It’s A Wonderful Life Radio Show
The latest offering from Pacific Theatre, “It’s A Wonderful Life Radio Show” is pure unpretentious fun.
The classic Christmas film is reimagined as a radio play being broadcast before our eyes in a 1946 radio studio by an ensemble of performers. The synopsis of the film is so familiar that the dialogue required to move the threads of the plot line forward is minimal. The real fun lies in the peripheral features: an array of sound-effects devices – all used to maximum effect; period commercials (mostly sung) and music contemporary to the period in which the action is set.
A minor departure from the radio broadcast template is the provision of a small amount of costuming that would be unnecessary in a real broadcast. This serves to assist the audience in distinguishing characters whose identity would otherwise be ambiguous.
If you are looking for a Christmas show that is a bit out of the ordinary this one is a good bet.
Saturday, December 13, 2014
Wide Awake Hearts
Playing at Little Mountain Gallery is “Wide Awake Hearts”, a production of Twenty Something Theatre and Hardline Productions.
The play revolves around four thoroughly unlikable characters identified in the program only as A, B, C and D. A, a writer for TV and film is married to B, an actress. C is a boyhood friend of A who has beencast in a film (written by A) that also features B. D is the female editor of the film with some sort of link to C.
What transpires on stage is a largely incoherent exploration of their relationships punctuated by soporific monologues by the individual characters. The Director’s Notes were unhelpful and unenlightening.
A particular irritant was the lighting. For most of the action it seemed to be designed to put as little light as possible on the performers while, at the same time, shining what light there was in the eyes of the audience making it even more difficult to see the action.
All in all, it was an evening wasted.
Playing at Little Mountain Gallery is “Wide Awake Hearts”, a production of Twenty Something Theatre and Hardline Productions.
The play revolves around four thoroughly unlikable characters identified in the program only as A, B, C and D. A, a writer for TV and film is married to B, an actress. C is a boyhood friend of A who has beencast in a film (written by A) that also features B. D is the female editor of the film with some sort of link to C.
What transpires on stage is a largely incoherent exploration of their relationships punctuated by soporific monologues by the individual characters. The Director’s Notes were unhelpful and unenlightening.
A particular irritant was the lighting. For most of the action it seemed to be designed to put as little light as possible on the performers while, at the same time, shining what light there was in the eyes of the audience making it even more difficult to see the action.
All in all, it was an evening wasted.
Monday, November 24, 2014
Small Parts
Solo Collective Theatre’s “Small Parts,” which just closed at Performance Works, has attracted a number of comments. Almost all have centred on the back story to the creation of the play. The playwright’s mother, diagnosed with terminal cancer, writes (for reasons never made clear) a very bad play, its various characters being body parts. The playwright lends his professional theatre skills to bringing “The Ovarian Dialogues” to life on stage.
Small Parts attempts to replicate the real-life events as a separate theatrical experience. As touching as the back story may be, sad to say as a stand-alone play it simply does not work.
It is ironic that the seeds of what might make it work are already in the play but the playwright failed to let them germinate and take root. I refer to Shakespeare’s “The Tempest” as a template for the play. The opening is promising by utilizing the opening scene with the storm. But then the idea is dropped. After that we see only passing references that invoke Shakespeare – a character named Ariel who is ultimately “freed” and the phrase “brave new world.”
Much more could have been done to map Small Parts on to The Tempest starting with the characters, their names and their relationships. One character in particular illustrates the possibilities – Andrew McNee playing “Dan” is already there as a Caliban figure. Just call him “Cal”. Let Prospero, Ferdinand, and Miranda become Proserpine, Fred and Mandy mapped on to Irene (the mother), Nathan (the playwright) and Nory (a performer).
Defining new relationships between the characters and making them work would be a challenge and require a major departure from the back story – with no guarantee of success – but the result would have the potential to be a much stronger and engaging work.
Solo Collective Theatre’s “Small Parts,” which just closed at Performance Works, has attracted a number of comments. Almost all have centred on the back story to the creation of the play. The playwright’s mother, diagnosed with terminal cancer, writes (for reasons never made clear) a very bad play, its various characters being body parts. The playwright lends his professional theatre skills to bringing “The Ovarian Dialogues” to life on stage.
Small Parts attempts to replicate the real-life events as a separate theatrical experience. As touching as the back story may be, sad to say as a stand-alone play it simply does not work.
It is ironic that the seeds of what might make it work are already in the play but the playwright failed to let them germinate and take root. I refer to Shakespeare’s “The Tempest” as a template for the play. The opening is promising by utilizing the opening scene with the storm. But then the idea is dropped. After that we see only passing references that invoke Shakespeare – a character named Ariel who is ultimately “freed” and the phrase “brave new world.”
Much more could have been done to map Small Parts on to The Tempest starting with the characters, their names and their relationships. One character in particular illustrates the possibilities – Andrew McNee playing “Dan” is already there as a Caliban figure. Just call him “Cal”. Let Prospero, Ferdinand, and Miranda become Proserpine, Fred and Mandy mapped on to Irene (the mother), Nathan (the playwright) and Nory (a performer).
Defining new relationships between the characters and making them work would be a challenge and require a major departure from the back story – with no guarantee of success – but the result would have the potential to be a much stronger and engaging work.
Thursday, November 20, 2014
Subway Stations of the Cross
Pacific Theatre’s website describes this offering in the following terms:
"A homeless man on a cardboard platform brings his own peculiar message from God. An unpredictable, mashed up meditation on the sacred and the everyday, told through the songs, stories, and poetry of a nameless vagabond."
This production can only be described as self-indulgent garbage – the kind of thing that gives the one-man-show a bad name. Its only redeeming feature is that it was mercifully short.
It is sad that after their previous show – the excellent “The Rainmaker” – Pacific Theatre should deliver this kind of production to its subscribers and followers.
Pacific Theatre’s website describes this offering in the following terms:
"A homeless man on a cardboard platform brings his own peculiar message from God. An unpredictable, mashed up meditation on the sacred and the everyday, told through the songs, stories, and poetry of a nameless vagabond."
This production can only be described as self-indulgent garbage – the kind of thing that gives the one-man-show a bad name. Its only redeeming feature is that it was mercifully short.
It is sad that after their previous show – the excellent “The Rainmaker” – Pacific Theatre should deliver this kind of production to its subscribers and followers.
Broken Sex Doll
I am happy to be challenged; I am prepared to be offended; I do not, however, welcome being bored. But this is exactly "Broken Sex Doll" managed to do.
It has been revived at the York theatre by the Cultch from a previous run in 2012. Why it was thought fit to be revived is a mystery. It takes a premise, worth perhaps 10 minutes as a comic sketch, and with the addition of a number of tuneless songs, stretches it out into almost two hours.
Who thought sex could be made so tedious? One has only to think of "Vixens of Wonderland," mounted in August at Performance Works, to see how material like this can be made raunchy and titillating and be a lot of fun in the process.
Very disappointing.
I am happy to be challenged; I am prepared to be offended; I do not, however, welcome being bored. But this is exactly "Broken Sex Doll" managed to do.
It has been revived at the York theatre by the Cultch from a previous run in 2012. Why it was thought fit to be revived is a mystery. It takes a premise, worth perhaps 10 minutes as a comic sketch, and with the addition of a number of tuneless songs, stretches it out into almost two hours.
Who thought sex could be made so tedious? One has only to think of "Vixens of Wonderland," mounted in August at Performance Works, to see how material like this can be made raunchy and titillating and be a lot of fun in the process.
Very disappointing.
Sunday, November 16, 2014
Slaughterhouse Five
Just closed after a short run at Studio 1398 is Little Mountain Lion Productions’ presentation of “Slaughterhouse Five” – a stage adaptation of the Kurt Vonnegut novel of the same name.
Having never read the novel or knowing much about it I came with no preconceptions as to what I was about to see. The play would have to stand or fall on its own as a work for the theatre. Unfortunately it fell with a resounding thud.
What was presented was an incoherent and self-indulgent mish mash that went from nowhere to nowhere leaving a trail of boredom in its wake.
The performances were lackluster with only one actor, Steve James, occasionally rising above the material to provide a characterization one could relate to.
A particular irritant was the failure to provide a program or at least a cast list. All it would have taken was $5 worth of photocopying. But having seen the show I can well understand the reluctance of those involved in it to leave behind any documentary evidence of their participation.
Just closed after a short run at Studio 1398 is Little Mountain Lion Productions’ presentation of “Slaughterhouse Five” – a stage adaptation of the Kurt Vonnegut novel of the same name.
Having never read the novel or knowing much about it I came with no preconceptions as to what I was about to see. The play would have to stand or fall on its own as a work for the theatre. Unfortunately it fell with a resounding thud.
What was presented was an incoherent and self-indulgent mish mash that went from nowhere to nowhere leaving a trail of boredom in its wake.
The performances were lackluster with only one actor, Steve James, occasionally rising above the material to provide a characterization one could relate to.
A particular irritant was the failure to provide a program or at least a cast list. All it would have taken was $5 worth of photocopying. But having seen the show I can well understand the reluctance of those involved in it to leave behind any documentary evidence of their participation.
Facts at Jericho
Playing at the Jericho Arts Centre is the United Players production of “Facts”. Set in an interrogation room, the principal characters are an Israeli police detective and a Palestinian police inspector working together to solve a murder that occurred in the West Bank.
Despite the context having a somewhat dated feel about it, the production is definitely worth seeing. What makes it really worthwhile is the dynamic performance of Jerry Wasserman as the Israeli detective. It was truly a joy to watch.
Unfortunately this was not matched by his Palestinian counterpart who came across as too young and lacking the authority and gravitas his position called for. It would have worked much better if the pair had been more closely matched in terms of age and apparent experience.
A bouquet to the sound designer who managed to get the sound of the security apparatus just right.
Playing at the Jericho Arts Centre is the United Players production of “Facts”. Set in an interrogation room, the principal characters are an Israeli police detective and a Palestinian police inspector working together to solve a murder that occurred in the West Bank.
Despite the context having a somewhat dated feel about it, the production is definitely worth seeing. What makes it really worthwhile is the dynamic performance of Jerry Wasserman as the Israeli detective. It was truly a joy to watch.
Unfortunately this was not matched by his Palestinian counterpart who came across as too young and lacking the authority and gravitas his position called for. It would have worked much better if the pair had been more closely matched in terms of age and apparent experience.
A bouquet to the sound designer who managed to get the sound of the security apparatus just right.
Thursday, November 13, 2014
Sunday, November 9, 2014
Two Postscripts
Additional thoughts on previous postings.
Snapshots
Was my depreciation of the music of Stephen Schwartz shared by the producers of Snapshots? I note with interest that the music used to frame the audience’s arrival and played during the intermission (there must be a term for it) was the show music of Leonard Bernstein. Schwartz’s tunes did not fare well by comparison.
Subsequent Conversations (Neil Labute at Douglas College)
I was left puzzled by the choices made in relation to the set design for this evening of playlets. All of them involved a cast of two or three actors (usually two) playing in a physically intimate environment (two of them set in the front seat of a car).
But the set itself was huge in relation to the needs of the material. A large performing area – largely unused – with a number of levels which suggested no particular time or place. It was the kind of general purpose set one might expect to find for an epic drama or Wagner opera. Only a fraction of the available performing area was used for the playlets.
That said, the set would have been a great design for a different offering and was well-executed. Since the main justification of the production itself was to provide the students with a showcase for their work this was simply to give the stagecraft students, as well as the actors, a chance to show their stuff, whatever the demands of the playlets might have been.
Additional thoughts on previous postings.
Snapshots
Was my depreciation of the music of Stephen Schwartz shared by the producers of Snapshots? I note with interest that the music used to frame the audience’s arrival and played during the intermission (there must be a term for it) was the show music of Leonard Bernstein. Schwartz’s tunes did not fare well by comparison.
Subsequent Conversations (Neil Labute at Douglas College)
I was left puzzled by the choices made in relation to the set design for this evening of playlets. All of them involved a cast of two or three actors (usually two) playing in a physically intimate environment (two of them set in the front seat of a car).
But the set itself was huge in relation to the needs of the material. A large performing area – largely unused – with a number of levels which suggested no particular time or place. It was the kind of general purpose set one might expect to find for an epic drama or Wagner opera. Only a fraction of the available performing area was used for the playlets.
That said, the set would have been a great design for a different offering and was well-executed. Since the main justification of the production itself was to provide the students with a showcase for their work this was simply to give the stagecraft students, as well as the actors, a chance to show their stuff, whatever the demands of the playlets might have been.
Saturday, November 8, 2014
Two Evenings with Neil LaBute
Neil LaBute is described as “ an American film director, screenwriter and playwright” (Wikipedia). His stage works are seldom seen in Vancouver so it is surprising to see two productions running simultaneously that feature his plays.
The first is “Fat Pig” just finishing a short run at Studio 16. Colin Thomas’ review says most of what has to be said about the production:
http://www.straight.com/arts/765146/emmelia-gordon-radiant-fat-pig
The second is “Subsequent Conversations” presented by the students of Douglas College “Departments of Theatre and Stagecraft & Event Technology” (quite a mouthful) at its Studio venue in New Westminster.
The latter is a collection of one act plays and playlets drawn from longer works. Based on what I have seen, it seems to be characteristic of LaBute’s plays that he frequently gives us a series of relatively self-contained vignettes rather than a flow. This explains why a collection like Subsequent Conversations is possible. And the opening scene of Fat Pig is quite capable of standing on its own (as might some of the other scenes with a bit of adaptation).
Although it was written only ten years ago, Fat Pig felt somehow dated. In many ways it seemed to reflect a social environment that is now fading fast. If it is about the characters living in that environment, only Helen, who is central, is memorable and worth caring about.
LaBute has a good ear for language (although he is no Mamet) but it is not always used to best effect. It can take a painfully long time for many of his scenes to get to the point as he plays with the dialogue. Pace and economy were often lacking.
The student performances in Subsequent Conversations were up to the job but unhappily suffer by comparison with the more polished work done by Studio 58. An exception were the performances in the first playlet “Bench Seat” by Thomas Halkes and Jessica Kabesh. Jessica in particular is a performer to watch.
Neil LaBute is described as “ an American film director, screenwriter and playwright” (Wikipedia). His stage works are seldom seen in Vancouver so it is surprising to see two productions running simultaneously that feature his plays.
The first is “Fat Pig” just finishing a short run at Studio 16. Colin Thomas’ review says most of what has to be said about the production:
http://www.straight.com/arts/765146/emmelia-gordon-radiant-fat-pig
The second is “Subsequent Conversations” presented by the students of Douglas College “Departments of Theatre and Stagecraft & Event Technology” (quite a mouthful) at its Studio venue in New Westminster.
The latter is a collection of one act plays and playlets drawn from longer works. Based on what I have seen, it seems to be characteristic of LaBute’s plays that he frequently gives us a series of relatively self-contained vignettes rather than a flow. This explains why a collection like Subsequent Conversations is possible. And the opening scene of Fat Pig is quite capable of standing on its own (as might some of the other scenes with a bit of adaptation).
Although it was written only ten years ago, Fat Pig felt somehow dated. In many ways it seemed to reflect a social environment that is now fading fast. If it is about the characters living in that environment, only Helen, who is central, is memorable and worth caring about.
LaBute has a good ear for language (although he is no Mamet) but it is not always used to best effect. It can take a painfully long time for many of his scenes to get to the point as he plays with the dialogue. Pace and economy were often lacking.
The student performances in Subsequent Conversations were up to the job but unhappily suffer by comparison with the more polished work done by Studio 58. An exception were the performances in the first playlet “Bench Seat” by Thomas Halkes and Jessica Kabesh. Jessica in particular is a performer to watch.
Sunday, November 2, 2014
Snapshots – A musical Scrapbook
Playing until November 8 at Studio 1398 on Granville Island is Snapshots – a Musical Scrapbook. This is an original musical theatre piece that draws on the work a single composer/lyricist. The dramatic framework involves a husband and wife on the verge of separating. They are in their attic looking over a variety of objects and photographs that trigger memories of the events that shaped their relationship over the years.
In the process the couple Dan and Sue meet with and interact with themselves at earlier stages of their lives. We see their relationship form as children and young adults – Danny and Susie. Then we meet Daniel and Susan who eventually marry. In all, we have six actors who portray the couple as the action moves forward in time (as well as a handful of other characters who move in and out of their story).
This framing device works very well. The songs are made to fit the progress of the show and impressive performances by every member of the cast made it a production worth seeing – but one that is ultimately unsatisfying.
The composer/lyricist in question is Stephen Schwartz and I would not place him in the first rank of composers for the musical theatre. He does have to his credit a few memorable and beautiful songs, but his repertoire is simply not extensive and diverse enough to support this kind of show. Too many of the songs presented sounded just like the previous one.
This excellent framing device is ultimately wasted on Schwartz’s work. But it could easily be adapted, with very little change, to the body of work of a number theatrical composers. One hopes that the book may one day find itself showcasing the music of a more worthy creator.
Playing until November 8 at Studio 1398 on Granville Island is Snapshots – a Musical Scrapbook. This is an original musical theatre piece that draws on the work a single composer/lyricist. The dramatic framework involves a husband and wife on the verge of separating. They are in their attic looking over a variety of objects and photographs that trigger memories of the events that shaped their relationship over the years.
In the process the couple Dan and Sue meet with and interact with themselves at earlier stages of their lives. We see their relationship form as children and young adults – Danny and Susie. Then we meet Daniel and Susan who eventually marry. In all, we have six actors who portray the couple as the action moves forward in time (as well as a handful of other characters who move in and out of their story).
This framing device works very well. The songs are made to fit the progress of the show and impressive performances by every member of the cast made it a production worth seeing – but one that is ultimately unsatisfying.
The composer/lyricist in question is Stephen Schwartz and I would not place him in the first rank of composers for the musical theatre. He does have to his credit a few memorable and beautiful songs, but his repertoire is simply not extensive and diverse enough to support this kind of show. Too many of the songs presented sounded just like the previous one.
This excellent framing device is ultimately wasted on Schwartz’s work. But it could easily be adapted, with very little change, to the body of work of a number theatrical composers. One hopes that the book may one day find itself showcasing the music of a more worthy creator.
Friday, October 31, 2014
Three Small Theatres – Part Two
Herewith, some comments on recent productions associated with the theatres described in Part One.
Jericho Arts Centre
The resident company at JAC is the United Players of Vancouver. They run a full season of plays, usually intelligently selected, and well-performed with high production values. Later postings may comment on some of this season’s shows.
A guest resident company is the Ensemble Theatre Co-operative Which has been doing a season of three plays over the summer. Again they set a high standard. Last year’s “Farnsworth Invention” was one of my personal highlights. Some of their offerings will not be to everyone’s taste. “The Duchess of Malfi”, for example is one I might have missed without shedding too many tears. But that is an issue of selection and not the quality of the production.
Most recently seen at JAC was the musical “Carrie” by the other guest resident company – Fighting Chance Productions. Its program is largely devoted to musicals and their standards are high. Recent productions of “Rocky Horror Show” and “A funny Thing Happened on the Way to the Forum” were great fun. The plot of Carrie, based on the Stephen King novel of the same name, will be familiar to most – “Grease” with telekinesis and pig’s blood. Again, it was an excellent production but I was left to wonder whether, as a musical, it was worth doing.
Like so many musicals created in the last two decades the songs in Carrie all had a sameness about them – musically boring. I would level the same criticism against the score of their previous production – “Spring’s Awakening”. FCP seems to be at its best with revivals of older superior works and I am looking forward to their "Into the Woods" and “Jesus Christ Superstar” next year.
The Community Theatres
As far as one can tell from the age and character of those in attendance, the JAC appears to draw its audiences with a diverse demographic from a fairly wide area while the two community theatres have a much smaller catchment area. Observing the audience members in intermission one gets the sense that everyone knows everyone else and these companies rely heavily on a local core audience that is largely homogeneous.
This necessarily influences their programming and a season that will keep the local core audience happy has to be carefully constructed. It is difficult (but I guess not impossible) to see either community theatre doing Carrie or The Duchess of Malfi. Part of the formula for constructing a season acceptable to the core seems to be the inclusion of a “thriller” and this is what has been seen most recently at the Bernie Legge Theatre and the Theatre at Hendry Hall.
Theatre at Hendry Hall
The most recent item at Hendry Hall was “Snake in the Grass” by the English playwright Alan Ayckbourn. I have been impressed by the talent and production values that the North Vancouver Community Players bring to their work. Their previous production – “Three Viewings” – was outstanding. Whatever one might think of the “thriller” genre the production cannot be faulted.
Bernie Legge Theatre
The thriller presented by the Vagabond Players provides an interesting point of contrast to Snake in the Grass. It was “Murder by the Book” by King & Greenwood.
The Vagabonds have to their credit many fine productions. I think particularly of “The Winslow Boy” two seasons ago. So it is sad to label Murder by the Book as a total embarrassment.
The plotline oscillates between being either wholly predictable or totally incoherent. The action is badly directed and acted (with one exception – Alex Ross – who managed to rise above the material and the direction).
Production values were equally sad. The design lived up to the term “box set” with a vengeance. The crowning touch of ineptness was a large clock on one wall of the set. At various points the characters referred to the passage of time and glanced up at the clock. Throughout all this the hands on the clock never moved.
All of this seems to be the responsibility of a single person who will remain unnamed. This person is credited as the director and as set designer, set decorator and sound designer and must be at least partially responsible for the selection of the play.
The Vagabonds can do much better than this and it is to be hoped that future productions will bear this out.
Herewith, some comments on recent productions associated with the theatres described in Part One.
Jericho Arts Centre
The resident company at JAC is the United Players of Vancouver. They run a full season of plays, usually intelligently selected, and well-performed with high production values. Later postings may comment on some of this season’s shows.
A guest resident company is the Ensemble Theatre Co-operative Which has been doing a season of three plays over the summer. Again they set a high standard. Last year’s “Farnsworth Invention” was one of my personal highlights. Some of their offerings will not be to everyone’s taste. “The Duchess of Malfi”, for example is one I might have missed without shedding too many tears. But that is an issue of selection and not the quality of the production.
Most recently seen at JAC was the musical “Carrie” by the other guest resident company – Fighting Chance Productions. Its program is largely devoted to musicals and their standards are high. Recent productions of “Rocky Horror Show” and “A funny Thing Happened on the Way to the Forum” were great fun. The plot of Carrie, based on the Stephen King novel of the same name, will be familiar to most – “Grease” with telekinesis and pig’s blood. Again, it was an excellent production but I was left to wonder whether, as a musical, it was worth doing.
Like so many musicals created in the last two decades the songs in Carrie all had a sameness about them – musically boring. I would level the same criticism against the score of their previous production – “Spring’s Awakening”. FCP seems to be at its best with revivals of older superior works and I am looking forward to their "Into the Woods" and “Jesus Christ Superstar” next year.
The Community Theatres
As far as one can tell from the age and character of those in attendance, the JAC appears to draw its audiences with a diverse demographic from a fairly wide area while the two community theatres have a much smaller catchment area. Observing the audience members in intermission one gets the sense that everyone knows everyone else and these companies rely heavily on a local core audience that is largely homogeneous.
This necessarily influences their programming and a season that will keep the local core audience happy has to be carefully constructed. It is difficult (but I guess not impossible) to see either community theatre doing Carrie or The Duchess of Malfi. Part of the formula for constructing a season acceptable to the core seems to be the inclusion of a “thriller” and this is what has been seen most recently at the Bernie Legge Theatre and the Theatre at Hendry Hall.
Theatre at Hendry Hall
The most recent item at Hendry Hall was “Snake in the Grass” by the English playwright Alan Ayckbourn. I have been impressed by the talent and production values that the North Vancouver Community Players bring to their work. Their previous production – “Three Viewings” – was outstanding. Whatever one might think of the “thriller” genre the production cannot be faulted.
Bernie Legge Theatre
The thriller presented by the Vagabond Players provides an interesting point of contrast to Snake in the Grass. It was “Murder by the Book” by King & Greenwood.
The Vagabonds have to their credit many fine productions. I think particularly of “The Winslow Boy” two seasons ago. So it is sad to label Murder by the Book as a total embarrassment.
The plotline oscillates between being either wholly predictable or totally incoherent. The action is badly directed and acted (with one exception – Alex Ross – who managed to rise above the material and the direction).
Production values were equally sad. The design lived up to the term “box set” with a vengeance. The crowning touch of ineptness was a large clock on one wall of the set. At various points the characters referred to the passage of time and glanced up at the clock. Throughout all this the hands on the clock never moved.
All of this seems to be the responsibility of a single person who will remain unnamed. This person is credited as the director and as set designer, set decorator and sound designer and must be at least partially responsible for the selection of the play.
The Vagabonds can do much better than this and it is to be hoped that future productions will bear this out.
Saturday, October 25, 2014
Three Small Theatres – Part One
In the last couple of weeks I attended performances at three of the area’s smaller performing arts venues. This provided an opportunity to reflect on the theatres themselves and their current and recent productions. What ties these three together is that they are in older stand-alone buildings that had been repurposed from an earlier use. Part One of this posting describes the venues and Part Two, their offerings.
Jericho Arts Centre (JAC)
Located in the Point Grey near Jericho Beach is housed in a building that originally served as a gym for armed forces personnel stationed nearby. It was subsequently turned over to the city of Vancouver which dedicated it to arts use in 1993. See
http://www.lauramurraypr.com/the-venue-jericho-arts-centre
http://www.jerichoartscentre.com/aboutus.html
Its resident theatre company is the United Players of Vancouver with guest resident companies of Fighting Chance Productions (FCP) and Ensemble Theatre Co-operative (ETC).
JAC is the most flexible of the three venues offering five possible configurations with seating for between 140 and 150 audience members depending on the configuration selected.
JAC seems to have more than its share of climate control issues. For several performance of ETC’s summer program the heat was oppressive and stifling. For this past weeks performance of Carrie the chill was reminiscent of the final days of the Bard on the Beach season – be sure to bring your blanket.
Bernie Legge Theatre
The Bernie Legge Theatre is located in New Westminster’s Queen’s park. It is the oldest of the three venues, having been converted from a Provincial Fisheries Exhibition Building to a theatre in 1951. It is a true gem of a small theatre with very comfortable seating for an audience of 150 and a conventional proscenium stage with an elevated performing area.
The resident company is the Vagabond Players, a society created in 1937 with roots going back a further 15 years. It claims to be the oldest community theatre in the province.
http://www.vagabondplayers.ca/#!about/c1hdv
The Theatre at Hendry Hall
This theatre is located in North Vancouver. It was built in 1942 as an Air Raid Precautionary Post. It was remodeled at the end of the war and served a variety of community purposes until 1972 when it was taken over by the North Vancouver Community Players for use as a theatre.
http://www.northvanplayers.ca/aboutus.html
It offers a conventional layout in terms of seating (under100) with the performing area at floor level. It is another gem of a small theatre with its luster dimmed only by an extremely cramped lobby area.
Coming soon – Part Two – comments on content
In the last couple of weeks I attended performances at three of the area’s smaller performing arts venues. This provided an opportunity to reflect on the theatres themselves and their current and recent productions. What ties these three together is that they are in older stand-alone buildings that had been repurposed from an earlier use. Part One of this posting describes the venues and Part Two, their offerings.
Jericho Arts Centre (JAC)
Located in the Point Grey near Jericho Beach is housed in a building that originally served as a gym for armed forces personnel stationed nearby. It was subsequently turned over to the city of Vancouver which dedicated it to arts use in 1993. See
http://www.lauramurraypr.com/the-venue-jericho-arts-centre
http://www.jerichoartscentre.com/aboutus.html
Its resident theatre company is the United Players of Vancouver with guest resident companies of Fighting Chance Productions (FCP) and Ensemble Theatre Co-operative (ETC).
JAC is the most flexible of the three venues offering five possible configurations with seating for between 140 and 150 audience members depending on the configuration selected.
JAC seems to have more than its share of climate control issues. For several performance of ETC’s summer program the heat was oppressive and stifling. For this past weeks performance of Carrie the chill was reminiscent of the final days of the Bard on the Beach season – be sure to bring your blanket.
Bernie Legge Theatre
The Bernie Legge Theatre is located in New Westminster’s Queen’s park. It is the oldest of the three venues, having been converted from a Provincial Fisheries Exhibition Building to a theatre in 1951. It is a true gem of a small theatre with very comfortable seating for an audience of 150 and a conventional proscenium stage with an elevated performing area.
The resident company is the Vagabond Players, a society created in 1937 with roots going back a further 15 years. It claims to be the oldest community theatre in the province.
http://www.vagabondplayers.ca/#!about/c1hdv
The Theatre at Hendry Hall
This theatre is located in North Vancouver. It was built in 1942 as an Air Raid Precautionary Post. It was remodeled at the end of the war and served a variety of community purposes until 1972 when it was taken over by the North Vancouver Community Players for use as a theatre.
http://www.northvanplayers.ca/aboutus.html
It offers a conventional layout in terms of seating (under100) with the performing area at floor level. It is another gem of a small theatre with its luster dimmed only by an extremely cramped lobby area.
Coming soon – Part Two – comments on content
Tuesday, October 21, 2014
The Rainmaker
I commend Colin Thomas’ excellent review of “The Rainmaker”:
http://www.straight.com/arts/752546/rainmaker-beautiful-and-moving
I have only a couple of thoughts to add.
The first is to reiterate the praise for Andrew Wheeler in his portrayal of H.C., the family patriarch. Wheeler is a bright star in the Vancouver theatre scene who can always be relied on to give a first-class performance (as was the case here).
The second to toss a bouquet to whoever had the imagination and good taste to select the musical works of Aaron Copland (Billy the Kid and Rodeo) to frame and underscore the action.
After the show I was left thinking about the character of Noah. He is portrayed as a negative influence in the family – dwelling on what he sees as Lizzie’s plain looks and her future as an old maid and urging her to be realistic about her prospects. He is equally adamant about attempting to discourage his brother from forming a relationship with a girl he has met.
While the script does not give us very much, Noah himself seems to be devoid of and prospects of marriage or forming a meaningful relationship. Whether intended by the author or not, Noah seems to be projecting his unhappiness with his own unfulfilled life on to his siblings. It would have been interesting to have seen this a bit ore fully developed.
If you read this before the run is over, I recommend it.
I commend Colin Thomas’ excellent review of “The Rainmaker”:
http://www.straight.com/arts/752546/rainmaker-beautiful-and-moving
I have only a couple of thoughts to add.
The first is to reiterate the praise for Andrew Wheeler in his portrayal of H.C., the family patriarch. Wheeler is a bright star in the Vancouver theatre scene who can always be relied on to give a first-class performance (as was the case here).
The second to toss a bouquet to whoever had the imagination and good taste to select the musical works of Aaron Copland (Billy the Kid and Rodeo) to frame and underscore the action.
After the show I was left thinking about the character of Noah. He is portrayed as a negative influence in the family – dwelling on what he sees as Lizzie’s plain looks and her future as an old maid and urging her to be realistic about her prospects. He is equally adamant about attempting to discourage his brother from forming a relationship with a girl he has met.
While the script does not give us very much, Noah himself seems to be devoid of and prospects of marriage or forming a meaningful relationship. Whether intended by the author or not, Noah seems to be projecting his unhappiness with his own unfulfilled life on to his siblings. It would have been interesting to have seen this a bit ore fully developed.
If you read this before the run is over, I recommend it.
Theatre Education
There are now a number of institutions that purport to prepare students for a career in professional theatre. Two of the best-known are Studio 58 at Langara College and the program offered by Capilano University. Last week provided the opportunity to see showcase offerings of these two on successive evenings and reflect on their relative success.
Studio 58
The offering of Studio 58 was “Kosmic Mambo” – an original piece carried out as a piece of “physical theatre”. All movement with music and almost no spoken content. I endorse the review by Mark robins at:
http://vancouverpresents.com/theatre/theatre-review-kosmic-mambo-innovative-visually-stunning/
Mapping the “lost in space” concept on to “The Rime of the Ancient Mariner” generally worked well although in places the map was not always helpful. But the physical action and the stunning sets and costuming kept the audience fully engaged.
Kosmic Mambo was a success and shows why Studio 58, now in its 49 year, is the leader of the pack when it comes to preparing its students for a career in theatre. One need only look at the cast information in the program of virtually any production in the Vancouver area to see the large numbers of performers who credit their training to Studio 58.
Capilano University
The production by Capilano was “The Government Inspector” – Nikolai Gogol’s well-known play.
Briefly stated, the play turns on a case of mistaken identity – the visit to a Russian village of a neer-do-well who is taken to be an officer sent by the Tsar to uncover corruption in various arms of the civic administration. The efforts of the corrupt civic officials to cover up their misdeeds and bribe the visitor are what moves the action forward.
The Director’s notes suggest that the earlier tradition of Russian Theatre “leaned toward vaudeville performances and melodramas” and that this play marked a move toward a more naturalistic approach. What appeared on stage appeared to be very much an approach closer to vaudeville and clowning. Exactly what did the director have in mind?
A production done in the earlier tradition might have been acceptable but the problem is that it was badly done. Performances ranged from merely competent to the alternatively tedious and irritating (as to the latter I am thinking of the two fat boys).
If this were a contest the clear winner would be Studio 58.
There are now a number of institutions that purport to prepare students for a career in professional theatre. Two of the best-known are Studio 58 at Langara College and the program offered by Capilano University. Last week provided the opportunity to see showcase offerings of these two on successive evenings and reflect on their relative success.
Studio 58
The offering of Studio 58 was “Kosmic Mambo” – an original piece carried out as a piece of “physical theatre”. All movement with music and almost no spoken content. I endorse the review by Mark robins at:
http://vancouverpresents.com/theatre/theatre-review-kosmic-mambo-innovative-visually-stunning/
Mapping the “lost in space” concept on to “The Rime of the Ancient Mariner” generally worked well although in places the map was not always helpful. But the physical action and the stunning sets and costuming kept the audience fully engaged.
Kosmic Mambo was a success and shows why Studio 58, now in its 49 year, is the leader of the pack when it comes to preparing its students for a career in theatre. One need only look at the cast information in the program of virtually any production in the Vancouver area to see the large numbers of performers who credit their training to Studio 58.
Capilano University
The production by Capilano was “The Government Inspector” – Nikolai Gogol’s well-known play.
Briefly stated, the play turns on a case of mistaken identity – the visit to a Russian village of a neer-do-well who is taken to be an officer sent by the Tsar to uncover corruption in various arms of the civic administration. The efforts of the corrupt civic officials to cover up their misdeeds and bribe the visitor are what moves the action forward.
The Director’s notes suggest that the earlier tradition of Russian Theatre “leaned toward vaudeville performances and melodramas” and that this play marked a move toward a more naturalistic approach. What appeared on stage appeared to be very much an approach closer to vaudeville and clowning. Exactly what did the director have in mind?
A production done in the earlier tradition might have been acceptable but the problem is that it was badly done. Performances ranged from merely competent to the alternatively tedious and irritating (as to the latter I am thinking of the two fat boys).
If this were a contest the clear winner would be Studio 58.
Sunday, October 12, 2014
The Mandrake
The Mandrake closed last night at the Gallery Theatre at the Havana Restaurant. It is an adaptation of the 1519 play “Mandragola” by Niccolo Machiavellli. A thoughtful review of The Mandrake can be found at:
http://beyondyvr.wordpress.com/2014/10/09/review-the-mandrake-at-havana-restaurants-gallery-theatre/
I only wish to add a handful of personal observations.
First, reducing the cast to two performers was not wholly successful. Using costumes (usually a coat or jacket) to differentiate the various characters only worked to a point. In scenes involving three or more characters, at times it was difficult to know which of the characters was speaking. Moreover, the costumes themselves might have been more distinctive to assist the audience in more quickly identifying and distinguishing the characters. Having the same character, at different times, played by both performers required that characterization remained relatively superficial.
It is interesting that the original casting call for The Mandrake was in the following terms: “We are looking for 4 performers to appear in our first production, an adaptation of The Mandrake by Machiavelli, staged at the Havana Theatre 7-12 oct”.
[See the July 17 entry in the Pandora Facebook page: https://www.facebook.com/theatrepandora ]
What prompted the decision to move from four to two performers in this production is uncertain but its wisdom is questionable. In my view it would have been a more satisfying experience if two actors had been cast in the two main roles, and two others multiple-cast in the remaining roles.
The adaptation of the play itself worked quite well. It appeared to take as its starting point a 2009 translation by Nerida Newbigin. It preserved the “feel” of renaissance Italian while remaining friendly to a modern English-speaking audience.
In adapting the play, one change that might have been considered is the elimination of a sub-plot involving the hero’s faithful servant and a tavern keeper. It added nothing to the main action.
These quibbles aside The Mandrake was well worth attending and provided Vancouver audiences with an opportunity to see this rarely-performed work.
The Mandrake closed last night at the Gallery Theatre at the Havana Restaurant. It is an adaptation of the 1519 play “Mandragola” by Niccolo Machiavellli. A thoughtful review of The Mandrake can be found at:
http://beyondyvr.wordpress.com/2014/10/09/review-the-mandrake-at-havana-restaurants-gallery-theatre/
I only wish to add a handful of personal observations.
First, reducing the cast to two performers was not wholly successful. Using costumes (usually a coat or jacket) to differentiate the various characters only worked to a point. In scenes involving three or more characters, at times it was difficult to know which of the characters was speaking. Moreover, the costumes themselves might have been more distinctive to assist the audience in more quickly identifying and distinguishing the characters. Having the same character, at different times, played by both performers required that characterization remained relatively superficial.
It is interesting that the original casting call for The Mandrake was in the following terms: “We are looking for 4 performers to appear in our first production, an adaptation of The Mandrake by Machiavelli, staged at the Havana Theatre 7-12 oct”.
[See the July 17 entry in the Pandora Facebook page: https://www.facebook.com/theatrepandora ]
What prompted the decision to move from four to two performers in this production is uncertain but its wisdom is questionable. In my view it would have been a more satisfying experience if two actors had been cast in the two main roles, and two others multiple-cast in the remaining roles.
The adaptation of the play itself worked quite well. It appeared to take as its starting point a 2009 translation by Nerida Newbigin. It preserved the “feel” of renaissance Italian while remaining friendly to a modern English-speaking audience.
In adapting the play, one change that might have been considered is the elimination of a sub-plot involving the hero’s faithful servant and a tavern keeper. It added nothing to the main action.
These quibbles aside The Mandrake was well worth attending and provided Vancouver audiences with an opportunity to see this rarely-performed work.
Monday, October 6, 2014
Thoughts on the Vancouver Fringe
Today’s email brought a self-congratulatory message from the Vancouver Fringe. Its core theme was this:
“What an amazing 30th anniversary Festival—and calling it our best yet is no exaggeration!”
Given the yardstick by which the Fringe measures its success that assessment may be justified. But it strikes me that the yardstick is based on a backward look at the past performance of the Fringe. To label something as “best yet” can embrace a variety of evolutions – ranging from “atrocious to merely bad” to “merely good to excellent.”
I think a better yardstick is to compare the Fringe as it now it to what it might be. To make this comparison I must draw on the only other fringe festival with which I am familiar – the Edmonton Fringe. The difference between the two is like night and day. The Edmonton Fringe is a community event that draws large numbers of people who are there not only for the theatre (and many aren’t) but for the carnival ambiance that permeates the fringe area. Numbers of buskers and street artists entertain the crowds. Dismal and depressing is the only way to describe the ambiance of the Vancouver Fringe.
What can be done to improve the Vancouver Fringe experience? First and foremost is to move it to an earlier date – sometime in the summer months. September is just too late. People are in a more serious “summer is over and it is time to return to work or school” mood – not a “let’s have some fun” mood. This would have the added advantage of longer hours of daylight for evening activities and a diminished likelihood of rain to spoil the enjoyment.
Second, while Granville Island is probably as good a location as the Fringe can find, more should be done to make it more inviting. It needs a heart. The Railspur area was a good start. And it needs more temporary performance venues. Here the Fringe seems to have gone backwards. I remember fondly a large tent over a barbecue area that was reserved for very short performances – now, alas, gone. On the other hand using the SS Master as a venue was a good idea of the kind that the Fringe could use more of.
Dare one also suggest that the product might be improved. Much is made of the lottery selection system. As the Fringe website says:
"The Fringe employs an “everyone is welcome” selection technique—the Mainstage shows are literally drawn out of a hat, giving all artists, from novice to veteran, a chance to participate. The Fringe strives to break down traditional boundaries and encourage open dialogue between audiences and artists by presenting live un-juried, uncensored theatre in an accessible and informal environment."
While perhaps admirable in principle, in practice this policy results in large numbers of one-person shows which, more often than not, consist of self-indulgent monologues/rants that neither enlighten nor entertain. Arguably, some form of jurying would not be a bad thing.
No doubt those who manage the fringe can come up with a dozen excuses why this-that-or-the-other-thing cannot be done. Whatever the validity of these excuses may be, it is still sad to see the Vancouver Fringe no living up to its full potential.
I took in six shows at the 2014 Fringe. For what they are worth here are my rankings and comments.
Little One – Excellent show, best of the lot.
Dirty Old Woman – A close second
Lord of the Files – Fun and well worth seeing
Mary and Alia do Pirates – Fun but more G&S and less M&A would have been even better
The Dark Fantastic – Engaging in places but over all a bore
Apophis – So bad that words fail me
Today’s email brought a self-congratulatory message from the Vancouver Fringe. Its core theme was this:
“What an amazing 30th anniversary Festival—and calling it our best yet is no exaggeration!”
Given the yardstick by which the Fringe measures its success that assessment may be justified. But it strikes me that the yardstick is based on a backward look at the past performance of the Fringe. To label something as “best yet” can embrace a variety of evolutions – ranging from “atrocious to merely bad” to “merely good to excellent.”
I think a better yardstick is to compare the Fringe as it now it to what it might be. To make this comparison I must draw on the only other fringe festival with which I am familiar – the Edmonton Fringe. The difference between the two is like night and day. The Edmonton Fringe is a community event that draws large numbers of people who are there not only for the theatre (and many aren’t) but for the carnival ambiance that permeates the fringe area. Numbers of buskers and street artists entertain the crowds. Dismal and depressing is the only way to describe the ambiance of the Vancouver Fringe.
What can be done to improve the Vancouver Fringe experience? First and foremost is to move it to an earlier date – sometime in the summer months. September is just too late. People are in a more serious “summer is over and it is time to return to work or school” mood – not a “let’s have some fun” mood. This would have the added advantage of longer hours of daylight for evening activities and a diminished likelihood of rain to spoil the enjoyment.
Second, while Granville Island is probably as good a location as the Fringe can find, more should be done to make it more inviting. It needs a heart. The Railspur area was a good start. And it needs more temporary performance venues. Here the Fringe seems to have gone backwards. I remember fondly a large tent over a barbecue area that was reserved for very short performances – now, alas, gone. On the other hand using the SS Master as a venue was a good idea of the kind that the Fringe could use more of.
Dare one also suggest that the product might be improved. Much is made of the lottery selection system. As the Fringe website says:
"The Fringe employs an “everyone is welcome” selection technique—the Mainstage shows are literally drawn out of a hat, giving all artists, from novice to veteran, a chance to participate. The Fringe strives to break down traditional boundaries and encourage open dialogue between audiences and artists by presenting live un-juried, uncensored theatre in an accessible and informal environment."
While perhaps admirable in principle, in practice this policy results in large numbers of one-person shows which, more often than not, consist of self-indulgent monologues/rants that neither enlighten nor entertain. Arguably, some form of jurying would not be a bad thing.
No doubt those who manage the fringe can come up with a dozen excuses why this-that-or-the-other-thing cannot be done. Whatever the validity of these excuses may be, it is still sad to see the Vancouver Fringe no living up to its full potential.
I took in six shows at the 2014 Fringe. For what they are worth here are my rankings and comments.
Little One – Excellent show, best of the lot.
Dirty Old Woman – A close second
Lord of the Files – Fun and well worth seeing
Mary and Alia do Pirates – Fun but more G&S and less M&A would have been even better
The Dark Fantastic – Engaging in places but over all a bore
Apophis – So bad that words fail me
Sunday, October 5, 2014
Curtain Up
This is a new Blog. After over 40 years of theatregoing in the Vancouver area I have been persuaded to keep a more accurate record of what I have seen and my reaction to it and to offer some more general reflections as well.
Postings to this blog may be somewhat irregular but I will keep them up as best I can.
My formal list starts at the beginning of 2013 and records having seen 33 different performances during that calendar year. The year of 2014 has been more intense so far with 57 shows up to October 5th with many more to come. This has taken me to 33 different venues to date.
A Brief Look at 2013
To me the outstanding production of 2013 was "The Farnsworth Invention" by the ETC company at Jericho.
Other productions I particularly enjoyed were:
Fiorello (Applause!)
Secret Mask (at Presentation House)
Avenue Q (Arts Club)
Jack the Ripper (Vancouver Fringe)
Rocky Horror Show ( Fighting Chance)
Armstrong's War (Arts Club)
Mary Poppins (Arts Club)
The disappointment of the year was "Dream Girls" (Arts Club)
This is a new Blog. After over 40 years of theatregoing in the Vancouver area I have been persuaded to keep a more accurate record of what I have seen and my reaction to it and to offer some more general reflections as well.
Postings to this blog may be somewhat irregular but I will keep them up as best I can.
My formal list starts at the beginning of 2013 and records having seen 33 different performances during that calendar year. The year of 2014 has been more intense so far with 57 shows up to October 5th with many more to come. This has taken me to 33 different venues to date.
A Brief Look at 2013
To me the outstanding production of 2013 was "The Farnsworth Invention" by the ETC company at Jericho.
Other productions I particularly enjoyed were:
Fiorello (Applause!)
Secret Mask (at Presentation House)
Avenue Q (Arts Club)
Jack the Ripper (Vancouver Fringe)
Rocky Horror Show ( Fighting Chance)
Armstrong's War (Arts Club)
Mary Poppins (Arts Club)
The disappointment of the year was "Dream Girls" (Arts Club)
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