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Disney’s Beauty and the Beast (Broadway Across Canada) at the Queen Elizabeth Theatre in Vancouver

Raul — Thu, 09 Feb 2012 16:00:19 +0000

Photo credit: Joan Marcus.

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.

Disclosure: I attended opening night of Disney’s Beauty and the Beast thanks to media tickets. I am neither paid for, nor expected to write a review. As always, I retain full editorial control of anything published on my site, and can be contacted via my Contact Form if you have any questions or comments.

RED at the Vancouver Playhouse (theatre review)

Raul — Sun, 29 Jan 2012 17:45:50 +0000

As someone who takes the value of mentorship at heart, and who values the relationship between mentee and mentor, RED (presented at the Vancouver Playhouse) resonated with me very, very strongly. RED is a two-man play about Russian-American expressionist painter Mark Rothko and his apprentice Ken. Both Jim Mezon (as Rothko) and David Coomber (Ken) are sublime in their respective roles.

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.

on the edge at the @BelfryTheatre in Victoria, BC #yyj (Guest review by @anabellebf)

Raul — Fri, 27 Jan 2012 19:04:42 +0000

on the edge at The Belfry (review) (yes there is no capital to the title)

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!

Should theatres allow live-tweeting of their shows?

Raul — Mon, 23 Jan 2012 23:23:54 +0000

So, unless you have hidden under a rock or have never followed me on Twitter or read my blog, you probably know that I attend hundreds of theatre and dance shows and write reviews. I grew up with artists – my parents were a concert piano player and a soprano coloratura. My brothers play piano at the concert-level (one of my brothers has a degree in Music on top of his PhD in Mechanical Engineering). I am a former competitive dancer and theatre actor. So, I love the arts and I do my darnedest to promote the arts in perhaps the toughest destination of them all, Vancouver, where people drop $450 dollars a ticket for Canucks games yet complain about $35 tickets to dance/theatre shows. Yes, I went there. So sue me.

Photo credit: Bjørn Molstad (bareform) on Flickr

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).

Danny and the Deep Blue Sea (Pacific Theatre)

Raul — Fri, 13 Jan 2012 02:58:23 +0000

It’s been a while since I have had the time to attend a production by Pacific Theatre. That said, they’ve always been extremely solid partners with me and I love their theatre. And I am thrilled to hear that they’re putting together a production of Danny and the Deep Blue Sea. It’s a profound and challenging piece of theatre, and I wouldn’t expect any less of Pacific Theatre. With Jason Goode directing, and featuring Lori Triolo and Aleks Paunovic, this promises to be an excellent performance.

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.

Do You Want What I Have Got? A Craigslist Cantata

Raul — Fri, 13 Jan 2012 02:49:33 +0000

Who, in Vancouver, has never been to the website Craigslist? I have, dozens of times. That’s where I gave away some of my furniture. The Craigslist website has provided people with a lot of different experiences. It’s a fun site, with an enormous reach and now it has inspired the upcoming performance at The Arts Club: Do You Want What I Have Got? A Craigslist Cantata.

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!

Bill Richardson and Veda Hille. Photo by Bill Pechet

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!

on the edge at The Belfry Theatre (Victoria, BC) #yyj

Raul — Thu, 12 Jan 2012 20:18:09 +0000

The Belfry Theatre. Photo credit: Jo-Ann Richards. Used with permission.

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!

Calendar Girls at The Arts Club (win tickets)

Raul — Fri, 06 Jan 2012 19:30:50 +0000

A couple of years ago I participated in Ahimsa Media’s project “Reading Is Sexy” calendar. It was supposed to be shot “Calendar Girls” style. But truth be told, I wasn’t about to bare my all (at least not while I’m an educator, and without a 6 pack and a perfect body!). Anyhow, in conversations with people, most will recognize the phrase Calendar Girls, and there is a reason for it. Namely, Dame Helen Mirren.

Kerry Sandomirsky, Linda Quibell, Jane Noble, Anna Galvin, Wendy Noel, Shirley Broderick in the Arts Club Theatre Company’s production of Calendar Girls. Photo by David Cooper.

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

The Wizard of Oz (@CarouselTheatre) Guest review by @DianneChow

Raul — Wed, 14 Dec 2011 00:53:36 +0000

If you fertilize the imagination of a child, you preserve the innocence of childhood and purity of the soul which allows the child to believe in the wonderment in small miracles instead of dwelling on unexpected disappointments that life will bring. Imagination is the fabric of life upon which we weave our hopes and dreams and to lose that is to lose our soul.

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!”

Darren Burkett, Robyn Wallis, Mike Stack, Josue Laboucane. Photo credit: Tim Matheson

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!

Twice and Twice: The Tennessee Williams Project (guest review by @loisrp)

Raul — Mon, 12 Dec 2011 22:56:43 +0000

Through Stone’s Throw Productions, Pacific Theatre allows opportunities for fledgling thespians to practice their craft. Kimberley Dawn MacEachern makes her directorial debut with this apprenticeship program with “Twice and Twice: The Tennessee Williams Project”, playing December 8-10 at Pacific Theatre.

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.

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

Broadway Across Canada presents Beauty and the Beast in Vancouver

Raul — Wed, 30 Nov 2011 09:30:10 +0000

Photo credit: Joan Marcus

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!

After Jerusalem (Solo Collective)

Raul — Mon, 28 Nov 2011 16:00:58 +0000

AFTER JERUSALEM: A Different Kind of Christmas Story
November 30 to December 11 at Performance Works, Granville Island
Opening Night Thursday, December 1, 8pm
Tickets on VancouverTix

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.

The Temperamentals (Fighting Chance Productions) [theatre review]

Raul — Fri, 25 Nov 2011 22:00:23 +0000

Given my crazy schedule and the fact that I have much less time now than I ever have had, I have been attending many more previews than actual opening nights. This has two effects: first, I understand that the production may change and evolve throughout the first few preview days, and second, I am given the opportunity to see more “raw” theatre”. Some people may only like to see productions after opening night, but personally I’m enjoying the previews.

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.

The Sound of Music (Gateway Theatre) [win tickets]

Raul — Thu, 24 Nov 2011 18:45:31 +0000

For many reasons, The Sound of Music is one of the world’s most popular and probably also most favorite musical theatre productions. Based on the story of Maria Von Trapp, The Sound of Music is fun, uplifting and humorous. Gateway Theatre (one of my favorite theatre companies) has had a pretty amazing 2011/2012 season, and their upcoming show (The Sound of Music) is opening on December 8th, promising to be amazing.

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.

White Christmas (@TheArtsClub) – Win tickets!

Raul — Fri, 11 Nov 2011 21:00:33 +0000

Given that I had planned my blogging hiatus a long while ago, I figured I’d start doing the Christmas/holidays giveaways a bit early so that I could actually spend my holidays, completely free. And since I know most of you are already planning for the holidays (heck, have you seen the commercials on TV already?!) I figured I’d remind you of the wonderful musical White Christmas, put together by The Arts Club. I have seen this musical before a few times, and this year will hopefully not be the exception. I think everyone I know loves White Christmas, and I’m sure you’ll definitely have your heart warmed with this fantastic production.

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).

Us and Them (Headlines Theatre) [last 4 shows!]

Raul — Thu, 10 Nov 2011 21:06:44 +0000

Just realized that it’s the last four shows for Us and Them by Headlines Theatre, a very edgy, experimental theatre company in Vancouver that is tackling issues of homophobia, environmental degradation, racism, etc. in their theatre. Had I not decided to go on a hiatus and stop taking new pitches and blogging for a while, I would totally have checked Us and Them. It sounds like the kind of challenging, interesting, thought-provoking theatre that I enjoy. Particularly because I’m someone who loves telling the stories of the underdog, the challenged, the ones who are facing a difficult time.

Photo credit: David Cooper

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

Supernatural Noir by Fugue Theatre (review) as experienced by @anabellebf

Anabelle — Wed, 02 Nov 2011 21:20:39 +0000

I’ve been really excited about Supernatural Noir (see our preview here) ever since I knew I would be reviewing it. An opera featuring a psychic detective, a snoopy journalist, a millionaire and a dirty politician? Gosh, am I totally in!

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!

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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.

Falling In Time (Screaming Weenie Productions) #Theatre

Raul — Wed, 02 Nov 2011 17:22:26 +0000

As you may have noticed, I’ve made an intentional effort to provide more coverage to the queer arts, and I’m delighted that Screaming Weenie Productions, Western Canada’s professional queer theatre company, is presenting this Saturday the world premiere of Falling in Time, a pretty gutsy and strong play by award-winning, Vancouver-based dramatist C. E. Gatchalian.

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.

West Side Story at The @VancouverOpera #TheatreThursday

Raul — Thu, 27 Oct 2011 16:31:05 +0000

Once I got over the fact that it wasn’t a traditional opera, I absolutely loved West Side Story. Presented by the Vancouver Opera, West Side Story is in many ways a little bit of a Romeo and Juliet (all proportions guarded). For someone like me, trained in classical piano, the son of a former soprano and a bit of a traditionalist because of my training as a dancer, appreciating West Side Story meant engaging in a bit of a conflict with myself.

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.

Fifty Words by Mitch and Murray Productions at The Cultch

Anabelle — Wed, 26 Oct 2011 17:50:19 +0000

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

Vimy at the Firehall Arts Centre

Anabelle — Thu, 20 Oct 2011 06:30:34 +0000

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

Supernatural Noir by Fugue Theatre (giveaway)

Anabelle — Thu, 20 Oct 2011 06:00:30 +0000

What musical combines a didgeridoo, a psychic private eye, film noir-style visuals and a host of local BC talent?

Why, Supernatural Noir!

Produced by Fugue Theatre, this unique production is sure to shake your expectations of what a musical should be. The chamber operetta Supernatural Noir features

a private eye with psychic sensibilities, a businesswoman on the hunt for her missing husband, a pharmaceutical partnership worth millions and a formula that disappeared.

Photo by Angelina Cantada. Used with permission.

If the idea of a live, singing film noir appeals to you (and how couldn’t it?), you can enter our giveaway for a pair of tickets to the premiere on October 28th. To enter, tell us your favourite characteristic of film noir in the comments. Is it the cynical but lovable private eye? The lush ladies? The corrupt businessmen? The smoky jazz bars?

For an extra entry, tweet the following:

Told @hummingbird604 about film noir for tix to #SupernaturalNoir @FugueTheatre! Enter too at http://is.gd/nJC5GA

We will draw a winner on Wednesday, October 26th at 2PM. Watch out for the announcement in the comments as well as on Twitter! We will contact the winner by email, so make sure you use a valid address when commenting.

If you can’t enter our giveaway (or don’t win), you can always get yourself tickets for what promises to be a hit this season!

What: Supernatural Noir by Fugue Theatre
When: October 28 to November 5
Where: Waterfront Theatre, Granville Island
More info and tickets: Fugue Theatre

Visions of Vancouver by Pi Theatre (review)

Anabelle — Sat, 08 Oct 2011 00:15:46 +0000

We recently ran a giveaway for the premiere of Visions of Vancouver by Pi Theatre, on at the CBC Studio 700 until October 15th.

Jennifer Mawhinney and Shaker Paleja – Guntis Gurkis photography

I (Anabelle) attended the premiere of the play on October 6th. The performance is a series of four plays about Vancouver, each with a different topic and a different tone.

Behind the four plays was an interesting concept: going back to the old times of broadcast radio fiction, where everything was conveyed through voice and sound effects. There is very little movement on stage, except in between the plays; you could have your eyes closed throughout the performance and not miss a thing. They were actually recording the performance for eventual podcast publication at the end of the year. How cool!

The first play, Elevate, is about a young woman who moves in one of those anonymous apartment towers downtown Vancouver and who desperately wants to make a connection with someone… anyone. It was a bittersweet piece that really expresses the loneliness of urban life.

The second piece, The Bridge, was the most emotionally charged one. It’s the story of a man whose brother died on the Iron Workers Memorial bridge in 1958 and who contemplates throwing himself down after him and of a couple who’s stuck in the traffic caused by the intervention. I don’t really know that piece of Vancouver history but I know it carries a lot of emotions, and Patrick Keating was especially moving as the suicidal man.

I loved the third piece, The Dead Line, the most. Set in a futuristic Vancouver where downtown has been submerged and where people live in blimps, The Dead Line is the story of a dying man who desperately wants answers… from dead people. Technology has evolved to the point that you can now call the deceased, and you can now chat with whoever died in the last 250 years, including your dog. It was funny and witty and a fascinating attempt at science-fiction drama. I really enjoyed it.

The Thin Veneer touches more recent events: the June Stanley Cup riots. Four different voices express four different experiences of the riots. It was an interesting take on a topic that’s still fresh in Vancouver memory.

The performers were all amazing and all the plays were different even if they all had a common thread. It’s about Vancouver, about this place we live in (either by birth or by choice) and how it affects us. The history, the geography, the people: everything that makes us who we are as Vancouverites.

How has the city touched you?

Disclaimer: Anabelle attended the play on complimentary tickets graciously provided to Hummingbird604.com by Pi Theatre. A review was not required nor (in the case of a review) a positive one expected. Raul maintains editorial control at all times of anything published on Hummingbird604.com.

Visions of Vancouver by Pi Theatre (giveaway)

Anabelle — Sat, 01 Oct 2011 17:00:48 +0000

The theatre season is in full swing and we have yet another great play to suggest (and with a ticket giveaway!). As the title says, this one is all about Vancouver, for the celebration of Vancouver’s 125th anniversary: five local playwrights present their own vision of the city in short pieces in the tradition of Paris, Je t’aime and New York, I love You. Presented by Pi Theatre, a description of Visions of Vancouver:

The four works include -
In Adrienne Wong’s Elevate we meet Sal, a young woman who has just moved into a bustling downtown condo-tower to find she feels more alone than ever. It’s a story of how we can experience isolation and disconnection while surrounded by two-million people.

The Bridge by Michele Riml and Michael St. John Smith, is the story of four people whose lives intersect on the Iron Workers Memorial Bridge. Ellen and Brad are on their way to a dinner party but are held up on the bridge by a police incident as RCMP officer Virginia McLeod tries to persuade Frank Hobbs, one of the original construction workers who built the bridge, not to jump off of it.

The Dead Line is Dennis Foon’s light look at death. Cory is a jerk. Almost nobody likes him, not his ex-wife, his mother, his father or his sister. Only his old dog Gandhi offers affection from beyond the grave. When Cory runs up an enormous bill using the Dead Line communication service, in the hope of learning how to make the most of the life hereafter, he finds out he has to be true to himself – even if that means continuing in his highly suspect ways.

The Thin Veneer is Governor General Award winning playwright Kevin Loring’s artistic response to the 2011 Stanley Cup riots. This profound play investigates the nature of who we are as Vancouverites and suggests what’s beneath the thin veneer.

What’s better than local theatre about the city? We’re really excited to have a pair of tickets to the October 6th premiere of Visions of Vancouver to giveaway so you can share your love of this beautiful city with other playgoers.

To enter, tell us in the comments what’s your vision of Vancouver in one word (if you can!). For an extra entry, tweet the following:

Told @hummingbird604 about Vancouver to enter to win tickets to @pitheatre at http://ow.ly/6Kv7d. What’s your vision of Vancouver?

We will draw a winner on Tuesday October 4th at 2PM. Check the comments thread, your email and your twitter feed!

What: Visions of Vancouver by Pi Theatre
When: October 5th to 15th
Where: CBC Studio 700, 700 Hamilton
More info: Pi Theatre

Review: Ride the Cyclone

jessica — Fri, 30 Sep 2011 20:48:11 +0000

Photo Credit: Jacob Richmond and Brooke Maxwell for Atomic Vaudeville

If you knew that you were going to die or had died, but had one last chance to tell the world something, what would that be?

In the case of Atomic Vaudeville’s presentation of Ride the Cyclone, these high school students get a chance to do that thanks to Karnack, an automatic fortune telling machine. A variety of “final words” were shared in song form. Some expressed the deep, dark, and dirty secrets and obsessions of the mind, others tried to justify their lives and actions, and assure that they were being sent to the right gates, and there was also a bit of an identity crisis going on. These youth made up the high school choir that had died on the Cyclone roller-coaster in the town of Uranium, Saskwatchewan.

Basically this comedy-tragedy-musical is the twisted story of young lives in a dead-end town. From beginning to end, the dark humour had the entire audience laughing, and more often than not, cringing. If you love to walk the line of political correctness and laugh in the face of death, this would be the play for you. There was not a dull moment, and every song and dance was performed near perfection. There was a small glitch with some feedback, but the actors powered through it and the rest went flawlessly.

Written by Jacob Richmond (Legoland, Qualities of Zero)—with lyrics and music by Brooke Maxwell and Jacob Richmond—this homegrown Victoria musical won Toronto’s SummerWorks Prize for Best Production and the NOW Magazine Audience Choice Award before staging a sold-out run at Victoria’s Belfry Theatre this summer.

You should check out Ride The Cyclone from September 28—October 15, 2011 at the Revue Stage on Granville Island. To purchase tickets you can check the website for Vancouver Tickets. by Jacob Richmond, with lyrics and music by Brooke Maxwell and Jacob Richmond. Directed by Britt Small and Jacob Richmond. Choreography and Staging by Treena Stubel. Starring Rielle Braid, Matthew Coulson, Kelly Hudson, Elliott Loran, Sarah Jane Pelzer, Kholby Wardell and Hank Pine.

More links:
* Preview of Ride The Cyclone on Hummingbird604.com.
* Dr. Janni Aragon’s review of Ride The Cyclone in Victoria on Hummingbird604.com
* Trailer

Disclosure: Jessica attended and reviewed Ride The Cyclone on media tickets in representation of Hummingbird604.com. A review is neither paid for nor expected, nor a favorable review is guaranteed. At all points Raul maintains editorial control over anything posted on Hummingbird604.com

Bard on the Beach Season 2011 tally and 2012 preview

Raul — Tue, 27 Sep 2011 18:00:54 +0000

I am so sorry that I missed most of this year’s Bard on the Beach. Most people ask me how is it that I still miss out on events even with 2 interns. Well, ask my interns: their lives are crazy busy since they started working for me, and even now it’s hard for them to cover everything I get asked to. So, I’m really going to work hard at planning my 2011-2012 season.

And as my 2011-2012 theatre season goes under way, I noticed that this was a great year for Bard on the Beach.

At the closing night of the 2011 Bard on the Beach Shakespeare Festival season, Artistic Director Christopher Gaze announced that this summer’s overall attendance at the Festival was 84,000, an increase of 5,000 over total Bard attendance in 2010. In the Mainstage Theatre tent, the romantic comedy As You Like It directed by David Mackay played in repertory with the classic drama The Merchant of Venice directed by Rachel Ditor. In the Studio Stage tent, Bard concluded its 3-year History Cycle with a pair of history plays: Henry VI: The Wars of the Roses, an original production based on Henry VI, Parts I, II & III, adapted and directed by Christopher Weddell, along with Richard III, directed by Kathryn Shaw.

“Our increased attendance this year was possible thanks to the expanded capacity of our new 740-seat Mainstage Theatre tent. The additional seats allowed us to welcome patrons who would have been turned away in past seasons”, says Christopher Gaze. “We also were thrilled to offer reserved seating for the first time at Bard, eliminating the pre-show lineups of past years. Our new Mainstage Theatre tent, home of the BMO Mainstage, has given us more sophisticated technical facilities, more comfortable seating for our patrons and an improved environment for our actors; now we’re fine-tuning the space to make the patron experience even more satisfying. This season brought many changes to Bard. The learning we gained as we navigated those changes will strengthen our plans for next year and beyond; we embrace the future with open arms.”

I was able to enjoy this reserved seating and check out As You Like It (my only Bard on the Beach play this 2011, quite sad really). But I know now what is coming for 2012. Bard on the Beach’s 2012 season will run May 31 to September 22.

The opening production on the Festival’s BMO Mainstage will be the romantic comedy THE TAMING OF THE SHREW, staged by Meg Roe (Henry V, 2010; The Tempest, 2008). Playing in repertory with The Taming of the Shrew will be the timeless study of lust for power and moral decay, MACBETH, directed by Miles Potter (The Taming of the Shrew, 2007; Antony and Cleopatra, 2001; All’s Well That Ends Well, 2000). On the Douglas Campbell Studio Stage, Bard will present the perennially popular THE MERRY WIVES OF WINDSOR, directed by Jessie Award winning Johnna Wright (The Triumph of Love, Blackbird Theatre, 2007). Alternating with that boisterous tale of Sir John Falstaff’s romantic adventures is another of Shakespeare’s compelling history plays, KING JOHN, directed by Bard Associate Artistic Director Dean Paul Gibson (Much Ado About Nothing, 2010; Othello, 2009).

I’ve seen The Taming of the Shrew a few times, but I don’t think I’ve ever done Bard. Macbeth is a timeless play and I am definitely booking myself for that one. King John is new to me, so I hope to learn a bit more about Shakespeare with that one. The Merry Wives of Windsor is also totally new to me, and I really enjoy that. Despite having done theatre for so long, I find that there’s always something to learn.

You can follow the activities of Bard on the Beach on their site, via Twitter and on Facebook. Their 2012 season promises to be amazing, one of the best yet.

Ride the Cyclone at the Revue Stage (The Arts Club and Atomic Vaudeville)

jessica — Mon, 26 Sep 2011 21:20:34 +0000

photo credit: E Photos

Victoria’s Atomic Vaudeville Theatre is presenting Ride the Cyclone at the Revue stage on Granville Island starting this week. This will be the first showing outside of Victoria on this tour, as the play moves across the country towards Toronto. [EDITOR’S NOTE – Elliott Loran is a friend of Raul (me) so this play is particularly special, as Elliott has a role in the show). And of course, who doesn’t love a show with rollercoasters!

The premise is a bit eerie – a Saskatchewan high school chamber choir die suddenly in a roller-coaster ride accident. A mechanized fortune telling machine is able to give them one last chance to say goodbye as a final chorus, and the ghosts express their goodbyes and exit their short lives.

Cross Glee with a freak show and what do you get? Ride the Cyclone, probably the most uproarious and outrageous piece of musical theatre Canada has ever produced… -Globe and Mail

Ride the Cyclone runs September 28 – October 15, 2011 and tickets are available here. Hummingbird604 will also be doing a giveaway for a set of tickets! To enter, leave a comment with the name of your favourite roller-coaster or Tweet the following:

Posted my favourite roller-coaster 2 enter 2 win tickets to Ride the Cyclone via @Hummingbird604 and @AtomicVille http://is.gd/K0vPH7

While the show opens on Wednesday, we will run the contest until Thursday September 29th at 2pm and we will arrange for tickets to be for the Friday show.. Check back here and your Twitter account to see if you won once we have drawn the tickets!

True Love Lies (Touchstone Theatre) at The Cultch (review)

Anabelle — Fri, 23 Sep 2011 20:56:26 +0000

We previewed True Love Lies earlier this week and last night I (Anabelle) had the chance to see the premiere of the play representing Hummingbird604.com.

The plot, which follows up on a play written 20 years earlier, follows the life of Kane’s (played by Greg Armstrong-Morris) family after his daughter Madison (Lara Gilchrist) meets with an old (male) lover of his: David (Andrew McIlroy). The play explores the effect of David’s return into Kane’s “perfect” nuclear family life.

The play explores themes of traditional family, love, women’s place in society, metal illness, queerness and sexuality. It is insistent in underlining the inadequacy of the traditional nuclear society in the contemporary world, where sex is omnipresent and love can move from one gender to another. It also explores the life of the ageing gay man as he sees himself replaced and discarded by younger, better looking guys.

The first half of the play is fast paced and moves a little like television; sometimes the scenes last only for a line or two. I was a little annoyed by this at first, as the text and the scene division was a little bit too close to a sitcom for my tastes (Brad Fraser, the playwright, worked for 3 years on Queer as Folk). But this pace slows down significantly in the second half, where the script takes time to explore the relationships between the characters a little more in depth.

Despite the hard truths exposed in the play, I was a bit disturbed by how lightly it took certain secondary topics like eating disorders, Alzheimers’ and sexual abuse. If there’s no space to develop a meaningful message around these subjects, maybe it’s better to leave them alone.

The actors were all excellent, with Anton Lipovetsky as Royce shining for me. He has the difficult job of bringing a deeply disturbed teenager to life and he was very convincing. The cast had a great chemistry that came in handy in the first half of the play, where characters often end each others’ sentences. This requires a lot of timing, and they pulled it off well.

The set was ingeniously used as both a family house, a restaurant and David’s apartment. The play provides both entertaining witty repartees and thoughtful development of more challenging topics. Catch it before it closes on October 1st!

What: True Love Lies
When: Until October 1st
Where: The Cultch, 1895 Venables Street
More info: The Cultch
For tickets: Click here to buy.

Disclosure: Anabelle attended the premiere of the play on media tickets for Hummingbird604.com graciously provided by Touchstone Theatre. We were not paid, required or expected to write a review. Raul maintains editorial control at all times.

The Light in the Piazza

jessica — Fri, 23 Sep 2011 15:25:25 +0000

The opening night of this musical (The Light in the Piazza, for which we did a giveaway earlier this month) packed the house at the Norman & Annette Rothstein Theatre on Tuesday. Director Peter Jorgenson was very happy to greet everyone and express his gratitude and relief that the production had come together to it’s opening night, and the excitement was very real.

Photo Credit: David Cooper for Patrick Street Productions

The musical is set in Italy, mostly Florence, when a mother and daughter explore the tourist sights. Among the artifacts and attractions, a classic story of girl meets boy happens. Clara meets Fabrizio when he picks up her hat, and an epic love-at-first-sight song breaks out. Throughout the performance the operatic music was beautiful and moving, and extremely well executed. I especially loved the Italian language, which sounded authentic and romantic, and added an extra layer of interaction with the audience as it was interpreted by different members of the cast at different points.

One thing that I found amusing and a bit original was the costumes. Each scene seemed to have a colour palette, where the actors would all match. Maybe it was just me and it was unintentional, because it was very subtle, but it was very cute. The set design was also great because it was fluid and worked well with the movement of the cast. At one point a small chunk of the styrofoam Roman pillar flew off, but Fabrizio’s character enthusiastically and somewhat awkwardly picked it up, as fitting with his personality.

Right before the play started when I went to get my seat, I overheard two ladies chatting. One asked her friend if she should grab some tissues, and the other replied that it would be unnecessary because it was a love story. She was very wrong – the emotion and drama associated with two families dealing with the relationship of their children was overwhelming. I definitely shed a tear or two, which is a rare occurance. Interactions between mother/daughter, sister/sister-in-law, and lovers were heartbreaking but would bounce back with a charming or heart-warming moment within 5 minutes. I really enjoyed this musical, and would recommend it, but with a couple of tissues, just in case.

You can buy tickets for The Light in the Piazza online here.

Disclosure: Jessica attended and reviewed The Light in the Piazza on media tickets in representation of Hummingbird604.com. A review is neither paid for nor expected, nor a favorable review is guaranteed. At all points Raul maintains editorial control over anything posted on Hummingbird604.com

True Love Lies by Touchstone Theatre

Anabelle — Wed, 21 Sep 2011 22:30:13 +0000

There’s always something good at The Cultch; for the last weeks of September, the historical theatre is showing True Love Lies, a dark comedy by Edmonton playwright Brad Fraser.

Credit: Emily Cooper

Brad Fraser’s Unidentified Human Remains and the True Nature of Love was a huge hit for Touchstone in the early nineties, and True Love Lies meets up with two of its characters – Kane and David – twenty years later. Kane is now straight, married and living in mortgaged suburbia with two kids. David’s reappearance outs dad to his kids and forces the question, does true love ever die? With the crackle of lightning fast one-liners, acidic exchanges and wickedly witty characters, this hilarious new play shatters our illusions about the “perfect” Canadian family.

I’d be curious to see (or at least read) the other plays just to get the back story, but the play can be understood on its own without any trouble.

Hummingbird604 will be at the premiere and will review the play for you on September 22nd, so stay tuned!

What: True Love Lies by Brad Fraser and Touchstone Theatre
When: September 22nd to October 1st; post-show talkbacks on September 24, 25, 27 and October 1st
Where: The Cultch, 1895 Venables Street, Vancouver, BC V5L 2H6
More info: The Cultch website

Tuesdays with Morrie at @PacificTheatre (guest review by @loisrp)

Anabelle — Wed, 21 Sep 2011 17:31:11 +0000

Pacific Theatre invited the theatre production company Gallery 7, of Abbotsford, to restage “Tuesdays With Morrie” in Vancouver, after a successful run in the Fraser Valley. Pacific Theatre has a strong legacy of presenting thoughtful plays that have a faith-based focus, but which are not specifically religious, and Tuesdays With Morrie falls comfortably into this category.

I knew that the 1997 nonfiction book “Tuesdays With Morrie” had been a hugely popular bestseller, and I had heard bits and pieces about it from time to time. This play, first staged in 2002, is adapted from the book, and very true to the bookís content. I was slightly concerned that I’d find this play to be excessively saccharine and trite. But I need not have worried. The play is about friendship, about accepting weakness and human frailty, and what aging and death can teach us about life. If a moment is about to become maudlin, some caustic sarcasm or embarrassing incident intervenes.

The two lead actors are well-cast. Glen Pinchin plays Morrie Schwartz, a witty, mild-mannered, and compassionate sociology professor suffering from the debilitating ailment ALS (amyotrophic lateral sclerosis). Ken Hildebrandt plays the sometimes glib and selfish Mitch Albom, a highly successful sports journalist and Morrieís former student.

Mitch reconnects with his former professor, who had been a dear friend during Mitch’s college years, by happenstance. Mitch feels obligated to see his old mentor, and makes what he intends to be a single, pro forma half-hour visit. This becomes a series of weekly Tuesday visits during which Mitch and Morrie discuss life, aging, humanity, death, and other profound topics. Morrie has spent a lifetime caring for his students and his family, and has collected hundreds of aphorisms, both of his own design, and from his reading and personal experience (both Buddhist philosophy and the Yiddish language are significant here).

The play is more than Morrie spouting aphorisms, though. It explores the nature of love between two men, often a fraught subject. Morrie craves touch. As Morrie says, when one is an infant, touch is required, and when one is old and dying, touch is required. So why is it that touch is seen as optional in the time in between? Mitch obliges when his friend wants a hug, a kiss on the forehead, a massage. Without overtly saying so, the play suggests a reconsideration of how relationships between men are constructed in Western society.

Morrie is insistent that he not be defined by his illness. He wants to hear his visitors’ problems, and although he famously ‘never offers advice’, he listens and suggests. Why does Morrie just not accept that he should be the one accepting sympathy? “Because taking makes me feel like I’m dying. And giving makes me feel like I’m living”.

Morrie is not perfect, and does not seek to portray himself as such. He points out a sad flaw that has haunted him all his life. Mitch must forgive himself for not keeping his definite promise to keep in touch. Morrie easily forgives Mitch, but not so easily himself.

The set, which is unchanged throughout the play, looks like a comfortable and old-fashioned living room. Morrie indicates that much of the contents have not changed since the 1950s. Throughout the play, neither actor leaves the set, and there are only the two of them throughout, making for a sometimes intense experience. The two actors have good chemistry, and make the relationship between Mitch and Morrie believable.

This is not an action-packed play. Its pace is contemplative. It’s suitable for a chilly fall evening that you want to spend in a cozy living room.

Disclosure: Lois (and her guest) attended the play to write a guest review on media tickets courtesy of Pacific Theatre. This review is neither paid for nor expected. Raul retains editorial control of whatever is published on his blog. Lois saw Tuesdays with Morrie on September 14th. Thanks for the review, Lois!

The Seminar at the Vancouver International Fringe Festival 2011 (review)

jessica — Sat, 17 Sep 2011 17:39:52 +0000

Photo Credit: Justin Benko for Poiema Productions

I love the Vancouver International Fringe Festival (or “The Fringe” for short) because you never know what to expect, and the plays are constantly weirder and more extravagant. The Seminar is no exception. The play includes a freakishly choreographed chant “Choose to Change,” a plethora of insults hurled at the audience, multimedia, and a surgery. The 3(ish) characters, plus assorted audience members, fill the stage with games, dances, and presentations. The idea of marketing a life-changing full-body makeover surgery is marketed to an audience of guinea pigs. The characters are freakish, but somehow endearing and hilarious.

People who you should take to see this performance:

-Lovers of TV shows like The Swan or Extreme Makeover
-People who can take a beating to their self-esteem
-People who love to make fun of the beauty industry

People who should not see this performance:

-Anyone who is pro-cosmetic surgery
-Anyone who is ultra sensitive / can’t take a joking insult
-Anyone who take their looks, weight, beauty, etc. very seriously and idolize models or pop stars
-Anyone who is squeamish at the sight of blood and/or surgeries

I totally enjoyed my time at this show and I would recommend it! It’s tour is coming to a close, so hurry if you still want to see it!

Disclaimer: Jessica attended the show on a Super Pass graciously provided by the Vancouver International Fringe Festival 2011 organizers. We were not otherwise compensated for our review, nor was a positive one expected. Raul always maintains editorial control over content published on Hummingbird604.com.

Read all of our Vancouver International Fringe Festival 2011 coverage here.

Next To Normal (The Arts Club at the Stanley Industrial Alliance Theatre in Vancouver) [review]

Raul — Thu, 15 Sep 2011 07:03:25 +0000

1 in 5 Canadians has suffered, at some point, of any form of mental illness. 4,000 Canadians per year end their life through suicide. 3% of Canadians live with a persistent or severe form of mental illness. About 1% of Canadians will experience bipolar disorder (or “manic depression”). And yet, mental illnesses are still VERY stigmatized. People are afraid of talking about their depression or bipolar or borderline personality disorder or anxiety, mostly because society ostracizes anyone who manifests a form of mental illness. It’s really hard to establish a conversation around mental health.

Photo credit: David Cooper. Used with permission.

Even more challenging is to portray mental illness (in this case, bipolar disorder) with any degree of mastery in theatre, let alone a musical. And The Arts Club’s production of Next To Normal, whose opening night I attended tonight, not only succeeds but goes beyond any expectations I could have had. Powerful voices, extremely good performances, a really beautiful, poignant and realistic portrayal of bipolar disorder and a cast where every single actor is the main protagonist, simply because the supporting actors pull off an extraordinary performance, all these elements make of Next To Normal a must-see production.

Mental illness stories NEED to be told, and The Arts Club succeeds in creating a powerful message of unconditional love and understanding while meticulously working at portraying bipolar disorder and the devastating effects it has on the family of Diana (a Caitriona Murphy that gives us her all, with a powerful and well-projected voice that can range from subtle to scream within seconds). Haunted by ghosts of her past, we see her interact with her son Gabe and daughter Natalie in a very complex set of circumstances. Eric Morin gives a stellar performance as Gabe, with pipes that rival some of the best singers I’ve heard out there. Diana has lived with bipolar disorder triggered precisely by some trauma in her early years. Along with Gabe, Dan (Warren Kimmel in an outstanding portrayal of the eternally-loving, always-understanding husband) and Diana have a daughter, Natalie (Jennie Neumann, who at times steals the show as the daughter struggling with keeping a next-to-normal life while her mother goes in and out of the hospital). The family members love each other but coping with Diana’s bipolar disorder has proved challenging for a long, long time.

While it is a musical, the stories told aren’t easy to handle and beautifully haunting songs with powerful voices and a superb musical accompaniment made the audience (my guests included, Anabelle and JT) cry quite a lot. I spent the vast majority of the second act crying, to be quite honest. Without being too mushy, I felt that I witnessed poetry made musical theatre.

Colin Sheen (whom I loved in Hairspray) is an adorable boyfriend to Natalie, and demonstrates that he is capable of siding with some of the top actors in this town. He’s definitely playing in the big leagues. Matt Palmer, also a Hairspray alumnus, is convincing at the psychiatrist. As I mentioned, I think everyone in this musical-theatrical performance simply outdid themselves. In fact, The Arts Club outdid themselves. At the end of the performance, a packed Stanley Industrial Alliance Theatre audience gave the actors a standing ovation that made them come back after they had already said their goodbyes.

Next To Normal is perhaps the best performance I have ever seen in all my years of attending theatre in the city of Vancouver. The degree to which The Arts Club and specifically Bill Millard, the Director of Next To Normal, treated with respect, love and emotion the task of telling a challenging story of love in the face of mental illness in such powerfully convincing way that I think I’m going to have to come back for another 2 hours of crying. Next To Normal shows us the realities, challenges and (in some ways) triumphs of love over an illness that affects more than 1% of the population of Canada. If there is a theatre show this year YOU MUST see, it’s Next To Normal at the Stanley Industrial Alliance Theatre.

Playing until October 9th.

Anabelle, JT and I attended on my media tickets courtesy of The Arts Club. I would totally have paid out of my own pocket as mental health is a key cause of mine. This review is neither paid for nor expected, but I think everybody should educate themselves on the realities of mental illness (to be more understanding, we need to be more educated about the issues). As always, I retain editorial control of whatever is published on my blog.

Stay Away From My Boat @$$hole at the Vancouver International Fringe Festival 2011: Review

jessica — Wed, 14 Sep 2011 19:30:38 +0000

Image Credit: ITSAZOO Productions

This was probably the most interesting theatre experience I have ever had. Picture an episode of Mr Bean: 20 minutes of mimed dark humour. This was exactly that. In a post-apocalyptic world, it’s every man to himself. As the men in this one-scene-act play do what they must to survive in a flooding city at the end of the world, elements of black and white film and overdramaticization are a huge theme.

I would absolutely recommend you to attend this play at this year’s Vancouver International Fringe Festival 2011.

The idea of having the audience watch from a bridge and be surrounded by the characters and the very setting of the play is totally fantastic. Lots of couples were there on dates, and since it’s fairly short and concise, it leaves lots of time for dinner and drinks!

The topic is also a conversion-sparker: “the end.” I must say that I totally enjoyed the miming as well. It was layered on a very well-chosen soundtrack, and as a music enthusiast I’d say that made all the difference.

Disclaimer: Jessica attended the show on a Super Pass graciously provided by the Vancouver International Fringe Festival 2011 organizers. We were not otherwise compensated for our review, nor was a positive one expected. Raul always maintains editorial control over content published on Hummingbird604.com.

Read all of our Vancouver International Fringe Festival 2011 coverage here.

The Light in the Piazza (giveaway)

Anabelle — Wed, 14 Sep 2011 18:00:59 +0000

September brings with it colored leaves, back to school and… the new theatre season! We’re excited here on Hummingbird604.com because we LOVE theatre, and we have another great giveaway for you.

The acclaimed Broadway musical The Light in the Piazza is coming to Vancouver September 20th, and we’ve been given a pair of tickets to give away to one lucky reader.

The Light in the Piazza tells the story of Clara, a beautiful, surprisingly childish young woman, who is holidaying in Florence with her mother Margaret. While sightseeing she loses her hat in a gust of wind that lands at the feet of a handsome Florentine, Fabrizio. In this brief episode there is a spark and an immediate romance begins. Margaret, extremely protective of her daughter, attempts to keep them apart. As the play unfolds, a secret is slowly revealed; in addition to cultural differences, Clara is not all that she appears. Can the young couple’s immense love overcome the shadows of the past?

We’re really excited about this musical: it won 6 Tony Awards and has been lauded by critics all over the US. Don’t miss the chance to see what promises to be one of the greatest shows this fall.

Credit: David Cooper

To enter the giveaway, tell us your favourite love story in the comments. It can be a movie, a book, a TV show, a play or a musical–whatever you like. For an extra entry, tweet the following:

Told @hummingbird604 about my fave love story http://is.gd/EZnYc1 2 enter 2 win a pair of tix to Light in the Piazza. What’s yours?

We will draw a winner on September 16th at 2PM. Make sure to give a valid email address and watch your inbox and Twitter feed. Good luck!

What: The Light in the Piazza
When: September 20th to October 9th; previews September 15th to 19th
Where: Norman Rothstein Theatre, 41st and Oak
More info: Tickets Tonight or 604.684.2787

Big Shot at the Vancouver International Fringe Festival 2011 (review)

Anabelle — Tue, 13 Sep 2011 17:30:14 +0000

This play has a lot of hype at this year’s Vancouver International Fringe Festival 2011–and for good reasons. Big Shot is a compelling solo play featuring six different characters whose destiny all meet at one fateful moment on the SkyTrain.

The narrator is a boy who loves cinema; he is coming back home after seeing a movie somewhere in Vancouver. The most interesting thing about Big Shot is that it uses movie language to show what theater can do that movies can’t.

The writing was excellent: gripping, poetical and emotional. The writer/actor did a good job of depicting all the different characters, not only physically but also through their words. Each scene slowly builds up to the final moment and weaves all the different strands together. As you gain more and more information, you start to see the picture: inevitable, tragic, real.

John Lachlan Stewart is an actor to watch–literally. I thought his physical acting top notch, easily switching between a recovering drug addict, an 8-year-old boy and an old Japanese man. I was especially impressed with his delivery of Japanese–I don’t understand the words but I’ve watched enough animes to know the natural flow of the language, and this was very close. By the sweat on his shirt at the end of the play, you could see that John was totally into his characters.

The set–well, there’s no set actually. The only prop is a black blazer. I think any object or background would have distracted from the physical performance. The lighting was right on and the sound design, used parsimoniously, had the desired effect of enhancing certain moments or character traits.

The play left me breathless and moved. Even when you see the end coming, its inexorability is hypnotizing. There’s nothing you can do but watch when it all finally together in a final scene that could rival even the best movies. But this play is not a movie, and that’s the best thing about it. It’s all a movie cannot be; it shows what theatre can do and still does despite its decline in popularity. Thanks to festivals like the Vancouver International Fringe Festival, there is still a space where these artistic issues can be explored.

My boyfriend, a playwright himself, fan of solo plays and physical acting, was impressed. I can’t think of a better endorsement for Big Shot. A definite must-see at this year’s Fringe. Here’s some video from the play we found on YouTube.

Disclaimer: Anabelle attended Big Shot on a Super Pass graciously provided by the Vancouver International Fringe Festival organizers. We were not otherwise compensated for our review, nor was a positive one expected. Raul always maintains editorial control over content published on Hummingbird604.com.

Read all of our Vancouver International Fringe Festival 2011 coverage here.

The Sparrow + The Mouse at the Vancouver International Fringe Festival (Review)

jessica — Tue, 13 Sep 2011 16:30:35 +0000

Photo Credit: Karen Gall for Sisterscene Theatre

Edith Piaf left a hard pair of shoes to fill. Her vocal range, beauty, and emotion left an imprint on French history and music forever. This story, written and featuring Melanie Gall, lives up to the high standard of Piaf’s voice and music.

I arrived at the play wondering who would play Piaf and what the setting would look like. Portraying Paris in the 1930s would be difficult but could be beautiful. Interstingly enough, I saw neither of those things.

The featureless background actually works itself perfectly into the performance as the costumes do all of the work.: beautiful silks and sequins, contracted with Simone’s humble blue skirt and sweater. As for Edith, she doesn’t directly appear at all. Although this is the story of her life and times, the character is actually Simone, her step-sister.

Although Melanie Gall could have pulled off Piaf if she wanted, she was humble enough to write herself in as the sister and narrator. I think it was best that Piaf remained imagined instead of seen, as some of the story became extremely tragic and despairing, something maybe best not portrayed directly.

The songs were sung absolutely beautifully. Only at one point did I notice a mistake, and it was inconsequential. My favourite of Piaf’s songs, Non, Je Ne Regrette Rien, was as gorgeous as it could get. Melanie Gall`s voice was strong and clear, yet somehow softer than Piaf`s original voice. I loved when the two voices were overlapped at one point, with the original record playing in the background. The audience was totally into the music, and Gall encouraged interaction as she spoke to different audience members throughout the monologue.

I would certainly recommend this play to anyone, especially opera lovers. Although the subject matter is extremely difficult and sad, there is humour and light-heartedness within the presentation. I didn’t leave feeling upset, but rather having enjoyed my evening.

Disclaimer: Jessica attended the media premiere of The Sparrow and The Mouse on a Super Pass graciously provided by the Vancouver International Fringe Festival 2011 organizers. We were not otherwise compensated for our review, nor was a positive one expected. Raul always maintains editorial control over content published on Hummingbird604.com.

Read all of our Vancouver International Fringe Festival 2011 coverage here.

Fortunate Son at the Vancouver International Fringe Festival 2011 (review)

Anabelle — Mon, 12 Sep 2011 20:45:58 +0000

I attended the Saturday afternoon presentation of Fortunate Son, which we previewed last week. Given how Raul had enjoyed previous productions from the same company, I was expecting something a bit more interesting than what I was given.

If you forgot, the play is about the first few hours after Pierre-Elliot Trudeau’s funeral, as lived by his eldest son Justin Trudeau and Trudeau’s best friend Cal. It’s not a bad idea in itself, but the text could have used a few more drafts. It was clunky and repetitive at some points, and could have used a bit of editing.

Québecers have a complicated relationship with Trudeau. He started the Révolution Tranquille and then imposed the war measures law during the FLQ crisis. My mother tells me about the tanks roaming the streets of Montréal when she was a teenager, and I understand why most of us are reluctant to consider him a “great” Prime Minister.

That was a long preamble just to say that I found the text overly glorifying. Justin couldn’t help himself but admire and glorify his absent father, despite a lonely childhood. It might pass for Trudeau-ites, but it became bitter in my mouth. The text was a bit too heavy on emotions and tried hard to pull on the viewers’ heart strings. The play got the opposite reaction from me as it tried a bit too hard.

There were bits of French put in here and there, as an afterthought it seems, unfortunately so badly pronounced that it made me cringe. I can’t blame the actor for this, but it could have done away with it altogether. This kind of lip service to bilingualism bothers me–either do it or don’t. Weirdly, there were also more mentions of Vancouver than either Montréal (where the play happens) or Ottawa.

On top of an overly saccharine script, the acting was competent at best, especially on the part of Drew Stanilard, who played Justin. It might have been the text or the fact that he was playing someone who’s alive and publicly active, but I felt there was something forced about the performance. Michael Armstrong as Cal fared a bit better, but overall I didn’t find their dynamic really convincing.

Overall, the play left me a bit bored. Yes, it’s an interesting subject, but it really felt glorifying to me. There was almost no criticism of Trudeau’s reign, only a vague feeling of anger from his son who felt abandoned all his life. It seemed that the play sinned through too many good intentions: it wanted to work through both the personal and political consequences of Trudeau’s death for Justin, but these two topics didn’t work well together and we’re left with a clunky mess of factual exposition and emotional reactions.

Fortunate Son might be a play to see if you’re interested in the history of Trudeau’s reign and the values of the Liberal Party. But there are some things you just can’t be objective about: for me, I can’t swallow having Trudeau thus glorified for his political life. As for Justin, his ultimate fate in the play left me cold; we all know he just got elected for the second time as the MP of the Papineau district on May 2nd.

Disclaimer: Hummingbird604.com was personally invited to see the play and Anabelle got in with a Super Pass courtesy of the Vancouver International Fringe Festival 2011 organizers. We were not paid to write a review, nor was a positive one expected. Raul maintains editorial control at all times.

Read all of our Vancouver International Fringe Festival 2011 coverage here.

Trouble in Tahiti at the Vancouver International Fringe Festival 2011 (review)

Anabelle — Mon, 12 Sep 2011 19:58:47 +0000

Well, here it is! My first Vancouver International Fringe Festival 2011 review! The season is officially open, so get ready for an avalanche of Fringe-related stuff in the next week or so on Hummingbird604.com.

Last evening I attended the media premiere of the Vancouver Concert Opera Co-Operative production of Trouble in Tahiti. As a reminder of the story, check out our preview post.

I’ve never been to the Firehall Arts Centre before… but then I haven’t been many places in this town yet, so it’s not so surprising. The space was nicely set up, with a piano in the corner for the musician who plays ALL the music by herself. The decor was minimal but effective: two chairs, two side tables and a background showing views of Vancouver.

The story is simple and accessible: a Vancouver suburban couple, together for ten years, realize how they’ve grown apart and try to figure out a way to reignite the spark. He goes to work and the gym, she goes to her psychoanalyst and a movie. They meet at lunch time, each lying about meeting someone at a restaurant although they’re both going alone, separately. Outside of the couple, there’s a “trio”, the equivalent of a chorus, who set up the story and make comments throughout the opera.

Photo credit: Vince Hemingson. Used with permission.

The story is a bittersweet blend of humourous and sad, funny and tragic; we all know this story, some of us have seen our parents go through this (me included) and yet the open ending leaves you with a sense of hope. It’s a sad but realistic view of a couple’s life after a decade of marriage.

In most operas, the plot is really simple and is just a vehicle for the music anyway, so let’s focus on that. First, the jazzy music is from a single piano, played live by a very talented musician. It can’t be easy to manage five people singing to your music, so kudos. The singers were all very talented, but unfortunately the space of the Firehall Arts Centre isn’t the best to showcase opera voices. I do understand, however, that very few companies can afford an actual concert space, and the Firehall is small enough that the voices aren’t lost.

Lighting and effects were very simple, almost minimal; the addition of the background screen helped contextualize each setting so we would know where each character was. The chorus participates actively in the funniest scenes like the gym and the movie. The kids in the audience seemed to love those!

If you’ve wanted to try an opera but never dared go to one because it seemed inaccessible, Trouble in Tahiti is probably the best introduction. It’s in English, it’s accessible and it’s very short (40 minutes). For more seasoned opera and musical lovers, Trouble in Tahiti is very rarely performed and so it might be your only chance to get a glimpse of Leonard Bernstein’s (creator of West Side Story) early work.

The show left me touched and sad, a good sign that the singers conveyed the emotions well. I had a great time and I recommend it to opera newbies and buffs alike.

Disclaimer: I (Anabelle) attended the media premiere of Trouble in Tahiti on media tickets graciously provided by Vancouver Concert Opera Co-operative. We were not otherwise compensated for our review, nor was a positive one expected. Raul always maintains editorial control over content published on Hummingbird604.com.

Read all of our Vancouver International Fringe Festival 2011 coverage here.

Tuesdays with Morrie

jessica — Sat, 10 Sep 2011 18:45:05 +0000

Photo Credit: Dianna Lewis for Pacific Theatre

After having worked at a bookstore for 3 years, I can name a few key books that people really responded to. Tuesdays with Morrie is one of the most raved about books, with some customers even coming though the line with a stack of them to give away to friends. This heart-string-tugger book is definitely appealing to the sensitive souls of the world. Now that Mitch Albom has collaborated with Jeffery Hatcher to make this book come alive in theatre, the expectations are certainly high. This is basically a reenactment of Albom’s visits with a dying professor and the wisdom that is passed down to him. It’s the re-telling of a teacher-student relationship between these two men that runs deep and strong.

Pacific Theatre presents Gallery 7 Theatre’s guest production of Tuesdays with Morrie. Mitch Albom, a life-changing true story about generosity of spirit in the face of death. From the NY Times best-selling novel. Playing September 14-24th Wednesday – Saturday at 8pm with 2pm matinee on Saturday at Pacific Theatre, 1440 W 12th Ave. Artist talkback Friday, September 23rd. For tickets ($16.50-29.50 HST not incl.) call 604.731.5518 or pacifictheatre.org.

Here at Hummingbird604.com, we are offering a set of tickets to see the show! Comment a piece of wisdom passed down from a mentor to you, and you could win a set for the Wednesday, Sept 14th opening night! An additional entry can be earned by posting the following text on Twitter. We will draw a winner on Tuesday September 13th at 11 am.

I shared a pearl of wisdom with @hummingbird604 for a chance to win tickets to @PacificTheatre Tuesdays With Morrie http://is.gd/T4s46w