper)

There’s some very nice work in the Firehall Art Centre’s production of Yellow Fever, but, under Donna Spencer’s direction, the production always feels slightly out of focus.

Rick Shiomi’s film-noir style script is about Sam Shikaze, a classically hardboiled detective who works on and around Powell Street. It’s 1973 and the recently crowned Cherry Blossom Queen seems to have been kidnapped. Sam’s on the case and a pesky young newspaper reporter named Nancy Wing is tailing him looking for a scoop. At least Sam treats Nancy like she’s pesky — but then the romantic sparks start to fly.

First question: Why is director Spencer presenting this theatrical script as a radio play complete with visible foley (sound effects) artists? In her program notes, the director attempts an answer. Spencer says that she initially envisioned the piece when theatres were in lockdown; she thought she’d do it online as a staged radio play. Okay. Maybe in Zoom squares … But, when she realized she could mount it in a theatre, she writes, “we decided to go forward with the radio play concept still in mind.” Okay, but why? The circumstances have changed. “Close your eyes and imagine yourself sitting in a comfy chair,” Spencer suggests. But I don’t go to the theatre to spend the evening with my eyes closed! And Spencer doesn’t really want us to keep our eyes closed, either: the evening she presents has a lot going on visually. Her foundational choice looks fuzzy headed to me. [Read more…]

White Noise: my contribution

promo photo for White Noise

Columpa Bobb’s character Tse’kwi catches up on some essential reading.
(Photo: Moonrider Productions)

White Noise is just another pop culture, truth-and-reconciliation comedy: same old, same old … I’m kidding! How many of those have you seen? Taran Kootenhayoo’s White Noise is completely frickin’ original. It has a vision. And it comes with the slap of urgency.

When Microsoft buys an app from an Indigenous teenager named Windwalker — for a breathtaking amount of money — he decides to move with his mom and dad from their community near Edmonton to West Point Grey. (The indoor pool was a big selling point.) Jessika, the teenage daughter of the white settler family next door, is just 10K short of her goal of 100,000 Instagram followers. So we view this story largely through the lens of online culture.

When Jessika’s parents invite Windwalker and his family over for dinner, Indigenous realities bump up against settler assumptions — and the windstorm whipping up outside gets ever more furious. [Read more…]

yellow objects: an adventure

Poster for Derek Chan's yellow objects

There’s a lot going on here — and a good deal of it is engaging.

Playwright Derek Chan’s yellow objects is about Hong Kong’s democracy movement, which was crushed in 2020 — although its spirit lives on. Artistically, yellow objects is adventuresome. Ten audience members at a time move through an experience that’s staged on the Firehall Arts Centre’s playing area and in its outdoor courtyard.

The event’s loose narrative straddles two timelines: 2019, when demonstrators protesting against the Communist Party of China’s antidemocratic impositions on Hong Kong are being beaten, rounded up, tortured, and sometimes disappeared; and a period about 50 years after that in which a young Canadian woman named Sandra Wong arrives in Hong Kong to find a resting place for her grandmother’s ashes. [Read more…]

The Amaryllis takes a long time to bloom

 

 

publicity shot for The Amaryllis

(Photo of Shawn Macdonald and Amy Rutherford in The Amaryllis by Emily Cooper)

Michele Riml’s script is a screwball comedy. But director Mindy Parfitt’s production is lacking a screwball: Amy Rutherford is miscast. [Read more…]

I Walked the Line: Solidarity, sisters and brothers!

I Walked the Line, Allan Morgan, Firehall Theatre

Allan Morgan really did walk the line when his union was locked out in Burnaby.

Allan Morgan is a big ol’ homo. That’s a big part of why his solo show I Walked the Line is such a glorious celebration of resilience, compassion, and belonging. [Read more…]

House and Home: a recommended short-term rental

The Firehall Arts Centre is presenting Jenn Griffin's House and Home.

Jillian Fargey and Andrew Wheeler both rock in House and Home (Photo by Reznek Creative)

It’s kind of a shapeless bag of jewels, but it’s still a bag of jewels. [Read more…]

Sign up—free!—

YEAH, THIS IS ANNOYING. But my theatre newsletter is fun!

Sign up and get curated international coverage + local reviews every Thursday!