Year: 2017

Pictured (L-R): Peter Carlone, Kim Larson, Giovanni Mocibob, Baraka Rahmani, Jalen Saip

Jessica Kim

After October hits it’s a whirlwind of holidays until suddenly it’s the new year. Halloween and Thanksgiving zipped right past me and while I’m preparing for exam weeks, it seems like the rest of the world is warming up to the holidays season. And what better way to celebrate than with a sweet, relatable rom-com anthology to warm your heart?

Almost, Maine by John Cariani is reminiscent of a couple holiday-themed films like Love, Actually and New Years Eve, but this play was a lot more subtle and, I hate to say it, wholesome. There is a scene where a character talks about whether or not to be afraid of everyday things that can potentially hurt him, but not dangerous otherwise. I was expecting the rest of the play to explore the idea further with love, and how it’s still worth it after all the pain. However, Cariani managed to keep most of them cute, relatable and light, even the ones about heartbreaks and regrets.

Pictured: Giovanni Mocibob and Kim Larson

I always have a hard time following every character’s story in anthologies, even with different actors, but I was pleasantly surprised to be following along the 18 characters pretty well with only 5 actors. Partly it was because each story was contained within itself instead of all of them happening at once, but it was highly enjoyable to see the actors change like chameleons right before my eyes.

Shoutout definitely goes to Lauchlin Johnston, the Set and Lighting Designer, whom I had the pleasure of talking to and congratulate in person after the show. The “magic realism” part really shined thanks to his spectacular, whimsical snow white set and props with paint splattered on them, hanging on the ceiling by threads. It was minimalistic yet complicated, and it brings a smile to my face thinking about them painting the props one by one and splattering paint all over it, then hanging it up on the ceiling like any yearly Christmas tree ritual.

Almost, Maine by John Cariani is running at the Pacific theatre November 24th – December 16th. Wednesday – Saturday at 8 pm with 2pm matinees on Saturdays.

Tickets: https://tickets.pacifictheatre.org or by phone 604-731-5518

Facebook Event: https://www.facebook.com/events/1190719227739516/

Jessica Kim

Kay Meek Studio Theatre presents a one-man stage adaptation of Coming Up for Air, adapted, directed and produced by Leslie Mildiner based on George Orwell’s novel of the same name!

The award-winning [Bernard] Cuffling portrays George Bowling, an insurance salesman who makes an escape from “Hilda and the kids” in London for a few days following a win at the races. George visits his boyhood village in an attempt to recapture childhood innocence, but finds it changed beyond recognition by the effects of modern life. His feelings of loss are intensified by the threat of war looming on the horizon.

Coming Up for Air by Leslie Mildiner is running at the Kay Meek Studio Theatre, November 16th – 25th 7:30pm Tuesdays – Saturdays, with matinees on Saturdays 2pm. 

Tickets: https://kaymeek.com/coming-up-for-air

Facebook Event: https://www.facebook.com/events/131476617479330/

Jessica Kim

I walked into Performance Works to see Bloody Bloody Andrew Jackson by Alex Timbers and Michael Friedman presented by Fighting Chance Productions. Actually, not true.

I walked into the United States of America.

It wasn’t subtle at all, even outrageously so, and hilarious, like the show. The lights were red and blue and the stage within the stage was set up like a rock concert, with the band right in the middle, elevated from the rest of the set that resembled a barn, with actual sawdust and dirt on the floor. There was an American flag sticking out of Andrew Jackson’s pocket. There were banners with stars on them and even the solo cups the actors were holding were red and blue. I didn’t even know these things came in colours other than red.

Considering the fact Andrew Jackson was a terrible, murderous president, the musical is funny. Director Ben Bilodeau says that “[It] is a Wolf-in-Sheep’s-clothing of a show.” The dark truth about North American history is disguised with satire and comedy. The audience roar with laughter as the show plays with expectations and the comedy is refreshing and with pleasant surprises.

Artistic Director Ryan Mooney describes the show as “Green Day meets Hamilton” and it’s true, the music is very catchy and enjoyable. There is a reason, though, other than the subject of Andrew Jackson being somewhat controversial, that Bloody Bloody Andrew Jackson isn’t Hamilton. Though the actors do a splendid job delivering the sharp satire, the pattern is evident and simply repeats itself. It gets old and predictable fairly quickly. The absurdity of it all is hilarious, but after a few scenes emphasizing how terrible Jackson was, it is hard to grasp the point of the whole story. Especially towards the end it’s uncertain what the playwright is trying to say, and the attempt to have the audience emphasize with Jackson falls flat.

The connections to Trump with the posters with a red cap and the sign, “Make America Great” is appreciated along with other fantastic directional and production choices. Putting the band centrestage is a risk, but with appropriate lighting the audiences’ attention is properly guided. It is impressive that there were little to no sound problems considering the guitars with amps built into them and the loud music in general.

It’s amazing that these talented actors can also play various instruments. Daniel Berube as Andrew Jackson is sprightly and his voice suits the music. Notable performances are Annastasia Brown and her chilling performance of “Ten Little Indians” and Christine Roskelley (Storyteller) and Thomas Chan(James Monroe), their quirky and unique acting brings life to the stage.

Overall, the writing of Bloody Bloody Andrew Jackson is a questionable, but is produced and performed extremely well.

Bloody Bloody Andrew Jackson by Alex Timbers and Michael Friedman is running at the Performance Works October 27th- November 11th 8pm, with matinees on Saturday and Sundays 2pm. 

Tickets: http://www.fightingchanceproductions.ca/

Facebook Event: https://www.facebook.com/events/1979024655703169/

Jessica Kim

It’s the set the audience first sees when they walk in. It sets them up for the show. When I walked into the Centennial Theatre for URP’s production of Jesus Christ Superstar (music by Andrew Lloyd Webber and lyrics by Tim Rice), the set was reminiscent of the biblical times, complete with pillars and a set of stairs which sat in front of the band. Yet there was, right in the center of stage, a cross made out of trusses. This was going to be interesting.

The director Richard Berg stated that “[They] are really highlighting the ‘rock’ part of ‘rock opera’.” It really shows. The musical starts out with the guitar and bass players Michael Agranovich and Devon Clarke onstage, with lighting resembling that of a rock concert, with solid blocks of colour and heavy shadows of the guitarist on the translucent screen.

Also the distinction between rock musical and rock opera is interesting. Jesus Christ Superstar is always described as rock opera opposed to musical. URP’s previous production, RENT, is a rock musical. What makes these two so different? Like opera, Jesus Christ Superstar is based on a well known story. There is no need for the plot to be completely clear to the audience. This show is more about the emotions of the characters rather than what happens. Everyone already knows what happens. Because of this a lot is expected from the actors. The “gender-blind” casting is interesting, ending up with a lot of female actors taking up the traditionally masculine roles. However, it was a little straining for the ears with the lack of baritone and bass vocals. Judas is played by Ali Watson in this production, and she is exceptional. Her performance is powerful and breathtaking. Nick Heffelfinger as the title role flaunts his impressive vocals as well.

Unfortunately the sound system was extremely loud. It may have been a nod to actual rock concerts, but it was jarring and distracting.

Notable performances are the Tormentors Kenneth Lai, Emma Schellenberg, Chantelle Ward, and Jennifer Lynch. They are the literal embodiment of inner emotional conflicts such as guilt and despair, and because the emotional aspect is so emphasized in this production, they are extremely effective. They are dressed and painted as roman statues at the temple, and while they stay silent the entire time, their energy and movement is evident, even in still poses. The choreography is haunting and jarring when need be.

Overall the production was very well put together with such a small cast, and it seems like there is a certain charm about this musical that has URP come back to it again and again, holding a special place in their hearts as the very first production they’ve done back in 1995.

Jesus Christ Superstar runs October 31st – November 5th, Tuesday – Saturday at 8pm and Sunday Matinee at 2pm. Tickets can be purchased at http://www.urp.ca

Facebook Event: https://www.facebook.com/events/117045558964970/

Sebastian Ochoa Mendoza

I had never travelled so far to catch a work of theatre before. The Massey Theatre is located about two cities over from Vancouver, in what appeared to be a High School. When I opened the front door to find a High School gym, I insisted that we must’ve been in the wrong place. But alas, we arrived to the theatre, instantly impressed with the quality of the space. The theatre wasn’t very full at all, I’d say less than half of the seats were sold, and, after having seen Dulcinea Langfelder & Co’s Victoria, this is terribly unfortunate.

Victoria, starring veteran actress Dulcinea Langfelder and Éric Gingras, is about an elderly woman in a wheelchair, ranting and talking and interacting with the objects around her, be it the chair, the set, the audience, even her own shadow. I don’t know enough about the conditions the elderly suffer to be able to accurately describe what was happening in the protagonist’s head behind all of her silly antics. As a result, I wouldn’t exactly be able to say if the setting was a hospital for the old, the mentally disabled or the ill. I would have attended the Q&A if it weren’t such a hassle getting back to Vancouver at that hour. The only other character in the show was her nurse, a large European man who is driven crazy by Victoria throughout the production. When I realised the whole play was of a woman sitting alone on her wheelchair, talking to herself and to the audience, I was skeptical towards my enjoyment. I love plays that are confined to one set and a few characters, but for it to be held mostly by just one actress seemed almost impossible to be entertaining from beginning to end. Not only was it just that, but it was also simultaneously endearing and tragic at the same time. We watch in amazement as this sixty-two year-old woman does incredible tricks on her wheelchair, keeping it up in a wheelie for a good three minutes, and stuns us with her angelic singing voice and dancing. One highlight was when she turned her hospital garment into a cocktail dress, and showcasing her 1960’s glamour. Another was when the nurse carries her body around as he dances to Irving Berlin’s “Cheek to Cheek”, making Victoria’s body dance along with him as she gives out a deadpan expression. Truly remarkable.

The setting was very well done. It was a number of white curtains, laid out across the stage, being moved from place to place to change the space from scene to scene. At times they were pushed to the side to make a lot of space for the actors to sing and dance, while in other scenes the stage would be cut in half, and the characters would subsequently interact with the sheets. Often times, a curtain on the stage would work as a backdrop for the characters’ shadows. Images of their shadows would be projected onto the curtain, so they could have a life of their own. For instance, in one scene, as Victoria would stay seated, her shadow would be standing on the wheelchair, so we could peek inside and explore the mind of this fascinating woman.

There were a few hiccups here and there that took the audience out of the moment. The human eye is very quick to find synchronization problems, so whenever the actors would be trying to completely mimic the projected shadow’s actions, it only made it more obvious that the shadow was projected and not natural. Langfelder was better at this than Gingras, but not quite good enough to make it a flawless illusion. Though this would be hard to prevent, I would say the effect should only be used in shadow-heavy scenes. There’s an early scene in which Victoria mimics the projected shadow for a few minutes, the shadow only doing its own thing at the very end, and barely. For a scene like that, I wouldn’t say it was a cool enough effect to be worth two minutes of the audience thinking “Well that shadow’s fake”. Even worse, the projector showed us a PC desktop for a split second before projecting the shadow, which drew me right out. In other scenes, especially those in which Victoria is seen playing and interacting with the curtains, I was never really sure when something was supposed to happen, if a curtain was supposed to get stuck to her wheelchair. Or in another scene, if Victoria was meant to have dropped the nurse’s flashlight. That being said, when doing basically a one-woman show with that amount of props and set pieces, mistakes are inevitable, and if those instances mentioned were mistakes, the actors played them off very well. Langfelder, needless to say, was brilliant in the role. She’d have to be if this show had any hope of being any good. We sympathise with her, we laugh with her, we cry with her. A phenomenal actress, and a flawless performance. When Gingras’ character first appeared, I was worried about his part in the whole thing. His entrance seemed a tad over-dramatic, with a very ‘50s sitcom “What have you done this time?” look to the audience. After seeing the show, the perfect word I think I’d use to describe him is endearing. His performance was endearing; above all the trouble she puts him through, it’s clear he truly cares for Victoria, just as I’m sure the actors care about each other in real life.

Victoria is a beautiful production that shouldn’t be missed. I took two buses and a train to get all the way back to UBC, and I held a smile for pretty much all of it.

Whenever I walk into the Pacific theatre it’s always a peculiar experience. As I walk across the very stage the actors will stand on to find my seat, I wonder what it feels like to be watched from (almost) all directions, even the back of your head, sides and places you don’t want to show. It’s scary but exciting.

The Lonesome West by Martin McDonagh at the Pacific theatre is a guest production by Cave Canem, directed by Evan Frayne. Set in the Irish hamlet of Leeane, Coleman and Valene, brothers living in their recently deceased father’s house, are constantly at each other’s throats. Will father Welsh’s attempts to rekindle some sort of brotherly love in their hearts be in vain?

The set is homely but eye-catching. The small stage is economically utilized and with some lighting magic, the kitchen turns into various other locations. There is amazing attention to details. There are holes in their socks, tiny little breakable props they have boxes of in the back, and subtle music and sounds in several scenes. The rock music in between scenes is jarring and unsettling, as unfitting as the violent and strange brothers in this quiet rural town.

The pre-show Irish music gets the audience in the mood, and when the “curtain rises” we are hit with Irish accents, dialects and slang. It took me a few minutes to understand what was going on and that “feck” is the equivalent of the f-word in Ireland. We meet Coleman (Kenton Klassen) first, talking to father Welsh (Sebastien Archibald), coming back from the funeral of Coleman’s father, whom he had accidentally shot in the head. Valene (John Voth) walks in and immediately the brothers start bickering and fighting. The actors have fantastic chemistry and their banter and stage fight is believable. I want to give a shoutout to the Fight Director Josh Reynolds for making the amazing stage fights happen and keeping everyone safe. It’s extremely childish, reminding me of fights I used to have with my brother.  But something’s very off here- adults shouldn’t be fighting like this.

The story unfolds and though the plot is quite dark, the play manages to keep it light and we find ourselves laughing at murder, suicide and hatred, the absurdity of it all, the strange, crazy brothers. The best cure for the unknown, of course, is comedy. The writing of this play is impressive primarily as a comedy but also as drama. There are no wasted lines or jokes that are carelessly tossed away. They are mentioned again and ends meet. A comedic element in the first act comes back as an essential plot point in the second act. Nothing is wasted.

Burning with legitimate passionate hatred towards each other, they have constantly been trying to “one up” each other, but as they become older and more capable of doing more and more horrible and unacceptable deeds, things get out of hand. I found myself audibly sighing at times, wanting to grab them by the shoulders and shout “Grow up already!” Which, essentially, is how the good father Welsh feels. Notable performance is by Sebastien Archibald, who plays the ever-doubting priest. His performance is powerful, not only because of his projection with the yelling and screaming, but also his passion and beliefs in the human race and love carries through his manner and actions towards the brothers.

But all this falls flat to them. Did something go so wrong fundamentally between the brothers, and can nothing be fixed? Can anything be changed? It feels as if the protagonist of this play in reality is Valene, the only character that changes, even if it is just slightly. Girlene (Paige Louter) simply doesn’t have the chance and the naive priest never learns. Coleman is simply the awful person he is, was, and will be. Act 1 and the show itself both ends with Valene standing in the kitchen of their grimy rural home, with black Vs plastered all over the house, bold and threatening. But opposed to the intermission, Valene is facing the Christ on the cross, the meticulously placed figures of the virgin, and he’s much more somber. Then darkness- but not before, for a fraction of a second- a small spotlight on Jesus and the letter- and perhaps, a flicker of hope.

The Lonesome West by Martin McDonagh is running at the Pacific theatre October 20th – November 11th. Wednesday – Saturday at 8 pm with 2pm matinees on Saturdays.

Tickets: https://tickets.pacifictheatre.org or by phone 604-731-5518

Facebook Event: https://www.facebook.com/events/1979024655703169/