Art Heist: nobody knows whodunnit

Art Heist, Vancouver Fringe Festival, TJ Dawe, Ming Hudson

In Art Heist, the art is missing and so is the resolution.

There’s a lot of foreplay in this show and no orgasm.

In Art Heist, playwrights TJ Dawe and Ming Hudson offer an experience in which audiences of up to 10 people sleuth around Granville Island trying to figure out who pulled off a half-billion-dollar theft from Boston’s Isabella Gardner Museum in 1990. There are 13 clues in the form of QR codes (which you hunt like Easter eggs) and there are five folks to interview. Time and space are flexible: a couple of the interviewees are dead; some exist in the present and some in the past. [Read more…]

In Mamahood, Nicolle Nattrass doesn’t go deep enough to become Everymama

Nicolle Nattress's Mamahood is too generic to have much impact.

This is the only image I can find for “Mamahood: turn and face the strange”. So sue me; I’m a blogger.

I’m finding it impossible not to damn Mamahood with faint praise. There’s nothing really wrong with this show, but there’s nothing arrestingly right about it either.

In her solo work, Mamahood: turn and face the strange, writer and performer Nicolle Nattrass tells us about her first and only pregnancy—she conceived on the eve of her fortieth birthday—the delivery of her son, and her postpartum depression.

Nattrass is a warmly personable performer and some of her material is witty: in a section about a baby fair, I’m pretty sure I caught a reference to tot pole dancing. And Nattrass is willing to poke fun at herself: she admits that, when her baby was unable to sleep deeply for months on end, she and her husband engaged the services of “a medical intuitive lady who sends energy long distance.” [Read more…]

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