GVPTA: Greater Vancouver Professional Theatre Alliance

~ Trilby Jeeves

Ahhhh.. Norm Foster. Yes, we can count on good ‘ole Norm to take a simple human foible and turn it into a jovial, laughter creating script. Yes, Mr. Foster has mastered the one line zingers that turn our thoughts to our own quirkiness, especially in the rumba of relationships. Seeking perfection? Here’s some food for pondering.

The Love List produced by First Impressions Theatre, starring Dan Weber, Philip Richard Black, and Colleen Rae Lornie, and directed by Rita Arhipov is no exception.

Firstly, I had the pleasure of going to Deep Cove, one of Vancouver’s best secret (do you know about Honey Donuts? You don’t? Oh but you must!). The Cove is a quiet, gorgeous area containing some gems, one of which is the Deep Cove Shaw Theatre, where I have been fortunate to have performed and directed.

Last Friday night, I started my weekend with a giggle and a hoot as actors Dan, Philip and Colleen, obviously having a lot of fun, stomped out Norm Foster’s story of a list of what Philip’s character, Bill, would like to have in a girlfriend. As the list comes magically true, Bill and Leon are both confused until ….. well, let’s just say when they start re-writing the list, Colleen gets to pull out all her acting talents, of which she has many, and we see some rapid character changing.

Having performed in Norm Foster’s “My Darling Judith” and “Sinners” years ago, I fondly remember tremendous fun. But, also I love being in an audience when it’s a comedy and witnessing the bursting laughter, and seeing who laughs at what. On Friday night, my eye caught sight of director, Rita Arhipov, sitting in a prominent corner enjoying one particular moment smiling and mouthing all the lines. I think she was having fun, too!

First Impressions Theatre has been headed by Michael and Eileen Smith since 1983 with the goal to give actors a live opportunity to practice their craft, and for others equally passionate to participate behind the scenes. And, they are still committed. Hats off to you both!

Oh, and by the way, the last couple of lines in “The Love List” have you catch your breath with hope. Norm Foster doesn’t just make you laugh, he also makes you think.

The Love List is on at the Deep Cove Shaw Theatre until closing May 19, 2012.

Vive le Theatre!

~Kimberley MacEachern

I don’t often describe an evening of theatre as a gift, but tonight, after watching 100 Saints You Should Know (http://pacifictheatre.org/season/2011-2012/mainstage/100-saints-you-should-know) at Pacific Theatre I could call it nothing less. The beauty of such a show is that it allows you to sit back and see yourself, family, and friends in the lives of the characters onstage. Rarely do we have such moments of reflection in our lives and so to be given this opportunity is indeed a gift.

100 Saints You Should Know takes place at the junction of five lives, in the moments where they all act as catalysts for each other, moving towards unpredictable and irreversible results. Theresa (Rebecca deBoer) is a young, single mom with a teenage daughter, Abby (Katherine Gauthier). Colleen (Kerri Norris) is the widowed mother of Matthew (Joel Stephanson), a Catholic priest. Garrett (Chris Lam) is Frank the Grocer’s boy. At this moment in time each character is seeking something that they need but just can never seem to find, and their interactions, both loving and tragic, moves each closer to that which they long for. For Theresa, it’s “something expansive” to build her life on, and Abby just wants to be “clean”. Colleen wants to do what is right and she thinks she knows what that looks like, and Matthew yearns to be touched by something other than the hand of God. Garrett thinks he might be depressed and the alcohol seems to help a little, but what he really wants is to be known.

Just as it often is for me, these characters find it hardest to ask for the things they most desire. Perhaps it’s because it exposes who they really are and forces them to deal with the darkness they find inside. Near the end of the first act, we realize that Matthew is gay and are drawn into a conversation about the church and its views on homosexuality. However, I find it symptomatic of our culture that the mere existence of nudes in photographs, a man’s sexual orientation, or any other sexual reference becomes all we see and care about. This show certainly acknowledges the sexuality of its characters, but is not in intent, a show about sex. The script doesn’t even attempt to define right and wrong on this or any other matter. When Matthew is describing to Theresa the reason for his dismissal from the church, she replies, “But you didn’t do anything!” “Thoughts can be wrong” Matthew insists. Cocking her head slightly, Theresa challenges him, “Can they?”

This is a show about spirits on a journey and each person’s capability to reach beyond his or herself to meet the needs of another human being.  Ultimately, it is from each other that these characters receive the things that they most desire. Each one, no matter the darkness or confusion in their own life, takes precious moments and gives what little they have. Theresa offers Matthew touch in the form of his head in her lap, her fingers in his hair. And yes, it does seem somewhat sexual, but what you see on their faces is not lust, it is compassion, need and perhaps a tiny taste of peace.

With caring, interesting and dedicated performances across the board, 100 Saints You Should Know as directed by Anthony Ingram, is full of very few answers and I like it that way. Whether it’s through the internet, church, the news, or school, we are bombarded daily with information, opinions, “facts” and doctrines. Saints is a welcome relief from all that because it will make you laugh a lot and think even more. Humanity shining through in every performance, the interactions of these characters are so familiar to me (yes, just like Abby, I have obnoxiously screamed at my mom from across the house, though not for at least a week!)

I feel connected to these stories, almost like they’re my own. And if you’re at least a little bit like me, then you too will connect with them. So let’s do it, let’s just go ahead and call them our stories. Saints is telling one of our stories.

~ Trilby Jeeves

I must admit that when I went to see “100 Saints You Should Know” at the Pacific Theatre, I thought I might emerge a little smarter on the subject of religion, but I didn’t. Rather, I came away recalling some childhood memories of backward experiences related to religion, and with the theme of questioning life choices.

First of all, I didn’t grow up with any specific religion, and while that didn’t seem to be a problem living in cosmopolitan Banff (such a variety of cultures), in Prince Edward Island, where we moved when I was 9, it was another story.

“What are you?” I received this question many times, and I soon learned that the answer needed to be of a religious tone. I knew I wasn’t Catholic. And, I figured that “Protestant” was the default, so I tried that answer. It still felt odd. So, then I offered “Spiritual”, which in those days (1970’s) just made me look more weird.

Despite not being of a specific doctrine, I somehow ended up tagging along with friends to their various churchy functions, and sometimes those events ended up being down right strange-especially the one where I wasn’t allowed to play the running games where you could win candy. “You sit over there, Trilby, and watch.” (I didn’t “belong” to the church)

Why am I telling you these stories? Well, as a blogger for GVPTA we are encouraged to explore our reactions to plays, create discussions, hence giving the value of live performance a healthy nod.

“100 Saints You Should Know” deals with a minister who is questioning his faith, a young boy, questioning his sexuality, and a single mother and daughter who are also dancing the question tango between themselves, and inwardly. Father McNally’s mother, also part of the story, represents (for me) a “close-mindedness with heart” that reminded me of the traditional values I experienced with confusion in Prince Edward Island.

Personally, I love the idea of the Pacific Theatre and its literal connection to the church. Watching theatre or playing there (I performed in the tragedy “’Tis Pity She’s a Whore” written by John Ford in 2005) I feel a sort of “redemption” of sorts, and the irony of controversial subjects (like the minister’s struggle) within that space seems absolutely fitting.

No, I didn’t leave knowing more saints, but I came out contemplating Pacific Theatre’s mission and the openness of the church to have all sorts of issue raising topics explored within its walls. I feel reassured. I look forward to seeing more shows there.

Once again, live theatre sparked a flame of significant musing. I would love to know what alternate spaces have you seen theatre, and/or any odd or ironical juxtapositions?

“100 Saints You Should Know” directed by actor Anthony Ingram is on until May 26.

Vive Le Theatre!

~ Frances Kitson

What do we lose with the passing of the encyclopaedia? That’s the question that I’ve been musing on since seeing the preview of Relephant Theatre’s The Exquisite Hour, on at the Revue Stage on Granville Island till May 12.

Here’s the premise: on a summer evening in 1962, Zach is relaxing in his backyard, drinking his slightly spiked lemonade, when Mrs. Darimont shows up to sell him a compendium of encyclopaedias. To demonstrate their benefit, she’s brought along the “H” volume, and for the next hour, Zack discovers facts about St. Hubert, Hannibal, Swabian nobility, and other such useful subjects. He then puts that newfound knowledge to use through a series of improvised roleplaying scenarios with Mrs. Darimont, improving his ability to talk to charming young ladies. It’s quirky and charming and solid Lemoinian writing, and it got me all nostalgic for a time when encyclopaedias were still relevant.

I bet I’m not the only one who’s had a conversation that goes something like this:

“Oh, I really like that actor! I know I’ve seen her in something else, but I can’t remember what it was.” “Wait a second – I’ll Google her on my iPhone!” (Does one capitalize “Google” when using it as a verb? Hmmm.)

And boom – we have our answer.  There’s something intoxicating about being able to find the answer to a question right at the moment of asking. Thanks to your Smartphone, you don’t have to wait to get home and look it up – you can look it up as soon as it occurs to you.

I don’t like that.

Don’t get me wrong – I’m guilty of it myself (I don’t have an iPhone, but I’ve looked up plenty of irrelevant topics at work). And I fully recognise the handiness of being able to look up bus schedules when you discover that the SkyTrain isn’t going any further and the night bus doesn’t start running for another hour and it’s pouring rain.

But the giddy and instant gratification of being able to google something (I’ve decided that the capital G only applies to the noun) the moment you think of it is part of our general reduction of concentration span. Witness the thought process: “Question – ooh! Look it up on iPhone! – Ah, that’s what it is – Oh look, I’ve got a text message – Hey, I wonder what the weather is for tomorrow…” etc. Versus: “Question – make note to myself to look that up when I get home – go back to what I was doing.”

The information that you wanted was on a tangible printed page, and you had to go to the actual book itself and look up your answer. (If you bothered at all, of course. And I also bet there’s a lot of families out there whose cherished encyclopaedias served only to flatten leaves.) There was an effort involved, however minor, and the answer was to be had in a physical object.

So there are two aspects of this for me: the lack of instant gratification (if I want to know the answer, I have to go find it rather than having it at my fingertips), and the physical nature of the information (it’s been printed onto a page that I can touch).

That physical part is important for me: when I’m proofing essays and scripts and the like, at a certain point I have to print them up. I know it’s paper, and I know that paper used to be a tree, but my brain just cannot process information that it has read off a screen the same way that it can off a page. (And as e-textbooks become more common, I would be fascinated to know two things: 1) what research is being done about which neurons fire up when reading off the different media and how our brain processes the information gathered, and 2) how many people will simply print up the e-textbooks?!)

But there’s a third thing: there is something about information that stays put. The entry for “Ibex” is going to be the same tomorrow as it was today, and the same next week, and the same until the next edition of the encyclopaedia comes out. I find that restful. I know, I know – attempting to research your Grade Four project on Saskatchewan was frustrating when the underfunded school library had an encyclopaedia that was ten years old. But there is something solid about something that is physically printed and will stay that way, instead of being a virtual entity, floating out there in cyberspace and changing in some e-netherworld without you understanding exactly how it happened.

I don’t know what the appeal of that is to me, except that I might simply be someone who prefers the world to move slowly, or I might be a very tactile person who prefers to work with physical objects (as I wryly note the irony of typing virtual text onto a computer screen).

Attempting to shove the genie back in the bottle is futile and impossible and undesirable. There are many enormous benefits to the information superhighway, and it’s all relative: I’m certain that people in 1962 lamented the fast pace of modern life and pined for the day when people weren’t huddled around TV sets and there were still morning and evening editions of the newspaper. I’ve also no doubt that folks in 2062 will pine for the days of 2012, when people… well, I don’t know what. Maybe typing itself will become obsolete. Maybe I won’t even have to make that physical effort; maybe I’ll just talk to my monitor which by then won’t even be a monitor, but something different. Maybe I won’t even have to talk, I’ll just look at it and it will detect the energy of my gaze and respond accordingly.

Besides, the printing press itself was greeted with outrage, fear and suspicion. It was feared that the press would destroy the art and craftsmanship that all these monks were putting into their copying work, and would disseminate information to who-knows-what kind of rabble, putting all sorts of dangerous ideas into the heads of great and ignorant unwashed.

I hope we’re not about to see the demise of the printed word, but I don’t think the trend is favourable. The reason you see more stationery and bonbons and cushions and scalp massagers and water bottles in Chapters these days is because the book sales, frankly, are down. (Whether that’s because book sales are down everywhere or because of Amazon – which I have been boycotting ever since Wikileaks – I don’t know.)

I’m not about to go out and buy myself a compendium of encyclopaedias, and I’m not likely to stop googling (I’ve decided that one only capitalizes the proper name) random subjects or looking them up on Wikipedia. I’m just going to try to avoid doing it on impulse or as an avoidance technique, and I’m going to try staying focused on tasks at hand.

And sometimes, I’m just going to turn the damn computer off and go read a book.

~ Trilby Jeeves

Last Sunday we went to a show, an improvised show, called “The Life Game” produced by “Truth Be Told Theatre” – Veena Sood, and Jeff Gladstone. I personally was intrigued having done improvisation, and knew a bit about the original creator, Keith Johnstone.

And, anything with the word ‘life’ in its title always catches my attention for my quest to understand what we’re really doing here in this world.

For those who haven’t heard of “The Life Game”, it is a “staged biography of a guest’s life and told by the improvisational skills of the actors.” Keith Johnstone, the creator, is internationally well known in the improv circles as the guru behind the scenes.

I won’t go on about the philosophy (you can go to The Life Game Vancouver site), but want to point out that no-one really knows how the show is going to unfold because of the guest’s input, and the actors’ imaginations.

And, last Sunday night was no disappointment. Actor, Lesley Ewen was the honoured guest who was interviewed on a comfortable couch stage left by one of the improvisors’ ensemble, Lori Triolo.

She was asked many personal questions, which Lesley was forthcoming in answering. As an actor, she expressed with some playful squirming how different it felt to be in an unscripted show. And, speaking to her afterwards, she acknowledged the wonder of the form and how oddly “high” she felt.

During a normally private interview, and the subsequent improvised scenes of her life, I couldn’t help but slip to my own life answers now and then. I found images of my own childhood, my own daring expeditions, people who had betrayed me, or I had hurt. I recalled my first kiss (yes…that was one of the questions) and the following days of stunned bliss.

But, I didn’t stay with my thoughts for too long. The stories unfolding in front of me and the audience were captivating, and the actors’ renditions, guided by two directors, were outstanding, even very simple sometimes.

If I had to explain why I was so riveted by this format, I think it is because of the acute listening that occurred. Listening by the interviewer, the directors (they would decide which scenes to reenact with certain details), and the actors in how they suddenly incorporated a story element from a previous question into a current scene inspired by another question.

Since I was a kid, observing people’s listening skills has been a bit of an obsession and I haven’t always been impressed. And, now in our busy, busy world with technical ways to communicate, listening and being curious seems rare. The Life Game allows us to stop, and take the time out to truly listen and enjoy the life story of someone we don’t even know.

My favourite moment of Lesley’s was her childhood epiphany when she stood on the garden hose and stopped the water flow. That’s when she knew she was powerful.  (the hose ended up being featured in a moving finale). However, there were many, many detailed moments that caught the hearts of all of us. And, there was no shortage of laughter, too.

Held once a month at Studio 1398 on Granville Island, by the creative ensemble of Veena Sood (Co-Artistic Director), Jeff Gladstone(Co-Artistic Director), Brian Anderson, Ryan Gladstone, Denise Jones, Tom Jones, David Michard, Christina Sicoli, Tallulah Winkelman, Riel Hahn, and Associate Producer, Amanda Konkin.

Also, there were brilliant sound improvisers, Calum Smith, and Jason Poulsen. These sounds added marvelously to the energy. Thanks to publicist, Maryanne Renzetti for the invitation!

This is one of the most candid, refreshing forms of theatre I have witnessed. Check their website and their facebook page for the next guest on May 20!

~ Guest blog post by Kimberley Dawn (Directing Apprentice, Pacific Theatre, 2011-2012)

When opportunity knocks you grab it by the horns…or however that metaphor goes. I may not remember the exact phrase, but I understand what it means and isn’t that what really counts anyway?  So anyhow, it knocked, I packed a bag, because Chilliwack seemed dauntingly far for this carless Vancouverite, and I took a trip to UFV’s 17th Annual Directors’ Festival. A weekend jam-packed with student-created productions on every topic, theme and mood under the sun; I was in for a crazy treat.

The theatre is located on the Chilliwack campus, where it is bordered by a field and surrounded by a garden. So picturesque I wished I’d brought my camera (and a picnic). Groups of students gathered together along the tree-lined path,  running lines, playing games and doing those things that make old-timers like me nostalgic.  One step into the theatre lobby and I was propelled forward by an energetic mass, all of whom were all wearing those “I belong here” kind of tags around their neck. I really wanted one.

Before too long I ran into Janik Livera, a friend and 2006 UFV Theatre grad whose recent credits include Stage Managing Gallery 7’s Tuesdays with Morrie, a guest presentation at Pacific Theatre. I begged a bit and he agreed to sit down with me for a few minutes before running off to be in Christina Cocek’s Stiff Cuffs on the Studio stage. He describes the festival as the highlight of the year, and a special moment for 3^rd year students for whom this weekend is a directorial debut. For these four days, students all but live at the theatre building, acting in one show, teching five others, and trading tech shifts with each so that they can see as many performances as possible. The pervading attitude is one of excitement and camaraderie, from the time of auditions on, everyone involved is happy to be there, a bound together by something bigger than individual dreams. According to Janik, it’s pretty common to have a friend in some bizarre costume dash past you yelling “Come see my show!” and receive no further explanation. Students work hard to maintain a certain level of secrecy, wanting to surprise and delight their audiences, with nothing given away in advance.

The festival is intense; four consecutive 12 hour days of so much theatre, you couldn’t possibly shake a stick at it (and why would you want to?) The festival exposes its audience to the entire gamut: dramas, comedies, reality, and fantasy. This year includes a piece on WWII (The Field by Robert Spera), a behind-the-scenes-in-a-theatre play (The Top of 16 by Eric Bogosian), and more than a dozen about every imaginable form of relationship. Directing both the work of established playwrights, such as Aaron Sorkin and Harold Pinter, and that of their classmates, student directors gain valuable experience and perspective, as they see their creative visions come to life.

I had the privilege of taking in several shows. The first of these was the Capilano Grab Bag 3: four 15 minute pieces written by students from Capilano College. And it really was a grab bag, reach in and come out with this: children playing a disturbing version of “house”, acting out the dysfunction their own family models for them; two exes trapped in an elevator; a heart-breaking hospital scene with a patient who may never recover; and a taste of Egyptian mythology. My appetite whetted, I moved on.

Next up for me, in the Theatre, were three plays from Thompson Rivers University. Correct Address by Judd Lear Silverman showed us two men trying to deal with bitterness and regret, realizing that what it really boils down to is this; you are never ready to lose the one you love most. Mexico City by Hannah Moscovitch provided me with a good chuckle break, as a couple at odds on absolutely everything, finally re-discovers their love in the unlikeliest of moments. The third piece, Tickets Please! by Anothony Sportiello, shows us just a few moments in time, a (seemingly) chance encounter between a strange man and a busy woman that threatens to change the woman’s heart. The question begged, will she allow this one moment to change her life?

The third show that I snuck into was directed and produced by UFV students and included two short plays. The first, Just One Day by Eddie Kennedy drops us into a moment, probably the hardest in Emily’s life, as she reveals her pregnancy to her boyfriend, and they both ask the giant question, “what do we do now?” The second piece, Speak Now by Seth Kramer brings us out onto the roof of a church, and yes, the door to inside is locked. Is it coincidence or destiny that finds Casey trapped on the roof on her wedding day with the love of her life, while her groom waits downstairs?

The final leg of my journey took place in the Theatre and was comprised of three parts, all directed and produced by UFV students. The Price by Shem Bitterman is a painfully awkward first date that despite both parties’ initial interest, will not lead to a second. Men Are From Milwaukee Women Are From Phoenix by Lynda Robinson is, not surprisingly, based on the Mars/Venus book by John Gray. A couple attempts to use the book to work through their relational issues. She’s convinced they have issues and the book will help, he’s certain that neither of these things is true. Funniness and truth ensues. The third piece, The Cookie by Rosemarie Stewart takes relational issues to a whole new level. Dave blames Mavis for his anxiety (though all she seems to want from him is a little nookie) and indulges his habit, wolfing his way through a cookie bigger than his head. As the crumbs fly, Mavis demands he put the cookie down and choose her, and Dave realizes that for him, it was and will always be about the cookie.

This was my first festival, but it will not to be my last. I am blown away by the strength and energy of this creative and hard-working bunch of people! And what a fitting tribute to their year’s worth of work, this festival saw the support of family, friends, members of the public, and many alumni, including Ken Hildebrandt, UFV alum and Executive Artistic Director of Gallery 7. On their way to many more amazing shows, roles and opportunities, these students have got what it takes. Congratulations to all who participated, you guys have done a phenomenal job!

~ Celeste Insell

Well, it seems that things are really starting to blossom in New Westminster in terms of
the arts. I have always felt a real affinity for New Westminster because while the city
continues to revitalize Columbia street and surrounding areas; it also values its’ history
and retains many old heritage buildings and homes. When I stepped off the Sky Train
in New Westminster Station I was greeted by a flurry of construction and some new
gleaming office buildings that will soon also house shops, cafes and condominiums.
Speaking of cafes, there seems to be some trendy or funky little ones springing up
along Columbia. Change like Spring is in the air!

What I also liked was how right across from the New West Sky Train Station, building is
well underway for a new community centre which will house — in addition to recreation
facilities and an art gallery — a 350 seat flexible theatre space. How exciting!
All this activity just serves to emphasize how it is well worth the trip to venture out to
New Westminster to see some theatre and for the past week I have done just that.
Further up the hill, where 8th Avenue and 8th Street intersect, you can find the Massey
Theatre which is actually adjacent to New Westminster Secondary School. This high
School has the largest student population in BC (2000 students) and it looked to me
like the high school may share the theatre facilities. On Wednesday evening, April
18th, I went to Massey Theatre to see the Royal City Musical Theatre production of
“Hello Dolly!”. I used to live in New Westminster and I had often heard really great
things about this community theatre company. Well, I am happy to say I was really
surprised to see how professional the production was. It did not hurt that the part of
“Dolly Gallagher Levi” was played by Colleen Winton, a veteran actor (who has
performed at Stratford and Shaw festivals) and that she was just perfect for the part! I
remember when the play first opened on Broadway with Carol Channing in the lead. I
never got to see that production– but I remember that my mother — who was a teacher
– packed off her students to see the show. I also remember she had a great time.
Now, after seeing Ms. Winton’s portrayal, as well as the rest of the excellent cast, I
think it was great to see an “old fashion” musical and just have a good time.

One other thing I noticed, was that couched inside that funny, up-beat show was a
much more serious message about how women were considered second class
citizens in the early 1900′s. Dare I say that this musical comedy was about a
resourceful business woman living in an age where women did not have the vote?
Yes, there is actually a feminist message in all this merriment. Could it be that “Hello
Dolly” when it was first presented in the 1960′s on Broadway was taking that good old
fashion musical and turning it on it’s head to be something a bit subversive?

“Hello Dolly” is still running until April 28th, and really is great fun. You can bring the
whole family and there is even a 50/50 draw as well as a small art gallery, a
concession and a very lively atmosphere. The night I was there, the audience was just
buzzing with excitement. It was clear to me and my guest that the Royal City Musical
company is well supported by the local community. The theatre was almost
completely sold out on a Wednesday evening. How many theatres in Vancouver can
boast that!

To tell you the truth, I was afraid that I would hate this musical. I usually prefer, let’s
just say, more “edgier” fare — like “Sweeny Todd”. It is nice to be pleasantly surprised
- which brings me back to New Westminster. It is only about a twenty-five minute trip
on the sky train from downtown Vancouver; and it can hold some real surprises. It is
really great to explore Queens’ Park and all the new additions that are being built on
Columbia Street, or just take a walk along the boardwalk down by the Quay.
Another testament to how theatre is faring in the “Royal City” is the new company
called City Stage New West which has sprung up in New Westminster. Renee
Bucciarelli is the Artistic Director of City Stage New West and Sunday afternoon I went
to see this company’s staged reading of King Lear at the Holy Trinity Cathedral. Holy
Trinity Cathedral is a a beautiful old cathedral and a wonderful place to see classical
theatre performed. The first Holy Trinity Cathedral was a wooden structure and was
built in 1859. When the church was destroyed by fire a stone cathedral was built
around 1865 and the church was rebuilt in 1898 after another massive fire. This is the
structure that stands today; and it is beautiful and intimate.

When I lived in New Westminster I noted that there were an awful lot of churches in the
area per square foot ( a fact that pleased my mother when she came to visit me). One
thing I have found very interesting is how churches have often been very open to have
works staged in their cathedrals, especially the works of Shakespeare — or works that
address some of the social issues that some churches are grappling with. In fact, there
are many churches across the country who have a second life as theatres.
Interesting…., but maybe not so unusual considering that some of the first actors in
ancient Greece where actually priests. Church members and the community have
often congregated together to examine social issues through the immediacy of
theatrical production.

City Stage New West is an ambitious endeavour, because it wants to be the first
professional theatre company in New Westminster. This company was founded in
2005 and is working with many professional actors to help make this company
successful. City Stage New West is also engaging the community in New
Westminster by working on projects with both youth and seniors. The company
presented two versions of the King Lear story this season. The first was a new play
entitled “Queen Lear” that was given a staged reading on March 18, and had some
really great professional actors taking part in that reading. “Queen Lear” was directed
by Colleen Winton (who is not only a really good musical theatre artist — but is also not
afraid to tackle directing). Unfortunately, I did not get to go to that reading, but I was
able to attend the reading of King Lear and I was not disappointed. )

Speaking of testaments, I think it is a real testament to a plays’ greatness that about
400 years later (published in Shakespeare’s First Folio in 1623) we still want to go and
see a production of King Lear. Furthermore, you can go to a staged reading and still
be engaged by the story and the characters. I think what also helped the audience to
stay engaged was the skill of the performers who told the story. Even though this was
a reading, it was brought to life by the actors and there were some really wonderful
performances.

I also, want to single out Frances Kitson, who read the part of “The Fool”. This is one
of Shakespeare’s greatest roles and I am so glad that both women or men have played
this role. It is a very physical role and requires really good comic timing; and I must
say that Frances, who is also a writer and resident blogger for the GVPTA was really
quiet wonderful to watch. I also want to respond to her recent blog and say, I felt
lucky to see you perform on Sunday as well as all the other actors who brought the
play to life. I really hope you get to quit your day job and do the work you really love
doing, because we will all be richer for the experience of watching you perform.

I also hope that City Stage New West will succeed because clearly there are a lot of
people dedicated to the goal of creating this wonderful theatre company for the
community. I think that it is a real feat that this small and relatively new company has
tackled both a contemporary version of the play, as well as the original text in one
year; and on a Sunday afternoon there were a number of people in the Cathedral to
hear and see the reading. This company is plowing fertile ground. At the end of the
reading, Renee Bucciarelli was handed a bouquet of flowers and given a round of
applause. It takes guts to have a new company in these hard economic times and I am
glad that Pansy Jang (the president and founder), Renee and all the actors involved,
are opening the doors to this new professional company in New Westminster. It is not
only a welcomed addition to New Westminster but is also a company that is well worth
taking that twenty-five minute Sky Train ride (filled with some really great views of
mountains by the way) in order to check out this company’s work.

Next year, there will be a new 350 seat theatre at the New Westminster Station, as
well as that 153 year old chapel near Columbia Sky Train station. I urge you to make
the trip; and don’t forget to add to your list the annual musical production offered by the
Royal City Musical Theatre. The Royal City Musical Theatre company and Douglas
College are proving to be a great training ground for theatre artists; and if things
continue to progress, New Westminster is well on it’s way to becoming a great cultural
hub of activity. Based on my experience this week, it seems that the citizens of New
Westminster not only value their history and historical architecture, but they also value
the theatre in their community.

(“Hello Dolly” has five more shows: Wed, Thursday,Friday and Saturday night at
8:00 PM , and a 2:00 PM Matinee on Saturday. For more information and tickets
call: 604.521.5050.)

 ~ Frances Kitson

Beckett is not for the faint of heart nor the dead of brain. He makes both his actors and his audiences work, and not everyone wants that out of their theatrical experience. (But fair enough, I have to say – there are some nights when Noises Off is about as heavy as I can handle.) That said, the guy is not without his humour – and thank goodness, because as highbrow as unremitting bleakness has occasionally claimed to be, more than fifteen unleavened minutes of it turns me off.

So. To Main Street Theatre and their production of Endgame.

It was great. (“Is,” I should say, since they’re still running. Till Saturday – with a second late show Friday!) In the words of my date: “I was dreading this – but, Frances, that was awesome!” So there you go. I would agree – I periodically noticed my mouth hanging open, which I would say is a good sign, wouldn’t you?

The strongest thing for me about this production was the fact that I left thinking about something more than where my mum and I (yes, my mother was my date – I say it loud’n’proud!) would go for post-show nibbles. And the questions occupying my thoughts weren’t exactly light: 1. Why do humans keep on living when there seems to be neither point nor hope; 2. How deeply ingrained must master/servant relationships be that they can remain in place in a post-apocalyptic world?

*Totally random and self-indulgent aside: One of my favourite Far Side cartoons of all time depicts a couple in a can-filled bunker, mushroom clouds above, with the woman angrily demanding “How many times did I say it? Make sure that shelter’s got a can opener, Ernest – ain’t no good without a can opener.” (Or words to that effect.)

End of aside. *

I don’t know whether my British heritage makes me particularly interested in the second question – class has always been important to the English, and though it’s getting more flexible now (witness the latest royal wedding), there is a long history of knowing one’s place. I’m fascinated by good servants: a good servant, I imagine, derives fulfillment and pride from looking after their mistress/master, so that their sense of identity is rooted in being the person – possibly the only person – who can meet the mistress’s needs. The master may appear to weld the power, but they are dependent on the capabilities of the servant, and even more dependent on that servant’s belief in the worthiness of the dependence.

But that is an immediate and personal relationship between two people. Class is a broader issue, and in its most rigid and stratified form, it hammers home the belief that one must keep to one’s place, with clear rules about what is inside the lines and what is out. It is always, though, about the belief. It is the mind that exerts the most powerful influence here, and that is what Beckett illustrates.

Hamm is blind and has lost the use of his legs. He has no means of physically forcing Clov to obey his commands, and yet Clov does, much to his own bafflement. Why? Because – and this is just one possible answer, but it’s the one that jumped out for me – he believes he is a slave. And belief is one of the most potent agents on the planet.

If that weren’t enough to grapple with, there’s also the question of why on earth you would bother to go on living when the outside world has been reduced to rubble or shreds or sheer grey nothingness, and you are now confined to a claustrophobic existence of staring at the wall, telling interminable stories, or counting down the hours until it’s time for your dose of painkiller which – oh dear – turns out to be gone.

This, I think, is what makes Beckett so freaking difficult. How do you mount a play in which nothing happens and still engage the audience so that they don’t run out of the theatre screaming? Because the answer, I think, to the above question is that we human beings are simply programmed to go on living. There are millions – billions? – of people living in poverty and what appear to be hopeless circumstances, and yet they keep going. Many of us have gone through hellish times in our lives, but we cling to slivers of hope, and when those are gone, we cling stubbornly to life anyhow, putting one foot in front of the other.

(That is not a judgment or condemnation of those who have committed suicide.  I know people who have been suicidal, and in no way does it reflect any kind of weakness on the part of the sufferer.)

To find humour and even a possible dignity in the absurdity of continuing to live when there seems to be nothing to live for is a skill of Beckett’s, and it is an extraordinary thing. It is no light topic to muse on upon leaving the theatre, and I found myself with a profound sense of gratitude and relief that I do have so much hope, possibility, and opportunity in my life.

So bravo to Main Street Theatre – none of these were easy issues to tackle, and they have done so with skill, intelligence, and wit!

~ Carmel Amit

Henry and Alice Into the Wild, written by Michele Rimi and produced by Arts Club is the sequel play to Sexy Laundry, where the title characters first appeared while holidaying at a luxury hotel. This time they are roughing it out at a campground where things are a little less cushy than they were a few years back in 2004.

Victims to the recession, the two have less choice for their vacation destination. To save a buck, they opt for a rough and tumble camping trip. Neither is comfortable with the situation and as emotions bubble to the surface, the two are forced to deal with what’s really going on in their marriage. They are urged along by Alice’s wilder sister, who shows up at the camp ground not all together welcomed by husband Henry.

I like the idea of sequels in theatre. I’ve never seen this before. I think this is a great way to create a following and a repeat audience.

Herny and Alice are two loveable and sympathetic characters. A lot of people could relate to them. They struck a chord in me despite the fact that I am not at all in the demographic that this story is appealing to.

After reading a short interview with writer, Rimi, I learned that she has no plans to create a 3^rd sequel to Henry and Alice’s story. But I wouldn’t be surprised if we do see the two pop-up again in years to come.

And they should.

It makes me think that someone should create an episodic style play series. Audience members can come weekly, or monthly to watch their favorite characters unravel their stories, live.

A sexy cabaret style venue, with dimly lit deuces and a sweet cocktail waitress serving up fancy concoctions while a forty-five to an hour show plays through the din. Shakespeare’s time style.

This would be quite a challenge to produce and pull off, but I think it’s a fun idea.

I would love to see what happens next to Henry and Alice. I am equally interested in going back in time to discover Sexy Laundry. I never did see it. Perhaps a Henry and Alice marathon at the Arts Club?

~ Frances Kitson

There are days when a career in the theatre just doesn’t seem worth it. Looking around at your coworkers at your desk/day job, it strikes you how awfully nice their lives are. Employer-matched pensions. Company insurance plans. Paid vacation. The ability to plan a vacation six months ahead.

But, of course, the grass is greener, etc. etc. There’s about two weeks of that paid vacation, and you have to be there for a while to get a third or fourth week. (Apparently in Norway they get eight. Note to self: cash in on British passport and sign up to learn Norwegian.) That pension plan might not be all that terrific. And – here’s the kicker – you might not enjoy your job all that much.

Have you ever heard anyone count down the days till Friday in the theatre? Of course, it would be weird if they did, since they’d still have two to four performances coming. What I mean is,  have you ever encountered anyone in theatre who lives for the time that they’re away from the rehearsal hall or theatre? Neither have I.

Consider what a difference that makes: to be working with people who want to be at work. That means not only enormous energy and potential for the project at hand, but – if you’ll excuse the veering into Pollyanna territory – a lot more happiness at work.

There are exceptions. There are the times we work on a project for the money. There are the times when our post-production calendar is a chasm of emptiness, with no promise of creative fulfillment or remuneration. There are the times when the insecurity of the profession is getting to us and we are walking bubbles of anxiety, feeling defensive and inadequate.

Those experiences are real, and we need to take care of ourselves to survive those downs. There are more of us than there are roles, and the competition can poison us if we aren’t mindful.

The downs, though, are the counterbalance to the ups. And the ups, as we know, can be magical.

Every so often, that project comes along that produces electricity. Every so often, we are part of something bigger than ourselves. Every so often, there is a performance where we can do no wrong, when every moment clicks, when you can hear the proverbial pin drop, when the audience is howling and you just know that your next line is going to have them peeing their pants and you feel awfully sorry for the custodian who is going to have to deal with that but you’re still going to say it – and love it.

There is an energy that we can neither force nor control that will sometimes drop into place and carry us along. It is a privilege of the work, and the ultimate payoff for which we all strive. It won’t always appear, and its promise is not always enough to offset the need for more stability. And when we do need to step away from the theatre, we are no lesser as artists.

We know its promise will still be there when we return. We know that we can return to the work to chase it once again. And for that promise… that, indeed, makes us the lucky ones.