Corporations in Our Heads runs from May 24- May 27th, 7:30pm at the W2 Media Cafe, 111 West Hastings. Tickets are by donations, and RSVPs are recommended by email rsvp@headlinestheatre.com or phone 604.871.0508. Join them as they experiment with ways to evict the corporate voices that occupy our collective psyche.

The voices of corporations tell us hundreds, perhaps thousands of times a day, what to buy, how to feel, how to perceive and the kind of person to aspire to be. Let’s turn the theatre into a laboratory to explore how those voices shape the way we relate to the world.

Related posts:

1. Us and Them (Headlines Theatre) [last 4 shows!]
2. Theatre review – Metamorphoses at the Pacific Theatre
3. The Physicists (#theatre)

I was prepared to love Rock of Ages regardless of how the performance went before I walked into the Centre in Vancouver for the Performing Arts. And I loved it as I left the Centre. What I wasn’t prepared for were a series of surprises in one of the most fun evenings I have had in recent times. I was not prepared to see an almost-full Centre in Vancouver for the Performing Arts NOT rocking out to “We’re Not Gonna Take It” (Twisted Sister) or “Don’t Stop Believing” (Journey). I also wasn’t prepared to see one of the two leads (the lovely Dominique Scott in the role of young, naive and charming Drew) to be *almost* blown away by the vocal power and range of his co-star, a Shannon Mullen (Sherrie) whose capacity to belt out tunes was only paralleled by her physical plasticity (her dancing was superb) and an uncanny ability to charm the audience. Don’t get me wrong, Dominique Scott is a really good singer and he gives his all in this performance, but Mullen, Matt Nolan (as the chiseled-body, super-powered-voice rockstar and former leader of Arsenal Stacee Jaxx) and Amma Ossei (in a two role performance, but that I loved the most as Justice) all showcase a stronger range and vocal potency than the rest of the cast. And that is precisely one of the elements what makes Rocks of Ages such a fun show to watch: the diversity of vocal prowess, acting range and dancing abilities.

I will fully admit that I absolutely loved Mullen, Nolan and Ossei in every number they sang/danced. And while I wasn’t particularly impressed with the first act (which felt at times weakened by the divergences in how strong a particular singer was), this cast comes back with a vengeance in the second act, ending with a standing ovation to Journey’s “Don’t Stop Believing”.

Without asking for permission nor forgiveness, Rock of Ages paints a pretty funny yet honest (almost to a fault) view of what life would have looked like if you were a pair of young, naive kids who fall in love in urban and wild Los Angeles. And yes, for those of you who ask, this is NOT a show for minors (the sexual innuendo in some scenes gets a little bit beyond PG-13). I didn’t expect it to be, and I am a lover of all things 80′s music, so I was pretty comfortable with it.

In 1987 on the Sunset Strip, a small-town girl met a big-city dreamer – and in L.A.’s most legendary rock club, they fell in love to the greatest songs of the ‘80’s. It’s ROCK OF AGES, a hilarious, feel-good love story told through the hit songs of iconic rockers Journey, Styx, REO Speedwagon, Foreigner, Pat Benatar, Whitesnake, and many more. This 5 time Tony nominated musical, with a star studded motion picture in the works, is rockin’ its way across the USA. Don’t miss this awesomely good time about dreaming big, playing loud and partying on!

I was extremely pleased to see a number of friends of mine from the media and the arts communities, dressed in acid-washed jeans and bandannas, singing along to the tunes. Although it would have been MUCH better if people didn’t get up in the middle of the performance and disturbed their fellow attendees (this happened to a much higher degree at this show than any other shows I have been to). If you really need to go to the bathroom, try to disrupt as little as possible, people! And while I didn’t see anybody else dance on their seats, I was very pleased to see that the Vancouver audience clapped along when the actors drew the audience along. As I mentioned above, the first act (that sets the stage and develops the storyline of how Drew and Sherrie meet as well as details on the sordid life that Stacee Jaxx leads) was slightly slow, but the second act was a strong comeback that featured a number of full-assembly songs. I actually preferred these as they featured most of the cast and showcased everyone’s talents instead.

I make no apology about having loved Rock of Ages. I love 80′s music, and I was perfectly comfortable with the level of sexual innuendo, which is critical to the storyline. And what I loved about Dominique Scott’s performance is that not only did he grow stronger in the second act, but he gives his all throughout. Matt Nolan mesmerized me all across, even though he portrays sleazy Stacee Jaxx. His voice was extremely strong and he would make a great rock star. Shannon Mullen rocks the stage and is equally comfortable portraying Sherrie as the naive young star wannabe as she is portraying a voluptuous lap dancer when she is thrown into the underworld of cabaret-style dancing. Rock of Ages isn’t about the storyline, it’s about the music and the Broadway Across Canada production rocks the house with 28 of the best rock tunes of the 80′s era including Don’t Stop Believin’, We Built This City, The Final Countdown, Wanted Dead or Alive, Here I Go Again, Harden My Heart, Can’t Fight this Feeling, Renegade and I Want To Know What Love Is. My favorites included of course, I Hate Myself For Loving You, We’re Not Gonna Take It and the closing number, Don’t Stop Believin’.

The Cast of Rock of Ages includes Dominique Scott as Drew, Shannon Mullen as Sherrie, Justin Colombo as Lonny, Matt Nolan as Stacee Jaxx/Father, Matt Ban as Dennis DuPree, Amma Osei as Justice/Mother, Stephen Michael Kane as Franz, Phillip Peterson as Hertz, and Katie Postotnik as Regina. The ensemble includes: Chris Sams, Joey Elrose, Wesley Faucher, Lisa Finegold, Tymisha “tush” Harris, Alyssa Herrera, Patrick Joyce, and Danny McHugh.

You can buy tickets for Rock of Ages (pretty affordable I would say, at a range of $35-$75) from Ticketmaster. Rock of Ages is on a short engagement from May 8th through 13th in Vancouver at the Centre in Vancouver for the Performing Arts. Performances run Tuesday – Saturday evenings at 8pm, Sunday evening at 7:30pm with Saturday and Sunday 2pm matinees.

Food recommendations near by for dinner include Rasoee on Robson, Q4 al Centro on Richards Street, Hidden at the Westin Grand.

Disclosure: I attended Rock of Ages with media tickets. A review was not expected, and in the case of a positive review, it wasn’t expected either. As always, I maintain full editorial control over what I publish on my blog.

Related posts:

1. The Nutcracker (@GohBallet) at The Centre in Vancouver for The Performing Arts (review)
2. Fiddler on the Roof at the Centre in Vancouver for the Performing Arts (theatre review)
3. Fiddler in the Roof at the Centre in Vancouver for the Performing Arts

Bringing back two of my most favorite Vancouver actors, Cathy Wilmott (whom I saw most recently in Sweeney Todd) and Lucas Blaney (whom I also saw in The Wiz and Bare, two of my most favorite shows of recent), Ryan Mooney does it again with Grey Gardens: he manages to capture the audience even when the production is complex, nuanced and emotional. And Fighting Chance Productions’ troupe does this emotion-capturing seamlessly all the while bringing us two acts filled with conflicting emotions. I really hope they succeed in their fundraising efforts because the musical theatre that Fighting Chance Productions does deserves to come back to stages again, and again, and again. They are a young, talented company who are fighting with all their might to flourish (financially) and to bring to Vancouver stages some of the best theatre.

Grey Gardens is the musical based on the 1975 documentary about the lives of Edith Bouvier Beale and her daughter, who were the aunt and cousin of Jacqueline Bouvier Kennedy Onassis. The documentary found them living as eccentric recluses in their shockingly decrepit mansion in the Hamptons. The Tony Award winning musical, which ran on Broadway from 2006-2007, follows the mother/daughter due from their days as glamorous aristocrats to their later days living in squalor. At it’s core, Grey Gardens is about the complicated mother/daughter relationship between “Big Edie” and “Little Edie”.

I found the first act (which is pretty much guessing how things went down, more of an imagination of what happened before 1973) a little bit complicated in that it’s not clear why the relationship between Big Edie and Little Edie was so complicated. While there is much love (and it shines throughout both acts and all three actresses at two different temporal scales), there is also a lot of conflict and contempt for one another. Fighting Chance Productions tells a story of a mother/daughter duo who are all the same fighting for their own place in the world and attempting to severe their bond, all the while making every effort to piece together their somewhat shattered and often times broken again relationship.

I love the fact that Fighting Chance Productions doesn’t only go the easy route, that they don’t only put together fun, mindless musical shows but they delve into deeper story lines, stories that need and deserve to be told and that enrich our thinking. I had a hard time processing Big Edie and Little Edie’s relationship as I am incredibly close to my own mother, and she has never been an obstacle for my success (much to the contrary, she was the first one to tell me to come to Canada for my graduate degree). But at the same time, I saw some of the reasons behind the complex relationship mother/daughter had. And yes, I did shed some tears, particularly in the second act (where there is a lot more assemble-singing, which I found refreshing – most of the first act I found it was centered around the story line development and thus much of the singing was taken by individual actors, though a couple of duets were lovely). Overall, I’d recommend Grey Gardens, in particular because it’s a good historical analysis told through the lenses of musical theatre. Complex relationships, drama, intrigue but at the core, a story of mother/daughter love, mother and daughter both incredibly unable to grow up on their own but always there for each other as though they were one.

Fighting Chance Productions’ Grey Gardens will run Wednesdays to Saturdays at 8pm at the Jericho Arts Centre from 5-19 May. (Please note, they have an added 3pm matinee on Sunday, 13 May and NO SHOW on Friday 4 May, as that they just had a special fundraising event that evening). Tickets are extremely affordable at sliding scale $15-$25 and are available now through the Jericho Arts Centre website.

More historical context on Grey Gardens taken from Wikipedia:

Edith Ewing Bouvier Beale (1895–1977), known as “Big Edie”, and her daughter Edith Bouvier Beale (1917–2002), known as “Little Edie”, were the aunt and the first cousin, respectively, of former U.S. First Lady Jacqueline Kennedy Onassis. The two women lived together at Grey Gardens for decades with limited funds in increasing squalor and isolation.

The house was designed in 1897 by Joseph Greenleaf Thorpe and purchased in 1923 by “Big Edie” and her husband Phelan Beale. After Phelan left his wife, “Big Edie” and “Little Edie” lived there for decades more, over 50 years in total for each woman. The house was called Grey Gardens because of the color of the dunes, the cement garden walls, and the sea mist.

In the fall of 1971 and throughout 1972, their living conditions—their house was infested by fleas, inhabited by numerous cats and raccoons, deprived of running water, and filled with garbage and decay—were exposed as the result of an article in the National Enquirer and a cover story in New York Magazine[3] after a series of inspections (which the Beales called “raids”) by the Suffolk County Health Department. With the Beale women facing eviction and the razing of their home, in the summer of 1972 Jacqueline Onassis and her sister Lee Radziwill provided the necessary funds to stabilize and repair the dilapidated house so that it would meet village codes.

Disclosure: I attended Grey Gardens on media tickets, but as always I retain full editorial control on whatever I publish on my site. All companies know that all opinions expressed here are mine, and neither a review is expected, nor a favorable one is either.

Related posts:

1. Sweeney Todd (@F_C_Productions) [theatre review]
2. The Wedding Singer (theatre review) @F_C_Productions
3. Tanglebank Country Gardens (Abbottsford, BC: Circle Farm Tours)

JT and I arrived to Studio 16, which is an intimate studio/auditorium right in the building of Café Salade de Fruits, a wonderful French bistro in the South Granville area. When we got into the building, we realized that the format of The Bomb-itty of Errors was going to be unique and different. In this project, produced by my friend Sabrina Evertt of Twenty-Something Theatre fame, the audience was encouraged to purchase drinks, sit down and enjoy the show (as though it was a musical show that you would watch at say, The Commodore).

I now understand why this strategy worked so well (the night I attended The Bomb-itty of Errors the studio was a completely sold-out, full house). Going against my usual perception of the projects that both of them tackle, Director Catriona Legler (whose work I love) and Producer Sabrina Evertt offer us an incredibly fast-paced, absolutely hilarious and never-a-dull-moment, entertaining production where the Shakesperian Comedy of Errors is reinvented as a showcase of dexterity, costumes wizardry, agility and hip-hop/rap singing.

The Bomb-itty of Errors is a fast-paced, energetic, musical “ad-rap-tation” of William Shakespeare’s The Comedy of Errors. Elizabethan times get pumped up with live hip-hop flavour, as the actors sing, rap and rhyme fun, catchy, and laugh-out-loud songs that retain much of the bard’s original text – all with a live DJ on stage and original music by Anami Vice. Starring Brian Cochrane, David A. Kaye, Niko Koupantsis and Jameson Parker.

All four actors deserve kudos, although I’ll admit I have always been partial to the work of Jameson Parker. Brian Cochrane and Jameson Parker are, from what I heard on the day of the performance, the crazy kids who decided to approach Sabrina with this project, and I’m glad they did. Catriona does, as she usually does, her thing and is able to extract like-ability, powerful energy and a fascinating mimetic ability from each of her actors. Kudos as well for the multiplicity of costumes and the ability to hold each persona separate from each other. AND… the live music was phenomenal. And how could I forget the fact that each and every act was sung in rap?!

Overall, I really hope that Theatre Twenty-Something and Temporary Thing produce another play like this. As I commented on Twitter, we have some of the most amazing theatrical talent in Vancouver, and I hope audiences in this city reward them. And I’m excited for what this city’s theatre can produce. Fighting Chance Productions are now doing some serious stuff and Theatre Twenty-Something is producing musicals. WHAT NEXT? I can’t wait to find out!

Related posts:

1. The Bombitty of Errors (Twenty-Something Theatre and Temporary Thing)
2. Win tickets to Bard on The Beach’s “The Comedy of Errors”
3. Hello Dolly! at the Massey Theatre (Royal City Theatre) [Guest review by @jarrahpenguin]

Opening Gala of Dragons’ Improv Tank is on Thursday, April 26th 7:30 pm – 9 pm at the Improv Centre. I really love the premise behind Dragons’ Improv Tank, and sounds like a lot of fun.

Dragons’ Improv Tank is a hilarious parody of popular business pitch shows, where Improv Inventors pitch “the next big improv game” to discerning Improv Dragons, hoping they’d invest their time, talent, and “money”. The audience will be exposed to at least 10 new ridiculous improv games by the end of the show! This is meant to be a fun evening, so we want you to just sit back and laugh!

To promote the new show, I am hosting a ticket giveaway. The offer includes four tickets to Dragons’ Improv Tank’s Premiere Night on Thursday, April 26th at 7:30 pm. Because I am launching this contest late, I am going to give you, my readers, a chance to enter until April 24th at 3pm (with, as usual, a maximum of 24 hours to claim your prize, otherwise I will redraw). This means that I am going to draw 2 winners, with a pair fo each.

Watch the Improv Dragons’ feeding on Thursdays, Fridays, Saturdays at 7:30 pm, starting this April 26th at The Improv Centre on Granville Island (1502 Duranleau St., Vancouver, B.C.) Tickets range from $10 to $21. For more information and to purchase tickets, please visit the Vancouver Theatresports League website.

To enter my giveaway just drop a comment on this post telling me what’s the craziest business idea you have ever thought of pitching (if any). Entrepreneurship is hard, and I’m sure you all know that it takes a while to build a company, and some of those successful startups are the result of some crazy idea dreaming. So, tell me, what would be your craziest business idea?

To earn a second entry just post the following on Twitter:

Shared my craziest business idea w/ @hummingbird604 http://is.gd/teXVRO to enter to win tickets to @VanTheatreSport Dragons’ Improv Tank

Related posts:

1. Audra McDonald at The Orpheum Theatre presented by Vancouver Recital Society (win tickets)
2. Evelyn Strange (theatre, win tickets)
3. The Sound of Music (Gateway Theatre) [win tickets]

Royal City Musical Theatre has a difficult job every year:pulling off a big, bright, bold version of a classic musical that will live upto the high expectations set the previous season. Last year’s production of The Will Rogers Follies captivated, so Iwas really looking forward to this year’s show: Hello, Dolly! It did not disappoint.

Hello, Dolly!,which first premiered on Broadway in 1964 starring Carol Channing, is anambitious choice of show, requiring impressive big dance numbers and comictiming from the actors. It tells thestory of Dolly Gallagher Levi (played by Royal City Musical Theatre alum andfamiliar Vancouver theatre face Colleen Winton), a matchmaker whose goal is tomarry the wealthy Horace Vandergelder (David Adams) and send his moneycirculating among the people like rainwater, the way she was taught by her latehusband.

In the process, Dolly also matches up Horace’s head clerkCornelius with the widow Mrs. Molloy, Cornelius’ assistant Barnaby with Mrs.Molloy’s assistant, and Horace’s niece with a struggling artist.

Colleen Winton is superb as Dolly, making the audience rootfor her at every step of her mad-cap quest to love again “Before the ParadePasses By”. Adams, who starred with Winton in RCMT’s production of South Pacific 18 years ago, is also astrong, yet very funny presence.

Dustin Freeland as Cornelius and Sayer Roberts as Barnabymake a great comic dancing team – when Dolly teaches them to dance so they cantake Mrs. Molloy and her assistant to dinner, the resulting number (“Dancing”)is one of the highlights of the show.

It takes a cast of more than 40 – including a dancingensemble, singing ensemble, and chorus of children – to pull off. And Artistic Director Valerie Easton madesure they did pull it off, while also putting a unique RCMT stamp on theproduction, this time in particular with the set design.

The set, designed by Omanie Elias, is made to look like aseries of paper cutouts. It was an ingenious way of tying the whole showtogether, being light and notable but not distracting.

Hello, Dolly! Runs until April 28 at the Massey Theatre inNew Westminster. It runs just under 2.5 hours including intermission. I highlyrecommend seeing it. You can buy tickets online here.

Related posts:

1. Hello Dolly at the Massey Theatre #NewWest (Royal City Musical Theatre)
2. Rent (guest theatre review by @theleftcoastca)
3. Sexy Laundry (theatre review) – Guest post by @EmmeRogers

Using only the contents of an old trunk and a wooden cart (designed with breathtaking cleverness by Robin Peoples), Scottish actors Tim Settle and Simon Donaldson of Glasgow’s Visible Fictions energetically retell the Greek myth of Jason and his quest for the Golden Fleece with intimacy, humour, and virtuosic performances. With shows at the Waterfront Theatre until April 29, Jason and the Argonauts marks the end of the 2011/2012 season of literary classics presented by Carousel Theatre.

Jason also marks one of Carousel Theatre’s first steps towards offering programming for older youth audiences and though younger children (age 7 and up) will still find much to enjoy, it is adolescents and teenagers (and their parents!) that will appreciate this ingenious retelling of the ancient story the most.

While at first your smarty pants youngster (or you) may be incredulous that the story of “like, 50 guys who are supposed to be on a boat with monsters and stuff, and you know, like, a beautiful princess” can be told effectively by only two actors (both men), the magic of Visible Fiction’s Jason and the Argonauts is not only found in the story itself, but in the way in which Settle and Donaldson are able to convey it using only their abilities as performers and the few props at their disposal (Ken dolls, paper boats, and sticks are used to great effect in this production). The gasps from the Saturday-night audience as the Argo appeared from seemingly nothing did not go unnoticed (or uncommented upon) by the actors. It is this back and forth between performers and audience, and this recognition of our intelligence and interest, which allows us to wholeheartedly root for the characters of “Andy” (Settle) and “Josh” (Donaldson) as they take on the telling of this epic quest for glory and justice.

Incredibly disciplined performers, Settle and Donaldson play the dramatic moments of the story as well as they do the comic ones, with real sorrow, tyranny, and danger all alive on the stage as Settle and Donaldson make switching from one character or scene to another look as easy as breathing. The show is charming, intelligent, and thoroughly entertaining.

Jason and the Argonauts is also a breath of fresh air from a continent whose tradition of theatre is centuries more well-established than our own, and therefore, whose expectations of their what their audiences will be able to engage with seem to be much greater. Precious few theatre companies (especially those who wish to be accessible to younger audiences) would be comfortable staging or presenting such a complicated two-hander, with worries that the constant switching between characters (and the lack of costume changes, etc. to indicate the switch) would make the show “too confusing” for audiences to follow. Visible Fictions trusted their actors to tell the story, and trusted their audience to follow it. Carousel Theatre has placed its trust in us and in its older youth audience as well, and guess what? We can follow Jason’s journey just fine.

In fact, due to Carousel’s practice of holding Q & A periods with the actors after every show (not just on a special “Q & A Night”), watching a more complex show like Jason and the Argonauts can also be incredibly instructive for those pre-teens and teens of yours who are interested in theatre. When I attended on Saturday, a large group of high school drama students were seated in the first two rows. I was impressed by their intelligent questions (see? We don’t need to “dumb down” great theatre!) and by Settler and Donaldson’s thorough replies about their training, rehearsal process, their lives as working actors, and the physical and psychological skills they employ to find and maintain so many different characters in one show.

It is wonderful to see a show that is both accessible and enjoyable AND assumes its audience to be sensitive and intelligent. I am excited that Carousel is pursuing programming for older youth audiences and hope to see more productions of the same caliber in their future seasons.

Jason and the Argonauts will be performed at the Waterfront Theatre until April 29, with school performances during the week and public performances Friday and Saturday evenings at 7:00 pm, with 2:00 pm Saturday matinees. Tickets can be purchased online through Carousel Theatre’s website, or by calling their box office at 604-685-6217.

Related posts:

1. Christmas on The Air (@PacificTheatre) – guest review by @niftynotcool
2. The Wizard of Oz (@CarouselTheatre) Guest review by @DianneChow
3. Seussical The Musical (@CarouselTheatre)

After bringing the critically acclaimed productions of the World Premiere of Prodigals (2010) and Tough! (2011) to Vancouver, Twenty Something Theatre is pleased to present Temporary Thing’s production of The Bomb-itty of Errors – a fast-paced, energetic, musical “ad-rap-tation” of William Shakespeare’s The Comedy of Errors. Elizabethan times get pumped up with live hip-hop flavour, as the actors sing, rap and rhyme fun, catchy and laugh-out-loud songs that retain much of the Bard’s original text – all with a live DJ on stage and original music by local artist, Anami Vice.

I have seen several of these actors in previous productions and I have always loved the directorial work of Catriona Leger so it should prove a fun show. And who doesn’t like The Comedy of Errors reinvented with energetic music? I do!

I am also giving away a pair of tickets to the April 7th show (which is this weekend, Saturday). If you are taking the weekend off, this would be your perfect show for a Saturday evening. And all you need to do to enter my giveaway is drop a comment on this post telling me your favorite comedic show (can be TV show too). Trust me, everyone in my friends groups seems to love The Big Bang Theory. Geeks, for the win!

I will draw a winner from all entries on April 6th at 11am, and as usual, inform the winner by posting on this entry, so be sure to check back on this post so I can let you know who won! This is a super fast contest, I know, as it closes in 2 days. So better get your entries fast! An additional entry for a total of two can be earned by posting on Twitter the following:

Shared my favorite comedy show with @hummingbird604 http://is.gd/7leXef to enter to win tix to The Bombitty of Errors @theatre_20

Related posts:

1. The Bomb-itty of Errors (theatre review)
2. Win tickets to Bard on The Beach’s “The Comedy of Errors”
3. Nocturne (Twenty-Something Theatre)

Hello, Dolly! tells the story of Dolly Levi, a matchmaker, who has been hired to arrange a marriage for the widowed half-millionaire, Horace Vandergelder. Dolly has other plans. She herself has been recently widowed and Horace and his fortune will make her the perfect match. As she arrives in Yonkers, she immediately begins to plant seeds of doubt in Vandergelder’s mind about Irene Molloy, the pretty young woman she has picked for him.

Hello, Dolly! is a classic show with a fabulous score and dance numbers that bring audiences to their feet. This show will feature a large cast of all ages, including both a singing ensemble and a dancing ensemble. It has a musically rich and complicated score that is a favourite for many!

Here is the listing of the performances:

PREVIEWS – Thursday, April 12, 8pm and Friday, April 13, 8pm
OPENING NIGHT – Saturday, April 14, 8pm

Royal City Musical Theatre’s production stars Colleen Winton as Dolly Levi, David Adams as Horace Vandergelder. The production is directed and choreographed by Valerie Easton with James Bryson as Musical Director

This is a wonderful show for the whole family! Hello Dolly runs at the Massey Theatre (735 Eighth Avenue in New Westminster). Performances Saturday April 12 -28 2012 at 8pm Wednesday through Sunday. Matinee performances Saturday and Sunday 2pm. And you can buy tickets here.

I have a pair of tickets for opening night (April 14th, 8pm) of Hello Dolly at the Massey Theatre in New Westminster, produced by Royal City Musical Theatre, and those tickets will go to the winner of a draw of all Twitter and blog comment entries (up to 2 entries if you comment on this post AND tweet about the show). I will draw a winner on April 7th at 7 pm (this is a short-run contest, so get your entries fast!). And the question is, of course, your favorite song from a musical theatre show. Mine tends to be, weird as it sounds, Lea Salonga’s song in Miss Saigon (and I can’t recall the name!)

An additional entry can be earned by posting the following on Twitter:

Told @hummingbird604 my favorite song http://is.gd/JRARHA to enter to win tix to #HelloDolly @RCMTheatre at #NewWest @masseytheatre

Related posts:

1. Hello Dolly! at the Massey Theatre (Royal City Theatre) [Guest review by @jarrahpenguin]
2. Shine (Musical theatre review)
3. Mamma Mia at the Queen Elizabeth Theatre in Vancouver (musical theatre review)

The play God of Carnage is by Yasmina Reza, translated by Christopher Hampton, directed by Miles Potter and it is also a co-production with The Royal Manitoba Theatre Centre.

When two young boys get into a playground fight, their parents meet to discuss the incident in a civilized manner. But what begins as a calm and rational debate between grown-ups, soon degenerates into a hysterical evening of name-calling, tantrums and tears before bedtime.

The cast includes Oliver Becker (Michael), Shauna Black (Veronica), John Cassini (Alan) and Vickie Papavs (Annette).

I have a pair of tickets for Opening Night (April 19th) and you can enter my giveaway by dropping a comment on this post telling me about the last piece of theatre you saw. I am going to be honest, being sick for 2 months means that I have not been attending theatre lately. My last review (e.g. the last time I was at a theatre show was from January 2012, which strangely and coincidentally enough was RED at the Vancouver Playhouse. When did you last see a show?

I will draw a winner from all entries (you can earn an additional entry by posting the paragraph below on Twitter) on Monday April 16th at 2pm, and as usual, the winner will have 24 hours to claim the win. Check back on this post on the date of the draw as it’s here where I will post the name of the winner!

Shared my most recent theatre experience w/ @hummingbird604 http://is.gd/JhoK2n to enter to win tickets to @vanplayhouse God of Carnage

God of Carnage sounds like it will be a fantastic production and can’t wait to check it out.

Related posts:

1. RED at the Vancouver Playhouse (theatre review)
2. Hello Dolly at the Massey Theatre #NewWest (Royal City Musical Theatre)
3. The Vancouver Playhouse shuts its doors after 49 years

Recognized as the ‘jewel in Vancouver’s culinary crown’, West’s outstanding contemporary regional cuisine and seamless service has earned much critical acclaim. Pristine seasonal ingredients are sourced to deliver superbly conceived dishes offering modern interpretations of classics. For those keen to observe ‘behind the scenes’ action and experience West from a unique perspective, the two ‘chef’s tables’ can be found directly adjacent to the presentation kitchen. One of the highlights of the dining room is a temperature-controlled wall of wine, and under it, the long cherry wood bar that gracefully anchors the conversation—where martinis and cocktails are composed of fresh herbs, juices and creative infusions.

You will be treated to Sunday Brunch at West Restaurant (West just launched their new Sunday brunch menu). West was kind enough to throw in not only Sunday Brunch for two, but also their special bubbly brunch cocktails. As if that wasn’t enough for a wonderful Sunday, The Arts Club kindly offered me in exclusive a pair of tickets to the matinee function on April 8th, at 2pm at the Stanley Industrial Alliance of the wonderful show The Importance of Being Earnest (total duration of the show is 2 hours and 35 minutes).

What happens when two wealthy playboys—one in the city, one in the country—each pretends to be named Ernest so that he can behave recklessly without besmirching his reputation? In this hilarious Oscar Wilde satire, arguably the wittiest play in the English canon, pandemonium ensues when the duplicitous duo find themselves together, both masquerading as the same person, with each wooing a different woman!

To enter my giveaway, all you need to do is describe to me what a Perfect Sunday looks like to you. The version that I’m offering here on the giveaway is definitely a personal favorite, but another perfect Sunday used to be going for breakfast with my Mom and my brothers, followed by shopping, a nap and then taking in a movie and having dinner together. Family time is super important to me, and I look forward to going back to Mexico to do that at least once this year.

So, tell me in the comments section what a Perfect Sunday looks like to you. If you want to earn an additional entry, post the following text on your Twitter stream (note, I’ll count the second entry AFTER you have posted a comment with your description of what is your definition of a perfect Sunday).

Shared my #PerfectSunday w/ @hummingbird604 http://is.gd/GNjf9Z to enter to win a brunch @WestRestaurant & show @TheArtsClub prize pack

I will draw a lucky winner on April 5th at 2pm. As with any of my contests, you will have 24 hours to respond and accept the draw prize and provide me with your full name and contact details so I can pass them along to The Arts Club and West Restaurant for a reservation under your name for Sunday Brunch at West Restaurant and tickets at Will Call at the box office at the Stanley (arrive 15-30 minutes prior to the show to pick up your tickets).

Good luck everyone, and thanks to The Arts Club and West Restaurant for partnering with me to offer a lucky reader a taste of a Perfect Sunday.

Related posts:

1. Act I, Eat 1 #DineOut @eatDockside @TheArtsClub Craigslist Cantata @PuShFestival (giveaway)
2. #DineOut with @hummingbird604 and @eatDockside
3. Now-closed restaurants in Vancouver?

Created in 1961 by UNESCO, World Theatre Day is celebrated annually on March 27 by theatre communities around the globe. The impetus behind World Theatre Day is to honour and further UNESCO’s International Theatre Institute’s goals to:

• Celebrate the power of theatre as an indispensable bridge-builder for mutual international understanding and peace.
• Promote and protect cultural diversity and identity in communities throughout the world. Each year, a renowned theatre artist of world stature is invited to craft an International Message to mark the global occasion.

World Theatre Day begins the GVPTA’s campaign leading up to Canadian Multiculturalism Day on June 27. Bookending a span of three months with these two celebrations creates an extended opportunity to recognize the creativity of theatre artists in cultures and communities around the world, and grow local awareness of just how many of these cultures are at home here in Metro Vancouver.

This year’s actor’s message is by John Malkovich. Check out his message below. To my fellow theatre actors (yes, I used to be a theatre actor), stay strong. Even in a political and social climate that isn’t particularly conducive to artists, Vancouver (and British Columbia) actors have proven the quality of theatre we have in this wonderful city of ours. I look forward to checking more of your performances in the future.

Related posts:

1. World Theatre Day 2011 (March 27th)
2. World Down Syndrome Day 2012 (March 21st)
3. World Water Day 2012 (March 22nd)

It’s a shame that all tickets were gone for the first two days, but I do hope you’ll stop by your local theatre if Anita comes to present this play in your town.

Anita Majumdar here serves as both playwright and actress (it’s a solo play) and explores what it means to have a cultural heritage far away from home. Switching between a conflicted teenager, Mina, and her old dancing teacher, Anita touches themes of cultural appropriation, colonialism and assimilation in the Western world.

The story on its own is fairly simple and straightforward: Mina, the 17-year old Indian dancer, wants to date Buddy Kane during the summer when she is supposed to go compete in a dance competition in India. Mina is good at what she does, but she sees her Indian heritage as an obstacle to being “normal”. When a dance component in phys.ed. gives her a chance to shine, she realizes her talent but also sees how “white people” can viciously misappropriate her culture for their own benefit.

What makes this play shine is not so much the story as the way it is performed. The hand gestures of Indian dance are traditional storytelling gestures (something I learned during the play!), and she uses them liberally to tell this story. And she dances too. A lot. And well, I imagine… but I am no judge of good Indian dancing. In any case, Anita’s movements are as carefully choreographed as those of a dance and they enhance the story in really interesting ways. It’s hard to describe in words—you should just see it for yourself.

The set is simple and let Anita be the focus. There were some problems with the sound though—sometimes the music was too loud and we couldn’t hear Anita speak in the back. We missed a few lines because of this.

The play definitely made the audience laugh. There’s something so naïve about an otherwise talented teenager being in love with boys like Buddy. I wish there had been more emphasis on the cultural appropriation theme (why is there no more indignation about a white girl going to learn Indian dance at the “Coventry School of Bhangra” in England?). But overall, I left both entertained and educated about the vagaries of being of a certain cultural heritage far away from home. In certain ways, I could identify with Mina’s love/hate relationship with Indian culture.

This guest review was provided by Anabelle Bernard Fournier exclusively for Hummingbird604.com. You can follow her on Twitter (@AnabelleBF) and on her blog. Thanks so much for helping me provide coverage to the SPARK Festival 2012!

Related posts:

1. Goodness: Spark Festival 2012 at the Belfry Theatre (Victoria, BC) – Guest review by @JanniAragon
2. Ride The Cyclone (Atomic Vaudeville at The Belfry Theatre in Victoria, BC) – guest review by @JanniAragon
3. on the edge at the @BelfryTheatre in Victoria, BC #yyj (Guest review by @anabellebf)

Theatre Terrific was founded in 1985 by Connie Hargrave to provide theatre training and performance opportunities to disabled persons in the Vancouver region. At the time, no theatres in Vancouver were accessible, and the idea of disability and theatre interacting in innovative ways had yet to gain hold. Theatre Terrific was a pioneer; it is Western Canada’s oldest theatre company that works with mixed abilities casting.

Please consider attending and spreading the word about this fundraiser. Barn Dance promises to be A LOT OF FUN. And it’s for an amazing and worthy cause.

Barn Dance
Where: Performance Works, Granville Island
When: Thursday, March 29th.
Who: Mana Mansour (The Express, Shaw TV Media Personality)
What: Barn Dance, a Fundraiser for Theatre Terrific
When: Thursday March 29th, 7-10pm.
How Much: Tickets are $45
How To: Call 604-440-2037 for tickets.
Why: Because Theatre Terrific is actually a fantastic charitable project.

UPDATE – I found a little bit more information about Barn Dance:

Theatre Terrific Society is hosting Barn Dance 2012, a fundraiser to support opportunities for people from many minority and disability communities to produce original, compelling drama. Our work also supports opportunities for theatre professionals to expand their craft while also challenging and entertaining Metro Vancouver audiences.

At this fundraising event, we will invite guests to Performance Works for a spectacular evening of fun food and festivities. A live band will get your toes ‘a tapping and your heart ‘a thumping. Barn Dance 2012. Will have a silent auction which will combine a variety of donations to create many fabulous “experience” items, from a book-lovers’ basket to destination prizes with hotel, dinner, movie. We will also have a live auction and our infamous cake auction! We very much appreciate community partners’ support in providing many worthwhile items, and our experienced team of organizers will ensure that your organization is shown in its best light to prospective clients or customers.

For the last twenty-seven years, Theatre Terrific has been providing opportunities for many people through cutting-edge theatre, classes and workshops. Barn Dance 2012 will assist us in continuing to offer high quality, serious theatre to Vancouver and high quality theatrical training to people who might otherwise not have this opportunity. We have expanded our reach in the last year, and will continue to do so into 2012 and beyond.

Related posts:

1. Dance Up a Storm for the Food Bank! (Urban Beat Dance Fundraiser) Dec 19th
2. dirty white by Theatre Terrific (review)
3. Win tickets to the premiere of dirty white (Theatre Terrific)

How far would you go to protect a child? In John Patrick Shanley’s Doubt, a Parable, presented by Pacific Theatre, Sister Aloysius is faced with this very question. Her answer is swift and ferocious: if a child’s welfare is at stake, there is no time to waste. She acts. So when suspicions are raised that the young priest Father Flynn is spending too much time with one of the young male students, she does not hesitate. Hit by her fierce crusade Father Flynn is left to defend his actions, but without concrete proof on either side both are guided only by the strength of their convictions and the nagging of their doubts to guide them.

In the role of Sister Aloysius is Erla Faye Forsyth (Holy Mo). Giovanni Mocibob (from My Name is Asher Lev fame) will be bringing Father Flynn to life, while Kaitlin Williams (The Lion, the Witch, and the Wardrobe) takes on Sister James, and Leslie Lewis Sword (Miracle in Rwanda) as Mrs. Muller. Meryl Streep was Sister Aloysius and Viola Davis was Mrs. Muller in the widescreen.

The second in Pacific Theatre’s Shanley Series, Doubt, a Parable provides a fascinating contrast to Danny and the Deep Blue Sea. Both represent high-stakes conflict between fierce characters, one slithering along with eloquent and subtle nuance, while the other stumbles, screams, and battles its way to the finish line.

Details: DOUBT, A PARABLE by John Patrick Shanley
When: March 2-31, Wednesday-Saturday at 8pm with 2pm matinees Saturdays
Where: Pacific Theatre, 1440 West 12th Ave (at Hemlock St), Vancouver, BC
Tickets: $16.50-29.50 (HST not incl.) – to reserve call 604.731.5518, or visit pacifictheatre.org.

To enter my giveaway for a pair of tickets to the March 7th performance, please tell me an anecdote of how you’ve protected someone you love. After all, this play is all about protecting the innocent (in this case, at whatever cost). I am overprotective with my friends always, and most of them know this.

I will draw a winner on March 5th at 2pm. Please check back here on that date to see whether you won. For an additional (maximum of 2 entries overall) entry into the contest you can post the following:

Entered @hummingbird604 and @pacifictheatre’s giveaway for Doubt, A Parable. You can enter too!

Related posts:

1. Danny and the Deep Blue Sea (Pacific Theatre)
2. Theatre review – Metamorphoses at the Pacific Theatre
3. The Fair at the Pacific National Exhibition

It’s 1905. New York City. 35-year-old Esther is an independent African-American woman who makes a good living sewing exquisite undergarments and corsets for brides-to-be. But she yearns to wear one of her own creations. When a mysterious stranger from the Caribbean strikes up a pen-pal relationship, the romance that blooms promises to fulfill all her dreams.

The story unfolds in 1905 New York and revolves around Esther (Marci T. House) a single thirty-five year old seamstress who specializes in elegant intimates. She is strong willed and dreams of owning her own beauty salon. When Esther receives a letter from a mysterious suitor, we are introduced to George Armstrong (Daren Hebert) a Caribbean laborer working on the Panama Canal. George (Hebert) hooks the audience at first glance with his good looks and idyllic charm. As the correspondence continues the audience anticipates his next appearance like Esther craves George’s next letter.

Things play out in multiple sets that provide a voyeuristic view into the various boudoirs including Esther’s own boardinghouse room. Set designer Pam Johnson accomplishes a lot with the limited space at her disposal. I felt transported to Brooklyn at the turn of the century and learned some interesting things about the era, not the least of which is how little the challenges of love and relationships have changed over the last hundred years.

The plot is tied together with series of orders for hand-made corsets. Fortunately for Esther, and us, her business requires regular trips to Mr. Marks’ (Jonathon Young) shop for fine fabric and delicate flirtation. Mr Marks’ always has the choicest fabrics and is an artist in his own right. He spins romantic yarns about each fabric’s provenance while seducing Esther (willingly) into buying more than she came for. In a performance that reminded me of John Malcovich, Jonathon Young adds spots of color and comedy with his quirky Romanian accent and curious diction. For me the moments in Mr. Marks shop managed to outshine the other already glowing scenes.

The performance moves along with the rat-tat-tat of a well-oiled machine accompanied by an old time rag tune. With perfect pacing the two-hour show went by quickly and I didn’t want it to end. When the fast paced banter slowed, it focused attention onto the highly intimate exchanges between characters. This and the strong performances by the entire cast got the audience deeply invested. For me it was literally a gut-wrenching scene when it becomes clear to Esther and the audience that life is not always the stuff of dreams and love letters.

Clearly the opening night audience appreciated fine work. The actors were with a standing ovation and curtain call. This will not be the only positive review of Intimate Apparel. It is a great live theatre experience that I found very accessible and highly recommend.

Intimate Apparel is playing at the Granville Island Stage until March 10th. Showtimes and tickets are available online on The Arts Club website.

Disclosure and statement of authorship:This guest review was written by Trevor Jurgens in exclusive coverage of The Arts Club’s production of Intimate Apparel for Hummingbird604.com. Trevor attended the play on media tickets in my representation, tickets were provided to Hummingbird604.com. Trevor is, in his own words, a Marketing and Communications professional that connects people to their passions, their peers and the brands that will matter to them. Be it jaded teenagers or exhausted moms, the clever communications he develop engage people and snap them into action. You can read more from him on his site, or follow him on Twitter at @TrevorJurgens. Thanks Trevor for agreeing to guest review for me! As always, I (Raul) retain full editorial control over anything published on my site.

Related posts:

1. The Philanderer (The Arts Club) [review, theatre]
2. Hairspray (The Arts Club) [theatre review]
3. Calendar Girls (The Arts Club) [Theatre review]

All performances begin at 8pm, Doors at 7pm. “I Love You Because” is presented through special arrangement with and all authorized performance materials are supplied by Theatrical Rights Worldwide (TRW)

A contemporary 6 person musical set in modern day New York City, I Love You Because explores the concept of finding love in all the wrong places. A young, uptight greeting car writer, Austin (Sayer Roberts), has his life changed when he meets a flighty photographer, Marcy (Erin Palm), on a blind date. Along with their eccentric friends and siblings (Diana & Jeff, played by Harper Smith & Victor Hunter respectively), they learn to love each other not in spite of their faults, but because of them.

Directed by Shel Piercy, featuring Victor Hunter, Aaron Lau, Erin Palm, Sayer Roberts, Harper Smith and Sheryl Anne McMillan and playing February 8-25 at Studio 1398 (formally PTC), 1398 Johnston Ave, Granville Island. Tickets ($20-28 HST not incl.) You can get tickets here.

Related posts:

1. 42nd Street (Metro Theatre) – Theatre review
2. The Temperamentals (Fighting Chance Productions) [theatre review]
3. Rent (Musical) by Fighting Chance Productions – Theatre review

What happens when a vintage dinner cabaret hits Vancouver a century too late? Well, it features not only the glitz of traditional trapeze artists, but also the excitement of world-record-breaking acrobats doing back flips on pogo sticks. Vinyl Vaudeville attempts to replicate the century-old
tradition of combining a sassy cabaret, dinner theatre, and after-show swingin’ dance soiree together with a twist.

In the style of the early 1900’s, the production features cirque performers, dancers, and comedic actors all backed by an acoustic swing band. The show’s highlight is a duo from Los Angeles who performs acrobatic stunts on pogo sticks. Collectively they hold eight Guinness World Records, and have a long list of prestigious appearances including The Tonight Show with Jay Leno, America’s Got Talent, and Ellen.

Get ready to be whisked away by the host of quirky characters into the magic of a bygone era. Dressing spiffy for the occasion in your vintage attire is always encouraged. Vinyl Vaudeville takes over Performance Works on Granville Island from February 10th till the 18th. It’s a romantic place to take your sweetie for Valentine’s Day, but is also appropriate for the whole family.

While it opened last night (February 10th), it’s still on until Valentine’s Day, so you may want to take this opportunity to take your loved one or a friend to the performance. But in case you don’t celebrate Valentine’s Day on the exact day, I have 2 sets of tickets to give away, total of 4 tickets for Friday February 17th. Tickets are to be picked up at Performance Works before 7:30PM day off the show at will call. For this giveaway I will draw winners on February 15th at 2pm. To enter my giveaway all you need to tell me is your favorite song from “Cabaret” (I am sure you have seen the movie Cabaret, right? – or maybe just any cabaret-themed movie, like the one with Christina Aguilera or the one with Renee Zellwegger, Chicago, etc.) As always, maximum 2 entries per person, one via comment, one via Twitter (you can tweet the following):

Shared my favorite cabaret-themed song http://is.gd/CRbgAl to enter to win tickets to @vinylvaudeville from @hummingbird604

Related posts:

1. Christmas on the Air (@PacificTheatre) and dinner at @HelmVancouver [prize pack giveaway] #hb604xmas
2. Ride the Cyclone at the Revue Stage (The Arts Club and Atomic Vaudeville)
3. National Sweater Day (and a giveaway!)

Being a Calendar Girls newbie (I knew of the participation of Helen Mirren as Chris in the original 2003 movie, based on a true story, but I never saw the movie), I was expectant and at the same time, excited. I was really looking forward to attending opening night of Calendar Girls (The Arts Club). The production did not disappoint me at all.

To summarize the story, here’s an excerpt from the Wikipedia entry:

When Annie Clarke’s husband John dies from leukaemia at an early age, her close friend Chris Harper, anxious to purchase a comfortable sofa for the visitors lounge in the hospital where he was treated, hits upon the idea of printing a calendar featuring some of the members of the Knapely chapter of the Women’s Institute discreetly posing nude while engaged in everyday activities, such as baking and knitting, in order to raise funds. Her proposal initially is met with great scepticism, but she eventually convinces ten women to participate in the project with her. They enlist one of the hospital workers, an amateur photographer named Lawrence, to help them with the concept. The head of the local Women’s Institute chapter refuses to sanction the calendar, and Chris and Annie go to a national congress of the Women’s Institute in London to plead their case. They are told the final decision rests with the local leader, who grudgingly agrees to the calendar’s sale. The initial printing quickly sells out, and before long the tiny village is bombarded with members of the international media anxious to report the feel-good story.

A bigger surprise was for us to meet Tricia Stewart, one of the original Calendar Girls, as she attended the opening night of Calendar Girls at The Arts Club as well. We all gave her a standing ovation, much deserved as she was part of a movement that is, in many ways, larger than life.

On to the review of the show… Maybe it’s the fact that the cause was so important to me (cancer). Maybe it’s the fact that I was coming to the show with one of my best friends. But the reality is, I loved the show. And I can’t single out any particular actress for their outstanding performance. All of them gave it their all. Anna Galvin and Wendy Noel as Annie and Chris have an intense chemistry. Galvin produces a Chris that is enjoyable, quirky and at times, loses the sense of purpose and her own identity when the popularity of the Calendar Girls grows. Noel’s subtle, nuanced and powerful performance as the bereaving widow is simply spectacular. The cast of the Arts Club’s Calendar Girls pays a strong and emotional homage to friendship and love.

Admittedly, it is the calendar shooting, close to the end of the First Act, that attracts the most energy. This is, much beyond the well-treated and artistic nudity, in great part because it is accompanied by beautiful changes in lighting, music, and scenery. Those scenes showcase these strong women coming to terms with baring it all for charity and becoming comfortable in their own skin. Seeing as I was pose for a similar calendar (the Reading Is Sexy calendar, which in fact did not have as much skin as it probably could have), I felt really enthralled by the performance of this cast, and remained enthralled throughout the show.

Calendar Girls is a must-see. You may want to bring tissues along with you. Now playing until February 26th at the Stanley Industrial Alliance Theatre on Granville and almost 12th Avenue. You can purchase tickets here.

Related posts:

1. Calendar Girls at The Arts Club (win tickets)
2. Hairspray (The Arts Club) [theatre review]
3. The Philanderer (The Arts Club) [review, theatre]

Who doesn’t like a fairy tale with a happy ending? Anybody who has ever read The Beauty and The Beast, the traditional fairy tale, knows more or less the gist of what it’s about. And the Broadway Across Canada production of Disney’s Beauty and the Beast at the Queen Elizabeth Theatre in Vancouver from February 8th through 12th is a really nice reminder of the power of love (and the beauty of musical theatre).

The version you will witness (and I do recommend you check it out) is the adaptation to musical theatre of the Disney movie. With a Dane Agostinis (Beast) who with all his vocal and histrionic talent shines in a couple of pieces but is mostly, in my opinion, underused, and an Emily Behny (Belle) who begins somewhat tentative and then simply gets out of her shell and belts out her songs with a potent voice and much gusto, Beauty and the Beast manages to survive an early shaky and somewhat stale start to produce a very fine piece of musical art.

My main complaint was a start that was somewhat uncommon in most of the previous Broadway Across Canada shows I have ever seen. In other shows by Broadway Across Canada, I always witness a powerful, thunderous and sometimes even strident first number that energizes the audience and sets the stage for a very enjoyable musical. In this rendition of Disney’s Beauty and the Beast, I saw a preliminary stage-setting number that had a couple of prop moments that I did not like (particularly the way the wolves and the enchantress were executed).

Any minor issues with scenography were erased as the musical went on. Logan Denninghoff is charming as Gaston, and at points, I wished he weren’t the antagonist of the show. He could very well make a gorgeous prince, and I’m sure he could also make an interesting Beast. The rest of the cast rounds up a very talented bunch of individuals who showcase histrionic talent coupled with powerful voices.

My favorite acts included Gaston (joyful and engaging), Be Our Guest (which was by and large, the best number of the show) and the first and last Beauty and the Beast numbers. The Mob Song was well executed, but having witnessed Be Our Guest I just simply couldn’t see something that could have made me jump in my seat more. The cast’s execution of Something There, A Change in Me and If I Can’t Love Her were enough to tug at my heart’s strings and make me shed a few tears.

While I found the early stages of the First Act somewhat flat, once the Gaston number was over, my energy was on high levels and I found myself enraptured in the show. The Second Act, definitely redeems the full show in demonstrating with great voices and beautiful numbers and musical scores that love can in fact, conquer all. A definite must-see, which I’m sure will only improve as time goes by. I always enjoy Broadway Across Canada shows, and Disney’s Beauty and the Beast was definitely delightful.

Related posts:

1. Broadway Across Canada presents Beauty and the Beast in Vancouver
2. Wicked (in Vancouver, at Queen Elizabeth Theatre, Broadway Across Canada) – theatre review
3. Riverdance at the Queen Elizabeth Theatre in Vancouver (review)

RED is an intellectual play, admittedly, but not an inaccessible one. It paints (allow me to use the metaphor) a rich profile of Rothko as a little bit of a ruthless mentor to his apprentice, Ken. The play develops an interesting storyline that is very nicely complimented with an amazing set design and scenography. Throughout two years of apprenticeship, Ken comes to learn from Rothko about painting, inspiration, the undeniable tension between painting for a living (e.g. commercializing art) and living to paint (e.g. creating art through painting because you NEED to create). Ken (and Rothko) both learn from each other to confront their own demons, fears and needs.

One of the elements of the play that also resonated with me enormously was the need for cultural and artistic enrichment that derives from the teachings of Rothko. Rothko asks Ken if he has read Nietzche (allegedly, one of Rothko’s inspirations). What he really means is is Ken really well-rounded, well-cultured, well-prepared to be a painter by having experienced a broad variety of learning experiences?. I think that’s part of the reason why this play resonated with me so much: my parents insisted we HAD to be well-rounded, artistically, intellectually, and in sports and humanitarian work. We couldn’t JUST be good at one thing. And Rothko’s teachings actually enhance the life of Ken. But Ken’s eagerness to learn from Rothko also transform the otherwise grumpy painter.

By John Logan, and directed by Kim Collier, RED is a co-production with Canadian Stage and The Citadel Theatre. It’s on at the Vancouver Playhouse until February 4th, and you REALLY should see it. It’s worth every single minute of the 100 minutes it runs (without intermission). Below a vignette of both actors learning to paint like Rothko.

You can buy tickets to RED at the Vancouver Playhouse with this link.

Disclosure: My guest and I attended RED on media tickets. As always, I retain editorial control over anything posted on my site.

Related posts:

1. God of Carnage (Vancouver Playhouse Theatre)
2. Visions of Vancouver by Pi Theatre (review)
3. False Pretences at Metro Theatre (theatre review)

Hi everyone! So glad to be back on Hummingbird604 to review on the edge by Michelle Riml, a local playwright from Vancouver.

on the edge explores the lives of three women: a fashion addict, an RCMP officer and a housewife learning yoga. Funny at first, the three segments quickly move to touching and even tragic. Through imagined dialogue with the audience or invisible characters, these women eventually reveal their flaws, hopes and tragedies.

The writing was impressive. The room could move from roaring laughter to deep silence in the space of minutes. The three women all felt different and yet could all be sides of the same person, at one point or another in their lives. I liked the last segment a little less than the first two because it was a bit too metaphorical, but I also realize that it was necessary in the development of the character and of the play as a whole.

Susinn McFarlen was magnificent in her portrayal of the three characters. Each had a soul of her own and she moved from a Loboutin-wearing West Vancouver wife to a manly RMCP officer as easily as we change clothes. Vancouverites will have the chance to see her in The Arts Club’s forthcoming production of Henry and Alice: Into the Wild!, also my Michelle Riml.

The set was simple and effective, respectively portraying a podium, an office and a yoga studio. The prominence of white emphasized the blank slate and the epiphany that each woman experiences at the end of her segment. Black accessories accented it when necessary: a black table and chair, black yoga mats. The whole was appropriate and did not distract from McFarlen’s performance.

on the edge is on at The Belfry in Victoria, until February 26th. Please do have a look if you want some touching and provoking theatre!

Disclosure: Anabelle attended on the edge on media tickets generously offered by The Belfry Theatre. As always I (Raul) retain full editorial control on what is published on my site. You can read more of Anabelle’s writing on her own blog and follow her on Twitter. Also, if you are in the Victoria area, Anabelle is on the job market! Consider hiring her. Thanks as always for writing a guest post, Anabelle!

Related posts:

1. on the edge at The Belfry Theatre (Victoria, BC) #yyj
2. Fish Eyes: SPARK Festival 2012 at the Belfry Theatre (Victoria, BC) – Guest review by @anabellebf
3. Guest coffee shop review – The Edge Cafe (Cambie and Broadway)

People have asked me whether I think live-tweeting a theatre show is a good idea or not. Lots of people have their own opinions, and I have had good and bad experiences with Vancouver crowds, so I’m just going to narrate two or three of my stories. The first one comes from my recent experience at the Vancouver Opera for West Side Story. We (well, JT) paid for our tickets and we were assigned what I would consider pretty bad seats. Granted, I’m always spoiled because most arts companies invite me to their shows on media tickets and thus I’m assigned great seats. So, experiencing this at the Vancouver Opera was kind of a let down (but that is a whole other story). But my point here was that, my seats were in the balcony and thus I could have easily live-tweeted without bothering anyone (the lights right beside me were intense enough that they would have overpowered my iPhone).

The second story I have comes from a recent show, The Nutcracker (at the Alberta Ballet). Because I have to write my notes about the show, I often seat on isle seats so I can bend over and catch some light and scribble a few thoughts. I have photographic memory, yes, but if I am supposed to write a good, solid review that touches on the technical aspects of the show, I need to write down my notes. I am always hopeful to move down, bend over and write my notes in a way that is not disruptive. But the couple sitting behind me (in their late 60s probably) complained to me that I was moving too much. I tried to explain why I did it, in hopes they’d understand that I wasn’t purposefully trying to disrupt the show. They didn’t, so I did them a favour and moved away. This is a first in 5 years I’ve reviewed arts shows, and I had NEVER had anyone complain about me moving in my seat to take notes about a show, EVER. This experience left a really bad taste in my mouth.

So, while I recognize that Vancouver crowds are extremely heterogeneous, generally I think most people try to NOT disrupt the show. Certainly, I do my very best not to! And I recognize that live-tweeting MIGHT make the actors/performers/attendees feel like we are indeed disrupting. Some theatres are now experimenting with live-tweeting (just Google the proper search terms and you will find oodles of posts about the topic), and I always post a pre-show, intermission and post-show tweet. I don’t do this because I *HAVE* to. I do this to promote the show. I have a large audience and I do whatever I can to push theatre shows and motivate people who follow me to attend them. I *COULD* not tweet from the theatre, but I choose to do so to ensure that people who only follow me and don’t really read my blog can be aware of the caliber of the show I am witnessing.

Back to the discussion – so, should theatres allow live-tweeting of their shows? Well, I am of several minds on this one. First, if the live-tweeting is limited to in-between-scenes, sure why not. If it’s in assigned seats that don’t reflect and that the performers can’t be disrupted, of course. But if in any way it disrupts the show, then it’s an absolute no-no.

Since I’m all about the discussion, have at it on the comments section. Should we or should we not have assigned-seats for live-tweeting in arts shows? I can assure you it happens at live music concerts. I live-tweeted the Chromeo concert, and also I did the same with Orchestral Manoeuvres in the Dark (OMD).

Related posts:

1. Liveblogging vs. live-tweeting in social media events
2. Net Tuesday Live blog/live tweeting (using ScribbleLive)
3. Reminiscing about TV shows ABOUT Vancouver

Playing January 20-February 4 Wednesday – Saturday at 8pm with 2pm matinee on Saturdays at Pacific Theatre, 1440 W 12th Ave. For tickets ($16.50-29.50, HST incl) call 604-731-5518 or buy tickets online.

In a rundown bar in the Bronx, two strangers meet at the end of their ropes. Haunted by the past and trapped in the violence of the present, Danny and Roberta begin the ruthless act of revealing themselves – a brutal exposure that threatens to change everything. Explosively funny and surprisingly tender, a deeply affecting study of alienation and the redemptive power of love.

Related posts:

1. Doubt (Pacific Theatre)
2. Theatre review – Metamorphoses at the Pacific Theatre
3. Win tickets to Blue Surge (theatre)

YOUR PERSONAL ADS, SET TO MUSIC!
Irregular hats for cats, mounted lobsters, autographed copies of the Bible: this premiere from composer Veda Hille and the CBC’s Bill Richardson explores what humanity has to offer and turns it into sidesplitting musical fare. Who wouldn’t want a broken time machine, for free? Come and take a look at the vagaries and intimacies of the internet!

Presented with the PuSh International Performing Arts Festival
By Bill Richardson and Veda Hille
Director Amiel Gladstone, starring J. Cameron Barnett, Dmitry Chepovetsky, Bree Greig, Veda Hille, Selina Martin, Barry Mirochnick, dramaturg Rachel Ditor, Assistant Director Shane Snow, Stage Manager Allison Spearin.

To purchase tickets you should go to the Arts Club website. Sounds like this will be a fun performance!

Related posts:

1. Act I, Eat 1 #DineOut @eatDockside @TheArtsClub Craigslist Cantata @PuShFestival (giveaway)
2. More Facebook fun
3. The 39 Steps (@TheArtsClub) – win tickets!

I always have said that, despite the fact that I have the toughest kind of projects (I promote the arts in British Columbia, and Canada in general, as a main focus of my blog), I always have the most rewarding. And being able to promote great theatre all over British Columbia is fabulous. I just found out that The Belfry Theatre will present the world premiere of Michele Riml’s play, on the edge from January 24 to February 26, 2012. Directed by Riml’s longtime collaborator Andrew McIlroy, on the edge stars Susinn McFarlen. Susinn has starred in Mom’s the Word, Sexy Laundry and A Perfect Ganesh at the Belfry.

on the edge looks at the lives of three women in today’s complicated world, each very different from the others and each caught in a labyrinth created by society’s expectations and their own personal challenges.

The three women – a fashion addict, cheekily overwhelmed by labels, finances and aging; the RCMP officer who uses her rough and tumble sense of humour to function in a hyper-masculine world; and the housewife learning yoga who is trying to find a balance between her inner life and the demands of her needy family life – each bring deep empathy and great humour to the stage.

Creative Team
Playwright Michele Riml
Starring Susinn McFarlen
Director Andrew McIlroy
Set Designer Kevin McAllister
Costume Designer Erin Macklem
Lighting Designer Bryan Kenney
Sound Designer Noah Drew
Stage Manager Kim Charleen Smith

on the edge is generously supported by Sea Cider Farm and Ciderhouse, The Magnolia Hotel & Spa and KOOL FM.
The Belfry’s Season Sponsors are Thrifty Foods, Times Colonist, Cook’s Day Off, Inn at Laurel Point, CHEK News, the Canada Council for the Arts, the Province of BC, BC Arts Council, CRD Arts Development.

Ticket Information
Tickets for on the edge are $23 to $38 (plus HST). Tickets for High School Students are 50% off and 25% off for University & College Students. Tickets are available at 250-385-6815 or online at https://tickets.belfry.bc.ca.

Performance Schedule (January 24 – February 26, 2012)
Tuesdays – Saturdays at 8 pm
Wednesday Matinees at 1 pm (February 1 &
Thursday Student Matinee at 1 pm (February 16)
Saturday Matinees at 4 pm
Sunday Matinees at 2 pm

While I probably will not have the opportunity to attend on the edge, I should be able to have one of my guest writers in Victoria review it for you. Thanks to the Belfry Theatre for always keeping me in the loop. And hopefully you will be able to check out this great play!

Related posts:

1. on the edge at the @BelfryTheatre in Victoria, BC #yyj (Guest review by @anabellebf)
2. Ride The Cyclone (Atomic Vaudeville at The Belfry Theatre in Victoria, BC) – guest review by @JanniAragon
3. Fish Eyes: SPARK Festival 2012 at the Belfry Theatre (Victoria, BC) – Guest review by @anabellebf

As part of their 2011/2012 season, The Arts Club is presenting Calendar Girls, and I have an exclusive giveaway for a pair of tickets to Opening Night.

When middle-aged Annie Clarke loses her husband to leukemia, her best friend suggests a—ahem—cheeky new way to raise money for research. But their fellow Women’s Institute members balk at baring—well, almost baring—it all! Gradually, though, these prim tea-and-crumpets ladies “of a certain age” come around and learn to delight in their newfound pluckiness and status as international sensations.

The Arts Club is presenting Calendar Girls from January 26th through to February 26th, 2012 at the Stanley Industrial Alliance Stage. You can purchase tickets here. And to enter my giveaway for a pair of tickets to opening night, all you need to do is on the comments section, tell me an anecdote about your closest group of friends. Calendar Girls is all about friendship, and about being there for each other, so why don’t you share a tidbit about how your friends have been there for you? In particular, I have to praise a small group of my closest friends whom I didn’t meet through social media, because they have coped rather well with my being “an online social hummingbird”. They’ve been there for me in the good and in the bad, especially in my doctoral dissertation defense.

You can add an entry for a maximum of two by posting the following on Twitter:

Told @hummingbird604 an anecdote about my best friends 2 enter 2 win tix to Calendar Girls @TheArtsClub http://is.gd/JWQN4l

I will draw a random winner on January 19th, at 2pm. Good luck everyone, and hopefully you’ll get a chance to check out Calendar Girls. Promises to be much fun!

Calendar Girls
By Tim Firth
Based on the Miramax motion picture by Juliette Towhidi and Tim Firth
Starring Shirley Broderick, Anna Galvin, Aslam Husain, Shawn Macdonald, David Marr, Jane Noble, Wendy Noel, Lisa Norton, Linda Quibell, Kerry Sandomirsky, Colleen Winton
Director Rachel Ditor
Set Designer Drew Facey
Costume Designer Nancy Bryant
Lighting Designer Adrian Muir
Sound Designer Mike Rinaldi
Stage Manager Pamela Jakobs
Assistant Stage Manager April Starr Land

Related posts:

1. Calendar Girls (The Arts Club) [Theatre review]
2. Next to Normal (The Arts Club) (giveaway)
3. The Hope in Shadows 2009 Calendar – Please buy your calendar

When I was invited to guest blog the Carousel Theatre production of the WIZARD OF OZ for Hummingbird604, I really didn’t think I would enjoy it as much as I did because well, truthfully at my age I have seen the original movie with Judy Garland and all it’s various remakes, so my only thought was “Golly, gee I hope I don’t snore too loud!”

There is nothing that compares to live theatre when it is executed flawlessly from casting the perfect actors for each role, setting the stage, engaging dialogue and authenticity of costumes. I found myself being captivated by the youthful charm of Dorothy (ROBYN WALLIS – Hairspray) whose naïve demeanour and shrill-pitched voice made us forget that in reality, Robyn Wallis is years above the fictional Dorothy’s age.

From the menacing cackle of the Wicked Witch of the West, the pathetic tears of the Scarecrow, the comical whimpering of the Cowardly Lion to the lame brained ideas of the Scarecrow, their over-animated gestures and comical dialogue seemed to entertain the tiniest of tots who were too young to understand the dialogue and the most senior of us in the audience who are never too old to appreciate being entertained.

What always intrigues me the most is how a screenplay which has mythical creatures and magical sequences is adapted to create the same illusion on stage: the hurricane which takes Dorothy out of her beloved home of Kansas is represented by “leafed” -dancers who “pass” Dorothy back and forth in a frenzied dance; the comedic sight of people walking on knees that appear to be stunted leaves no doubt in our minds that these are the “munchkins” of Oz and my favourite scene, the luminescent glowing figurehead of the omniscient Oz who threatens us in his loud booming voice.

Carousel Theatre is a production company dedicated to captivating the hearts of children, young or old by tickling our imagination by with their live theatre performances of children’s classics that though once loved, remains never to be forgotten.

THE WIZARD OF OZ By L. FRANK BAUM. With Music and Lyrics by HAROLD ARLEN and E.Y. HARBURG. Background Music by HERBERT STOTHART. DANCE and Vocal Arrangements by PETER HOWARD. Orchestration by LARRY WILCOX. Adapted by John Kane for the Royal Shakespeare Company. Based upon the Classical Motion Picture owned by Turner Entertainment Co. and distributed in all media by Warner Bros

DECEMBER 2 to DECEMBER 31, 2011
At the Waterfront Theatre (1412 Cartwright Street on Granville Island)
For Ages 4+ (No Babies in Arms)
School Matinees November 30 – December 16, 2011 (Selling out fast!)
Tickets Adults $29, Students with ID/Seniors $25, Youths (Ages 4-17)
$15 Discounts Available for groups of 10+
For tickets contact Carousel Theatre Box Office @ 604.669.3410 or purchase online.

Credits
Carousel Theatre’s Artistic & Managing Director CAROLE HIGGINS directs, with Musical Director STEVEN GREENFIELD, Choreographer MELISSA YOUNG. Design Team HEIDI WILKINSON (Set Design), BARBARA CLAYDEN (Costume Design), and JEFF HARRISON (Lighting Design) will transport you over the rainbow.
ROBYN WALLIS (Hairspray) – Dorothy
DARREN BURKETT (Hairspray, Seussical) – Scarecrow
MIKE STACK (Henry VI, Richard III) – Tinman
JOSUE LABOUCANE (Henry VI, Seussical, Bird Brain) – Cowardly Lion
Other Cast Members: MEGHAN ANDERSSEN, TIMOTHY E BRUMMUND, DAMON CALDERWOOD, KAYLA DUNBAR, JANET GIGLIOTTI and CHRISTINE QUINTANA

This guest review was produced exclusively for Hummingbird604.com by Dianne Chow, who writes the blog Fabulously Frugal in Vancouver. You can follow Dianne on Twitter at @DianneChow and you can also like her Facebook Fan page here. Dianne was a guest of Carousel Theatre on media tickets for Hummingbird604.com. Thanks, Dianne!

Related posts:

1. Jason and the Argonauts (@CarouselTheatre) [Guest review by @niftynotcool]
2. Seussical The Musical (@CarouselTheatre)
3. Munscha Mia at the Waterfront Theatre (@CarouselTheatre)

Two of Tennessee Williams’ most renowned plays are”The Glass Menagerie” and “A Streetcar Named Desire”. This project combines an iconic scene from each of these iconic plays, thus allowing the theatre-goer to compare and contrast them. Each scene is set in a somewhat shabby sitting room, and presents maximum dramatic interaction in a conversation between two women: the daughter Laura and the mother Mrs. Wingfield in “Menagerie”, and the two sisters, Stella and Blanche, in “Streetcar”.

A Greek-inspired chorus sings selections from the poetry of the tragic American poet Hart Crane at intervals. The melange of the scenes and the chorus is interesting, and the singing is excellent, but it can be difficult to pick out the lyrics. The lyrics, however, are provided in the programme, and the sense of
tragedy comes through. As someone who is very interested in 20th-century American writers, I appreciated that this little-known poet was highlighted.

Both plays present a world where would-be Southern gentility runs headlong into grim economic and social realities. In “Menagerie”, the desperation in Mrs. Wingfield’s assessment of Laura’s prospects is immediately apparent. Laura, the dreamy slightly-disabled girl who just does not and cannot enter the adult world, is well-presented.

In “Streetcar”, with the character of Blanche, her alcoholism and sense of ruin clearly comes through. Although the actress does some interesting voice work in her portrayal, I would favour a more ethereal, whispery approach for this character who is almost not of this world. Stella’s embrace of a baser, more physical world, as represented by her love for the off-stage Stanley, is clear.

I appreciated the chance to take in four of Tennessee Williams’ Southern women characters in one sitting. All share elements of a somewhat common culture, but respond so differently. That said, “Streetcar” is set in New Orleans, and “Menagerie” in a generic southern location, and the two plays feature women of different social classes. With an all-female cast, the theatrical dynamics are focused on women’s interactions with each other.

Although the selected scenes stand on their own, the theatre-goer who is already familiar with these plays will likely get more from the production. As always, theatre can prove to be an instigator for learning more.

Read more about Stone’s Throw Productions at Pacific Theatre.

Disclaimer: Lois was provided a free ticket for this show. A review was not expected, nor a positive review required.

Related posts:

1. Tuesdays with Morrie at @PacificTheatre (guest review by @loisrp)
2. Guest theatre review – Bash – latter days
3. For Our Daughters: From Ghana to Granville Street (guest post by @loisrp)

From February 8 – 12, 2012 at the Queen Elizabeth Theatre, Broadway Across Canada brings yet another hit, Beauty and the Beast, to Vancouver.

Disney’s BEAUTY AND THE BEAST, the smash hit Broadway musical, is coming to Vancouver! Based on the Academy Award-winning animated feature film, this eye-popping spectacle has won the hearts of over 35 million people worldwide. This classic musical love story is filled with unforgettable characters, lavish sets and costumes, and dazzling production numbers including “Be Our Guest” and the beloved title song. Experience the romance and enchantment of Disney’s BEAUTY AND THE BEAST at the Queen Elizabeth Theatre!

Tickets are already on presale, and the presale dates are from November 30 to December 4, 2011 and you can acquire your tickets through my exclusive presale link. My password or secret code is POTTS. Let me know if you used it and how much you liked Beauty and the Beast!

Related posts:

1. Disney’s Beauty and the Beast (Broadway Across Canada) at the Queen Elizabeth Theatre in Vancouver
2. RIVERDANCE (Broadway Across Canada in Vancouver)
3. Mamma Mia in Vancouver, The North American Tour (Broadway Across Canada)

Among the local theatre plays I had committed to write about and promote is After Jerusalem by Solo Collective. It’s a pleasure to write about this play in particular as my friend Lois Dawson is the Stage Manager for Solo Collective’s After Jerusalem. I’m excited about it and I am hoping to check it out, depending on my schedule (it’s almost finals season at UBC).

A middle-aged woman travels to Israel during the Christmas season to find love and adventure, only to get tangled up with an ambitious Israeli soldier with big dreams. From the playwright who penned the dark comedies “My Chernobyl” and “The Project”, this poignant comedy plays homage to old movies and new flames.

I am hoping you will be able to take in some of the amazing theatre that Vancouver’s arts community has put out for you for this holidays season.

Related posts:

1. LOVE FIGHTS by Solo Collective (theatre, win tickets)
2. Being alone or going solo?
3. Bash – Latter Days (win tickets to opening night) #theatre

I had an opportunity to see preview #2 of The Temperamentals, put together by Fighting Chance Productions (part of their 2011/2012 season). As I had indicated when I announced my hiatus, I always honor my previous commitments, and I had already committed to attending (and reviewing) The Temperamentals (I have a similar commitment to other 2 or 3 productions). And I’m glad I did, as it is a funny, poignant and revealing production.

A lesson in gay rights history, The Temperamentals tells the story of the Mattachine Society, a group of 5 gay men who, as you can imagine, in late 1940s United States, live “on the down and low” (secret code for being gay and married or in a heterosexual relationship). As the byline created by FCP says, it’s like MAD MEN MEETS MILK.

On stage from November 22 – December 3, 2011, at the PAL Studio Theatre The Temperamentals by Jon Marans with permission by Dramatists Play Service Inc. is directed by Ryan Mooney with Stage Management by Rachel Duffy, Starring Brian Hinson and Devin Pihlainen, featuring Rob Monk, David Nicks and Robert Sidley, is a work of art (and I say this even having seen the preview, so I know there’ll be things they’ll polish for the actual opening night and future shows).

“Temperamental” was code for “homosexual” in the early 1950′s, part of a created language of secret words that gay men used to communicate. The Temperamentals tells the story of two men – the communisty Harry Hay and the Viennese refugee and designer Rudi Gernreich – as they fall in love while building the first gay rights organization in the pre-Stonewall United States.

Hinson and Pihlainen throw all the steaks to the grill with an exquisite performance as Harry and Rudi. I will fully praise Rachel Duffy for using 4 mini-stages and a smart distribution of the audience throughout the floor layout as storytelling devices that offer counterpoints and 4 simultaneous scenes that altogether painted a story of interwoven dreams, closets and friendship amongst queer men.

As the supporting cast, Gil, Nicks and Monk’s rotating and volving characters manage to trasverse throughout numerous characters that have quite an impact on the storyline. It’s not the first time that FCP dares to dive into touchy, thorny topics with gusto and humour. FCP does specialize in musicals, but dramedy is definitely not far away nor out of range from their technical capabilities.

The first act offered the story of Rudi and Harry and how their secret illicit and torrid affair evolved from a tale of star-crossed lovers to building a secret society, the Mattachine Society. Pushing the boundaries of traditional theatrical storytelling, Mooney walks his actors through a complex maze of multi-layered interrelationships where Rudi and Harry’s relationship remains at centre stage. Each collateral storyline helps flesh out the rich and intense interactions of Harry and Rudi.

While not less important or relevant, the interactoins between Rowland, Hull and Jennings also teach us a lesson in acceptance and the complexity of love (whether it be heterosexual or homosexual). The sad part is that the backdrop of The Temperamentals is a situation that remains unfortunately alive and well in our society: rampant homophobia. This is early 1950s and homosexuality is considered a disease.

I found it interesting that the inner discussions of the Matacchine Society did not want “sexual minority” to be integrated in the narrative of the society. Not surprisingly, this is pre-Stonewall riots and pre-Harvey Milk. In some ways I wonder if we need to have some sort of catalyzing event that galvanizes people into more acceptance. I would give away a lot of the plot if I told you more, but I think The Temperamentals is an extremely solid treatise on acceptance, love, and queer history that any young (and old) self-respecting queer should see. And of course, for the general public, it also is a beautiful story of love, friendship and evolution. Well done, Fighting Chance Productions. You’ve successfully demonstrated, again, that you rock well beyond the wonderful musicals.

Disclosure: I attended The Temperamentals’ preview on media tickets. Neither a review is expected, nor a favorable one required. I love the work that Fighting Chance Productions is doing, that’s all. As always, I retain full editorial control on anything I publish on my site.

Related posts:

1. Rent (Musical) by Fighting Chance Productions – Theatre review
2. Theatre review – “tick, tick… BOOM!” (Fighting Chance Productions)
3. The Wiz (Fighting Chance Productions)

AND I have not one, but two pairs of tickets for 2 lucky readers. All you need to do to enter my giveaway is tell me your favorite song from this wonderful musical.I will draw a winner on December 6th at 2pm. I’ll have to say that while I have listened to the soundtrack all the time, My Favorite Things is my favorite song (coincidentally). For a second entry, you can post the following on Twitter:

Shared my fave song from The Sound of Music w/ @hummingbird604 to enter to win tix to the @Gateway_Theatre production http://is.gd/eSPcoL

The Sound of Music is on from December 8th through 31st. You can buy tickets here. A synopsis from the Gateway Theatre’s site follows.

The final collaboration between Rodgers & Hammerstein was destined to become the world’s most beloved musical. When a postulant proves too high-spirited for the religious life, she is dispatched to serve as governess for the seven children of a widowed naval Captain. Her growing rapport with the youngsters, coupled with her generosity of spirit, gradually captures the heart of the stern Captain, and they marry. Upon returning from their honeymoon they discover that Austria has been invaded by the Nazis, who demand the Captain’s immediate service in their navy. The family’s narrow escape over the mountains to Switzerland on the eve of World War II provides one of the most thrilling and inspirational finales ever presented in the theatre. The motion picture version remains the most popular movie musical of all time.

Related posts:

1. Brighton Beach Memoirs at Gateway Theatre (Win tickets)
2. Music – Sneaky Sound System – Pictures (Tonite Only Remix)
3. White Christmas (@TheArtsClub) – Win tickets!

For one lucky reader of mine, I have a pair of tickets to opening night, December 7th at 8pm at the Stanley Industrial Alliance Stage (on 12th and almost Granville).

You can enter my giveaway and accumulate up to 2 entries by commenting here on what you love the most about the holiday season. In my case, and I’ll be the first to admit, I love having the break between university terms so I can actually take some time off and be with my family. During the academic year I work so hard with teaching, research and consulting, that I really look forward to the holiday season in December. Also, that’s when I do most of my academic research writing.

What do YOU love the most about the holiday season? Tell me in the comments section, and to earn a second entry, post the following on your Twitter stream:

Shared what I love most about the holidays w/ @hummingbird604 http://is.gd/TLv2C3 for a chance to win tix to @TheArtsClub White Christmas

I will draw a winner on November 24th at 2pm. White Christmas opens to the general public on December 1st and goes until December 28th (opening night will be December 7th, for which the winner’s tickets are). You can purchase tickets here (be aware that 7 shows are already sold out, so get your tickets now).

Related posts:

1. Win dinner @SeasonsInQEPark and White Christmas @TheArtsClub #hb604xmas
2. White Christmas (@TheArtsClub)
3. White Spot’s upcoming Christmas Lunch for Charity (Dec 25th)

I’ve been a participant of experimental, interactive theatre before and I really enjoyed it. The work of Headlines Theatre reminds me a lot of an experimental piece I participated in a few years ago, 2 Degrees of Fear and Desire.

Co-directed by David Diamond (Headlines Theatre) and Kevin Finnan (Motionhouse, UK), Us and Them explores how and why we create divisions between ourselves and ‘others.’ This play is the continuation of last year’s project, Us and Them (the inquiry), which Headlines Theatre co-hosted with 27 community partners.

I find it fascinating what they say about how they are celebrating their 30th anniversary.

“Since this is Headlines Theatre’s 30th anniversary, it’s important for us to do something risky – taking the blending of personal story-telling and physical, image-based theatre to a new level. At the same time, the ‘us and them’ theme hits a nerve because it’s personal for everybody. We are hoping to reach out to a very broad audience.”

Us and Them is an interesting project of grassroots, interactive, physical theatre (Forum Theatre) that allows audiences to intervene and change the way the story unfolds. A live webcast of the play will be streamed through Headlines Theatre’s website on November 12th at 8:00 pm PST for audiences in Vancouver and around the world.

While I won’t have the time to check it out, I would love it if my readers did.

FINAL WEEK! 4 shows left!
Oct 21 – Nov 12, 2011
All performances at 8 PM
Live, interactive, global web cast: November 12 at 8PM (PST)

Reservations highly recommended: 604-251-1363 or on The Cultch website.
Tickets: $20
Student/Senior: $15
Matinées/Preview: $10
(All tickets + venue service charge $3.36)

You can also contact Headlines Theatre at 604.871.0508 or email outreach@headlinestheatre.com

More on Headlines Theatre

Headlines Theatre works with communities that want to tell their stories, and approaches community-based cultural work from a systems-based perspective—understanding that a community is a complexly integrated, living organism. Founded as a collective in 1981, Diamond became Artistic Director in 1984. Headlines Theatre’s work is a worldwide leading example of theatre for social change; theatre for dialogue, creation, and conflict resolution as well as theatre for community healing and empowerment. Projects have taken place in collaboration with First Nations and multicultural communities through hundreds of theatre workshops, Power Plays and Forum Theatre events around the world on issues such as violence and suicide prevention, anti-racism workshops, youth empowerment, homelessness and mental health, ‘othering’, bullying and community development.

Check this YouTube conversation with the director.

Related posts:

1. Upcoming event – 2 Degrees of Fire and Desire: A Theatrical Inquiry into Climate Change
2. Reminiscing about TV shows ABOUT Vancouver
3. The Taming of the Shrew (Carousel Theatre)

Photo by Angelina Cantada. Used with permission.

I’ve seen more theatre in the past three months than in my entire life (and I have two literature degrees). I’ve seen okay stuff, good stuff and really good stuff. Supernatural Noir was definitely a highlight of these past three months. (Is it over already? I didn’t see time pass!)

The musical followed all the conventions of the noir genre: a cynical private eye, impossible love, opportunistic sex and crooked politicians. But this one added an interesting and funny twist: this private eye (played by charismatic Matt Palmer) can talk to dead people. The musical team (excellent composition by the violinist Cameron Wilson and musical direction by Allen Stiles, accompanied by cellist Charles Inkman) is in fact a ghostly musical trio haunting Slim Diggins’ office. They play the music and discuss the case with Slim–but only him (and the audience) can see them.

The witty, funny writing redeemed a slightly thin story. There was an interesting play on time and space: Slim Diggins seems to still live in the 1940s with a rotary phone, no computer and a broken door buzzer; the other characters are all cell phone, bluetooth headsets and high tech gadgets. There was also a mention of all those feet that seem to turn up on the shores of Lower Mainland beaches…

The actors/singers were all excellent and were right into their roles. Melanie Adams as the millionaire pharmaceutical CEO Amelia was perfectly duplicitous but also touching as the detective’s spiritual soul mate; Laura Di Cicco was excellent as the rising reporter who uses all her… assets… to get to the stories; finally, Alexander McMorran was amazing as the dirty Communications Director of the BC government who has a lot to gain from the recovery of a certain formula.

I really enjoyed this original musical. It was mysterious, funny and cynical, just like a real film noir. These is no real redeeming for any of the characters; no “happy ending” as we know it.

Supernatural Noir is on until November 5th at the Waterfront Theatre on Granville Island. If you like film noir or musicals, you won’t be disappointed!

_____________________________________________________________________

Disclaimer: Anabelle attended the play on review tickets. She was not otherwise paid to write a review, nor was a positive one expected. Raul maintains editorial control at all times.

Related posts:

1. Supernatural Noir by Fugue Theatre (giveaway)
2. Fish Eyes: SPARK Festival 2012 at the Belfry Theatre (Victoria, BC) – Guest review by @anabellebf
3. on the edge at the @BelfryTheatre in Victoria, BC #yyj (Guest review by @anabellebf)

Falling in Time is an epic exploration of armed conflict, savage masculinity, flagrant sexuality, unqualified forgiveness and unexpected love. Set in Vancouver in 1994, the year of the death of
North Korean leader Kim Il-Sung, the play criss-crosses two hemispheres and spans more than forty years. Through all this, four distinctly different lives miraculously intertwine. Steve is an aging, outrageous, twisted, bisexual Korean war vet who embodies, in his verbal and sexual brazenness, the psychotic, sadistic tendencies of Western imperialism that polite society has too often tried to sweep from view.

Jamie is an aloof, repressed ESL teacher haunted by a troubled childhood. Chang Hyun is a young Korean ESL student brimming with anti-Western sentiment and fresh off a traumatic experience in the Korean military. In the middle of it all is Eun Ha, a Korean woman who lives through the Korean War and, against all odds, finds the will to survive.

The play is a brutally honest depiction of war, rape, racism and animal sexuality, but brings these issues to the stage in a non-linear way and with great integrity. One of the most uncompromising and controversial Canadian plays in recent memory, Falling in Time asks, why do men fear the “feminine”? And how do we find the power to let go?

This play is brought by Screaming Weenie (Clean Sheets, Belly, Lounge) teaming up with associate producers The Vancouver Playhouse (Death of A Salesman, This), and Meta.for Theatre (Broken, Bent). From my reading of the summary, Gatchalian’s work will yield an emotionally-raw and intense play. Probably not for the faint of heart, but a much needed examination of relevant themes.

Falling in Time is written by C. E. Gatchalian and directed by Seán Cummings with set and lighting design is by Itai Erdal. The cast includes 4-time Jessie Award winner Allan Morgan productions. Screaming Weenie Productions (whom you can reach by phone at 778.840.7132) (Steve), Jessie Award nominee Manami Hara (Eun Ha), Kevin Kraussler (Jamie) and Nelson Wong (Chang Hyun).

Falling in Time is made possible by the support of the Canada Council for the Arts, the BC Arts Council, the Granville Island Cultural Society, CMHC, the Hamber Foundation, and the City of Vancouver’s 125th Anniversary Grants Program and the participation of the Government of Canada.

WHEN: 04 – 12 November 2011
WHERE: Performance Works, Vancouver
HOW MUCH: Tickets $20
PERFORMANCES: Tue-Sat 8pm, Sun 2pm
$10 Preview & Sunday Matinee

You can purchase tickets online through Brown Paper Tickets.

Related posts:

1. Win tickets to FALLING OUT: hard feelings in mixed mediums
2. I Love You Because (Intimate Theatre Productions)
3. Theatre review – “tick, tick… BOOM!” (Fighting Chance Productions)

West Side Story is not a traditional opera, but then again, you wouldn’t say that Nixon in China (which the Vancouver Opera presented last season) is a traditional opera. But West Side Story will appeal to those who appreciate beautiful and powerful operatically-trained voices, amazing dancers and fantastic theatrical actors. Each element of the cast of West Side Story is a triple threat: great singers, skillful dancers and gifted actors. Full disclosure: one of the cast members is a good friend of mine, Tyrell Witherspoon. Nevertheless, everyone did a bang-on job.

From the Wikipedia entry on WSS

Set in New York City in the mid-1950s, the musical explores the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. The members of the Sharks from Puerto Rico are taunted by the Jets, a white working-class group. The young protagonist, Tony, one of the Jets, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated music, extended dance scenes, and focus on social problems marked a turning point in American musical theatre. Bernstein’s score for the musical has become extremely popular; it includes “Something’s Coming”, “Maria”, “America”, “Somewhere”, “Tonight”, “Jet Song”, “I Feel Pretty”, “A Boy Like That”, “One Hand, One Heart”, “Gee, Officer Krupske” and “Cool”.

I was pretty dis-satisfied with the first two numbers and found the beginning of Act I rather weak (e.g. when the Jets and the Sharks engage in their first taunting exercise). But as the show progressed (from the point where Anita is making Maria’s dress for an upcoming dance to the end of the show), I found the execution pretty much flawless.

While Lucia Cesaroni (Maria) is a spectacular singer with a beautiful voice and an on-stage presence that reminds me of several other wonderful sopranos, frankly I found that at points, Cleopatra Williams (Anita) stole the show. Dani Jazzar (Bernardo) is handsome and talented in his portrayal of the jealous brother. But the shock for me was Colin Ainsworth (Tony). I’m sorry, but my brain couldn’t quite process a tall, muscular, perfect-bodied, blonde, blue-eyed tenor. When I think tenor, I think Placido Domingo.

Ainsworth, the lovestricken Tony, offers a magnificent portrayal of a young, still-maturing, naive and innocent man. Completely and utterly in love with the lovely Maria, Tony believes everything will work out in the end, despite the riffs between the Sharks and the Jets. Quite obviously, if you have ever listened to the music of West Side Story, you will recognize tunes like “America”, “Officer Krupke” and “Tonight”.

I have seen other versions of West Side Story, and despite my reluctance at the beginning to see it with opera-trained actors, I ended up enjoying it immensely. From a technical standpoint (and in my view as a former dancer), the entire cast’s athleticism, skill and elegance added to an already strong vocal repertoire and a beautiful musical score.

I entered the theatre ready to not like West Side Story “because it wasn’t a traditional opera” and I left with my heart glowing and an extremely positive view of the performance. Beyond the traditional themes it explores (racial discrimination, urban poverty), it is also a timely reminder of how youth needs to find their pathway (let’s not forget the London and Vancouver riots). A cast of strong, powerful voices with extremely skilled actors, blessed with incredible acrobatic and dance skills gives this production of West Side Story its all, and succeeds in bringing the audience a wonderful, colourful and vibrant spectacle.

One final thought – I’m glad that ballet companies, classical musical ensembles and the opera are trying harder to reach out to younger audiences. While I’m in many ways a purist who loves his traditional, classic ballet or opera performances, I am all for popularizing art. Recently, Alberta Ballet put together Love Lies Bleeding and it was a huge success. Vancouver Recital Society’s Audra Macdonald concert was also wildly successful. I’m hoping the same will happen with this year’s Vancouver Opera’s program.

PARENTAL ADVISORY: West Side Story contains suggestive language and physical violence. Three killings are depicted, as well as an attempted sexual assault. A gun is fired. Parents might consider this production unsuitable for children under the age of 12.

You can still catch a few performances of the Vancouver Opera’s West Side Story. VO productions take place at the QUEEN ELIZABETH THEATRE
Hamilton at Georgia Street.

Thursday October 27, 2011 7:30pm
Friday October 28, 2011 7:30pm
Saturday October 29, 2011 • Matinee 1:30pm
Saturday October 29, 2011 7:30pm

Disclosure: JT paid for both of our tickets to this performance of the Vancouver Opera’s West Side Story. I am in no way, shape or form affiliated with the Vancouver Opera nor have I received complimentary tickets (although I did participate in their Bloggers At The Opera program 2 or 3 times a couple of years ago). I wrote a review because I love opera, and my Mom probably would appreciate that I share my thoughts on the production with my readers. Also, I find it quite frustrating that young audiences don’t attend many performing arts productions and thought they should check out this version of West Side Story.

Related posts:

1. Lillian Alling (@VancouverOpera) World Premiere [review]
2. The @Acme_Cafe (West Hastings, Downtown East Side)
3. Blogging 201 – Learn to tell a story

Credit: Nicole Friesen. Used with permission.

Marriage is a favourite topic of playwrights everywhere: after True Love Lies, which examined the marriage of a formerly and maybe still gay man and a heterosexual woman, The Cultch presents a new play on the topic starting tomorrow: Fifity Words by Michael Weller.

In “Fifty Words”, something’s gone awry behind the idyllic facade of Jan and Adam’s Brooklyn brownstone. At 9:10 p.m., they’re reveling in the freedom of having waved off their young son, Greg, to a neighborhood sleepover. By 9:30 p.m., things have gone, well. . .way past awry. Alternately funny and frightening, “Fifty Words” is an expansive look at modern marriage, as seen through the looking glass of one couple’s long night’s journey into day.

The performance runs from October 27th to November 5th with a preview performance tonight (October 26th) at 8PM for 18$.

The Cultch always puts on a great show and the space is simply incredible.

What: Fifty Words by Michael Weller
When: October 27th to November 5th
Where: The Cultch, 1895 Venables St.
More info: The Cultch or 604-251-1363

Related posts:

1. An interview with Aaron Craven of Mitch and Murray Productions (theatre)
2. Heart As Arena at The Cultch (giveaway)
3. True Love Lies (Touchstone Theatre) at The Cultch (review)

Daryl King and Sasa Brown. Photo by Tim Matheson. Used with permission.

Despite being a nation known for its peacefulness, Canada has participated in several wars throughout its history: the Boers War, World War I and World War II, to name a few.

A new play at the Firehall Arts Centre in Chinatown explores one of the most important battles in the history of Canadian warfare: the battle of Vimy Ridge.

Floating from the present into the past, VIMY looks at the motivations and stories of eight young people and how they came to be part of the war. Set in a field hospital, the story is revealed through the eyes of a young nurse as she cares for the wounded following the battle of Vimy Ridge.

Leading up to the premiere of the play on November 2nd, there will be a community dialogue session on “Women and War” on October 24th at the Peter Kaye Room at the Central Library and a photo exhibit called Peace at War at the Firehall Arts Centre from October 20th to November 19th.

Don’t miss this chance to learn more about this important part of Canadian history. We have a pair of tickets to give away for the premiere of the play on November 2nd. To enter, tell us in the comments if and how war has affected you. Do you have loved ones serving abroad? A family member who fought in Europe? We want to hear your stories.

For an extra entry, tweet the following:

Told @hummingbird604 a war story 2 enter 2 win tix to #Vimy at @FirehallArtsCte. Share yours at http://is.gd/yyOBR4

We will draw a winner on Friday, October 28th at 2PM. Remember to use a valid email. Check your tweets, your email and this post on the day of the draw.

What: Vimy
Where: Firehall Arts Centre, 280 East Cordova, Vancouver
When: November 2nd to 19th (with discussion session on October 24th and exhibit from October 20th until closing of the play)
More information: Firehall Arts Centre or 604-689-0926

Related posts:

1. Mambo Italiano (Firehall Arts Centre)
2. The Pavilion at the Firehall Arts Centre (theatre)
3. Thunderstick at the Firehall Arts Centre (theatre review)