Pictured: Matthew Rhodes and Sophia Paskalidis as Claudio and Hero. Photo by Javier Sotres.

Jessica Kim

It’s hard to go wrong with Shakespeare. The story and the script is guaranteed after the test of many decades, and tickets will sell. But while it’s hard to fail, it’s even harder to nail. How can you make something from a vastly different time from ours relevant without it seeming like the same old thing over and over again?

UBC Theatre’s Much Ado About Nothing directed by Lois Anderson takes a new approach to the well loved comedy. The design of the show seems cohesive at the first glance, the different elements melding together into the overall aesthetic of the show. Upon closer inspection, one can see how it actually doesn’t make any sense, yet it works, as if the pieces from the different time periods are meant to be shown together. The set is heavily influenced by Venice and a bit of Greece, but this is more evident in the costume design (Erica Sterry). The play is set in Venice in 2018, so the actors wear modern clothing throughout the play, but the party garb has them in beautiful masks reminiscent of the Venetian ones and robes and capes with a touch of French. It did seem a little off to put the “soccer players” (the change which wasn’t too crucial in the plot, but a necessary one since there are no wars Venetians are fighting right now.) in the robes, but they changed out of their gears shortly after the scene. It was wonderful to see the revolve up and running, and the revolving set (Jacqueline Gilchrist) of the dock and the estate of Dona Leonata was beautiful and well utilized. The lighting design (Erika Champion) was also exquisite, especially for the water and for Hero’s funeral.

Replacing seven of the male characters with female actors is not only practical (this class has a higher ratio of female students) but it also gives the show matriarchal power and therefore empowerment towards women, which is always quite hard to see in theatre and Shakespeare. The actors portray these powerful matriarchs, Donna Antonia (Drew Carlson) and Donna Leonata (Tebo Nzeku) with power and pizzazz. Graydon Clark as Benedick is hilarious and he knows very well how to move his body, gliding from one position to another (literally!) The sweet Claudio played by Matthew Rhodes is heartwarming and we become more and more invested in his love story with the lovely Hero (Sophia Paskalidis).

Will Claudio and Hero be able to confirm their love for each other? Will Benedick and Beatrice get together already? Come find out at the Freddie Woods until the 24th.

 

UBC Theatre’s Much Ado About Nothing by William Shakespeare is running at the Frederic Wood Theatre from November 8th to 24th, 7:30 PM Wednesday – Saturday.

 Tickets | Facebook Event | Frederic Wood Theatre

Pictured: Jalen Saip and Paige Louter. Photo by Riun Garner.

Jessica Kim

I always don’t know who to relate to when it comes to teenage coming-of-age stories. None of the stereotypes fit me or my high school friends, and their issues seem unrealistic. Perhaps it’s the exaggeration of the American high school stereotypes or my strange school with much different values. Either way, it’s hard to appreciate the story and the characters fully.

The Wolves by Sarah DeLappe at Pacific Theatre, in association with Spoon Theatre directed by Jamie King was sadly no exception. The writing of the characters were flat and unrelatable. Too many characters’ stories were strung along a thin plot with random events popping up without warning. It was meant to be raw and authentic, but came off at times as crass and unrefined. However, the actors portrayed their given roles exceptionally well, including but not limited to Kim Larson as #00, Shona Struthers as #25, Montserrat Videla as #14, and of course, Paige Louter as #46.

Louter embodies the awkward and off-setting character down to the smallest of movements and the delivery of the choppy, anti-social lines. She has different interests and lead a different life from the rest of the girls, who at first seem threatening and mean. As the play goes by, the girls go through character development and changes, but as mentioned before there were too many characters and very little time for everyone’s stories. The set was simple with a green turf set up, and the chaos as the girls talk and practice was well shown while not being too distracting from the main conversation. The lighting was simple, but evoked emotions during the heavier transitions.

The role of #02 was played by the understudy, Anjela Magpantay, stepping in for Amanda Sum due to her injury. Which was a bit ironic considering what happens in the play. (spoiler alert!) Joking aside, with the limited time and resources Magpantay had access to, she did an exceptional job with the role.

The Wolves is about what it means to grow up and be in a team, but also accepting your differences. Catch the production at Pacific Theatre until November 10th.

 

The Wolves by Sarah DeLappe is running at Pacific Theatre from October 19th to November 10th, with 8pm Wednesdays-Saturdays with 2pm Saturday matinees.

Tickets | Facebook Event | Pacific Theatre

Pictured: Linden Banks as Krapp. Photo provided by Seven Tyrants Theatre.

“Perhaps my best years are gone. When there was a chance of happiness. But I wouldn’t want them back. Not with the fire in me now. No, I wouldn’t want them back.” 

Jessica Kim

Krapp’s Last Tape by Samuel Beckett explores the different people one can be in a single lifetime. Directed by David Thomas Newham, this production starring Linden Banks focuses on both stories, looking at how they interpret the “best moment” of their lives. Both 69-years old Krapp and 39-years old Krapp speak of youth, the past, what is supposed to be the best years of their lives, to be young, healthy and happy. However, this is all relative. To 69-years old Krapp, his youth is in the tape, in the 39 year old who met the love of his life- and wouldn’t trade anything for it. There is a moment in one’s life, though one never realizes it at the time, that is the climax, the peak- and we spend our entire lives striving for it or reminiscing it. Many believe this comes with youth, but that also is relative, to how we spend our time and how long we live, even.

The set and lighting by Newham is simple yet effective, and Banks’ performance as young Krapp is strikingly different from the man he portrays on stage. They work together to create one man at two different times, longing and striving for the same thing. The play was very Beckett-esque, with all the repetition but I particularly enjoyed the silence, where Krapp just got to “be” who he was, wolfing down bananas and sifting through old tapes.

Who is the person in your past, in recording or otherwise? Is it really you? Would you go back if you could?

 

Krapp’s Last Tape by Samuel Beckett is running at Tyrant Studios above the Penthouse Nightclub from October 5th to October 26th. 

Tickets | Facebook Event | Tyrant Studios 

Pictured: France Perras as Germaine Lauzon. Photo by Tim Matheson.

“My life is shit and it always will be… This stupid rotten life!” 

Jessica Kim

Germaine Lauzon (France Perras) wins one million- one million(!) Gold Star stamps that can be traded for anything on the catalogue. When she invites her sisters and neighbors for a stamp-sticking party, the jealousy boils over and the raw truths are revealed!

This production by Ruby Slippers Theatre hosted by Gateway Theatre is directed by Diane Brown, featuring many talented women including France Perras, Pippa Mackie, Beatrice Zeilinger, Tallulah Winkelman, and Emilie Leclerc. First produced in 1968, the play was seen as vulgar and inappropriate because of its’ portrayal of working class women and the usage of Québecois French opposed to the “proper” French. Of course, it isn’t so shocking that regular people are represented in theatre any more. However, the Canadian play by Michel Tremblay is celebrating its’ 50th anniversary and it is sadly still as relevant as ever.

The women are tired and complain about their men, their lives, and the endless work they have to do to take care of family. As a group, in unison, they are fearless and unafraid to say anything and do anything. However, each and every woman has her secret. Mademoiselle Verrette (Eileen Barrett) is in love, Angeline (Kerry Sandomirsky) goes to the club every Friday, God forbid, and Lise (Agnes Tong) is pregnant. They speak honestly, but not quite- the discreet honestly is reminiscent of any gathering of women gossiping away. The monologues show this inner struggle and conflicts within the generations and classes. Some are shown in unison with multiple women, like the famous “This stupid rotten life!” and “Ode to Bingo”. They are quite rhythmic and almost slam poetry-like. These still felt fresh and highly enjoyable, not to mention effective. After hearing nearly all their stories, one cannot help but sympathize with them. Though they can be stuck up, stuffy and biased, they are pathetic and frustrated in an endearing way. Notable performance go to Lucia Frangione, who plays Marie-ange Brouilette. Her acting is convincing and her chemistry with Germaine (France Perras) and Rose (Beatrice Zeilinger) is definitely present through all the bickering and fighting.

The set is massive, though it’s not filling the even bigger stage of Gateway Theatre. I was afraid the actors and the set was going to struggle to fit the height of the stage, but Brown created levels with her blocking, placing the actors on various furniture like the sink, tables, bookshelf and chairs. The costumes unify and set apart the women at the same time, from everyday work clothes of the middle aged women to the over-the-top Pierrette (Emilie Leclerc) and “rich” Lisette (Sarah Rodgers), along with the new generation, Linda (Pippa Mackie), Lise (Agnes Tong), and Ginette (Daria Banu).

At the end, as everything falls apart, nothing changed and nothing ever will change. Germaine believes too firmly in her ideas of what proper women are (though the ones she know prove to be not so proper after all) and is too stubborn to change her ways. But if we make efforts to bridge the gap, and understand both generations, we will be able to at least reach out like Pirrette does.

 

Les Belles-soeurs by Michel Tremblay is running at Gateway Theatre from September 27th to October 6th. 

Tickets | Facebook Event | Gateway Theatre

Ivonne Zhao

SELF-ish tells a simple story: it follows the internal monologue of one Korean-Canadian woman, Esther Jin (Diana Bang), as she copes with the loss of her father. From the onset, too, it seems rather unfussy – the entire 60-minute play is a one-woman show run by Diana Bang, performed with simple lighting, a handful of sound cues, and a set made up of six cardboard boxes. But this minimalistic play is anything but simple – playwright Kuan Foo and director Dawn Milman have managed to carefully amalgamate universally felt experiences with wit and physicality to create a perfectly honest, sentimental story.

Kuan Foo’s quippy one-liners throughout the play are as funny as they are true, and Diana Bang transforms his almost poetic script into a story that becomes easily relatable to everyone, Asian-Canadian or otherwise. The balance of Diana’s gravitas and her physical comedy bring levity to darker subject matters, which the play addresses with nuance. Dawn Milman makes excellent use of the space, and although at times, the movement on stage becomes busy and hectic, it is necessary to capture the anxiety and tension that has built up inside Esther Jin and inside the audience.

All in all, SELF-ish is definitely a show worth catching before the Vancouver Fringe Festival draws to a close this weekend. Catch the last showing of SELF-ish this Saturday, September 15 at 2:15 p.m. at the Red Gate Revue Stage.

 

SELF-ish by Kuan Foo is running at the Red Gate Revue Stage as part of the 2018 Vancouver Fringe Festival, September 6th – 16th (Select times)

Tickets | Facebook Event| Red Gate Revue Stage

Jessica Kim

Somebody said: Hey, let’s do a little mini acrobatic circus show, but with only mattresses and men in tights as our equipment! So, this show was born. Josh Green, the creator and star of the show says it’s “a powerful message about procrastination… what if you fed it and it turned into something beautiful?” And indeed it is. The short, 30 minute show features Josh Green as Josh, a student living with his parents. There are three acts loosely connected by the character, first with him playing video games, then watching anime, which leads him to realize that he needs to get his life together, so he gets a job at the insurance company. However, his first client runs a peculiar business indeed…

Though there isn’t much to the plot, I like the connection between procrastination and imagination and their infinite possibilities! The tricks, flips and lifts are delightful and the colorful costumes captivate the audience. In most circus acts, you can usually tell who’s going to be lifted and who’s going to be lifting by their size, but in this show they were about the same size and build, which was impressive. It’s a fun little show worth catching! But if you’re coming from somewhere further way from Granville Island, I recommend double billing it with another show on the island just because it’s so short.

 

My Imagination Ran Away From Me by Josh Green is running at the Waterfront Theatre as part of the 2018 Vancouver Fringe Festival, September 6th – 16th (Select times)

Tickets | Facebook Event | Waterfront Theatre

Jessica Kim

“Darling. Are you here all day? All day? Marvelous!”

This show was nothing like I thought it would be, and by that I mean literally. I mean, if I actually read the press release beforehand I would’ve known, but where’s the fun in that? Yes, this was a “play” about a man with Alzheimer’s investigating his wife’s murder (who also had Alzheimer’s)… but everyone was played by Rob Gee. And when I say everyone, I mean everyone.

It works surprisingly well, though like any good old Japanese novel, you’re already halfway through by the time you know all the character’s names. Gee’s acting is charming, effective, and funny. One moment he is Janet, the ward manager (Did she kill Elsie?) and Mr. Barson at another. He is the nurse and he is the pompous detective. Based on the patients Gee encountered during his nursing days, the story is peppered with all kinds of patients and employees. While the story is funny and charming, the message is sweet and real. What becomes of you as a person when you’ve lost what makes you… you?

 

Forget Me Not – The Alzheimer’s Whodunnit by Rob Gee is running at the Red Gate Revue Stage as part of the 2018 Vancouver Fringe Festival, September 6th – 16th (Select times)

Tickets | Rob Gee | Red Gate Revue Stage

Jessica Kim

“Me first. Others, second.”

She was a mono lesbian singer-songwriter. She was a poly bisexual slam poet. Can I make it any more obvious? Poly Queer Love Ballad is exactly what the title promises. A new slam poetry musical written and performed by co-creators Sara Vickruck and Anais West, it is funny, delightful and bittersweet. On top of the simple girl-meets-girl story, there is music and poetry. Their conversations getting to know each other is a rapid exchange of single words, and the rhythm carries out the sheepish mood of the scene extremely well.

Gabbie (Sara Vickruck) is hesitant about polyamory but decides to try it for Nina (Anais West). But as time goes by, it’s clear their opposing ideas of love only gets between them. The music is lovely and sweet, the poetry powerful. They show the girls as individuals and they merge together to represent their relationship. There was great chemistry between the actors and the dialogue was smooth. We can’t help but sympathize with both of them, and feel sad and relieved about their relationship. This isn’t some random romantic comedy with queerness thrown in to make it more interesting, but rather a carefully written and performed piece showcasing the bitter-sweetness of love and the queer community at the same time.

 

Poly Queer Love Ballad by Sara Vickruck and Anais West is running at the Red Gate Revue Stage as part of the 2018 Vancouver Fringe Festival, September 6th – 16th (Select times)

Tickets | Facebook Event | Red Gate Revue Stage

Pictured: James Yi and Lee Shorten. Photo by Jalen Saip.

“I love you, too, appa, and no one’s twisting my arm to say it“

Jessica Kim

The cynic in me says representation is a fad. Disney wants it. Pixar shows it. Hollywood sells it. Black Panther, Moana, Coco, To All the Boys I’ve Loved Before, Crazy Rich Asians… People want representation, so they’ll sprinkle it into a couple movies carelessly before going back to the way things were. This Youtube video comparing Moana and Coco argues that Coco does a better job representing the culture. The culture is crucial to Coco‘s storyline while Moana‘s is a simple hero’s journey. She could’ve been “an aardvark and she had find Matt Damon and save the world… from a giant shark slayer… or something.” But does representation only mean showcasing a specific culture? Coco is also a hero’s journey at the very core.

Representation focuses mainly on a particular culture and shows it through a compelling plot. The former overdone can be toxic. We are careful to criticize Crazy Rich Asians because it is OUR movie, but by doing that we risk exotifying ourselves even more. We risk other cultures dismissing such representative narratives as “not our story”. Crazy Rich Asians is geared towards a very specific, narrow target audience. While it is good for the said audience, it isolates the rest of the world from it. Of course, not everyone is going to relate 100% to everything. No one ever does. A good representative narrative still has relatable themes and characters that brings people together, while introducing a foreign culture.

All this summer I’ve been anticipating Kim’s Convenience at Pacific Theatre directed by Kaitlin Williams. The original play that birthed the TV show was written by a Korean Canadian playwright, Ins Choi. So for obvious reasons I was excited, but I was worried that I still wouldn’t see myself in the play. I wasn’t born in Canada and I always felt a little more in-between- but it worked in my favor. I was able to see myself in most of the characters. I saw myself in Janet (Jessica Liang) following her dreams, unlike her appa (James Yi), who sacrificed his for his family. I saw myself in umma’s (Maki Yi) love and compassion towards Jung (Lee Shorten), who couldn’t stand the cultural clash between his family and the outside world (which had become part of his ideals). I saw my family and myself, through the conversations and conflicts.

James Yi did a spectacular job portraying a typical appa (dad) down to the little habits and accent. The accent! How does he even do that? Not to mention his amazing delivery of the Korean lines, though there was certainly a hint of his own accent. The dialogue was believable and highly accurate. When I tried to summarize this show to my mother, the translation of appa’s lines in my head came so easily; I just knew what he meant to say in Korean. Unfortunately, Jessica Liang’s (Janet) performance fell a little short, overshadowed by Yi’s performance. Tré Cotten plays various characters not part of the family, and makes it seem smooth and effortless.

I have to take a quick moment to appreciate the amazing set and lighting design (Carolyn Rapanos and Jonathan Kim). The set was perfect down to every piece of gum and the florescent lighting really brought out the dimly lit convenience store’s 80s ~ 90s vibes. It reminded me of old supermarkets hidden in the corners of Coquitlam run by men like Mr.Kim.

The flashback, though, was a little confusing to follow. It could have been delivered a little better with some more indicative dialogue or drastic lighting design. The fact that appa was so supportive of Janet’s relationship also caught me off guard. Unrealistic as it is, the show was mostly about appa’s character growth. It was necessary for him to accept other cultures and by association, Janet. His open-mindedness shows that as the parents were living in Canada, they also changed. Many children think they are completely different and isolated from the parents, but with enough communication, a family can come to an understanding.

And that’s what this is all about. Family. The culture plays a lot into the conflicts, but at the end of the day it is about the family’s relationship. As I bawled and laughed at the most inappropriate moments (being bilingual means you can understand dick jokes in two languages!) I saw glimpses of other people in the audience shed a tear, laugh, and become invested in this family. Yes, I’m different. But so is everybody else. While this show was representing my culture and Korean immigrant families, we all could see part of our families in it.  And that’s what stories do, isn’t it, “representation” or otherwise.

 

Kim’s Convenience by Ins Choi is running at Pacific Theatre from September 7th to October 6th, with 8pm Wednesdays-Saturdays with 2pm Saturday matinees.

Tickets | Facebook Event | Pacific Theatre