Oscar Nominations 2012 List

Posted on January 24th, 2012 by OUTtv

The 2012 Academy Award nominations were announced Tuesday, with Martin Scorsese’s “Hugo” leading the way with 11 nominations and the silent, black-and-white film “The Artist” collecting 10.

First-time nominees included Jonah Hill as best supporting actor for “Moneyball,” Gary Oldman as best actor for “Tinker Tailor Soldier Spy” and Demian Bichir for “A Better Life.

Actress Meryl Streep collected her 17th nomination, for her performance as Margaret Thatcher in “The Iron Lady.” She firmly holds the record for most nominations, though she’s only won twice. Jack Nicholson and Katharine Hepburn follow with 12.

 

Best Picture

“The Artist” Thomas Langmann, Producer

“The Descendants” Jim Burke, Alexander Payne and Jim Taylor, Producers

“Extremely Loud & Incredibly Close” Scott Rudin, Producer

“The Help” Brunson Green, Chris Columbus and Michael Barnathan, Producers

“Hugo” Graham King and Martin Scorsese, Producers

“Midnight in Paris” Letty Aronson and Stephen Tenenbaum, Producers

“Moneyball” Michael De Luca, Rachael Horovitz and Brad Pitt, Producers

“The Tree of Life” Nominees to be determined

“War Horse” Steven Spielberg and Kathleen Kennedy, Producers

 

Actor in a Leading Role

Demián Bichir in “A Better Life”

George Clooney in “The Descendants”

Jean Dujardin in “The Artist”

Gary Oldman in “Tinker Tailor Soldier Spy”

Brad Pitt in “Moneyball”

 

Actor in a Supporting Role

Kenneth Branagh in “My Week with Marilyn”

Jonah Hill in “Moneyball”

Nick Nolte in “Warrior”

Christopher Plummer in “Beginners”

Max von Sydow in “Extremely Loud & Incredibly Close”

 

Actress in a Leading Role

Glenn Close in “Albert Nobbs”

Viola Davis in “The Help”

Rooney Mara in “The Girl with the Dragon Tattoo”

Meryl Streep in “The Iron Lady”

Michelle Williams in “My Week with Marilyn”

 

Actress in a Supporting Role

Bérénice Bejo in “The Artist”

Melissa McCarthy in “Bridesmaids”

Janet McTeer in “Albert Nobbs”

Octavia Spencer in “The Help”

 

Animated Feature Film

“A Cat in Paris” Alain Gagnol and Jean-Loup Felicioli

“Chico & Rita” Fernando Trueba and Javier Mariscal

“Kung Fu Panda 2″ Jennifer Yuh Nelson

“Puss in Boots” Chris Miller

“Rango” Gore Verbinski

 

Art Direction

“The Artist” Production Design: Laurence Bennett; Set Decoration: Robert Gould

“Harry Potter and the Deathly Hallows Part 2″ Production Design: Stuart Craig; Set Decoration: Stephenie McMillan

“Hugo” Production Design: Dante Ferretti; Set Decoration: Francesca Lo Schiavo

“Midnight in Paris” Production Design: Anne Seibel; Set Decoration: Hélène Dubreuil

“War Horse” Production Design: Rick Carter; Set Decoration: Lee Sandales

 

Cinematography

“The Artist” Guillaume Schiffman

“The Girl with the Dragon Tattoo” Jeff Cronenweth

“Hugo” Robert Richardson

“The Tree of Life” Emmanuel Lubezki

“War Horse” Janusz Kaminski

 

Costume Design

“Anonymous” Lisy Christl

“The Artist” Mark Bridges

“Hugo” Sandy Powell

“Jane Eyre” Michael O’Connor

“W.E.” Arianne Phillips

 

Directing

“The Artist” Michel Hazanavicius

“The Descendants” Alexander Payne

“Hugo” Martin Scorsese

“Midnight in Paris” Woody Allen

“The Tree of Life” Terrence Malick

 

Documentary (Feature)

“Hell and Back Again” Danfung Dennis and Mike Lerner

“If a Tree Falls: A Story of the Earth Liberation Front” Marshall Curry and Sam Cullman

“Paradise Lost 3: Purgatory” Charles Ferguson and Audrey Marrs

“Pina” Wim Wenders and Gian-Piero Ringel

“Undefeated” TJ Martin, Dan Lindsay and Richard Middlemas

 

Documentary (Short Subject)

“The Barber of Birmingham: Foot Soldier of the Civil Rights Movement” Robin Fryday and Gail Dolgin

“God Is the Bigger Elvis” Rebecca Cammisa and Julie Anderson

“Incident in New Baghdad”James Spione

“Saving Face” Daniel Junge and Sharmeen Obaid-Chinoy

“The Tsunami and the Cherry Blossom” Lucy Walker and Kira Carstensen

 

Film Editing

“The Artist” Anne-Sophie Bion and Michel Hazanavicius

“The Descendants” Kevin Tent

“The Girl with the Dragon Tattoo” Kirk Baxter and Angus Wall

“Hugo” Thelma Schoonmaker

“Moneyball” Christopher Tellefsen

 

Foreign Language Film

“Bullhead” Belgium

“Footnote”

“In Darkness” Poland

“Monsieur Lazhar” Canada

“A Separation” Iran

 

Makeup

“Albert Nobbs” Martial Corneville, Lynn Johnston and Matthew W. Mungle

“Harry Potter and the Deathly Hallows Part 2″ Edouard F. Henriques, Gregory Funk and Yolanda Toussieng

“The Iron Lady” Mark Coulier and J. Roy Helland

 

Music (Original Score)

“The Adventures of Tintin” John Williams

“The Artist” Ludovic Bource

“Hugo” Howard Shore

“Tinker Tailor Soldier Spy” Alberto Iglesias

“War Horse” John Williams

Music (Original Song)

“Man or Muppet” from “The Muppets” Music and Lyric by Bret McKenzie

“Real in Rio” from “Rio” Music by Sergio Mendes and Carlinhos Brown Lyric by Siedah Garrett

 

Short Film (Animated)

“Dimanche/Sunday” Patrick Doyon

“The Fantastic Flying Books of Mr. Morris Lessmore” William Joyce and Brandon Oldenburg

“La Luna” Enrico Casarosa

“A Morning Stroll” Grant Orchard and Sue Goffe

“Wild Life” Amanda Forbis and Wendy Tilby

 

Short Film (Live Action)

“Pentecost” Peter McDonald and Eimear O’Kane

“Raju” Max Zähle and Stefan Gieren

“The Shore” Terry George and Oorlagh George

“Time Freak” Andrew Bowler and Gigi Causey

“Tuba Atlantic” Hallvar Witzø

 

Sound Editing

“Drive” Lon Bender and Victor Ray Ennis

“The Girl with the Dragon Tattoo” Ren Klyce

“Hugo” Philip Stockton and Eugene Gearty

“Transformers: Dark of the Moon” Ethan Van der Ryn and Erik Aadahl

“War Horse” Richard Hymns and Gary Rydstrom

 

Sound Mixing

“The Girl with the Dragon Tattoo” David Parker, Michael Semanick, Ren Klyce and Bo Persson

“Hugo” Tom Fleischman and John Midgley

“Moneyball” Deb Adair, Ron Bochar, Dave Giammarco and Ed Novick

“Transformers: Dark of the Moon” Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Peter J. Devlin

“War Horse” Gary Rydstrom, Andy Nelson, Tom Johnson and Stuart Wilson

 

Visual Effects

“Harry Potter and the Deathly Hallows Part 2″ Tim Burke, David Vickery, Greg Butler and John Richardson

“Hugo” Rob Legato, Joss Williams, Ben Grossman and Alex Henning

“Real Steel” Erik Nash, John Rosengrant, Dan Taylor and Swen Gillberg

“Rise of the Planet of the Apes” Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barrett

“Transformers: Dark of the Moon” Scott Farrar, Scott Benza, Matthew Butler and John Frazier

 

Writing (Adapted Screenplay)

“The Descendants” Screenplay by Alexander Payne and Nat Faxon & Jim Rash

“Hugo” Screenplay by John Logan

“The Ides of March” Screenplay by George Clooney & Grant Heslov and Beau Willimon

“Moneyball” Screenplay by Steven Zaillian and Aaron Sorkin. Story by Stan Chervin

“Tinker Tailor Soldier Spy” Screenplay by Bridget O’Connor & Peter Straughan

 

Writing (Original Screenplay)

“The Artist” Written by Michel Hazanavicius

“Bridesmaids” Written by Annie Mumolo & Kristen Wiig

“Margin Call” Written by J.C. Chandor

“Midnight in Paris” Written by Woody Allen

“A Separation” Written by Asghar Farhadi

 

Source: abc NEWS

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Tags: 2102, award, Oscar, oscar nomination, oscars, oscars nomination

West Coast Arts

Posted on January 23rd, 2012 by Ambassador: David C Jones

Glory Days by The Boys Upstairs Equity Co-op

Until January 28^th

 

Four high school buddies re-unite one year after graduating only to discover they have grown apart and in different ways.

 

They were high school losers who didn’t make the football team and so outcast and different they became besties.

 

  This is a 90-minute musical and that features 4 handsome and healthy men singing a pop-rock soundtrack (in the style of RENT) with passion and energy. The all white cast is dynamic with Brandyn Eddy as Skip bringing laidback seriousness and Colin Sheen as Andy provides laughs with his frat boy high-jinx.

 

There is not much plot – there is a prank they might pull on the football guys and things get a little dramatic when Jack (played with winsome dignity by Darren Burkett) comes out to the others.

 

Speaking as the writer’s voice is the always-riveting Adam Charles as Will – the young man who re-unites them.

 

Directing Sara-Jeanne Hosie keeps the show moving along with precise choreographed flourishes and light and fun energy.  The four-piece band lead by Nico Rhodes rocked!

 

Being a middle-aged fag – the thought of listening to a bunch twenty-year olds whining about how tough life is not normally my idea of a good time but I found myself enjoying the boy’s athleticism and fun and even got a little choked up at one point. These are great musical actors is a decent showcase.

 

Check out their voices on the link above.

 

 

Red by the Vancouver Playhouse

Until February 4^th

 

I love being moved by live performance – sitting in a theatre with a bunch of strangers watching other strangers pretending to be other strangers is a thrilling experience for me. If the show touches me emotionally – whether it be the truthfulness of the actors, the inventiveness of the direction or design or the insight provided by the writers – I consider it a good show. If it shakes me emotionally, makes me ponder, than that is a better show.

 

Red by John Logan is about a young artist who has come to work for Mark Rothko an American Expressionistic painter from the 1950’s. The younger artist, Ken – is a figment of the playwright’s imagination…

 

(I should first say – I am not very educated and not well versed in matters in visual art or the written word so I am saying my impressions and assumptions and may reveal myself a fool.)

 

Ken represents the future and the real world. He at first admires and then belittles the great artist, turns his own words against him and as he finds his own voice – he starts to drown out and consume the veteran artist, like the black edges of the red paintings he has been commissioned to make for the Four Season’s restaurant in the Seagram’s Building.

 

The staging by David Boechler is gorgeous – Mark Rothko’s studio is revealed within a giant cube – much like how he and his contemporaries emerged from the cubist movement. Alan Brodie’s lighting is shifting and evolving like the brush strokes in a great work. The music by Andy Creeggan is supportive and light, not overly pushy or manipulative.

 

Jim Mezon as Rothko is so bombastic and raw you feel his heart being stretched as he questions his fall from relevance.  David Coomer as Ken brings honesty and fire to the young protégé. Kim Collier’s direction of the all white cast and the whole production is assured and artful. She is sublime.

 

I was left questioning what is the significance of artists – who sometimes think their work is immortal and their worth immeasurable. Are they merely a reaction and distraction of the time they exist in, to be replace by something younger and brighter? As a bit of an artist myself I found the experience sobering and bracing.

 

Red is art.

 

Duet for One by United Players

Until February 12^th

 

When you see a show or a work of art you always look at it through your filters, your experiences, your beliefs. The same goes for me of course but sometimes when people are critics of art they take on (or are given) an all-knowing stature. I do not claim that and try to be up front about my filters.

 

Duet for One by Tom Kempinski was written in 1980 and has be re-mounted numerous times around the world and was made into a 1986 movie starring Julie Andrews.

 

Stephanie is a successful and well off violinist who is struggling with Multiple Sclerosis. Her husband has suggested she see a psychiatrist to help her process the feelings of suffering from this terminal illness that has already robbed her of the ability to play her beloved violin.

 

    I was the caregiver for my mother who struggled with Lou Gehrig’s Disease – there were moments in the play when I burst into tears, I sometimes imagined Stephanie’s lines as my mothers – who was robbed of her voice.

 

In the play Stepanie plays games as she avoids or tries to control her disease, she lies to herself and manipulates and rebuffs her therapist.

 

Alison Raine is stunning as Stephanie, cruel elitist, compassionate artist, plucky survivor and pathetic victim. There is so much ‘in the moment’ truth in her performance that I could not take my eyes off her. She is not afraid to show the ugly side of the character and that makes her journey compelling.

 

Graham Bullen as the German doctor is quiet and composed but reveals that the doctor is truly trying to help the patient despite her insistence that he is only after the money.

 

The production looks handsome as designed by Sean Malmas, Amy McDougall and Jordan Watkins. Director John Murphy guides the all white cast with an empathetic and assured hand.

 

There is great heart and passion here. The ball drops in a few spots and the ending surprisingly did not lift me or devastate me. But that may be more to my filters rather than the fault of the writing or the production.

 

I admired but was not changed by Duet for One – but that may be because my first hand experience will terminal illness cannot compete with fiction.

 

I hope their is art and love in your life.

 

The live Tops & Bottoms show celebrates it’s 200th perfromance on Monday January 30th.

 

So proud and so happy.

David C. Jones

West Coast Ambassador

 

 

 

 

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Golden Globes Winners 2012: List of Winners and Nominees

Posted on January 16th, 2012 by OUTtv

There were a lot of French accents at the 69th annual Golden Globe Awards Sunday night as The Artist,written and directed by France’s Michel Hazanavicius, was proclaimed best comedy/musical. With two other awards — one for its star Jean Dujardin and another for Ludovic Bource‘s score — the silent movie, which is in the process of taking awards season by storm, was the evening’s big film winner.

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Tags: golden globes 2012, rickey gervais, winner

Top Ten Shows in Vancouver 2011

Posted on December 31st, 2011 by Ambassador: David C Jones

Okay – now since I have been reviewing shows all year long – time to go back through the list and see what were the Top Ten.

These are the shows that either got my heart pumping, my toes tapping, my tears flowing and/or my imagination soaring. They served as a warning or inspired me to hope. These are the ones upon re-reading my reviews provoked memories that are fond and dear.

 

1) The Light In The Piazza – stunning visually a musical that I went in with low expectations and left incredible moved.

“And Katey Wright is simply phenomenal as the mother. Protective and tortured, sweet but sharp she captures her hope for her daughter to live a normal life and her fear for her safety. The character becomes more complex as you also realize her own relationship is on the rocks.

The whole cast is great and as if I could not be more effusive – they also embraced diversity in casting!!!”

2) Jesus Hopped The ‘A’ Train – bracing and shocking – a religious play that didn’t preach. Some of the best acting of the year.

“As it unfolded I pulled into the world and cared deeply as the lawyer negotiated ways to try the get Angel out of jail and Lucius tries to convert him into accepting God more fully into his life. Robert Olguin is a new actor in town and he was explosive and rage filled while being naive and lost. It was a riveting performance that frightened you but made you want to hug him at the same time.”

3) August Osage County – I have never heard an audience gasp so much as each dirty secret was revealed. Bravo actors and director Janet Wright.

“The show is hilarious – I have never laughed so hard at family dysfunction and then the thrilling roller coaster weaves and suddenly you are hit in the solar plexus as stunned tears fill your eyes. It is cruel, hopeful and unlike anything I have seen before.”

 

4) Death of A Salesman – a masterful tragedy that didn’t shy away from showing the dark or strong/wrong headedness of people.

“Tom McBeath is dynamic as the worn out but hopeful Willy Loman, fire and anger one minute and sad groveling the next. Bob Fraser and Kevin K. James are heart breaking in different ways as the sons Biff and Happy, whose heads have been filled with stories of glory. Mr, Fraser breaks your heart as we see his life force drain from him when he uncovers a sordid truth and Mr. James is all hopeful glances and tiny smiles as the mostly ignored son.”

5) Jake’s Gift –  Julia MacKay charmed me in this stunning one person show.

“There is also a great sense of the theatrical in the staging – already as the actress transforms rapidly from character to character in conversation. But there are moments like the putting on or taking off of a coat that a captivating and the riveted silence as the action happened is a testament to Ms. Mackey’s commitment to her characters.”

 

6) After Jerusalem – an impossible love story built on lies – but the need was so great that you hoped it would work out.

“What a lovely, funny and touching show!  If you want an early Christmas treasure we have here an engaging story, dynamic actors and stunning production design that stirs your heart, makes you laugh and gives you hope.”

 

 

7) Ride The Cyclone – this thoroughly original Canadian gothic musical about dead teenagers had me listening to the musical samples on their web-site over and over.

“What an amazing and original ride! The visuals complete with projections, LED lights and puppets are simple and powerful. The costumes including rock gods and bass playing rats are fun and the songs are evocative. Its weird and hilarious and a little heart wrenching.”

 

8 ) The Penelopiad – this was an unusual looking show to see at the big Stanley Theatre and I was riveted by the feminist story and delighted by the diversity in casting. Meg Roe is crazy good.

“10 of Vancouver’s best actresses play the maids and all the other characters in this beautifully talented and fully diverse cast. Quelemia Sparrow, Ming Hudson, Rachel Aberle, Sarah Donald, Lopa Sircar , Dawn Petten, Laara Sadiq, Lois Anderson, Megan Leitch and Colleen Wheeler all sing and move and shift in and out of character with such assurance that my eyes danced around the stage not wanting to miss any of their performances.”

9) Hard Times Hit Cabaret – over stuffed with creativity, this theatrical experience was at times bracing in it’s humanity and a part awe-inspiring in it’s artistry.

“The show is giddy, bizarre delightful queer friendly with a lesbian couple competing and bluesy drag number. The band Maria In The Shower are wildly energetic (the trumpet player climbs up the stand up bass in one number) and many of the audience stayed to party with the cast after the show.

The Hard Times Hit Parade is youthful creative explosion of art and fun. Treat yourself to this unique night out.”

10) Eurydice – an unexpected work by a new visionary director Missy Cross.

“It is truly without reservation that I say this… odd play by Sarah Ruhl based on The Myth of Orpheus … is an artistic triumph with astonishing performances and breathtaking stage images. Joey Bothwell as Eurydice has genuine warmth and great comedic timing. When her character has her memory erased by the Stones in the Underworld – her naive and petulant curiosity is both funny and heart breaking. Michael Barry Anderson creates a wonderful megalomaniac as the Lord of the Underworld – imposing yet childish, erotic and ridiculous; he oozes sadistic desire as Eurydice begs for mercy.”

 

Other shows that moved me were Next To Normal – rocking musical, Little Orange Man – delightfully interactive and Comedy of Errors – stunning design (addition) Falling In Time – uniquely sexual.

 

Diversity on Vancouver stages is still dramatically at odds with the cities demographics. My heart is always saddened when we seem to imply to our audiences that theatre in this town is a white man’s game.   Of the 50 or so shows I saw this year only 10 (or so) had any color in the cast. Only 4 had color when not prescribed by the script.

 

Here’s hoping this turns around in the New Year.

 

Joyously

 

David C. Jones – Middle Age Fag

West Coast Ambassador

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Top Ten Queers of the Year – Vancouver Edition

Posted on December 29th, 2011 by Ambassador: David C Jones

Time for my annual list of notable queers who made an impact on the community and on me – you may not recognize all the names but they are all uber cool. But that’s just my opinion.

Also since this is my third annual list I should clarify there are no repeats (sorry Glen) – so for continuity sake I will post a role call at the bottom of the page.

So here they are in random order –

 

Pussy Willow – one of Vancouver’s most talented drag artists, she writes her own songs and also learned how to play the Theremin, getting international exposure for her digital X-mas Cards.

 

 

Aedan Saint – took over Queer FM out at UBC and has really made it into a funky little radio program, politics, pop culture, chat and music. He also endured a very troubling family crisis that had some of the community holding it’s breath only to sigh with relief a week later.

 

 

 

Greg Armstrong-Morris – I have always adored this flamboyant and heartfelt actor since seeing him in a local production of Hedwig and then directing him in Ruthless. But it was his Brava performance in an uneven La Cage Aux Folles where I knew he was a star. Thankfully his mom encouraged “Better to be typecast than not cast.”

 

 

Barb Snelgrove – Mega mouth – she is smart and a hard worker and a boisterous personality who livens up any event she is at. The only thing I love more that seeing her hosting an event – is to be co-hosting with her.

 

 

Jason Karman – an inspiring film maker who knows what he is doing – won best short at this years Queer Film Festival for his sublime and witty In The Mood For Love. Now he is about to undertake his first queer feature, Yung Men. I can’t wait.

 

 

Ellen Woodsworth – a great city councilor who has served the Vancouver community well be being the social conscious. Shame on Occupy Vancouver for not getting their 99% together enough to get the vote out to keep her or any of the left leaning COPE party in power, they were all wiped out by the big-money supported parties.

 

Ross Johnstone – the head of the Out In Schools films series at Out On Screen has expanded the reach of the amazing program and also gone national with the anti-homophobia PSA contest. He also endured right wing attacks against the program that he handled with diligence and a smile.

 

 

 

Andrea Hector-Brown – a great musician and composer, she also graphically documented her pregnancy attempt in a short film and started a revealing blog when her long time partner started the transition from FTM. Read “I am straight now” and other entries and wonder at her candor.

 

 

Chris Gatchalian – poet and playwright who works with Sean Cummings at Screaming Weenie Productions. I sometimes get lost in his words but the really cool thing is his last show Falling In Time was embraced by a community who reveled in seeing Asian characters who were sexualized not functionary or stereotypical. I loved it for that too.

 

 

Bill Taylor – a friend and the new show manager for the live version of Tops & Bottoms – he has galvanized The Bobbers and developed new improv games like Gay Scale and Ultimate Gay Coaster. I wish Out TV would do a new season of our TV show – the queer improvisers are ten times funnier and with Bill’s work ‘gayer’.

 

 

 

Here are the past notables in my eyes. You will have to look at old blog postings or Google them to see why.

 

2010 – Romi Chandra-Herbert, Morgan Brayton, Glen Callender, Ryan Clayton, Fatima Jaffer, Sean Horlor, Cameron D.F. Mackenzie, Bill Siksay, Terry Costa, Bobby Love, Robin Perelle and a dedication to Denis Simpson.

 

2009 – Spencer Chandra-Herbert, Malaika Millions, Dean Nelson & Ken Coolen, Stephen Mulligan, Stephen Dang, Danny Enright, Michael V. Smith, Dianna David & Ryan Steele & Peter Breeze, Drew Dennis, Vancouver Film School Students.

 

Cheers Queers on the New Year!

Joyously

 

David C. Jones

 

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A few last Christmas shows! (some old, some new)

Posted on December 26th, 2011 by Ambassador: David C Jones

 

In the holiday season many arts groups present shows to celebrate or capitalize on the spirit of celebration.

In Vancouver there are two re-mounts of Christmas shows past – White Christmas and Patron Saint of Stanley Park that are quite popular (although I fail to see why really). I have already reviewed the other big shows La Cage Aux Folles and Blood Brothers, so here four other diverse holiday offerings.

 

 

The Nutcracker by The Goh Ballet

A cast of two hundred dancers brings to life Pyotr Ilyich Tchaikovsky fairytale ballet. It has been years since I have seen it and this production warmed my heart. I have been feeling cynical and suspicious in this world of environmental disaster and corporate greed but seeing little kids dressed as mice skittering about on tip toe made me giggle with joy.

Watching the exquisite and athletic men in tights got me to perk up, then when drag queen Symone came out in a 12 foot high dress as Mother Ginger I was beaming. But my sad and harden heart was completely lifted with the kids came out dressed as sheep and did four hops in unison. I was a puddle of joy.

It was an opulent and whimsical event and the Vancouver Metropolitan Orchestra was in fine form. Choreographer Anna-Marie moves the diverse and large cast around the stage in stunning movements and tableau’s.

Speaking of diverse cast – there is a part of the ballet where a bunch of cultural exotica is on display as Indian, Mexican, Japanese and Russian guest arrive and dance – thankfully the ‘aren’t foreigners exotic’ aspect is toned down by having at least some of the dancers be racially appropriately cast and their ethnicity is not over played or exaggerated for laughs.

The Nutcracker was delightfully fun and dazzling.

 

 

A Child’s Christmas In Wales, In Concert by RAPproductions

I have never been a fan of Dylan Thomas’s A Child’s Christmas In Wales – I have a childhood dread of the monotonous and over told words being spoken clearly and with such importance so I don’t miss anything but don’t take in anything either.

This adaptation directed by Michael Fera is performed by some of the city’s finest older actors. The show is framed with the device that they are forgotten street people gathering to tell each other stories.

The design of the simple show is delicate but effective. Glenn MacDonald has a bench, a few bare trees and a street persons cart to work with and he does with great skill. Sean Malmas does a wonderful job with the lighting going from stark reality of the present to the flashes of color as the storytellers explore memories of the past. Actor Doug Cameron also design the costumes and the gold and red patchwork transformed the actors with a sense of hominess and whimsy.

The all white cast were delightful and charming but some were talking at us with earnest enthusiasm as opposed to pulling us into their stories. I found piano player Dave Clothier the most consistently compelling.

So I survived another trip to Wales and felt warm and fuzzy if a little sentimental.

 

 

The other two shows I saw this Christmas season were both advertised as comedies. Both were original creations making their debut and will likely be work shopped further in the future. One was a Christmas show and the other was just whimsy.

 

Comedy needs to be about something. The basis of most comedy routines or jokes is one of four things: you know what’s weird, hard, stupid or scary.  Comedy needs a point of view and an opinion. It also has to have some foothold in truth or at least be relatable to the human experience, so the audience can buy into the story.

 

Plots need to have a protagonist who has a goal they are trying to achieve and an antagonist to push against them by having conflicting goals. Then new details and breaking the routine add complexity and will make us wonder where the journey will take us. Never do or say the same thing twice and if you set up too simple a conflict and too superficial a main character the audience will reach the conclusion long before your script does.

 

 

Christmas Crackers by better than ttee Vy productions

Jane Humphries is a grumpy office worker, possibly from the future because everyone is this office talks to a computer that seems sentient. She is fowl and the interchangeable co-workers just smile and shake their heads. They leave and she is trapped in the office by the computer but them some magic Christmas Crackers allow her to sometimes jump into the past and sometimes jump into other parts of the building. It’s never clear why.

The all white cast were cute up until when on donned a mask and did an offensive Chinese character name Sing Song who was mentally challenged or stupid because whenever someone called her by name she would forget it was her name and sing a song.

There was a naïve charm but with comedy – if the joke or the scene is not making you laugh in rehearsal – it’s not going to make the audience laugh in performance, as was the case the night I attended.  Actors were not playing their given circumstances and were randomly moved around the stage sometimes in odd geometric patterns.  Things like a talking Santa Bot (so we are in the future?) and forgotten animatronics in the basement just unfolded and stopped without effecting Jane or the story or sadly most of the audience. Some of the puppets were cool though.

 

Another truism in story telling is you can say or do anything as long as you justify it in a reasonably plausible manner, why?

 

If you are creating a world of magic of fantasy, make sure that the main characters are still easy to relate to (look how moving a animated film about a flying house was in UP – it had real complex emotions that carried us through the wonder of the talking dogs and extinct birds etc.) If it is a world of fantasy or magic we need to know the rules and there needs to be risk. Kryptonite always kills Superman, you can never get Gremlins wet. When we know the rules we will follow the story and when there is risk to the rules we will feel tension.

 

 

 

 

Super Hero Boy Band

There are moments of wild artistry and fun stagecraft as should be expected by a show that has Dusty Flower Pot alumni in it. Right at the beginning giant sperm hats shoot out of doorway atop of three actors who dance and run through the audience and then perform a hilarious choreographed dance with three large inflated ‘eggs’.

The resulting babies are given super powers and they also play in a boy band. Not really sure why. There is a big concert coming up and there is a threat of terrorism at the new Collosaleum. The boys might find the terrorists or they might do their concert or they might do neither. They might do the concert in their super hero costumes or they might not.

There are two songs and some fun set pieces including a cool magic trick that are fun diversions but the story line meanders and contains very little in the way of surprises in it’s current form. When the band breaks up at the end of act one, you know they will come together and perform at the big show by the end of Act Two.

But the all white cast looked great in their tights so this makes it lovely holiday season diversion.

I look forward to seeing the second draft of both Christmas Crackers and Super Hero Boy Band.

All the best to you this holiday season! Up next the Top Ten Local Queers of 2011!

Joyously

David C. Jones

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Unexpected pleasure and unexpected disappointment

Posted on December 4th, 2011 by Ambassador: David C Jones

After Jerusalem by Solo Collective Theatre

Until December 11^th

 

What a lovely, funny and touching show!  If you want an early Christmas treasure we have here an engaging story, dynamic actors and stunning production design that stirs your heart, makes you laugh and gives you hope.

 

Carol is a middle-aged teacher who likes to pretend she is someone else while on vacation and if she can indulge in a holiday tryst, even better. This year she has come to Israel and when visiting Jerusalem she meets a younger Russian Solider working the security check.

 

They chat and joke and when she lies and says she is a Canadian actress who knows Ryan Reynolds  (“The Green Lantern!?!” he exclaims) – he reveals he is want-to-be writer. Their interest in each other grows for different reasons and since they are both telling stories the relationship they develop is built on un-stable ground.

 

The all white cast is spectacular. Deborah Williams is one of the warmest and wittiest actresses in town and she breaks your heart while she cracks you up. I have always admired Andrew McNee but he makes Valdimir so giddily passionate with a dangerous sexuality of someone who has seen the horrors of war that you want to hug him or fuck him.

 

Rachel Peake has directed this handsome production with a striking simplicity. The thrust stage is used to great effect as she stages one of the actors far back and upstage and the other close and down stage. As their distance shrinks they interact more and more on the tiny 12 x 12 platform in front of us. The set and light design Itai Erdal is stark and evocative.

 

We all are capable of lying to improve our odds whether it is for a job on in the name of love. As these mismatched lovers start to inter-change their lies for some truths you start to hope this impossible affair will last in the violence prone Middle East. Thoroughly engaging – this is an unexpected holiday treasure.

 

 

La Cage Aux Folles by The Vancouver Playhouse

Until December 24^th

It’s rather gaudy but it’s also rather grand, but just barely. I love this script – I saw a touring production years ago when my then boyfriend bought us tickets and we sat centre row 12 and I was dazzled by the songs and dancing and the production values and it was GAY! This was about 15 – maybe even 20 years ago and I don’t think it was just love that dazzled me.

 

I also love this producing company and this director and the leads and these designers – so maybe my expectations were perhaps too high but on opening night something went horribly wrong, as we were welcomed to the notorious drag club in gay Paris where life is lived on an angle. We almost slid right off,

 

Based on a French play from the 1970’s that was made into a movie (that spawned two sequels) and then was adapted into a Broadway Musical in 1983 and was in the 90’s turned into an Americanized non-musical called The Birdcage, La Cage Aux Folles obviously has some popular appeal.

 

A gay couple, one a club promoter and the other the star drag queen Za Za – have their lives turned upside down when their son proposes to the daughter of an ultra conservative homophobe Minster of Morality. Jean-Michael wants the drag queen that raised him like a son for 20 years to disappear when the in-laws come to visit.

 

In a modern Canadian context the son seems rather petty and cruel but when it was written – a less enlightened time – the plot seemed reasonably plausible, although it was still slight.

 

La Cage Aux Folles the musical was also one of the last dance spectacular musicals before AIDS cut a swath through the Broadway choreographers of the early 80’s. The dances helped distract from the simplicity of the script. La Cagelles – the other drag queens in the club – did dazzling routines that delighted and astounded as we jumped from number after sentimental but powerful numbers like Ann On My Arm and Song On The Sand. Or comedic pieces like Masculinity and Dishes. This was Jerry Herman’s last great score and a chance to prove he was one of the greats having had a couple of bombs after Hello Dolly and Mame.

 

As I mentioned – and I am really going on – but I am so shocked but what happened on opening night – something went wrong in this production at least on that night. I am not sure what. The set was underwhelming, the Cagelles, played by local drag queens did not dance as so much struck poses and some of the cast seemed distracted performing under level and in one case screwing up the words in one of my favorite songs Look Over There.

Thankfully there were two actors in this diverse cast that made the show very  ‘grand’. Vincent Tong popped and stole every scene he was in as the maid/butler Jacob. Then there is the always-surprising Greg Armstrong-Morris as Za Za/Albin. Dynamic and funny when he sang the joyous and hopeful The Best Of Times I was beaming and clapped my hands and when he belted out the gay anthem I Am What I Am I started crying partly because he was so moving but also partly because he saved the show.

 

Tis the season for treats and disappintments.

 

Joyously

 

David C. Jones

 

 

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When writer, director and actor come together…

Posted on November 26th, 2011 by Ambassador: David C Jones

The 13^th Chair  by Studio 58

Until December 4^th

 

Get a wiggle on to the Crosby homestead – they have invited all their friends to grab a laugh at an séance by Madame La Grange. The Crosby’s son has just told his parents that he is going to marry that crazy dame Helen, but oh rot! family friend Edward Wales warns against it.

The 13^th Chair was written 95 years ago by Bayard Veillier and was made into a movie three times in the 20’s and 30’s. A whodunit, it was originally played straight but here director Sarah Rodgers sends up the material so that it is tongue in cheek comic mayhem.

With music cues and wild line deliveries she and cast have mined every inch of the material for laughs. But there is depth in the portrayals as well. Knowing that just big and loud would fatigue the audience Ms. Rodgers helps the performers ground their choices.

Kazz Leskard is the detective who arrives when Wales is found stabbed after the séance – elicits an early laugh by demanding “Who did this?” with such conviction that he will get an answer it’s hysterical. It’s not a bit of comedy business, it’s a strong big character choice.

As the giddy medium La Grange – Cheyenne Mabberly is fussy and naughty and a delight to watch. As her daughter, Emily Henney is heightened naïveté and a sexy imp. With great voices and silly personifications Andrea Houssin and Joel Ballard sing songs and dance at the top & tails of the acts adding to the theatricality.

Sometimes directors with vision come to Studio 58 – the theatre-training program at Langara College – and they can’t get all the actors on side.  It is a testament to not only her vision but also her communication skills that Ms. Rodgers gets great and consistent performances out of all her diverse cast.

Sure there was no way to really guess who the murderer was – it’s one of those mysteries where it could have been anyone, but man o’ man my companion and I could not stop giggling and smiling! I don’t mean to get in such lather about this production but it was gosh darn fun!

 

Blood Brothers by The Arts Club Theatre

Until December 31^st

I have seen this show twice and frankly I don’t get it. I thought the first production was obvious and melodramatic but it was a community theatre production so the only reason I went to this new production was because of the pedigree of the artists involved. Great cast, great directors (there were two), great production team – and I still don’t get the appeal of the show.

The premise as written by Willy Russell is that a lower class English mother, after already birthing 6 kids has found out she has twins on the way. A rich but barren English lady she cleans house for suggests she gives one of the kids to her. So one grows up rich and one grows up poor.

Oh wait – first the narrator says at the beginning that two twins are going to be born and they are going to die. Hhhmmmm, so we know how it will end.

Ignoring that, fate would have it even though separated the twins become best friends and even as they grow and move that keep being re-united and despite the different social classes remain friends.  We are told over and over one is poor and hard done by and the other is rich and well off and that they are both doomed.

The show was original suppose to be a children’s’ show which explains it’s overly simplified plot. The songs aren’t reprised so much as repeated over and over. The song ‘Marilyn Monroe’ s chorus became so annoying that every time I heard a ‘oh’ at the end of a sentence I prayed they would surprise me by saying Bridget Bardot instead.

In a good musical if you remove a song the plot would fall apart – for example if you remove “You Are Sixteen” from The Sound of Music – Rolf’s betrayal would not hurt as much. I think you can remove any song from Blood Brothers and you would still get it. Being poor sucks and the twins are going to die in the name of class injustice.

That said however this production is first rate and the cast is dynamite. Terra C. Macleod wisely plays Mrs. Johnstone desire for survival rather than pitying her lot in life, which makes her compelling to watch. Adam Charles, Shane Snow as the twins and Lauren Bowler as the friend who eventually drives a wedge between them – are spectacularly funny and touching as they have to age from 7 to mid twenties.

The whole cast are pitch perfect really and kudos to Sara-Jeanne Hosie and Bob Fraser for mining so much truth and strong choices out of underwhelming material.

One thing – and people who read my regular column here will see it coming – this show is mostly taking place urban England and it’s a cast of 12 many playing multiple parts. I had no idea that part of Europe was so very white (and heterosexual to boot).

The band lead by Sasha Niechoda is tight and the set by Ted Roberts is great. The choreography also by the dynamic Sara-Jeane Hosie is fresh and fun but to what end? For people who like their stories plainly laid out for them and who don’t like surprises Blood Brothers is likely perfect.

On opening night the audience leapt to its feet with wild applause many with tears in their eyes I am sure, so obviously it touches many. Maybe I am becoming temperamental with age?

 

The Tempermentals by Fighting Chance Productions

Until December 3^rd

 

As queer Canadians, as queers in general, we have been denied our history. I think this is lamentable and I ravenously devour anything that sheds light on our past.  Thankfully John Marans has taken a part of American queer history and brought it to life.

Although a Radical Faerie myself (barely, and don’t ask me my Faerie name – or I would have to kill you) I knew very little about founder Harry Hay. This show charts his involvement with queer activism BS – Before Stonewall – in the late 40’s and 50’s.

This is important, barely documented stuff. It’s history and it bears our attention, but sadly this production knows it. What I mean is, sometimes when doing classic or historical works actors can allow themselves to be weighed down by the importance of it and become precious with the material.

Director Ryan Mooney allows(?) his actors to speak so methodically that the delivery becomes precise and laborious. Rarely do they speak naturally. Every period is given its space and then after a pause the next line is delivered. There is no passion and discovery. Some of the actors also overindulge in emotion trying to make themselves cry and often stoically staring into the middle distance. It is a more interesting choice to see someone fighting against an emotion rather than wallowing in it.

Of the all white cast of five only Rob Monk gives himself moments of spontaneity and truthful reaction. Actually Devin Pihlanian is quite alive in the scene where he plays Harry Hays hurt wife Ethel.

This is an important mostly unknown moment in queer history but what drove these men to step forward when the world was against them, where is the joy, the pent up lust, the hope – all we get is noble posturing. I wish this production found the same fire and lust for life that the brave members of the Mattachine Society had.

 

 

 

 

In other news – it is important for Canadians to see all the awesome talent in our Canadian film industry before the Americans consume us even more. Reel Canada is a unique project that brings Canadian Films into high schools engages the kids in conversations with the directors, writers and actors.

I was fortunate to be a facilitator for two screenings the other day a John Oliver Senior Secondary – the films were Fido paired with the short Evelyn and in the afternoon the devastating documentary The Corporation.

It was thrilling seeing the films through the eyes of the youth. Not only is it promoting film but it is sparking conversation about the social issues raised. Great program – lets hope Reel Canada grows.

 

Hope you are well Queer Canada.

 

Love

 

David C. Jones

 

 

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The weather is serious.

Posted on November 12th, 2011 by Ambassador: David C Jones

The weather is changing and so is the world. There is bit of anxiety and worry in the air and the theatre is turning to more serious fare. But there appears to be a trade-off. The very very good Re:Union is not getting great attendance and the same is true for many of the shows in town.

Maybe it’s just the weather – Vancouverites are very sensitive to cold and rainy weather. I am originally from Ontario and bad weather never stopped us from going out but Vancouverites hide when it’s cold and rainy.

Most times reviewers attend opening night and that night is papered with VIPS and others who all got complimentary tickets. Some times I cannot attend and I go on another night. (I don’t get paid for this blog so I take paid work where I can).

Greg MacArthur’s play Snowman is a dramatic piece about isolation and loneliness and on the night I attended there were only 14 people in the 200-seat theatre.

 

Snowman by Rumble Productions

Until November 19^th

 

Craig Hall directs this remount on the Snowman – he directed it 8 years ago and now as he leaves Vancouver and Rumble Productions he present a bigger and better production.

 

The story is about a slacker couple Denver and Marjorie who just one day picked a direction and traveled. Then end up north in a small isolated community and rent videos from their house and smoke a lot of weed.

 

One day a young gay man named Jude stops by to borrow some German porn. Jude is a tragic character whose parents abandoned him in this remote community. Jude becomes smitten with Denver but that crush is replaced when Jude finds a young man frozen in the ice and identifies with the stuck preserved fossil until it becomes an obsession.

 

The actors are fantastic – Derek Metz is a goofy loveable stoner and you can see why Jude would be attracted to this older man. Kathleen Duborg is heartbreaking as the girlfriend barely hanging on to her sanity and tells us she dreams of being cut open and gutted. The multi award winning Charlie Gallant makes Jude’s naïve confusion heartbreaking. His neediness is for connection and love is quietly determined in that he never expects it but won’t keep trying.

 

Rounding out the all white cast is the always-delightful Anna Cummer as a horny archeologist who arrives to see if the frozen boy has value.

 

The production is gorgeously designed with a fantastic live soundtrack created and played by Robert Perrault and the writing is poetic and with strong imagery. The characters directly to the audience narrate most of the story and it actually had a distancing effect. My friend who is not a regular theatre patron nor is he versed in the performing arts said he liked the show but it felt like he was invited to a house but only allowed in the doorway.

 

That might be why the show is not gathering mass appeal.

 

 

The Priory by United Players

Until December 4^th

 

United Players is a community theatre company that has a great reputation for choosing adult plays that appeal to the intelligentsia of the neighborhood (upper and upper middle class as well as university folks). Not only are their audiences attracted to their shows but they also attract a large number of respected directors and recent theatre school graduates hoping to expand on their training with some challenging fare.

 

Michael Wynne wrote The Priory and it enjoyed a sold out run at the Royal Court Theatre in England in 2009 and won Best New Comedy at the Olivier Awards.

 

This production directed by Kevin Bennett is only part way successful. The story is about some upwardly mobile 30-somethings who re-unite for a New Years Eve party at Monastery that has been converted into an upscale vacation home. They all work in arts related fields as TV actors, writers and architects each trying to prove their worth by their successes in the chosen field.

 

It is long before we find out people who work in the field of fantasy and fabrication can sometimes delude themselves.

 

The enjoyment as scripted is to see these fantastically artistic people behaving badly and then watch as the booze and drugs bring their world crashing down.

 

But the director allows almost all of his diverse and young cast to feel sorry for themselves from the get go – there is no artifice of happiness. There are no surprises or reveals. Also he allows too many of them to scream their lines.  Some were pushing so hard and jutting their jaws so much that it forces you to lean back away from the show.

 

The only really successful portrayals were Gordon Myren as the wildly well off and impulsive Ben and his fiancée Laura played Genevieve Flemming who brought real wit to her airhead creation.

 

The gay best friend character (isn’t there always a gay best friend in these ensemble pieces) was played by James Elston and he was the only Brit at the party without an accent.

 

Part of the challenge I am sure was how to find levels while the characters are drunk and high.

 

Comedy is hard – it’s delicate, you can’t underline the jokes and stamp all over the rhythms. It needs high stakes and truth but it must be played on its heels in a relaxed way.

 

But that’s just my opinion.

 

 

 

Also just saw the fascinating documentary about AIDS in the 80’s in the heart of San Francisco,  We Were Here. Well worth seeing and bring a young person with you so they can understand the history of this terrible disease.

 

 

That’s it from the West Coast. Go see something.

 

David C. Jones

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Of Greek Myths and Korean Wars

Posted on November 6th, 2011 by Ambassador: David C Jones

There is something happening this season in the arts scene in Vancouver. The actors, designers and directors have really been inspired and are bring such imaginative and quality work to the stage. Perhaps it is all the uncertainty in these modern times that is making us create and crave beauty in performance arts or maybe artistic directors are just picking some challenging pieces – but whatever the reason, I have never been so happy to be the West Coast Ambassador for OUT TV so I can experience such wonders.

 

 

 

The Penelopiad by the Arts Club Theatre

Until November 20th

Exquisite. Meg Roe is the talented anchor in this dreamlike show that takes the audience on powerful odyssey. Canadian literary icon Margaret Atwood adapted her own short story into a play that tells the Greek tale of Odysseus from his wife Penelope’s point of view.
The graceful queen tells us her story from Hades where she is haunted by the 12 hand maidens her husband hanged while she slept. He believed them to be traitors and disloyal while he was on his 20-year adventure involving The Trojan Horse and other wars and adventures.
With wit and a regal air Meg Roe is a commanding presence play the half sprite half queen and her tortured soul battles her practical wisdom in a heartbreaking portrayal. It is very hard to believe this is the same actress who played Honey in Who’s Afraid of Virginia Woolf.
10 of Vancouver’s best actresses play the maids and all the other characters in this beautifully talented and fully diverse cast. Quelemia Sparrow, Ming Hudson, Rachel Aberle, Sarah Donald, Lopa Sircar , Dawn Petten, Laara Sadiq, Lois Anderson, Megan Leitch and Colleen Wheeler all sing and move and shift in and out of character with such assurance that my eyes danced around the stage not wanting to miss any of their performances.
Director Vanessa Porteous takes this sort of 60’s story theatre approach combined with a traditional Greek chorus making something surreal and modern. She expands on Ms. Atwood’s prose in a way that would seem highly pretentious in less capable hands. This is a director with vision. The stylized set and lights by Terry Gunvordahl is mostly hanging ropes (like the nooses that killed the maids) alternates whimsy and threat.
Bravo to Bill Millerd and the Arts Club Theatre for choosing this show. A Greek experimental feminist show is not an obvious fit with the 800 seat Stanley Theatre that often features more mainstreamed commercial fare. I hope that this witty and tragic tale pulls them in – those who go are in for powerful night.

How powerful? Well how great does a show have to be and how strong does an actress have to be to induce tears as the lights fade, even though we knew how the saga would end at the beginning of the night.
There is some mighty powerful theatre to be had at The Penelopiad and it’s a risk that rewards. And for the lesbian theatre-goer you get lots of girl on girl action when the ladies play the men.

 

 

Falling In Time by Screaming Weenie Theatre

Until November 12th
This is a powerful and poetic show that touches on themes ranging from war, abuse, coming out and abandonment. C. E. Gatchalian’s focuses on two men affected by the Korean War. A deluded gay veteran who how has stage 4 cancer and the Korean grandson of a man he shared affection with during the war.
The story jumps back and forth in time and countries as well as into memory and fantasy. Sometimes there is symbolism and imagery that becomes a little challenging to follow or connect directly with but luckily there is a strong heart in the person of Nelson Wong.
A confused immigrant taking English lessons and trying to not only sort out his feelings about his war torn country but also his feelings of homosexuality Nelson Wong fills the character Chang Hyun with such desire and confusion it is heartbreaking. He tries so hard to understand not only English but also his feelings that when he reaches some sad conclusions near the end of act two it packed an emotional punch.
Allan Morgan as the veteran Steve is tortured and desperate on the run from himself and his memories of the war. An amazing actor of great emotional depth Mr. Morgan once again proves his vulnerability here.
The rest of the diverse cast is the sweet and determined Kevin Kraussler as Jamie – abandoned son of Steve and eventual lover of Chang Hyun – just one of many coincidences in the show. Manami Hara is under utilized but does fine work as Eun Ha, the grandmother.

 

The show comes with a warning of male nudity and frankly it is a warning I don’t see often enough.
Director Sean Cummings has crafted a handsome and powerful work and although a little repetitive early on Falling In Time is a deeply moving experience.

 

 

A Note to Queer Event producers in clubs: Start On Time!

 

The excuse of – ‘we are waiting for more people to get here’ doesn’t wash. If you start at the time you say you will and they are late and miss part of the show – they will come on time the next time.

 

Think about it – they can get to work on time – they can get to the movie theatre on time, they can get to the theatre on time.
You have a chicken / egg situation – they come late to gay events because they know they are going to start late. Start on time and they will come in time.

I went to a gay cultural award show that had 8pm start time on the poster. The show did not start until 9:45pm. Unacceptable and unprofessional.

 

David C. Jones

 

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