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Theater Reviews

Apr29

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How 2 Write a New Book for The Bible

Posted in: Events, Theater Reviews, Vancouver

“The first rule of writing: Write what you know”.

[Daniel Arnold, Anthony F. Ingram; photo by Damon Calderwood]

One of the first lines uttered by our narrator, Bill (Anthony F. Ingram puts on a strong performance here) sets the stage for the rest of the two-hour (including intermission) production of Pacific Theatre’s How to Write a New Book for The Bible. That title alone made me curious, and I imagine it would to you as well. After all, a play with that title can go either the theological route, making for a long evening of Bible recitations, or come off as a primer on writing, well, literally a holy book.

[Anthony F Ingram, Erla Faye Forsyth; photo by Emily Cooper]

Luckily for the audience, this is a combination of the two, with a great amount of humour thrown in to confront the gentle subject of aging parents close to death. Mother Mary (Erla Faye Forsyth) is a witty 82 year-young gal who gets the best lines in the play. Erla is fabulous in this role; speaking with her at the opening reception, this is a real-life situation for her as she’s currently living at home looking after her own folks.

Playwright Bill Cain has put his own life into the play as well. How to Write a New Book For The Bible has been performed in the US; this is the autobiographical play’s Canadian premiere.

The simple set includes a solitary door, chair, old TV and two concrete bricks. The floor contains the Cain family tree on name plates, right down to playwright William.

In the play, Bill and older brother Paul (a sharp performance by Jessie-nominated Daniel Arnold) are caring for their aging mother. While Paul is back in El Paso, Bill is reluctantly put in charge of living at home with Mom. You see, Paul has a “real job”, while Bill is just a writer. This is the biggest difference between the two: one is the athlete, the other, a scholar. On top of Bill’s parental care and script writing on the side, he’s a priest. And therein lies the premise of the play’s title. Bill wants to rewrite a book for The Bible.

[Byron Noble; photo by Damon Calderwood]

Theological references to family are peppered into the comedic story line. This is a tale told by all four characters, though Bill is the lead narrator. During key monologues, soft melodies are played in the background. Interwoven into the play are family rules and what’s fair. The four Cains proceed to sound off a list of rules, as they come from a functional family. As this plays out, a lot of family frustrations surface, making for excellent character build up.

“Unconditional love makes way more demands than conditional love.”

This theme is strongly brought forth by Bill and Paul’s mother, who’s had a rough life, a strong work ethic, but instilled the never-give up-attitude in both sons. Another interesting facet of the play is having the characters talk in the third person. Paul and Mary both give very powerful performances and were my favourite two characters in How to Write. Byron Noble completes the picture as Peter, the dad and Mary’s husband, who appears in both life and afterlife. Both Daniel Arnold and Byron Noble play a few characters during the course of the play.

[Byron Noble, Erla Faye Forsyth; photo by Damon Calderwood]

While the first half conveys the family mold, the second half has more to do with Mary’s inevitable exit from this world. Acting as priest, Billy closes the production, giving much food for thought as well as a lovely, simple after-life ending to the story. Kudos to Set Designer Lauchlin Johnston for his attention to detail. Try to visit the set during intermission and after the play. There’s a lot happening on both the walls and floors.

[Byron Noble, Daniel Arnold, Anthony F. Ingram, Erla Faye Forsyth; photo by Emily Cooper]

This production is directed by Morris Ertman, returning for his second show at Pacific Theatre this season following his work on Leave of Absence. How to Write a New Book for The Bible continues at the Pacific Theatre through May 25.

Pacific Theatre’s landmark 30th season begins on September 20. Visit the website for its nine productions through June 2014.
Apr26

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Reviewed: A Craigslist Cantata

Posted in: Events, Granville Island, Theater Reviews, Vancouver

[Bree Greig, Veda Hille, J. Cameron Barnett, Selina Martin, Barry Mirochnick, Dmitry Chepovetsky]

As you enter the Arts Club’s Revue Stage, you’ll arrive to find a brick wall set, with lamps of every size and shape suspended from the ceiling. The golden hues of the lamps on stage produces an effect similar to that of a nightclub. There’s a drum kit to one side, a piano on the other.

This sets the scene for an 80-minute musical romp through a series of songs and spoken word culled from Craigslist ads. Do You Want What I Have Got? A Craigslist Cantata is back by popular demand from its humble 2009 PuSh Festival beginnings. A collaboration of singer/composer Veda Hille and writer/broadcaster Bill Richardson, this piece is an ode to both Vancouverites and everyday objects.

“300 Stuffed Penguins,” “Chilli Eating Buddy,” “Decapitated Dolls,” and “Metal Head Looking for a Metal House” are only a few of the hilarious tunes brought to life by four strong talents: J. Cameron Barnett, Josh Epstein, Selina Martin, Bree Greig, plus musical accompaniments by Barry Mirochnick and Marguerite Witvoet.

They’re all tightly integrated into the musical and all give strong performances. In fact, they look like they’re having a blast up on stage. Josh Epstein is the new player on the team; the only production photos available at the time of this writing include last year’s cast with Dmitry Chepovetsky.

[Bree Greig, Selina Martin, J. Cameron Barnett, Dmitry Chepovetsky]

Think about it: Craigslist exists in 70 countries and has over 20 billion page views with 50 million new ads posted each month. This is prime fodder for song creation! If you’ve not yet seen or heard Veda Hille’s song cycles, this is a perfect opportunity for induction. Her songs are remarkably original, heartfelt, and intimate.

We tried to find a negative aspect of the production, but the only thing we could agree upon was that some of the words are hard to decipher in the songs; several are fast-paced and unfortunately, a few were lost on us. In the end though, we left with smiles on our faces. This is a treat of a show, one that I hope will be back for many more renditions. After all, 50 million new ads per month, right Veda and Bill?

Do You Want What I Have Got? A Craigslist Cantata is directed by Amiel Gladstone and continues through May 18 at the Arts Club Theatre’s Revue Stage.

All photos by David Cooper.
Apr3

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Reviewed: Billy Elliot the Musical

Posted in: Musical, Theater Reviews, Vancouver

[Billy Elliot cast photo]

In Billy Elliot the Musical, one boy sets out into the world to make his dreams come true. Set in small-town Britain, the story follows Billy as he stumbles out of the boxing ring and into a ballet class, discovering a surprising talent that inspires both his family and community, changing his life forever. While Billy is busy with weekly boxing lessons, deep down they’re really not of interest to him.

Based on the successful 2000 film, Billy Elliot the Musical features music by Elton John, choreography by Peter Darling, and direction by Stephen Daldry. I was hoping to hear some T Rex, but this is not a movie remake. Let me emphasize that early on.

If you’ve seen Billy Elliot the movie, be prepared for some variations in Billy Elliot the Musical. While some of the lines are taken right from the film, other scenes provide a few turns off the path. I found the stage sets, choreography, and lighting all very solid, however the soul of Lee Hall’s original story was lost during most of the first half.

In this production, there’s very little border between the lives of the Elliot family and the 1984 coal mining strike taking place outside their home. A poster in the Queen Elizabeth theatre lobby points to how the strike played a major role in society, affecting over a quarter-million-member union, one of the strongest in Britain. As in both the film and Broadway Across Canada production, the Thatcher years reflected a sea change in both mood and pride.

At times I’d wished to have seen the Elliot’s struggles set further away from the angry mob. The stage scenes appear claustrophobic, especially when the young ballerinas weave through the cops. Symbolism yes, but confusion at times for the story.

Stage sets are sparsely furnished to reflect the economic downturn; the only colour comes from Billy’s (Drew Minard) and buddy Michael’s scenes. Michael (Jake Kitchin) is enjoyable to watch, especially when he raids his sister’s colourful armoire.

Having seen the film version a few days ago (to refresh my memory of the story), I vividly recall his passion fueled when watching the young girls at the makeshift ballet school take their lessons. In this version however, that passion is sadly missing until well into the second act.

A few lines in the play are really unnecessary to the story line, but added for fun and whimsy, particularly Mr. Braithwaite (Patrick Wetzel), the ballet school’s piano accompanist. Another strong example is Grandma (well-performed by Patti Perkins), who comes to life with a bright wit and dance numbers, a strong contrast to the film version where she’s nearly comatose.

As well, Billy’s Mum (a lovely performance by Molly Garner) plays a more prominent role here than in the film, lending her soft voice to guide Billy in a few key scenes.

[Janet Dickinson, Drew Minard, Samantha Blaire Cutler and cast of “Billy Elliot the Musical”. Photo by Amy Boyle]

Particularly enjoyable is Billy’s “Angry Dance”, where out of sheer frustration with his situation, the young, hopeful star strikes out against a battery of police shields and loud music. Dad’s “Deep Into the Ground” follows in Act II, set six months later into the story. We learn about his younger days, melancholy, and lost love. Rich Hebert has a beautiful voice: both his passion and anger fuel the play.

Drew Minard is a fabulous young talent, while Janet Dickinson’s Mrs. Wilkinson is a bit overbearing but fits right into the role as feisty ballet school teacher. A key scene is included at a different moment in the musical than in the film. I’ll leave it to readers to decide whether this is a positive thing. Overall a fun production with a lot of energy.

Billy Elliot the Musical continues through April 7 at the Queen E Theatre. Visit the Broadway Across Canada website for more information.
Mar21

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Reviewed: 2 Pianos 4 Hands

Posted in: Events, Music, Theater Reviews, Vancouver

[Richard Greenblatt and Ted Dykstra]

2 Pianos 4 Hands is a comedic look at two pianists thrown into a variety of situations, some quite hilarious, others close to any budding pianist’s heart. Last night, I attended the opening of Richard Greenblatt and Ted Dykstra’s musical romp, one that has become one of our country’s best-loved and most successful productions.

The Arts Club’s Stanley Industrial Alliance Stage was beautifully set with two grand pianos and two large empty picture frames, beautifully bathed in brilliant blue light. During the course of the two-act (with one intermission) play, the two frames project various window illustrations and colours to reflect the mood of the scenes. There are many short scenes that transition nicely from piano instruction to a full-fledged music academy entrance exam session.

Being a former piano student in my youth, I could easily relate to the drudgery of lessons, practice, patience, and at times just wanting to give up and belt out some “Chopsticks” or “Heart and Soul”.

[Ted Dykstra and Richard Greenblatt]

Mad finger skills and sight gags are two of Richard and Ted’s best qualities. Keep a close eye on them both as the evening progresses. They’re a riot to watch.

Since its 1996 Toronto premiere, 2 Pianos 4 Hands has been performed over 4,000 times at 200 different theatres in Canada and around the world. Close to two million people have enjoyed the talented team to date.

This is the duo’s farewell run. I highly recommend getting tickets for a night of comedic genius and melodic mastery. 2 Pianos 4 Hands is created, directed, and performed by Ted Dykstra and Richard Greenblatt and continues through April 14 at the Stanley Industrial Alliance Stage, 2750 Granville Street at 12th Avenue, Vancouver.
Mar7

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How Has My Love Affected You?

Posted in: Events, Granville Island, Theater Reviews, Vancouver

Boxes filled with memories piled high on stage, an electronic keyboard, and a walker—what transpires over the course of Marcus Youssef’s How Has My Love Affected You?, a one-act, 90-minute play is a tender, personal account of family obligations, memories, and personal strife, recalled through words and song.

Veda Hille’s lovingly-composed music is written to correlate with Roleene’s dream journals and countless diaries of life that encapsulates her youth, university years, divorce fallout to seeking solace through living in hotels for months on end. Marcus goes through several of the journals, photos, and documents in the presence of his teenage son Zak (on vocals and keyboard).

Together they role-play, share a few laughs, and take the audience on a whirlwind tour of the life that is Roleene.

Love her or hate her, Marcus has a wealth of relationship tales to share with the audience. According to Marcus, “it’s me attempting to tell—as truthfully as I can—a story that’s based on a bunch of stuff that really happened, to me, and my loved ones. It’s just my point of view, and in many ways the piece is about how you can discover that your point of view is only your point of view.”

The title of the play refers to a piece of writing that Marcus discovered hidden in the back of a cabinet near packs of long-abandoned non-dairy creamer. “How Has My Love Affected You?” becomes the question that Youssef sets out to answer during the course of the play.

To give you an idea as to some of the brutal truth that Marcus discovers on his journey through the diaries, witness May 1, 2000: “I wouldn’t mind forgetting Marcus, his name, everything. And his father George.”

The story is given added dimension by using a smartly crafted DIY banker’s box projector that shows the audience up close and personal photos from his life on a projection screen. He’s even got his parents portrayed as cutout dolls pasted onto wooden sticks for a bit of hilarity in an otherwise intense experience.

Much of the audience was blown away as the house lights came up. This story speaks to many of us dealing with elderly parents, difficult relationships, and ways to cope with the baggage you’re left with.

After the show, I briefly spoke with Marcus about opening up such difficult life experiences to an audience of strangers. He definitely feels a release after each show. He’s been on stage with this story in the past, via a slightly different story and setup, but in the end, it’s all about the connection you make with others who’ve perhaps gone through some of the same emotional drain.

Marcus Youssef is the artistic director of Neworld Theatre in Vancouver, as well as an award-winning actor, writer, teacher and producer. And during this particular show, he plays the most important role of all—that of Roleene Youssef’s son.

“How Has My Love Affected You?” is complex, humourous, intelligently staged and a lovingly told ode to one’s mother. The Arts Club Theatre production continues at Granville Island’s Revue Stage through March 23.

All photos by David Cooper.
Jan31

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Boeing-Boeing Lands at the Stanley

Posted in: Events, Theater Reviews, Vancouver

[Moya O’Connell, Jonathon Young]

Bernard (Jonathon Young), a successful architect living in 1960’s Paris, is in the enviable position of having three airline stewardesses to claim as his fiancée in Marc Camoletti’s Boeing-Boeing. The hilarious romp through the lives of the three women, a Parisian housekeeper (brilliantly executed by Vancouver favourite Nicola Lipman), a bachelor, and his old buddy from the States makes for a fine evening of laughs.

Boeing-Boeing is the most performed French play in the world, with the 2008 Broadway revival run receiving two Tony Awards.

[Kimberley Sustad, Jonathon Young, Nicola Lipman]

The Arts Club held its media opening last night to a packed house. Set Designer Amir Ofek brings lots of white to the stage, recreating a typical bachelor pad, along with the requisite bar near the couch. Space-age silver pillows, groovy chairs, and other details lend themselves to a well-heeled architect’s apartment in the heart of the city of lights.
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Jan30

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Strange Undoing of Prudentia Hart

Posted in: East Vancouver, Events, Theater Reviews

[L to R: Paul McCole, Melody Grove, Annie Grace, David McKay, Alasdair Macrae]

Gather round the tables of ye old Wise Hall in East Van, and hear the story of the National Theatre of Scotland’s The Strange Undoing of Prudentia Hart. This David Grieg piece directed by Wils Wilson is told throughout the entire space as characters move about the seated audience.

Prior to the show, the cast performs on bagpipe, guitars, flutes, and fiddle, while the audience settles in for an entertaining two hour (plus intermission) show. Last night’s opening was filled with PuSh Festival theatre-goers.

PuSh Executive Director Norman Armour caught The Strange Undoing a year and a half ago in Scotland. From that point on, he was determined to bring it to Vancouver audiences.
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Jan23

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Reviewed: Ride the Cyclone

Posted in: Events, Granville Island, Musical, Theater Reviews, Vancouver

After having seen Jacob Richmond’s Legoland a handful of years ago, I was excited to see what Victoria-based Atomic Vaudeville had up their sleeve to coincide with the 2013 PuSh International Performing Arts Festival.

The 95 minute, one-act Ride the Cyclone was originally produced in Victoria and chosen for Toronto’s 2010 Summerworks Festival before heading on a national tour the following year.

[Rielle Braid, Kelly Hudson]

Ride the Cyclone won the Dora Mavor Moore Award for best touring production along with receiving multiple honours at the Toronto Theatre Critics Awards (including Best New Musical, Best Direction, and Best Supporting Actor in a musical).

Last night’s sold-out opening captured the gem of a theatre company that is Atomic Vaudeville. Through the colourfully designed stage set and lighting wizardry, six high schoolers bring their stories back to life after a freak ride on the Cyclone roller coaster kills them all. Uranium, Saskatchewan may be in the middle of nowhere to these kids, but each one of them has a story to tell, and lovingly does so, while the Amazing Karnack (a mechanized fortune teller) watches from the sideline.

[Elliott Loran]

Particular stand-outs include Kholby Wardell (in the role of Noel Gruber), Rielle Braid (as Ocean Rosenberg), and Elliott Loran (playing Ricky Potts). All six actors (with Kelly Hudson, Jameson Matthew Parker, and Sarah Jane Pelzer rounding out the cast) harmonize brilliantly together.

[Rielle Braid, Sarah Jane Pelzer]

By the time the show’s hit the halfway point, I was enjoying watching the characters, paying less attention to what the final outcome would bring (announced by Karnak at the beginning of the story). The storyline is weak, but the resolve of these kids, particularly the lives they left behind, is what makes this show so entertaining to watch. That, and the four sets of red eyes staring out at the stage (aka the band), adding a sense of macabre to the darkly comedic tone of the play.

Watch for the excellent choreography (courtesy of Treena Stubel), Rebekah Johnson’s creative lighting design, and Hank Pine’s very cool set to round out a fun time. Ride the Cyclone is written by Jacob Richmond, with music and lyrics by Brooke Maxwell and Jacob Richmond.

Ride the Cyclone, A Musical Thrill Ride, continues through February 16 at the Granville Island Stage.

All photos by Tim Matheson.
Jan11

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Reviewed: The Theory of Everything

Posted in: Events, Theater Reviews, Vancouver, Yaletown

[Alvin Tran, Isaac Kwok]

It’s often said that what happens in Vegas usually stays in Vegas. But what if you spend each and every Saturday for three years waiting for something to happen that never does?

The Theory of Everything takes in a group of seven Asian-Americans who gather on top of the Chapel of Love, owned by husband and wife team Hiro (BC Lee) and Patty (Aurora Chan). When Grandma May (Linda Leong Sum) claims to have seen a UFO spaceship on the roof one evening, it sparks Lana (Quynh Mi) to lead a vigil should the aliens return.

[Isaac Kwok, Alvin Tran, Qunh Mi]

The stage is set in the round, with a card table and chairs in one corner, and a lounge chair and plants in another. This space is mostly where May (brilliantly made up by makeup wiz Tamara Caviglia to look 65) holds the fort, spending most of the two act play in a sublimely reclined position on the lounge chair.

UFO books are strewn across the card table and on the side of the stage, keeping the alien theme in check. A lovingly created illuminated Chapel of Love mixed media art piece is suspended by a couple of chains off to the side of the stage.

What transpires for the rest of the evening are a series of stories told through the eyes of these seven people spanning three generations, connected by their various cultures. They’ve all assimilated into the American lifestyle, though some have had a rougher time of it than others.

[Yvette Lu, Linda Leong Sum, Aurora Chan]

The characters harmonize well together, each one with a personal tale to tell. My favourite character is Hiro, who dreams of winning the Super Lotto so that he can finally return to his native Japan. By the time the show’s over, he’s made a decision that impacts several other characters.

There are several comedic and tender moments woven throughout the two act (with intermission) play, with standout roles by BC Lee as Hiro and Isaac Kwok as Nef, Lana’s brother.

While the stories told were both entertaining and thoughtful, I didn’t find the end that captivating, one that had little to do with another UFO sighting, but rather something off-cuff that left me wishful for something more substantial.

Thai-American playwright Prince Gomolvilas‘ writing has been described as a combination of Kevin Smith and Diablo Cody. He’s also one of the foremost Asian-American award winning playwrights on the scene; The Theory of Everything has won three major awards. His other plays include Big Hunk o’ Burnin’ Love and the stage adaptation of Scott Helm’s novel, Mysterious Skin.

Vancouver Asian Canadian Theatre’s The Theory of Everything continues through January 13 at the Roundhouse Performance Centre.
Jan6

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Relephant Theatre: Ordinary Days

Posted in: Events, Granville Island, Musical, Theater Reviews, Vancouver

[Shane Snow, Alison MacDonald]

The Relephant Theatre Co-op is back with a heart-warming musical that takes place on the streets of NYC: Ordinary Days. The cast includes several Jessie award-winners and local theatre favourites, bringing Adam Gwon’s work to Granville Island’s Carousel Theatre. This is the same venue that had audiences raving about “The Exquisite Hour“, Relephant’s 2010 Vancouver Fringe Festival hit that later spent a longer run at the Revue Stage in 2012.

Gwon, a multi award-winning musical theater writer, created and composed a one act, 80 minute play that focuses on four characters, each coming from a different path in life, intersecting in and around a city that’s often lonely, frustrating, and uncertain. Themes of sacrifice and failure balance out the happier moments.

The stage is set with random props and lighting scattered around the room, including several empty art frames, tables, lamps, bookshelves, desks, and several seats right in the middle. According to Set and Costume Designer Jessie van Rijn, the large carpets are meant to represent NYC’s streets, with each theatre goer a citizen of its blocks.

[Steven Greenfield, Jennie Neumann]

Positive thoughts are written out by audience members and collected prior to the show, coming into play later on.

Julie McIsaac, the show’s director, also puts in fine evening of piano accompaniment, as well as sharing musical direction credit with Steven Greenfield (who lovingly portrays quirky dreamer Warren).

Claire (Alison MacDonald) and Jason (Shane Snow) are the couple de jour, who’ve just made plans to move in together. Typical expectations follow, and in a big, bad crazy city they soon begin to question their relationship. The other two roles, Deb (Jennie Neumann) and Warren (Greenfield) have a more interesting time getting their connection sorted out.

Warren’s house sitting in a beautiful city apartment with a view for an eccentric artist who’s currently in prison. Warren’s created a dead-end, thankless career out of collecting and distributing art and creative thoughts. When he finds Deb’s thesis notes (with an email address written on the back), he decides to make contact, to return the book to its rightful owner. He just might be curious about the woman behind those notes, too.

[Jennie Neumann]

All four talents are entertaining to watch, but Jennie Neumann’s strong vocals and chaotic character are a standout. I also enjoyed her greatly as Tracy Turnblad in the Arts Club’s 2011 Hairspray.

Post 9/11 New York is alive and well in Ordinary Days. Gwon addresses several issues that we can all relate to, the centrepiece being connection. I took one of the play’s early quotes, “On the road of life, let no obstacle no matter how big or small stand in your way”, to symbolize New York City’s massiveness. Each character eventually feels overwhelmed in one way or another.

Ordinary Days continues through January 19th. Advance tickets at the very affordable $15 (plus service fee) are available online.

All photos by Jessie van Rijn.