Around the World in 80 Days Auditions Set for September 9!

September 1st, 2015

 Gallery 7 Theatre will be holding open auditions on September 9 at 6:30PM for the comedy/adventure, Around the World in 80 Days, the opening production of the theatre’s 25th Anniversary Celebration! Season. The auditions are open to all male and female performers ages 18- 75 and will be held at Gallery 7 Theatre’s rehearsal hall at Huntington Station, #100 – 34595 3rd Ave, Abbotsford.

 

Around the World in 80 Days is based on the Jules Verne classic novel and is adapted for the stage by Mark Brown. On a whim, wealthy adventurer Phileas Fogg makes a bet with his friends that he can travel around the world in a mere eighty days. The problem? It’s 1872 and the airplane hasn’t been invented yet! Accompanied by his trusty servant, Passpartout, Fogg embarks on a journey unlike any other, dodging a pesky, ill-informed detective at every turn. This mad-cap adventure-comedy features raging typhoons, runaway trains and stampeding elephants!

 

Around the World in 80 Days is a super-fun, whirlwind adventure story” explains Ken Hildebrandt, Executive/Artistic Director of Gallery 7 Theatre. “We produced this show a few years back and received fantastic audience feed-back. Being that this season marks our 25th anniversary, I thought this was the perfect time to bring this hilarious show back to our stage.”

 

The play will run November 6 & 7, 11 – 14, 2015 @ 7:30 PM with discount matinees on Nov. 7 & 14 at 2:00 PM at the Abbotsford Arts Centre, 2329 Crescent Avenue,  Abbotsford. Call-back auditions will be held on September 10 and rehearsals will commence the week of September 14. The production will be directed by Cody Friesen, who recently graduated from the theatre program at Trinity Western University’s School of the Arts, Media and Culture in Langley.

 

To register for the audition, or for more information, please contact Gallery 7 Theatre at 604-504-5940 or visit their website at www.gallery7theatre.com. Those interested in working behind the scenes are also invited to attend the audition.

 

Season passes for the entire 2015/2016 “Celebration!” Theatre Season are now available through the theatre’s website, or by contacting House of James at 2743 Emerson Street, Abbotsford or 604-852-3701. Please visit www.gallery7theatre.com for details.

 

 

 

 

Ruby Slippers Theatre’s 2015/16 Season Release!

September 1st, 2015

Ruby Slippers Logo

 

 

 

 

 

 

 

 

Ruby Slippers Theatre is thrilled to present a season celebrating diversity of perspective through Canadian plays that are political, haunting, enraging and hilarious. For the past 27 years, Ruby Slippers Theatre has created, produced and presented provocative text-based theatre from the vanguard of the English and French Canadian canon, illuminating diverse perspectives and social issues. The 2015/16 season furthers this commitment, while reflecting our penchant for smart social satire that is infectiously entertaining.

 

2015/16 AT A GLANCE

 

Advance Theatre: New Works by Women

This is your Advance notice: women are taking back the stage.

 

Ruby Slippers Theatre in partnership the Vancouver Fringe Festival and Equity in Theatre present Advance Theatre: New Works By Women, September 14-18 at 1:30pm, False Creek Gym (1318 Cartwright Street on Granville Island).  Admission by donation (suggested $5 – $10).

 

Five new plays by female-identifying playwrights will receive public readings in an exciting collaboration between some of Vancouver’s finest theatre artists. According to a national study, women account for less than a third of artistic directors, working directors, and produced playwrights in professional Canadian theatre. That means that a lot of political, haunting, enraging, and hilarious voices haven’t yet been heard.

 

Curated by Ruby Slippers Theatre with priority given to diversity, the plays include: Kitmat, Sept. 14, a documentary play on the effects of the pipeline referendum on an industry town, by esteemed BC playwright Elaine Avila and directed by Kate Weiss; 27 Voices by S.M. Hunter, Sept. 15, directed by Quelemia Sparrow, a poetic and intense play in honour of Canada’s missing and murdered indigenous women and girls; Colleen Ann Fee’s After Love, Life, Sept. 16, a lyrical love song, directed by Tammy Bentz; Trialogue, Sept. 17, a complex and intellectual one-act by emerging playwright Carolyn Nakagawa directed by Marisa Smith; and Forget About Tomorrow, Sept. 18, a warm and witty tribute to the strength of family by Jill Daum directed by Vancouver theatre legend Pam Johnson, with songs by Jill’s husband, John Mann.

 


 

You Will Remember Me

November 17-28, 2015 at The Cultch Historic Theatre, 1895 Venables Street, Vancouver, BC

Tickets and information: thecultch.com

 

Written by François Archambault, translated by Bobby Theodore / Starring Kevin McNulty, Patti Allan, Sereana Milani, Marci T House, Craig Erickson / Directed by Diane Brown / Set and Props Design by Heidi Wilkinson / Costume Design by Jessica Oostergo / Lighting Design by John Webber / Video Design by Corwin Ferguson / Sound Design & Composition by Joelysa Pankanea / Stage Manager, Lois Dawson / Assistant Stage Manager, Melissa McCowell

 

A deeply personal and moving new play about a family and memory from one of Québec’s most compelling writers. When the aging patriarch of a modern family, a powerfully intellectual and political force in his community, suffers from dementia, the people who love him struggle to care for him.

 

The List

March 10-19, 2016 at the Gateway Theatre, Studio B, 6500 Gilbert Road, Richmond, BC

Tickets and information: gatewaytheatre.com

 

Written by Jennifer Tremblay, Translated by Shelley Tepperman / Starring France Perras / Directed by Jack Paterson / Set and Lighting Design by John Webber / Costume Design by Drew Facey / Sound Design by Mishelle Cuttler / Stage Manager Lois Dawson

 

In this moving translation of Jennifer Tremblay’s play La Liste, we experience one woman’s struggle as she fights through the memories leading to her friend’s death. A woman constantly making to-do lists so as not to forget anything, she overlooks one item that leads to a tragedy. This causes her to question: “Could I have done more?”

 

5 @ 50

May 13 – 29, 2016 at PAL studio theatre, #300-581 Cardero Street, Vancouver, BC

 

Written by Brad Fraser / Starring Carmen Aguirre, Diane Brown,  Deborah Williams, Donna Yamamoto, and Beatrice Zeilinger / Directed by Cameron Mackenzie Deveau.

 

Ruby Slippers Theatre and Zee Zee Theatre present the North American premiere production of 5 @ 50 by Brad Fraser. When Olivia loses control at her fiftieth birthday party, her three best friends decide to intervene once and for all, much to the irritation of Olivia and her long-term partner Nora. But is she the only one battling a demon or does each of these women face an addiction of one kind or another? 5 @ 50 is a raw and darkly comedic portrayal of women in mid life. It is also a bold examination of addiction and intervention, and of the friendships we can’t live without.

 

Ruby Slippers Theatre gratefully acknowledges the support of the Canada Council for the Arts, the BC Arts Council, the Province of British Columbia, the City of Vancouver, and the Vancouver Foundation.

 

Season Sponsors:

cwwestfluevog

 

 

Nominations open for BC Multiculturalism Awards

September 1st, 2015

The B.C. government has called for nominations for the British Columbia Multicultural Awards, designed to draw attention to our province’s multicultural champions, be it a deserving individual, business or organization.

Five categories are open for nomination – individual, business, organization, youth and multicultural excellence in government. Recipients in the first four categories will receive $5,000 to be donated to a non-profit organization of their choice to further support the work of multiculturalism in the province, and all recipients will take home a trophy.

Past British Columbia Multicultural Award recipients include: Karen Dhaliwal, the founding president of the UBC Intercultural Alliance; The Community Justice Centre which, since 2007, has successfully conducted 22 community-based events focused on countering racism, homophobia and hate while promoting diversity, multiculturalism and intercultural understanding; and CIBC, one of the first corporations in Canada to dedicate an entire month to the celebration of diversity with their Diversity Matters Initiatives.

The British Columbia Multicultural Awards (previously known as the Provincial Nesika Awards) were started in 2008 to recognize the people, organizations and businesses whose exceptional work helps bring our diverse cultures together. The name was changed this year to better reflect the purpose of the awards and to promote multiculturalism.

The Government of British Columbia, with advice and support from the Province’s Multicultural Advisory Council, organizes the British Columbia Multicultural Awards to honour and celebrate British Columbia’s cultural diversity and Aboriginal heritage.

The most ethnically diverse province in Canada, B.C. welcomes nearly 40,000 new immigrants every year. Almost 30% of British Columbians have emigrated from another country in their lifetime and one-quarter of the people in the province are self-identified visible minorities.

In 2015, the B.C. government will spend more than $1.6 million to engage cultural groups, to fight racism and discrimination and to promote multiculturalism. With one million job openings expected by 2020 in B.C., immigrants will play a vital role in the economic well-being of the province.

All nominations must be received by 5 p.m. on September 21, 2015. For more information, eligibility requirements, or to download the British Columbia Multicultural Awards nomination form, visit: www.EmbraceBC.ca .

 

 

 

 

Artist’s Open Letter to Party Leaders Calls for National Vision for the Arts

September 1st, 2015

 

Fannina Waubert de Puiseau is a dramaturge, director, and performance creator who divides her time between Germany and Canada. Fannina writes extensively about theatre, exploring its intersections with techniques and notions of adaptation, contemporary culture, and democracy. She has recently penned an open letter to federal party leaders on the state of arts policy in Canada. The letter reads:

To:

  • Stephen Harper and the Conservative Party of Canada
  • Elizabeth May and the Green Party of Canada
  • Thomas Mulcair and the New Democratic Party
  • Justin Trudeau and the Liberal Party of Canada

Ladies and Gentlemen,

We are writing to you out of concern for Canadian arts and culture. A significant discussion of the importance, development, and direction of arts and culture in Canada, along with appropriate funding measures for the sector, has been absent from the federal election campaigns of all parties. By all accounts, the role of the arts in Canadian society seems bound to remain undefined past the election. This is disconcerting, particularly in consideration of current discussions about the state of Canadian democracy.

As has been widely acknowledged, Stephen Harper’s tenure as Prime Minister has seen controversial measures in relation to Canadian democracy, including the Fair Elections Act, the legacy of the G20,electoral fraudcuts to the CBC, loss of the long-form censustreatment of First NationsSenate scandals, muzzling of Canadian scientists, the end of the Canada Health Accord, etc. These measures have left Canadian democracy injured and vulnerable. (1)

Historically, the arts have functioned as a means of reflecting these circumstances — of engaging with, questioning, and criticizing the state of society. Consider, for example, the many works of Leonard Cohen or Margaret Atwood. Consider Michel Tremblay’s play Les Belles-soeurs, Sky Gilbert’s Drag Queens on Trial, Tomson Highway’s The Rez Sisters, Hannah Moscovitch’s This is War, Brad Fraser’s Unidentified Human Remains and the True Nature of Love — the list goes on. These works have been instrumental in the social, moral, and democratic education of Canadians, allowing their readers and audiences to employ their intellects and imaginations independently, to construct and negotiate possible versions of the world, to explore, ponder, and deliberate. “The kind of problem that literature raises,” is crucial, because, as Northrop Frye points out, it “is not the kind that you ever solve.” (2) In other words, the arts comprise an essential component of Canadians’ intellectual and political self-determination.

And yet, for decades — more specifically since the 1990s, when Mike Harris’ Common Sense Revolution spread through Toronto, Ontario, and to Ottawa — Canadian arts and culture have been increasingly devalued, marginalized from daily life, and bereft of social function and purpose. They are now deemed a luxury — or an economic driver at best — instead of a societal necessity. As playwright Michael Healey recently put it, “Culture, it was decided, is not central to this society. It’s of use, it connotes a degree of civilization, but it’s not central. Culture is great, but it’s not worthy of a place in our collective life like, say, the economy is. The economy, so easy to measure and parse and fight over and politicize, dominates our discussions about society, about what we mean to each other.” (3)

Without a central purpose — that is, without being able to lay claim to societal and democratic function — the arts have become radically vulnerable. In conjunction with Canadian democracy at large, they are endangered. In recent years, a number of artists and their works have been muzzled, if not censored. What likely comprises the most severe case occurred in 2011, when Toronto’s SummerWorks Festival lost 20% of its budget mere weeks before its opening, because the Department of Canadian Heritage unexpectedly cut the festival’s annual grant of approximately $47,000. Notably, one year prior, SummerWorks had premiered Catherine Frid and Shareef Abdelhaleem’s controversial play Homegrown, which is about the friendship between a terror suspect and a writer. According to theatre critic Richard Ouzounian, the Prime Minister’s Office had warned the public that Homegrown presented a sympathetic portrayal of a terrorist — prior to the opening of the show. Similarly, “a spokesman for Prime Minister Harper criticized the use of public funds to help SummerWorks stage Homegrown,” the Globe and Mail ’s J. Kelly Nestruck reported. (4)

In the same vein, in 2012, Michael Healey resigned from Tarragon Theatre after an 11-year residency as the institution’s playwright, when concerns arose about his play Proud, the third in a trilogy of dramas about “Canadian societal virtues,” featuring an unnamed character called “the Prime Minister”. (5) And just this week, the National Post caused controversy by first posting, then pulling, and then reposting a satirical critique of Stephen Harper by Margaret Atwood. (6) The list goes on. (7) These instances are the direct result of a lack of protection of the arts, which, in turn, implies a lack of protection of free speech. If not shielded by a clear vision for their democratic purpose, art becomes vulnerable to state interference. Moreover, without the ability to leverage a politically and publicly recognized role in Canadian society, arts and culture become disposable, flagged for possible removal at any point.

This is why our letter to you is not primarily about funding. Rather, it is about the necessity of funding aconcerted vision for Canadian arts and culture. The very lack of a clearly articulated concept for the arts in Canada has allowed Stephen Harper to dismantle essential cultural institutions under the guise of keeping other constituents’ monies seemingly stable. When the federal budget was announced in 2012, many artists breathed a sigh of relief as the Canada Council for the Arts saw its funding maintained. (8) At the same time, however, budget cuts debilitated the Canadian Conference of the Arts, the very organization that created the Canada Council in 1957. After 67 years of operation, the CCA, known for “taking the government to task” was forced to shut down. (9) Moreover, the 2012 budget outlined cuts of $1.9 million over three years for the National Arts Centre. (10) Then, paradoxically, in December 2014, Stephen Harper’s government announced an investment of $110.5 million for the architectural renewal of the National Arts Centre, “to transform it into a world-class facility” — presumably in preparation for Canada’s 150th anniversary, which will shine a global spotlight on the country. (11)

The lack of a clear vision and democratic function for Canadian arts and culture, which has pervaded Canada since the mid-90s, allows for political opacity, a lack of transparency, and arbitrary decisions in dealings with arts budgets and funding. It creates false, illusory gratefulness for the scraps Canadian artists receive. It plays us against each other instead of glueing us together. It has conjured artistic lives led in isolation, at the mercy of political whims, and in fear of sudden cuts. Under such circumstances, bereft of agency and purpose, it has become nearly impossible for Canadian artists to create thoughtful, meaningful, and — above all — socially critical and challenging artworks. Artistic proliferation in Canada, and therefore one of the country’s crucial democratic constituents, is in danger of drying up.

In order for Canada’s democracy to truly prosper — that is, for Canada to tap into its local, national, and international cultural potential — Canadian politics must develop and invest in a clear, focused vision for the role of arts and culture in Canadian society. What is now needed is a long-term concept created by government in conjunction with Canadian artists. We thus ask you to begin a conversation. Where do you see the arts in relation to society, democracy, and daily life? How do you propose for government to reinvigorate arts and culture, to protect them, and to return to them their essential democratic function? What concrete measures do you propose to take? Where do you see the cultural sector in ten, twenty years?

We look forward to receiving your responses in writing, by phone, or in person at your earliest convenience.

Sincerely,

(Click here to be a signatory to this letter)

NOTES

(1) I’m drawing directly from Aislinn Rose’s list, which can be found here:http://spiderwebshow.ca/article/why-the-canadian-arts-coalition-doesnt-speak-for-me
(2) In Northrop Frye: The Educated Imagination
(3) I’m drawing from Michael Healey, “Why So Hostile” at http://spiderwebshow.ca/article/why-so-hostile
(4) http://www.theglobeandmail.com/arts/theatre-and-performance/ottawa-cancels-funding-for-toronto-theatre-festival-that-presented-terrorist-play/article584814/
(5) http://www.theglobeandmail.com/arts/theatre-and-performance/michael-healey-and-his-play-proud/article534494/
(6) http://canadalandshow.com/article/hairgate-what-really-happened
(7) Such as this one: http://www.vancouverobserver.com/politics/harper-government-targeted-artist-her-green-conscience-internal-documents-reveal
(8) Again, Aislinn Rose: http://spiderwebshow.ca/article/why-the-canadian-arts-coalition-doesnt-speak-for-me
(9) http://www.cbc.ca/news/arts/canadian-conference-of-the-arts-winds-down-after-67-years-1.1237560
(10) http://www.cbc.ca/news/canada/ottawa/national-museums-canada-council-spared-cuts-1.1236064
(11) http://actionplan.gc.ca/sites/eap/files/budget2015-eng.pdf

 

 

 

 

 

New CEO announced for Creative BC

September 1st, 2015

In a much anticipated announcement, Creative BC, the non-profit society responsible for promoting the development of creative Prem Gillindustries in British Columbia, has appointed Prem Gill as CEO.

Prem brings over 20 years of experience in the industry with a diverse background in film and television broadcasting, communications and media, and digital technology. Prem will use her varied experience to lead the Creative BC team in positioning BC as a global leader in the creative industries when she takes on the role at the end of September.

“Prem Gill is a natural fit as the new CEO for Creative BC due to her outstanding relationship building skills, her reputation in Canada as one of the top leaders who matter in film, television and content creation and her passionate commitment to supporting local creative talent across multi-screen platforms,” said Michael Francis, Chair, Board of Directors of Creative BC.

“She will play a key role in working with the provincial government, industry stakeholders and staff to help grow BC’s creative industries and enhance the province’s reputation as a world-class centre for creative content production,” he added.

“Creative BC is an important player in developing a growing creative economy that has already seen much success and I am honoured to join and lead a team that continues to advocate for the advancement of this sector,” said Prem Gill.

“I truly believe in driving a strategy that celebrates the diverse creative industry through film, TV, books, magazines, music and interactive media and know as a community we have the tools we need to see extensive growth. By continuing to push the boundaries, we will position BC as a global leader in innovation and creativity.”

Prem’s commitment to the creative economy in BC can be seen through her work as Director of Production & Original Programming with TELUS and previous experience in the broadcast industry with CityTV and CHUM. Prem is Vice-Chair of the board of directors for the National Screen Institute, holds a board of director position with the Vancouver International Film Festival and an advisory position with Women in View.

Prem will be taking over from Richard Brownsey who retired as President and CEO of Creative BC on June 30, 2015. Brownsey played a crucial role supporting the growth of BC’s dynamic and diverse creative sector at Creative BC.

 

 

 

 

Enchanted April coming to the Theatre at Hendry Hall

September 1st, 2015

 NORTH VANCOUVER COMMUNITY PLAYERS

ENCHANTED APRIL

 

A romantic comedy by Matthew Barber

directed by Dale Kelly

produced by Rosemary Hundal

 

An intriguing advertisement in a London paper results in five very different women taking a glorious summer holiday together in a rented Italian castle. This beautiful and theatrically rewarding 1920’s play takes us on a comical, restorative journey of discovery … from dark­ness to light, from inhibition to unrestrained joy.

Production dates are September 11-12, September 16-19 and September 23-26, 2015 (preview Thursday, September 10 – $10)  in The Theatre at Hendry Hall, 815 East 11th Street (two blocks east of Grand Boulevard), North Vancouver.  Curtain: 8 pm.  Ticket prices are $18 ($16 seniors/youth 18 and under).

RESERVATIONS:  www.northvanplayers.ca or 604-983-2633

 





Economic Benefits of Culture

September 1st, 2015

Hill Strategies Logo

 

 

 

 

 

 

Hill Strategies Research Inc has released their new report on the economic benefits of culture. This special issue of their monthly Arts Research Monitor takes an extended look at data from the 2010 Provincial and Territorial Culture Satellite Account, a landmark dataset regarding the direct economic and employment impacts of culture in Canada, the provinces, and the territories.

The direct contribution of culture industries to GDP was $6.1 billion in British Columbia in 2010, or 3.2% of provincial GDP. The value added of culture industries in B.C., as a proportion of total provincial GDP, is slightly below the national average (3.4%). Culture industries in British Columbia represent 11.4% of the national GDP of culture industries. The largest contributors to the GDP of culture industries in B.C. in 2010 were visual and applied arts ($1.6 billion) and audiovisual and interactive media (also $1.6 billion).

In 2010, there were 94,800 jobs directly related to culture industries in B.C., or 4.1% of total employment. This percentage is equal to the national average. The B.C. jobs total represents 13.4% of nationwide employment in culture industries.

In B.C., the GDP of culture industries is larger than the value added of agriculture, forestry, fishing, and hunting ($3.2 billion), utilities ($4.0 billion), and accommodation and food services ($5.5 billion). However, the value added of culture is less than that of mining, quarrying, and oil and gas extraction ($9.0 billion), transportation and warehousing ($10.0 billion), and construction ($14.3 billion).

To read the full report, visit Hill Strategies Research Inc.

 

 

 

Alliance’s Federal Election Toolkit Available Now

September 1st, 2015

The Alliance’s Federal Election Toolkit is a free, non-partisan resource for getting the vote out, engaging your candidates, and being informed about the arts and culture in Canada in preparation for October 19.

Click here to be taken to the election toolkit now!

Get out the vote. Declining voter participation in Canada is a major issue. For arts and culture to be recognized in this election and by the next federal government, we all need to do our part by educating ourselves and getting our communities out to the polls. The more we in the arts community are engaged in this election, the more that the outcome will help improve the state of arts and culture in Canada. The election toolkit will give you the resources you will need to mobilize your community and to be ready to vote on election day.

Engage your candidates. Knowing who your candidates are, what they stand for, and their intentions for the arts and culture is instrumental when deciding who to vote for. As your direct link to the federal government, the winning candidate in your riding has the ability to table issues and increase the importance of arts and culture in federal decision-making. The election toolkit will help you find out who your candidates are and provide you with questions to ask them that will help you learn about their ideas and their party’s platform.

Quick arts facts. We have pulled together various resources and research to compile a list of facts about the arts and culture in Canada. For example, did you know that the arts and culture sector generates a GDP of $53.4 billion, making the sector larger than agriculture, forestry, fishing, and hunting combined? Or that our sector provides 707,012 jobs – more than double the employment in Canadian banks? Head to the election toolkit to discover more sharable facts about the arts and culture sector.

Click here to explore to our election toolkit and to provide yourself with the tools you’ll need to be ready to vote on October 19.

Join in on the social media conversation with the hashtags #artsvote, #elxn42, and #cdnpoli.

 

 

 

Neworld Theatre’s BITE OF THE UNDERGROUND

September 1st, 2015

Where: Progress Lab (1422 William Street)
When: September 19th, 2015: doors at 7pm, show at 8pm
Price: $15/$20 through Brown Paper Tickets, at Highlife Records, or cash-only at the door.

Neworld Theatre’s 10th Bite of the Underground is an exciting and diverse window into the myriad of talent in our Vancouver cultural community. Here, all on one night, you will experience a selection of bite-sized performances that will make you laugh, make you tap your feet, make you think, surprise you, and leave you wanting more.

Celebrating its 20th Anniversary Season, Neworld Theatre invites you to come and see some of the best of the city that’s bubbling just below the surface. The artists you encounter here will change what you imagine can be found in our city on any given night.

Please click here for full press release.

 

 

 

 

 

The Cultch presents: Are We Cool Now?

September 1st, 2015

Presented with Western Canada Theatre (Kamloops)

 

WHEN:  September 29 – October 10, 2015

Preview:  September 29, 8:00pm

Opening:  September 30, 8:00pm

Performance Times:  October 1-4 & 6-10, 8:00pm

Matinees:  October 3, 4, & 10, 2:00pm

 

WHERE:  HISTORIC THEATRE AT THE CULTCH

1895 Venables Street, Vancouver, BC

 

TICKETS:  Tickets from $20

On sale now at The Cultch’s Box Office, by phone at 604.251.1363, or online at www.thecultch.com

 

ADDED VALUE:  Enjoy a lively post-show Q&A on October 1 & 6

 

Are We Cool Now? is an indie rock road trip inspired by and featuring the songs of Vancouver’s own indie rock darling, Dan Mangan.  A couple sets out on a road trip, but getting away from it all causes them to reflect on their place in the world and with each other.

 

An innovative rock music/theatre fusion written by Amiel Gladstone (A Craigslist Cantata, Cinderella: An East Van Panto!), Are We Cool Now? is a unique and intimate musical exploration of contemporary relationships, full of humour, heartache and insight.

 

“It’s an indie rock musical about life and love in your 20’s and Dan Mangan’s music provides the backdrop,” says Gladstone. “I’ve always been curious about how to get the music we listen to every day on to the stage. Dan and I knew each other and I really liked his music. We looked for a narrative in Dan’s music and found themes of love, longing, nostalgia and road trips and Are We Cool Now? was born.”

 

Produced by Western Canada Theatre, Are We Cool Now? combines the talents of actor-musicians Penelope Corrin (Royal Canadian Air Farce, My Narrator) and Ben Elliott (The Comedy of Errors, Broken Sex Doll) and features Anton Lipovetsky (Broken Sex Doll, Elbow Room Cafe: The Musical) on guitar and bass, Said The Whale’s Spencer Schoening on percussion, and music and lyrics – including one new song – by JUNO Award-winning Dan Mangan.

 

“I trusted Amiel to make theatre out of my sad songs because I saw A Craigslist Cantata and thought it was fantastic,” says Mangan. “I haven’t really been a part of the development process, so I have to say I’m pretty curious to see the result. Above all, I’m honoured that he trusts the work enough to believe it can transcend a narrative form.”

 

Are We Cool Now? is written by Amiel Gladstone

Music and lyrics:  Dan Mangan

Starring:  Penelope Corrin and Ben Elliott

Director:  Amiel Gladstone

Arranger and Music Director:  Ben Elliott

Set and Lighting Designer:  Lauchlin Johnston

Costume Designer:  Cindy Wiebe

Musical Consultant:  Veda Hille

Stage Manager:  Lucy Pratt-Johnson

 

About The Cultch

Now in its 42nd season, The Cultch has been one of Vancouver’s most diverse and innovative arts and cultural institutions, offering dynamic programming in contemporary theatre, dance, and music by local, national, and international artists.  Today, The Cultch continues to enrich the social and cultural life of Vancouver by bringing world-class cultural presentations to the public, supporting the growth of emerging artists and companies, and facilitating dialogue between groups in the Lower Mainland, especially within our local community of East Vancouver.

The Cultch is so much more than just a theatre in the physical sense – our organization is looked upon as one of the foremost performing arts presenters in the country.  Widely recognized as an innovator and leader, we have played an integral role in the development of British Columbia’s artistic landscape. www.thcultch.com

 

About Western Canada Theatre:

For 40 years, Western Canada Theatre, the largest professional company in the interior of BC, has been bringing the best in theatre to audiences in the Kamloops region and throughout Canada. A vibrant regional theatre, WCT has a broad-based approach to programming, while representing the cultural mosaic we live in, with a particular focus on the First Nations of our region. WCT has a strong commitment to the production and development of new Canadian works, as well as a dedication to providing education in the arts. Although a mid-size theatre in a small city, we have earned a strong national reputation. www.wctlive.ca