Beautiful Man flips the script and makes men the objects

Governor General’s Award-winning playwright Erin Shields has created a world where women get the meaty, strong, narrative-defining roles and men are there to be viewed.

Tracy Jennissen, Ivy Charles, and Melissa Oei play the three women dissecting movies (within a movie, within a movie), with Richard Meen as the Beautiful Man. The women create an amiable environment to discuss their favourite movie, welcoming the audience into their circle immediately. The friendship was warm, the women’s excitement over the characters real, and the lust over the nameless men mocking.

Review: World Without Us fails to impress

Silence, darkness, rats, cockroaches. This is what the world is, without us.

The Explanation, an exciting world premiere from James Fagan Tait, takes over the Vancity Culture Lab this April

The Cultch and the frank theatre company are thrilled to present the world premiere of James Fagan Tait’s The Explanation) playing at the Vancity Culture Lab, April 17-29, 2018.

A haunting piece of theatre, from Belgium’s cutting-edge theatre company, explores the notion of a World Without Us

The Cultch is thrilled to present a provocative piece from Ontroerend Goed (Fight Night) about the end of humanity, and what comes after. World Without Us runs April17-29 at The Cultch’s Historic Theatre.

The History of the World (Based on Banalities) —a poignant tale of loss laced with magic and rock music— takes over the York stage this April!

The Cultch is pleased to present The History of the World (Based on Banalities), an exciting play from Belgian theatre company, Kopergietery. Produced by Richard Jordan Productions, and in association with Theatre Royal Plymouth, Summerhall and Big in Belgium, The History of the World (Based on Banalities) runs at the York Theatre April 25 – May 5.

Louisa May Alcott’s Heartfelt Tale of Four Sisters Inspires Anew in Beloved Musical Adaption of Little Women

Bring On Tomorrow Co. (BOTCo) and Kay Meek Centre offer a performance as cozy as a hearth fire for the holidays: Little Women, the musical adaption of Louisa May Alcott’s tale of four sisters, running Dec. 27 –30 in the Grosvenor Theatre at the Kay Meek Centre. The producers of 2016’s Ovation Award-winning FAME and 2017’s acclaimed 13: The Musical transport audiences back 150 years to the home of the March family in New England, where the iconic adventures of Meg, Jo, Beth and Amy unfold. Featuring some of the Lower Mainland’s best and brightest professional theatre and musical artists, this talent-packed production promises to have audiences falling in love all over again with Little Women. 

Australia’s Hot Brown Honey comes to the Cultch for Femme January

The hottest ticket out of Australia makes its Vancouver debut. Headlining The Cultch’s Femme January — a whole month of Cultch programming celebrating the power of the female voice —Hot Brown Honey turns tradition on its head, packing a potent punch of Hip Hop politics, dance, poetry, comedy, circus, striptease and song.

Victoria Shakespeare Festival Presents Where There’s a Will

2016 marks the 400th anniversary of Shakespeare’s death, and the beginning of his legacy to the world. Craigdarroch Castle and the Greater Victoria Shakespeare Festival (GVSF) celebrate this historic anniversary with Where There’s a Will, February 17-21 and 24-27 at 8pm.

Where There’s a Will is a celebration of the greatest English dramatist in song, verse and cake. Meet the celebrity superstars of the 15th century, such as Elizabeth I, Christopher Marlowe, Anne Hathaway, and of course, Bill himself. Afterwards, the audience will have an opportunity to recite a favourite line or couplet as part of “We are Shakespeare”, a global video project initiative launched to celebrate the Quadricentenary.

The Castle’s magnificent rooms and landings serve as perfect settings for this historical romp. See the actor who first played Hamlet, Richard Burbage, struggle in rehearsal; hear Shakespeare’s bitter rival, Christopher Marlowe, hurl insults; and witness a special appearance by a Britain’s favourite time traveller and his cohort.

The script is a collaboration between Castle favourite Giggling Iguana Productions founder Ian Case, and GVSF Artistic Director Karen Lee Pickett. “We are thrilled to be back in the Castle! There will be sonnets, songs, and a few surprises,” says Pickett, “and at evening’s end, sweets will be served in the Castle’s magnificent Dining Room – the perfect way to end an anniversary celebration!”

Where There’s a Will features a plethora of artists from the Festival’s talented pool of directors and actors, including Cam Culham (Cock at Theatre Inconnu and two seasons with GVSF), Chris Gabel (“Pick of the Fringe” Award-winning Paper Street Theatre and Atomic Vaudeville), Susie Mullen (August: Osage County for Langham Court and four seasons with GVSF), Griffin Lea (The Rocky Horror Show for RKO productions and Cabaret for Langham Court), and Candace Woodland (Rocky Horror and four seasons with GVSF). The show is directed by Geoffrey Davidson and runs February 17-21 & 24-27 at 8pm at Craigdarroch Castle, 1050 Joan Crescent.

Information and tickets are available online at http://www.thecastle.ca and by phone at 250-592-5323. Reservations are required. Tickets are $30 general admission and $28 for Castle Members (prices include HST) and include coffee, tea and dessert service. Tickets must be purchased in advance.

Joan MacLeod’s The Valley is Topical and Emotionally Gripping

Especially pertinent at the moment, The Valley by Victoria’s Joan MacLeod struck a nerve with the audience to create a touching, emotional journey.

Inspired by real events, this play takes larger social issues of mental health and the relationship police have with the public and breaks it into four specific stories. It manages to condense the emotional rollercoaster of two separate relationships into a spectacular two hours. Both humorous and thought-provoking, The Valley is dark and moody in the best way possible, revealing in its portrayal of the human condition.

Each of the characters have likeable qualities mixed into their troubled backgrounds and problematic traits. Along with tight dialogue and fast-paced set changes these actors manage to capture all of their emotions and display them all so honestly. It was amazing to live their breakdowns with them, and experience the cathartic release as issues resolved. The mind of depressed teenager Connor spawned imaginative and dark worlds in the mountains, and the heavy scenes of his depression were mirrored in the painted backdrop surrounding the characters. Although initially this isn’t apparent, as we delve deeper into everyone’s stories it becomes gloomier and more relatable, reflecting their emotions from every direction.

Leaving the theatre, I felt emotional and introspective. It’s a must watch for everybody who can in Victoria. The Valley plays February 2 through 28, and tickets can be purchased at 250-385-6815 or online at tickets.belfry.bc.ca.

Bard on the Beach’s 2015 Season: Reviewed

This was an inventive and fast paced season for Bard on the Beach. With three comical, crafty plays and one major drama they were certainly off to a good start.

My experience of the season began with a steampunk Comedy of Errors. For such a convoluted play, this was the perfect vessel. The constantly moving set, outlandish costumes, and strange performances easily heightened the absurdity. It’s full of slapstick humour and silly moments, with lots of space for the embellishments that director Scott Bellis used so well. Although not one of Shakespeare’s finest works it was a good start to the season, especially for actors Sereana Malani (Adriana) and Ben Elliott (Antipholus of Syracuse). Malani captured my attention every time she was on stage. Elliott, who has proved himself musically in many other Bard plays, was uproariously funny as the confused newcomer.

King Lear was the second main stage production, and it largely fell flat. This is a massive production to put on but the script can be cumbersome to do without losing audience attention, and unfortunately for some it did just that. At the start, Benedict Campbell fell into the problem of overemphasizing every line, but by the second act he seemed passive and afraid of the madness and anger required of him. The sisters (Jennifer Lines, Regan and Colleen Wheeler, Goneril) kept too many of their Tempest mannerisms for this much more serious play, getting laughs in a play that should not provide them. Michael Blake (Edmund) and Nathan Schmidt (Edgar) had some of the most interesting moments, each providing thoroughly nuanced portraits of their characters.

On the Howard Family Stage, Love’s Labour’s Lost took us on a rollicking, musical 1920s adventure that hit the jazz classics and easily express the character’s emotions. Chicago in the Roaring Twenties bring brilliant costumes and the speakeasy vibe that pairs well with Ben Elliot’s musical direction. Josh Epstein (Berowne) stands out as the king’s friend and lover of Rosaline. His voice is beautifully rich and his emotions are immediately evident. The slight audience interaction is both funny and complementary to the 20’s style, as this play is more an adaptation than a direct reproduction of Shakespeare’s creation.

King Lear’s actors took to the Howard Family Stage for C.C. Humphries novel Shakespeare’s Rebel. Set in Elizabethan London around Shakespeare’s Globe Theatre and a potential revolution, John Lawley (Benedict Campbell) must separate himself from his past on the battlefield, help his friend William Shakespeare to write the play Hamlet, and clean himself up to win back his beloved Tess and son Ned. With so many pots and subplots throughout, it was amazing to see this novel put together so masterfully on stage. Although I found Campbell too overwhelming as King Lear, he seemed to find his footing in this production. This is where Jennifer Lines (Tess) and Colleen Wheeler (Queen Elizabeth) shine. Lines is feisty and smart, a clear choice for Lawley to pursue, while Wheeler masters the drama of Elizabeth as I hoped she would have in King Lear. The Bard’s own Christopher Gaze has directed a veritable star for the 2015 season, engaging and funny without overwhelming audiences who are used to Shakespeare’s own writings.

Both of the smaller stage performances were my favourite for the year, drawing my attention back again and again.