Month: November 2017

Pictured (L-R): Peter Carlone, Kim Larson, Giovanni Mocibob, Baraka Rahmani, Jalen Saip

Jessica Kim

After October hits it’s a whirlwind of holidays until suddenly it’s the new year. Halloween and Thanksgiving zipped right past me and while I’m preparing for exam weeks, it seems like the rest of the world is warming up to the holidays season. And what better way to celebrate than with a sweet, relatable rom-com anthology to warm your heart?

Almost, Maine by John Cariani is reminiscent of a couple holiday-themed films like Love, Actually and New Years Eve, but this play was a lot more subtle and, I hate to say it, wholesome. There is a scene where a character talks about whether or not to be afraid of everyday things that can potentially hurt him, but not dangerous otherwise. I was expecting the rest of the play to explore the idea further with love, and how it’s still worth it after all the pain. However, Cariani managed to keep most of them cute, relatable and light, even the ones about heartbreaks and regrets.

Pictured: Giovanni Mocibob and Kim Larson

I always have a hard time following every character’s story in anthologies, even with different actors, but I was pleasantly surprised to be following along the 18 characters pretty well with only 5 actors. Partly it was because each story was contained within itself instead of all of them happening at once, but it was highly enjoyable to see the actors change like chameleons right before my eyes.

Shoutout definitely goes to Lauchlin Johnston, the Set and Lighting Designer, whom I had the pleasure of talking to and congratulate in person after the show. The “magic realism” part really shined thanks to his spectacular, whimsical snow white set and props with paint splattered on them, hanging on the ceiling by threads. It was minimalistic yet complicated, and it brings a smile to my face thinking about them painting the props one by one and splattering paint all over it, then hanging it up on the ceiling like any yearly Christmas tree ritual.

Almost, Maine by John Cariani is running at the Pacific theatre November 24th – December 16th. Wednesday – Saturday at 8 pm with 2pm matinees on Saturdays.

Tickets: https://tickets.pacifictheatre.org or by phone 604-731-5518

Facebook Event: https://www.facebook.com/events/1190719227739516/

Jessica Kim

Kay Meek Studio Theatre presents a one-man stage adaptation of Coming Up for Air, adapted, directed and produced by Leslie Mildiner based on George Orwell’s novel of the same name!

The award-winning [Bernard] Cuffling portrays George Bowling, an insurance salesman who makes an escape from “Hilda and the kids” in London for a few days following a win at the races. George visits his boyhood village in an attempt to recapture childhood innocence, but finds it changed beyond recognition by the effects of modern life. His feelings of loss are intensified by the threat of war looming on the horizon.

Coming Up for Air by Leslie Mildiner is running at the Kay Meek Studio Theatre, November 16th – 25th 7:30pm Tuesdays – Saturdays, with matinees on Saturdays 2pm. 

Tickets: https://kaymeek.com/coming-up-for-air

Facebook Event: https://www.facebook.com/events/131476617479330/

Jessica Kim

I walked into Performance Works to see Bloody Bloody Andrew Jackson by Alex Timbers and Michael Friedman presented by Fighting Chance Productions. Actually, not true.

I walked into the United States of America.

It wasn’t subtle at all, even outrageously so, and hilarious, like the show. The lights were red and blue and the stage within the stage was set up like a rock concert, with the band right in the middle, elevated from the rest of the set that resembled a barn, with actual sawdust and dirt on the floor. There was an American flag sticking out of Andrew Jackson’s pocket. There were banners with stars on them and even the solo cups the actors were holding were red and blue. I didn’t even know these things came in colours other than red.

Considering the fact Andrew Jackson was a terrible, murderous president, the musical is funny. Director Ben Bilodeau says that “[It] is a Wolf-in-Sheep’s-clothing of a show.” The dark truth about North American history is disguised with satire and comedy. The audience roar with laughter as the show plays with expectations and the comedy is refreshing and with pleasant surprises.

Artistic Director Ryan Mooney describes the show as “Green Day meets Hamilton” and it’s true, the music is very catchy and enjoyable. There is a reason, though, other than the subject of Andrew Jackson being somewhat controversial, that Bloody Bloody Andrew Jackson isn’t Hamilton. Though the actors do a splendid job delivering the sharp satire, the pattern is evident and simply repeats itself. It gets old and predictable fairly quickly. The absurdity of it all is hilarious, but after a few scenes emphasizing how terrible Jackson was, it is hard to grasp the point of the whole story. Especially towards the end it’s uncertain what the playwright is trying to say, and the attempt to have the audience emphasize with Jackson falls flat.

The connections to Trump with the posters with a red cap and the sign, “Make America Great” is appreciated along with other fantastic directional and production choices. Putting the band centrestage is a risk, but with appropriate lighting the audiences’ attention is properly guided. It is impressive that there were little to no sound problems considering the guitars with amps built into them and the loud music in general.

It’s amazing that these talented actors can also play various instruments. Daniel Berube as Andrew Jackson is sprightly and his voice suits the music. Notable performances are Annastasia Brown and her chilling performance of “Ten Little Indians” and Christine Roskelley (Storyteller) and Thomas Chan(James Monroe), their quirky and unique acting brings life to the stage.

Overall, the writing of Bloody Bloody Andrew Jackson is a questionable, but is produced and performed extremely well.

Bloody Bloody Andrew Jackson by Alex Timbers and Michael Friedman is running at the Performance Works October 27th- November 11th 8pm, with matinees on Saturday and Sundays 2pm. 

Tickets: http://www.fightingchanceproductions.ca/

Facebook Event: https://www.facebook.com/events/1979024655703169/

Jessica Kim

It’s the set the audience first sees when they walk in. It sets them up for the show. When I walked into the Centennial Theatre for URP’s production of Jesus Christ Superstar (music by Andrew Lloyd Webber and lyrics by Tim Rice), the set was reminiscent of the biblical times, complete with pillars and a set of stairs which sat in front of the band. Yet there was, right in the center of stage, a cross made out of trusses. This was going to be interesting.

The director Richard Berg stated that “[They] are really highlighting the ‘rock’ part of ‘rock opera’.” It really shows. The musical starts out with the guitar and bass players Michael Agranovich and Devon Clarke onstage, with lighting resembling that of a rock concert, with solid blocks of colour and heavy shadows of the guitarist on the translucent screen.

Also the distinction between rock musical and rock opera is interesting. Jesus Christ Superstar is always described as rock opera opposed to musical. URP’s previous production, RENT, is a rock musical. What makes these two so different? Like opera, Jesus Christ Superstar is based on a well known story. There is no need for the plot to be completely clear to the audience. This show is more about the emotions of the characters rather than what happens. Everyone already knows what happens. Because of this a lot is expected from the actors. The “gender-blind” casting is interesting, ending up with a lot of female actors taking up the traditionally masculine roles. However, it was a little straining for the ears with the lack of baritone and bass vocals. Judas is played by Ali Watson in this production, and she is exceptional. Her performance is powerful and breathtaking. Nick Heffelfinger as the title role flaunts his impressive vocals as well.

Unfortunately the sound system was extremely loud. It may have been a nod to actual rock concerts, but it was jarring and distracting.

Notable performances are the Tormentors Kenneth Lai, Emma Schellenberg, Chantelle Ward, and Jennifer Lynch. They are the literal embodiment of inner emotional conflicts such as guilt and despair, and because the emotional aspect is so emphasized in this production, they are extremely effective. They are dressed and painted as roman statues at the temple, and while they stay silent the entire time, their energy and movement is evident, even in still poses. The choreography is haunting and jarring when need be.

Overall the production was very well put together with such a small cast, and it seems like there is a certain charm about this musical that has URP come back to it again and again, holding a special place in their hearts as the very first production they’ve done back in 1995.

Jesus Christ Superstar runs October 31st – November 5th, Tuesday – Saturday at 8pm and Sunday Matinee at 2pm. Tickets can be purchased at http://www.urp.ca

Facebook Event: https://www.facebook.com/events/117045558964970/