Farragut North by Blank Slate Theatre

Until May 26^th

Art should be driven and created by artists who feel compelled to produce.  Something comes from within and they say ‘I have to do this show, I have to show this’. They are possessed and they invite other artists to join them. That spark carries through until the show reaches an audience. Sometimes it is then discovered that the divine inspiration to produce was misguided and the work is less than satisfactory.

That is not the case at Blank Slate Theatre’s production of Farragut North. This is twisty drama is nasty politics and blind ambition that I found riveting and inventively staged & skillfully acted.

The chameleon like Alexander McMorran is Stephen Bellamy a cunning press secretary for an unseen Democratic Presidential nominee. He berates his low status but clearly clever assistant played by Bryan Demore while sucking up to the boss – Drew Taylor all warm self-effacing smiles with a trace of kick ass killer just beneath the surface. They share drinks with a New York Times writer played with guarded friendliness by Lilli Clark.

You keep your friends close and your enemies closer in the world of high stakes politics and everyone knows not to leave the room or they will be dissected or betrayed or both.

The rest of the all white cast is: a too good to be true intern played open hearted but with practical savvy by Meagan Chenosky, a sly strategist (Kristopher West) from the competitions camp with an enticing offer and a hard working waiter Ben Whipple and you have the stage set for double crosses and back room deals where winning is everything.

“Is that what you thought? You thought we were friends?” asks one of the characters as the twists and changes of tactics keep bending the plot. I will admit that I guessed wrong where some of the secrets were and that made me enjoy it more. The script was smarter than me.

Although some of the cynical cruelty can prove distasteful I think it is great insight as to how politicking is done and we the people who allow them to be elected might want know some of the tactics that are used to manipulate us.

The only real negative for me is the unfortunate title.  It was wisely changed to The Ides of March when it was adapted for the screen for the George Clooney film.

Thanks to director Nicky Aderton it’s an intense and wicked drama and there is a palpable desire to share this story and for that it deserves an audience.

High Society by The Stanley Theatre

Until June 24^th

They made a 1956 movie starring Frank Sinatra, Bing Crosby and Grace Kelly and using songs by Cole Porter including one of his last big hits True Love. The book was based on play The Philadelphia Story which was made into a movie in 1940 starring Cary Grant, James Stewart and Katherine Hepburn.

The movie was adapted into a stage musical in 1998 and it ran for 144 performances on Broadway.

The story: a well to do young divorcee Tracy Lord, is about to re-marry a rather stiff self made man. Some gossip hounds from Spy Magazine have snuck into the reception in order to get the dirt on the family patriarch’s affair with a younger woman and wouldn’t you know it that scallywag of a first husband has docked his sailboat and decided to crash the party. Throw in a precocious brat and a drunken uncle and let the hijacks commence.

Act One is a tough slog as all the characters are introduced and not a heck of lot happens except the mother and Tracy decide to pretend that the uncle is the scandal plagued father once they figure out the uninvited guests are from Spy Magazine.  I am not exactly sure what that is supposed to accomplish but then the story doesn’t dwell on it.

Act Two gets better once Tracy starts to listen to everyone’s advice that she shouldn’t marry stuffy George Kitteredge – gets drunk and then ‘smittened’ with the reporter played with charming awkwardness by Daniel Arnold. This rubs the photographer played by a droll Lauren Bower because she claims to be sort of in love with her colleague.

This is the kind of old fashioned story where characters declare to others “You know what you really should be doing…” and we know that by the end of the play that is exactly what they will be doing. It was actually the relationship between the reporter and Tracy (played with a bright and sophisticated air in the style of a young Katherine Hepburn) that added any semblance of tension and heart to the proceedings.

The all white cast of 14 are having quiet but tuneful fun and Alison Green’s set is kind of clever as different pieces fly in and out and at times revealing the 6 piece band jazzily directed by Ken Cormier.  I just wish the set and the costumes were opulent, more special.

The main highlights are the hilarious drunken Norman Browning as the uncle, Steve Maddock’s gorgeous voice, young Bridget Esler as the younger sister who knows how to deadpan a line with serious comic effect.

But in the end you don’t really care about the well off characters, there seems to be no real threat from the gossip people and although some of the Porter songs are de-lovely especially with Todd Talbot and Jennifer Lines singing together on True Love many are very unmemorable. So all we have left to fall back on is the stylishness and the class and there was nothing ‘gasp’ inducing or provoking of envy or causing us to wish we belong to this High Society. The thin politics in the script of status and privilege are not exploited in any impactful way so there is no meat anywhere.

So the show ends up ‘fine’ but I found my mind wandering and actually for the first time in a long time I got up and wandered to the bathroom more to stretch my legs than anything.

I did not get any hint of desire or passion to share this story.

That’s what is happening on this side of queer Canada.

Joyously

David C. Jones

West Coast Ambassador

So here are some truths about producing and promoting an arts event. First off there are three types of people.

1)   THOSE WHO HAVE TO GO – that includes people related to cast, devoted fans of the people or of the work itself and those forced to go ie: school groups, spouses etc.

2)   THOSE WHO MIGHT GO – that includes people who aren’t averse to attending live arts events, those who have heard of the artist or the work but are not devotees and those looking for a prestige event in order to impress someone else.

3)   THOSE WHO WILL NEVER GO – they are the people who hate live arts events because of a misconception of they have been burned before and won’t risk it again.

So you can’t get group 3 so you don’t market your show in a scatter gun approach – handing out flyers willy nilly on a street corner etc. you are likely handing them to a lot of people in group 3.

Okay so how do you hook groups 1 and 2? Well – 1 needs to know you are doing the show and if you have any hope of getting 2 – you better makes sure they know about it too.

This is done through a multi–layered attack.

a) Posters and paid advertizing.

The sooner the better, Group 1 – needs only to see it once and then needs to be reminded in case they forget but Group 2 needs to see it a lot. Your paid marketing at the very minimum needs to brand the title into the viewers head. A simple image works well to. It has to stick in the casual viewers head. Remember they are only vaguely interested. It needs to sink in. Burrow into their sub-conscious.

If you use too artsy or flowery a font so the title on the poster can’t be read from a passing bus – your poster is a wasted marketing opportunity. If you haven’t found your Phantom Mask icon or your Les Miserable little waif girl icon or your Batman icon – or some other easily grasped image that can be echoed easily in multiple places you have yourself another missed opportunity to hook Group 2 as you enter phase two.

b) Stories and editorial

Now as it get closer to the event you need blog and print stories about things connected to the show. Media folks aren’t really interested in doing a story on your show just because you are doing a show unless you are a big deal, like a real big deal. So you have to find another hook for the media to care about.

Did anyone in your cast do something super interesting recently – like save a person or kill a person? Pitch that. Is there a unique fact that is not just ‘we are doing a show’. I once pitched to a gay newspaper a story about local straight actors playing gay in shows. They thought that was an interesting topic and did a two page story on it and our show was part of that feature.

Media stunts – as long as they don’t feel too calculated – can also get you coverage. We staged kidnapping critics in support of The Real Inspector Hound and we surprisingly got national exposure.show about c

They reason you NEED these stories – it reminds Group 1 that you are doing the show and it may tip 10 to 20% of Group 2 into now coming to your live event. Since your print and poster advertizing has implanted the title or the image or title in their mind – they read the story and think “I have heard of this show” and since they are reading what is likely a positive story about your show – they are assuming positive things and then they might book a ticket.

You can also get editorial in key publications, newsletters and web-sites based on groups that our cast and crew might belong to. Are they Jewish, Indian, Chinese, Gay or Coal Miners – there is a writer desperate to do a story for their Jewish, Chinese, Gay or Coal Miner publication, newsletter or web-site and they will be grateful to you. That is a great way to hook another 5 to 10% of Group 2.

Now you do all that before the show opens – once the show opens all you have is –

c) Reviews and Word of Mouth

Now you can’t control these – they will do what they want. The good news is that neither has any real effect on Group 1 – although if the reviews and word of mouth is deadly – they will be a little sullen when they come to the show.

The bad news – they can kill the potential of Group 2 folks attending. I once read that in regards to Group 2 – it takes only one bad or less than enthused comment to squash the impetus of a Group 2 person to see a show. Conversely it takes almost 7 positive or glowing comments to change a person in Group 2 into a person in Group 1.

So you want to fill the house with charity comps and youth groups and hairdressers in the first three days of a run so they can get the potential great word of mouth (WOM) campaign going that will build as positive reviews come out or the WOM can swamp a bad review and neutralize it’s impact on potential audiences.

We also know because of this that the WOM people need to be super excited and effusive about the live event – because the Group 2 people are not easily swayed. They need to hear a lot about it before they are convinced to go.

So what else does that mean – well on the closing weekend of your show if the event is attendance is only 60 to 80% you have captured mostly the people of Group 1 who waited to the last minute to see the show. If your show is now sold out, particularly the last two shows – you had good WOM and if the last week sells out you had great WOM. If your houses actually drop a bit say to 40% – they you have bad WOM – people have been cautioned to stay away (or perhaps you are closing at a matinee on a sunny day).

Hope that is helpful to someone.

Grey Gardens – Fighting Chance Productions

Until May 19^th

This is a factual musical about a documentary about Jacqueline Kennedy Onassis aunt and cousin. Once the belles of the ball in the 1940’s they became eccentric ladies holed up in a dilapidated mansion filled with cats and raccoons.

Act One is back in happy times and Act Two is when they were found by the documentary crew.

The show – like the documentary has no plot – its just facts – they were once spoiled and now they are weird and pathetic.

Fighting Chance provides excellent opportunities for artists to explore and grow as they get to sing and act Broadway shows. This production also had the best sounding band I have heard recently as conducted by Caitlen Hayes.

The diverse cast is in fine voice and I am a huge fan of Cathy Wilmot and she has a lot of fun playing the Mom in Act One and the now bald daughter in Act Two. Lucas Blaney is tuneful and handsome as a young Kennedy in Act One and a sympathetic handy man in Act Two. The bravest and most touching performance was by Sue Sparlin as the once bohemian now derelict grand dame.

There are some fun production numbers but I found I learned nothing so wasn’t pulled in and therefore cared little.

But members of the audience leapt to their feet at the end of the show and informal poll of 20 said they would tell everyone or at least tell specific people about how great the show is. So that means my opinion doesn’t matter – if they do as they say – the show is on it’s way to selling out.

That’s what I am thinking on the West Coast of Queer Canada

David C. Jones

West Coast Ambassador

Out TV

I love creative arts. When I take time out of my life (such as it is) I love to by transported and touched. I go with great expectations and I hope for the best. I am only disappointed when I feel I have been ripped off – the producer or director tried to get away with something or if the experience was overly indulgent or pretentious  or if the show was needlessly cruel.

Sometimes it is just bad art. The people involved bit off more than they could chew. They meant well but fell short. In those cases I sometimes opt not to review. Sometimes they are students or community actors and I try to remember that but if they are charging money to see the show I try to be cautionary if it is warranted.

As I am creative type myself I try to figure out what went wrong and offer my opinion. Conversely if something goes right I am curious how they did that?

I also think the arts should reflect the diversity of the city and the world they are taking place in.

Just wanted to share that.

100 Saints You Should Know by Pacific Theatre

Until May 26^th

Pacific Theatre produces show with a Christian influence. I have seen some of the most riveting theatre there and I am not a devout person. I have also seen shows that have lectured me or were too pious to enjoy.

Thankfully 100 Saints was in the former. I was completely pulled into this tiny and heartfelt drama about people seeking answers as their lives were in flux.

We start with Father McNally who has been asked to take some time off from his Parrish after some nude art pictures have been discovered and he wrestle with the desire they provoke. He moves back with his mother who is under the impression the apple of her eye and the source of her pride is on vacation. His rectory housekeeper – a former groupie now questioning God, was teenage mom now saddled with a teenager who is well on the path to becoming a chip of the old block. There is also the simple but sweet delivery boy who has become curious about rumors of the Father’s homosexuality.

The play is very funny as the plucky attitudes and the brave smiles masking pain make the characters crack wise but truthfully. In act two there is an unexpected and heartbreaking tragedy that plunges all the characters into a tailspin. Some towards the answers they seek and other further away.

The themes here are complex – the existence of God, the need for family, the need for being true to one’s self, forgiveness and independence. You laugh and then I cried. I mean my shoulders noticeably heaved.

Under nuanced and artistic direction Anthony F. Ingram has achieved handsome performances from his diverse cast. I could not take my eyes of noble and greatly conflicted Joel Stephanson, Katherine Gauthier as the teenager is all bombastic bravado and sullen pain – she has a tough part playing a character younger than her and she captured the defiance and fickle pain and I found her shocking and heartbreaking.

I have watched Chris Lam’s career and worked with him in a musical a couple of years ago. His Garrett is so funny and naïve yet desperately seeking answers that his tenacity was inspiring and then devastating.

As the mom’s Kerri Norris as Abby is a bulldozer with heart and was truthful and although on preview I saw more of the repented and not so much of the sinner – Rebecca Deboer as the former Deadhead, Theresa, pulled me in. I just pictured Cher in Mask in the role but that’s probably a gay thing.

If you love the experience of being captivated by laughter and then moved, if you enjoyed the stimulation of curiosity then I know 100 Saint You Should Know.

The Exquisite Hour by Relephant Theatre

Until May 12^th

I love this show. It was my favorite show of the Fringe in 2010 and it was suppose to be remounted by The Vancouver Playhouse this year before that company went belly up (hopefully temporally). The Arts Club stepped in an offered a space.

It’s 1962 and Josue Laboucane is a quiet bachelor sipping lemonade in his back yard when a blustery young woman played by Nevada Yates Robart interrupts his tranquility and his life. I adored her humor and bravery when I saw it last time.

I loved this show and picked it as my top show of the 2010 Fringe Festival. Funny and sweet and bold and romantic – a great recipe for trying times.

Art is subjective and though I always try to be fair I have a confession. I was perhaps lenient on my thoughts about Henry & Alice Into The Wild. I was one of the only writers to think it was funny. Lately I have been going to shows with this guy I am kind of fond of, he is handsome and smart and has a great physique AND he had his arm around me for the whole show. That may have influenced my opinion.

So I guess if you want a good review – you better hope I am bringing him. : )

Joyously

David C. Jones

West Coast Ambassador

Out TV

The Boys In The Band by Ghost Light Projects

Until May 6^th

Mart Crowley’s place in LGBT Cultural History is assured but how it will be remembered is up for debate.  His play about a gay birthday party debuted off-Broadway in 1968 and spawned a movie in 1970. A time when homosexuality was never mentioned in films accept in the mostly negative way.

The debate of how The Boys In the Band was a breakthrough is championed and chastised as some gays call it a horrid representation of gay life while others see it as a interesting look at people and politics for some big city queers in the 70’s.

Some people of course also just got upset that I used the word ‘queer’ in that last sentence.

Yes, Michael the host of the party is self-loathing and a bit of a manipulative sociopath. But so was Martha in Who’s Afraid of Virginia Woolfe.  Sure Harold the older queen’s whose birthday they are celebrating is bitchy and envious of youth but so is Margo in All About Eve.

Because older queers – and yes, I think this is an older queer issue – were so starved to be represented in anyway on TV and movies I think we have become overly sensitive to any portrayal.

I remember when Queer As Folk aired and the concern that the character of Brian was going to make everyone think that gay guys are lecherous bed hoppers after teenagers.

On my favorite blog Towleroad, the amount of concern that was leveled toward the Glee character of Kurt for being too feminine, too vain that when he had a crush on Cory Monteith’s character he was called a gay pining stalker with such ferocity that the writer clearly thought casual viewers to the show might immediately look over their shoulder to spot the fag watching them.

Some people of course just got upset that I used the word ‘fag’.

When both my companion and I posted on our Facebook walls we had seen it – we both got comments deriding the script.

I will be debating/discussing this panel on Queer FM – Should we be concerned how gay characters are portrayed on TV and in movies. Should disclaimers be provided for ‘period’ plays written in a less open time. I will post it next column.

So how was this production? I was really appreciative that I finally got to see it.  The directors Randie Parliament and Greg Bishop transformed the PAL Theatre into Michael’s 70’s apartment using the actual windows in the highly adaptable space and making us enter through the side door.

The actors are all engaging we some really going beyond attitude and text and finding a nice depth and truth. The very handsome Shaughnessy Redden and the equally handsome Robert L. Duncan as the ‘married’ lovers brought a tear to my eyes as they participated in Michael’s twisted phone call game in Act Two.  Louis Dupris recently seen in The Pitch know how to spin the catty lines that the queenie Emory has.

Matthew Romantini as Michael had a lovely physicality to the tortured and defiantly anxiety-ridden character and at one point pawing at the carpet like an animal. Rob Monk as Harold is cruelly funny when there is gift he doesn’t want and goes into full and pointed attack when Michael gets into his face.

Riaan Smit as the hustler, Andrew Wade as Michael’s friend and Michael Barry Anderson as the unexpected straight guest did fine work in their underwritten roles.

There is a lot of 70’s navel gazing that dates the play but there are enough machinations in the plot that I found it moved along nicely.

Now I know the directors really tried to find an actor to play the black character of Bernard and were unsuccessful so they cast Lee McKoewn the girl who played the stripper in The Great American Trailer Park. They called this gender-neutral colour blind casting but all it did was make the show become more of a staged reading then a full production. Since one of the cathartic moments for Emory is when he realizes he has been “Uncle Tom-ing” Bernard there is nothing that Ms. McKoewn can do to evoke the racial injustice.  I totally sympathize with their casting problems but like I mentioned about the musicals – if you can’t cast the show it might be best not to do the show.

The said – I was really appreciative that I finally got to see this ‘notorious’ play and found the story funny and darkly moving.

Henry & Alice Into The Wild by the Arts Club Theatre

Until May 26^th

Henry & Alice are trying to get away from it all – their grown daughters and their drug using teenage son – the stress of urban living and unknown at the time to Alice, the uncertainty that has arisen because Henry has just lost his job. They are camping and in a tip of the hat to the old TV show Green Acres, Alice has worn heels, albeit sturdy ones – in the woods.

Michele Riml is a witty playwright and she uses the loss of the middle class status in an uncertain economy to add weight to her funny tale of two long married people at odds with each other. The play is a sequel to Sexy Laundry – but I did not see that show but I assumed Henry and Alice has similar strife that they dealt with equally funny one-liners and heartfelt confessions.

There is a screen play quality to the play with two major ‘incidents’ having to be covered by blacking out the lights and using a sound effect. There are some things you can’t do on stage like dump a motorcycle into a lake.

The script is pleasing if unsurprising. Director Andrew McIlroy gets loving and heartfelt performances out of Susinn McFarlen and Andrew Wheeler. He does such a truthful job that when my fave actress Beverey Elliott shows up as the wild sister and invites Alice to abandon everything and travel to Africa – for a second I thought it might actually happen and story might take an unexpected twist.

But this is a safe comedy that touches on heavy themes but doesn’t really explore them. But the set and lighting by Ted Roberts are lovely.

I took my handsome friend who is a business owner and he said his big fear is losing everything and when he saw Henry say he had lost everything he didn’t believe it. He knew instinctively that – at least in this play – everything would work out – and it did.

But sometimes predictable funny and safe plot twists are a fun night out though and if that is what you think you need then you should head into this wild.

Joyously

David C. Jones

West Coast Ambassador

PS: Check out my new emcee video here and my Hot Pink Shorts Promo here.

God of Carnage present by Vancouver Civic Theatres

Until May 5th – $20 rush tickets one hour before the show.

This was to be the final show of the Vancouver Playhouse Theatre Company, a co-production with Royal Manitoba Theatre Company. Sadly years of red tape and inane restrictions have finally killed the Company and it was up to Civic Theatres to keep the curtain up.

Written by Yasmina Reza this script translated from it’s original French by Christopher Hampton and has been produced all over the world and made in to a movie starring Jodie Foster (and dropping ‘God of’ from the title).

An upper middle class comedy of manners – it is about two sets of parents who meet when the child of one busts two teeth of the child of the other couple. Everything is very civil until the booze and the puke (yes, puke) starts to flow. Then accusations and recriminations start to fly and alliances are tested and traded.

It’s all very silly and although it seems to have aspirations to be something along the lines of Who’s Afraid of Virginia Woolfe it is more a sitcom on well dressed people acting badly. But man, it’s fun to watch and made me laugh out loud a lot.

The all white cast is game and they all throw themselves into their suburban brat roles.

Oliver Becker and Shauna Black as the couple with the home advantage are great, great fun but I found John Cassini as the lawyer who was always on his cel phone captivating. Maybe it’s all the film and TV work but his subtle work was very deep and fascinating to watch. The best comedian – and to be fair, it is the showiest part – is Vickie Papavs as Annette the put upon wife who not only supplies the aforementioned puke but some of the sharpest turns of character. She is as funny raging as she is hurt.

God of Carnage is the equivalent of a bitch fest that descends into a food fight but since they are such refined characters we laugh and even feel a little superior. But is there anything wrong with art that finds clever ways to make us smile and feel a bit smug? Made me feel happy, and made me hope the Playhouse will be back soon.

Hello, Dolly! By Royal City Musical Theatre

Until April 28th

It tough not to compare when two different theatre companies produce the exact same show with in a couple of weeks of each other. I saw the Capilano University production and reviewed it earlier. While that was student production this is a community production albeit one with three professional performers.

The Royal City has a visible orchestra (conducted by James Bryson) and the Cap University has theirs squirrelled away in back room. The Royal City design emulates Dolly’s fascination with shadow drawings by stylizing all of the set in 2-D cutouts – the University had more 3 dimensional set pieces.  Royal City had diversity among the leading roles when the University (with their production) kept diversity to supporting roles.  The University had a very capable Steffani Davis playing a part that was much older very well where as Royal City had perfect Dolly Levi in Colleen Winton.

No offense to Ms. Davis but Ms. Winton not only has a grand voice but she brings a touching gravitas as Dolly talks with her dead husband. Her desire to ‘re-join the human race’ carries more weight when a more mature actress who no doubt has experienced loss – delivers the line.  And when the waiters welcome her back to the high life – the relieved and joyous zeal bursting from Ms. Winton was palatable.

We also get great vocal performances from veteran actor David Adams as Vandergelder, Sayer Roberts as Barnaby and Caitlen Cluston as Irene Malloy. I was completely charmed also by Kayla Dunbar as Minnie Fay.

But something was a little off. This show is about making your own way in life and it is about finding love, having adventure and making connection. Late in the play when Cornelius (played by Dustin Freeland) sings of his love for Irene Malloy in the song It Only Takes a Moment, the actress has been placed in the least dominate position next to the proscenium so she is in profile for the song and so that he doesn’t even look at her for the first two verses. The given circumstances are that he has not kissed a girl in 31 years yet now that he has a lady he loves who seems to love him back he can stand 20 feet away from her and not even look at her?

The Capilano production had innovation in the creation of a human train with the use of hatboxes and umbrellas and here we get a cutout of train. The mixed up wallet scene at Capilano was done with chaotic choreography where in the Royal City production they are just dropped on the floor and picked up by some waiters. In the Capilano production when Paul Almeida’s Horace broke down and revealed he wanted to marry Dolly you felt the love he was suppressing burst out as his voice cracked with emotion, in this production Horace seems to just surrender to her. Many things felt fine but they didn’t pop!

I also question the use of children in this production. Had they been used to model family life as something the widow’s Dolly Levi and Irene Molloy might ache to experience their unscripted presence might be justified but instead they are just trotted out in a couple of songs and placed centre stage rather arbitrarily. They are charming but why are they here?

Still a lot of energy was brought forth by a dynamic chorus of boisterous actors in the group numbers and their voices mixing with the live orchestra created a beautiful sound. Check them out here.

I brought a friend who did not see the other production and who loves musical theatre and I asked him what he thought? He summed it up nicely. “It was great fun but it lacked passion.”

But with a show like Hello, Dolly – it does hang on the Dolly and this production was chock full of passion there. Hello, Colleen – never go away again.

That’s my opinion, on this side of Queer Canada.

See a show!

David C. Jones

West Coast Ambassador

Out TV

The Bomb-itty of Errors by Twenty Something Theatre

Until April 22nd

Looking for clever, stupid sexy fun? This rap version of Shakespeare’s Comedy of Errors was created by Jordan Allen Dutton, Jason Catalano, Gregory J. Quayum, Eric Weiner and Jeffery Qaiyum and produced here by Temporary Thing and presented by Twenty Something Theatre. That’s a lot of people for a show about four young men who sing and get silly playing all the characters – male and female – in this story of two sets of mismatched identical twins.

If that sounds silly it is – such as the Dromio’s overly enthused signature song and dance “Dro…mio Dro Dro Mio” but then there are moments of fun ingenuity such as when the put upon housewife and her sister confront the man she thinks is her husband with his minion and the back and forth argument has one half of the pair beat boxing for the other, back and forth – it ping pongs with dizzying dexterity.

All of the actors – with the help of director Catriona Leger – create many hugely fun and refreshingly original characters, quirky and surprising. I also was thankful that they were all grounded in truth landing the comedy with greater impact.

David A. Kaye, Niko Koupantsis and Brian Cochrane are energetic and having a great time playing in this framework but Jameson Parker who made me laugh the most and impressed me with the dignity that he brought to all his larger than life characters. Oker Chan spins the fantastic beats for the show.

I also appreciated that the writers have trimmed some of the more bromidic plot lines from the Shakespeare original. The show is 120 minutes without intermission but it is so joyously innocent you let that slide – almost… Vanessa Imeson’s has created some vivid and funky costumes and wigs but this is a quick-change show as the actors switch back and forth between characters. But several times they are clear delays and time killing moments to accommodate costumes that although great looking, are clearly not practical.

It’s stupid, sure some of the jokes fall flat, but there is integrity here and great giddy fun landing many, many laugh out loud moments and the eager to please young cast is a delight to experience.

Scar Tissue by The Arts Club Theatre
Until April 28th

Playwright Dennis Foon adapted the novel by the man who would be Prime Minister, Michael Ignatieff. The Arts Clubs developed this material and their support of new Canadian theatre is greatly appreciated.
In Scar Tissue, an upper middle class family is twisted inside out when the mother is diagnosed with Alzheimer’s Disease.

We experience the story through the eyes of her younger son David (Craig Erickson) who is frantic with worry as to how she got it, how it can be stopped and will he get it.

The cast does heartfelt work – particularly Gabrielle Rose as the mother, a former artist whose descent from forgetfulness to panic at things that should be familiar is haunting and terrifically sad. I also was greatly moved by Haig Sutherland as the older brother Nick. Never a showy actor, here his understated performance was deeply felt. At first Nick seems too objective and practical but in act two there are some lovely reveals that made my heart ache for the character.

Director Craig Hall has crafted a beautiful production with set designer Yvan Morisette and lighting designer John Webber. Small movements of walls and scant furniture make for a fluid dreamlike transitions and sudden and violent shifts help evoke both the families numbness and confusion.

There was also a great use of multi-media in the second act that brought tears to my eyes and didn’t seem too maudlin.

Although well acted and moving it got a little repetitive in Act Two and one point David said “What’s happening to you?” to his mother and I thought – ‘didn’t he see act one?’. There is a final image with the mother and one of her paintings that I thought was quite touching but my companion didn’t get it, neither did another friend who saw the show the night before. When I explained it they both went ‘oh’ as if to mean ‘cool idea’, too bad they didn’t get it.

That I think is the biggest problem – we never get seriously involved with this family, they remain strangers to us, so although we moved we are not involved. It’s like going to a hospital and you see patients, you sympathize, you may be sad, you may even question your own mortality but when you leave you tend to go back to your own life since they weren’t really part of yours.

It’s sad, with beautiful stagecraft and riveting acting – then I went home, unchanged.

Egni’s Eye by Theatre Terrific

Until April 21^st

Theatre Terrific is a company that works with actors who have physical and mental challenges. They are a noble and important company and in the interest of  full disclosure I should point out was a board member for 4 or 5 years.

Susanna Uchatius is the artistic director and a more compassionate and fair person you are unlikely to find.

The play Egni’s Eye is a sad and virtually unknown story based on an icon of 20^th Century Theatre Arthur Miller. “One of the great moralist playwrights of our century; the defender of society’s weak, forgotten and downtrodden” the program says.

A little know fact about this great man is that he with his third wife Inge Morath gave birth to child with Down’s Syndrome and institutionalized him and never spoke of Daniel Miller again.

This subject matter is important and there is great and shocking and complicated story here. Susanna holds the material very close to her heart and although admirable in sometimes does not allow the work to breath.

The diverse cast does stoic work that is open and sincere but much of the material is just presented as facts and there is little drive to push us through. We need a plot or a hook to propel the story. Not just a series or characters feeling bad for doing something bad. That starts to get repetitive.

I was reminded of Re:Union by Sean Devine from last season. He was compelled to write about Norman Morrison – the man who set himself on fire outside the Pentagon with his baby girl nearby. Mr. Devine told the story from the grownup girl’s perspective, as she was about to expose different government corruption. But as she pursued her objective new facts and crushed assumptions startled and changed her and compelled us to listen.

Inge was complicit in this erasing of her son. Arthur Miller did not hold a gun to her head. This is richly complicated material but this production although admirable only scratches the surface.

Last column I wrote about a musicals and how the local schools are pumping out musical theatre artists as fast as they can. So I thought I would go a see one of the schools and attended Hello, Dolly at Capilano University. They have a three year musical theatre program and by the looks of this production they are doing some very good stuff.

The show featured a big set, and big dance numbers and seeing so many young people doing ensemble work with such energy and panache was inspiring. The leads all had great singing voices and some of them especially Steffani Davis as Dolly, Paul Almeida at Horace and Michele Bardach as Irene Molloy lifted their characterizations off the page and made interesting and bold acting choices.

I can easily see any of the actors though stepping from this training program into a big touring show or destined for cities that have big musical theatre scene (Broadway?). Their experiences at Capilano University Theatre appear to totally lay the groundwork.

Sure some of the actors default to making safe or obvious choices but they are young actors some still in the middle of their training. By only real concern with this production is my usual one.

All of the leads were played actors of European descent. Non-Caucasian actors were regulated to chorus or bit parts. That is not very progressive casting but then I have not seen a lot of shows at the school so maybe this was the except as oppose to the rule.

Between this show and Bomb-ity of Errors’ DJ – I think someone should write a show called “The Asian In The Chorus”. The presentation of most theatre in this city, especially in musical theatre (community, school or professional) still seems to be ‘yes, we want you in the show – but no, you can’t play a leading role.’ I don’t think it is deliberate but it also does not seem to be regarded as important.

Actors are actors and actors of colour should not have to wait for someone to produce Flower Drum Song or The Wiz to get a solo. Just as an audience will accept, for example that the same staircase in one show is 1) the stairs to the upper part of an house, and 2) a bridge to watch a parade and 3) the entrance to a fancy restaurant and they understand the food the actors are pretending to eat isn’t real, they will ‘get’ a diverse cast playing various leading roles. They get they are actors playing a role.

To be clear – I am not accusing Capilano of doing anything untoward and I have not seen all their productions – this is what I always think (and speak about) when I see a show especially when I see several shows back to back. Oh, and yes, in case you were wondering, the cast for Scar Tissue was all Caucasian as well.

Theatre holds up a mirror to society. I wish everyone would reflect.

So there we go from the West Coast Queer Canada, the Vancouver scene. What’s happening in your area?

David C. Jones
Ambassador – Out TV.

Hello Queer Canada

So I have been down in LA because I was directing a small musical comedy down there called Cabaret Confessions of and Eco-Diva. I wonder if I will be down in LA again soon because Out TV’s The Making of Hot Pink Shorts will air soon and yours truly is in it. It’s a documentary tv series about making short movies and I am one of four film makers who were profiled and tutored. Sure you need some snacks and a short nap to get through the title but who knows where it shall lead.

So because I was busy with The Odd Couple (Female Version) and away I haven’t seen a lot of local performing arts. So here instead are some unsolicited opinions about comedy and musicals.

First off – many Broadway Musicals have a big splashy number for the young male and/or young female singer – often times in act two. Think All I Need Now Is the Girl in Gypsy or Another Suitcase in Another Hall from Evita. Besides giving the audience a break from the leads singing voices it allows a young talent a chance to stretch their vocal chords and develop their stage confidence and experience. Of course there are musicals like Hair or Spring Awakening or RENT that are all young casts sharing the workload.

In Vancouver we are producing musicals at an alarming rate. Young producers and directors want to showcase their love of the art form and make their mark. But I wonder – are we stretching the talent pool a little thin. The local musical theatre schools are training and pumping out students as fast as they can but are we running the risk of casting them in lead roles before they are ready?

It’s not just the recent grads though – how many triple threats are there in the city and how many are available to do unpaid or little pay independent theatre. Especially when there are also big professional musicals in town that are offering opportunities.

It’s a question.

Now with comedy and in particular comedy theatre or comedy musical theatre we have to remember that it is still theatre. Theatre is about connection, it’s about revealing something about our humanity, and it should be a deep experience because it’s live intimacy allows for a more impactful experience for the attendees. It’s much like how watching live sports with hundreds of strangers can be much more visceral than watching it on TV.

That means you need to find the truth in comedy scripts just like you would with a dramatic script.  When you explore the text on a real level and THEN heighten it for comedy sake you still get laughs but you get rich belly laughs, laughs of recognition and characters we can empathize with and maybe even relate to or care about. When you treat comedy characters in a play as caricatures you are treating light material …well lightly. The situations they find themselves in are superficial and therefore not as involving. Two lights make the comedy airborne in a way that you can’t grasp it – you can only hope to admire it or be amused by it from a distance. But since we are not having a visceral experience with the comedy you had better show that there is enough originality and cleverness to get our attention.

But you don’t want dramas to be too damn dramatic or their heaviness will land with a thud. So one tactic is to treat dramas like comedies and comedies like dramas.

It’s an opinion.

The Great American Trailer Park Musical by Ghost Light Projects

Until April 1^st

The Great American Trailer Park Musical is a two-act musical, written by David Nehls and Betsy Kelso in 2004. As the title suggests nuance is not going to be served.

Directed by Randi Parliament and starring Jessica Kelly, Arne Larsen, Aaron Lau, Claire Lindsey, Shantini Klaassen, Laura Wilson and Erin Palm – the red haired dynamo I just saw in Because I Love You.

The story is narrated by a trio of trailer park girls like Hercules or Little Shop of Horrors and concerns a man who in becoming tempted from his agoraphobic wife by a new stripper in town. What he doesn’t know is that she is on the run from her gun totting glue-sniffing boyfriend. Oh and the agoraphobic wife is housebound because her son was abducted 20 years ago or so.

If you are thinking the boyfriend shows up and shoots the husband dead, well – you don’t know musical comedy.

There are some fun songs but they can be a little derivative. Songs like Strom’s A –Brewing (sort of  It’s Raining Men) and Road Kill (sort of You’ll Be A Dentist) make you laugh as the actor bite into them even if you are thinking you have heard them before.

There is a charming performance by Arne Larson as the beleaguered husband and Aaron Lau has a lot of fun. There are great laughs supplied by Shantini Klassen as the ditzy Pickles and Erin Palm brought the house down when she encouraged the svelte stripper Lee McKeown to express herself by deadpanning “let the whore sing”.

It’s fun and although I did not know what drove Ghost Light Projects to produce it was a great chance for some young talent to explore and play. The musical direction was not as pristine as one would expect from the talented Steven Greenfield and the amazing Dawn Ewen put the actors through their paces in stylish and fun ways.

It was great fun but it also prompted the essay above in the opening comments.

Still I look forward to Boys In The Band – their next show.

But not as much as I look forward to Out TV’s Making of Hot Pink Shorts.  That’s right – I brought it back to me.

Thanks and that’s it from the West Coast.

David C. Jones

West Coast Ambassador

Mother May I & The Pitch

Drag Queens on Trial by Ghost Light Projects

In repertory until March 18^th

Let’s face facts – average theatre goers tend to be mostly women, then gay men, then straight men who have been dragged to theatre by a women, and lesbians (who are usually involved in the arts). So the fact that Vancouver just got another queer theatre group in town should come as no surprise. The ballsy and passionate Randie Parliament heads Ghost Light Projects and his plans are ambitious. 5 shows – including 2 one acts and another full production in rep!

Mother May I was written and directed by Mr. Parliament, inspired by the true experiences of his family beset by rules and secrets. It is said direction is 95% casting and in no way to do I want to diminish the direction but – what a cast!

The story is a young man returns home with his boyfriend after his parents have passed away. As he goes through boxes of photos ghosts of the past come back to life.

Morgan David Jones is simply lovely as the Randie stand-in – alternating as the wary lover to the awkward young man; he is always alive and truthful. As the older teasing sister Lesli Borwnlee is heartbreaking, definite and full of life. As brother and sister their interaction is never cloying or sentimental. Their relationship is the show and with the directors help they find moments of levity and love that provide sharp contrast when things take a dramatic turn.

As the stern mother and the always drinking father, Brenda Matthews and Greg Bishop were almost always spot on (although I wish a lighter hand was applied with Mom’s last monologue, always more interesting to see someone fighting emotion rather than indulging in it).

The memories – like life – serve curve balls that slam you in the face. Verging on melodramatic – they always felt truthful and I burst into tears as the family is torn apart.

I don’t want to give away any of the twists the beset this prairie family but they are surprisingly not shocking while still being devastating. Bravo to the diverse cast and bravo to Randie Parliament.

Double billed with

The Pitch by Jordan Patterson

A frenetic and surreal rant about an aspect of gay drug culture based on the writers true experiences. Our hero is making a video in order to get on Oprah’s Wildest Dreams show and learn about his boyfriend, his horrible work conditions and a little about his party drug habit.

There is a Waiting for Godot quality as sequences repeat with variations such as the dynamic Louis Dupuis as the drug dealer delivering the same monologue three times to three different people. The fact that he makes each time fun is a testament to his skill as an actor.

Doug Millar as next door neighbor Margaret Cho and the Greek chorus of co-workers; Michaela Mann, Kirsten Gauthier and Katie Doyle are electric and focused as part of the surreal mix.

Unlike Requiem for A Dream or Trainspotting we never get to experience the joy of being high – only the misery, so it can get a trying but Kevin Flatley still makes this one note aspect appealing and is an engaging and handsome actor.

After awhile the ranting and anger – although funny – starts to wear you out and then the sullen boyfriend played by Nathan Witte has a cathartic and heartfelt moment that seems to signal a change.

But with it’s feet planted in the theatre of the absurd, our hero – like Vladimir and Estragon – is going to find change is hard to come by.

An odd and funny show.

In repertory with

Drag Queens On Trial

Being a professional drag queen is hard, being a professional actor is also hard – but they are not the same thing. However one aspect of being professional for both is being talented and another aspect is being respectful and disciplined. Well, maybe that second one is less so for Drag Artists.

This play written by Sky Gilbert and directed by Jordan Patterson appears a bit dated because it seems to be about respecting people’s right to live their own life under the stigma of AIDS. That makes it sound heavier than it is. It is also suppose to be bitchy and funny and self-referential.

There are sweet and charming people in this cast but breaking out of character to say you don’t know your lines, rolling your eyes and pretending to shoot yourself in frustration – although acceptable in a nightclub when you pay a $5/$10 cover but it is not so cool when people are shelling out $30 for a play.

I directed a show in town so I asked a colleague to review it. I told him to say whatever he wanted. Here is his review for

The Odd Couple (female version) by Frollicking Divas

until March 17th

Saint in the Dark: The Odd Couple by Neil Simon at the Jericho.

by Aedan Saint

As a radio broadcaster/producer for QueerFM, writing reviews isn’t something I do often.  When asked to pinch hit for our fantastic QueerFM Arts Xtra Stage & Arts Host, David C. Jones, he explained that writing a review for a play he was *directing* was unseemly.  Here’s MY review of “The Odd Couple”. You’ve been warned.

Being an American over 40 years of age, has it’s advantages and disadvantages – both came into sharp relief for me while attending the Frolicking Diva’s Production of “The Odd Couple” at the Jericho Arts Centre Opening Night here in Vancouver.

Having SEEN re-runs of the Neil Simon play turned hit television series as a child, it become part of Americana that I LOVED.  Who couldn’t identify with the 1970′s iconic Oscar played by Jack Klugman, Felix brought to life by Tony Randall or one of the crazy cast of characters in their world?  The chemistry of the original Broadway actors in 1965, Walter Mathau & Jack Lemmon were the stuff of MANY future movies (including a film version of the Odd Couple in 1968) and many Tony awards during it’s Broadway run.  Flash forward to the female version with Sally Struthers and Rita Moreno in 1985.  Neil Simon did it once again by changing the gender and context, yet…the story remained relevant to the times!

Seeing this production with all that baggage of prior exposure, I was frankly skeptical.  This is after all iconic AMERICAN theatre.

I shouldn’t have worried.  The Frolicking Divas production at the Jericho Arts Centre made me laugh, cringe and laugh!  Lisa Dery (Olive) and Lori Watt (Florence) produced and ably undertook a very ambition production with a great deal of humor as well as touching on women’s issues which still resonate today.  Couple their lead performances with the rapid fire comedic sniping of their friends Mickey, Vera and Sylvie, and the endless Trivial Pursuit games in their 1985 apartment…and you’ve got yourself a great rendition of a 1960′s classic.

The Laughs: Emmelia Gordon’s high energy protrayal of the Brooklyn police officer, complete with really rather passable accent and attitude, FANTASTIC one liners (one or two which needed a laughter pause) by Joni Hayden-Summerton as the ditzy Vera…and of course, Melissa Oei as Sylvie, what a delightful hard-ass!  I loved all of them as the dutiful friends…and of course, the boys from Spain upstairs, which I’ll mention in a moment.

The Cringe: The only cringe worthy elements of the show were a few comedic timing issues and the over the top attention seeking Florence portrayal.  Although Ms. Watt’s performance was high energy and passive-aggressively brilliant, it made me harken back to listening to similar sounding friends winge on in similar fashion.  Unfortunately for me, I’d turned off my cell phone and couldn’t make a strategic escape from listening to Florence’s crazy as I have in similar real life situations!!  It was, however, worth sitting through to see the climax of the play and see more of the stellar supporting cast!

The Laughs: The Spanish neighbours…stole the show!  The original Pidgeon sisters, have morphed into the suave and debonair Constanzuela brothers for this iteration – and Rafael Pellerin and Jose Os, as Manolo & Jesus, respectively were AMAZING. Accents and English phrase misunderstandings as well as simple physical comedy gags really showed the comedic influences of improv veteran and local comedic talent, David C. Jones’ directing.  Physical comedy and rapid fire delivery is difficult. It doesn’t take much to ruin a gag and it’s obvious that Jones’ joyousness and playful comedic touches helped this production immensely.  Couple good comedic direction with great actors, and it’s pretty amazing to watch.

Recommendation: Worthy!  This production is the epitome of local theatre.  From the fantastical 1980′s television audio/visual segues to the dance number intros of the acts with 1980′s hits, to the quirky flavor of Canadians playing New Yorkers (the only disadvantage to being an American reviewing this) – I’ve gotta give it to them – they rocked it.

In other tragically sad news – The Vancouver Playhouse Theatre Company is no more. It is complicated as to why. Read about it here.

http://vancouverplayhouse.com/_files/pdf/max-reimers-response-to-media-coverage-of-citys-assistance-september-2011.pdf

And there you have it from the West Coast.

David C. Jones

Out TV Ambassador

The Ugly One by Plan B Collective

Until March 4th

When professional actors decide to come together to produce a show without guarantee of being paid – as they do when they are doing a co-op – it is because they think it is a worthy piece and great chance to be showcased. Sometimes they are wrong on one or both counts.

Not this time.

This is a delightfully weirdly ominous show of quirky wit and stylish production values. With hardly any money the director and the designer Roxana Chapela make simple pieces seem high end. The sound design by Jordan Lloyd Watkins is startling and there is fine lighting by Jergus Oprsal. And then there is a great cast to lift this unique play.

The story is about a man named Lette a creator of some new socket device and how he is passed over to present it because he is not fair of face. As everyone says, he is well, ugly. Even his wife – whom he realizes has never looked directly at him.

He decides on plastic surgery and soon he is on the way getting promotions and suitors galore – females and males throw themselves at him.

Without giving away any of the twists I will say this roller coaster picked up speed and took on a lot of fun complications as people compromised anything in order to be popular.

Although Jack Paterson had to rely on a jacket being on or off to delineate between being the boss or the surgeon – his otherwise understated performance made the darkness and the comedy reverberate.

Brian J. Suttin as the younger worker Kalrmann and the German gay son of a rich socialite is open and connected in both his roles and David Beairsto is dumbfounded when outed as ugly and arrogant with earned hubris when surgically altered as Lette.

But the revelation for me was how hugely funny but subtly nuanced Amber Lewis was as the wife and as the socialite. Without upstaging or being showy I found my eyes being drawn to her to see what she was doing at all times. She is a funny actress.

My only real qualm (as always, I know) is that there is no diversity in the casting.

That said, Bravo to director Richard Wolfe – I would love to know your process and  I hope you and the cast earn some decent dough for your  earnest and unique efforts.

Hunchback by The Vancouver Playhouse & The Cultch

Until March 10^th

Stunning, an eye orgy of design and production values by Bretta Gerecke blending Asian influences with Steampunk Goth in the wardrobe and with a set seemingly inspired by Gaudi. The lighting is also beautiful sometime caressing and sometimes oppressing.

The all white cast is stellar – the show demands precise physicality and they all have to sing with a huge range doing some vocal gymnastic in this highly stylized show.

Click on the link above to see pictures form the show. You will catch your breath.

This adaptation of Victor Hugo’s Hunchback of Notre Dame is inspired. The source material about love and deformity has been adapted numerous times and even given a happier ending by Disney (they live!). Writer/Director/Composer Jonathan Christenson sets it in the heighten surreal world complete with mask like facial work and movement inspired by the plodding and deliberate style of Kabuki or Noh Theatre.

Unfortunately at the opening we are captured but as the characters all are introduced our interest starts to wane.  By the end of act one my companion and I were both curious as to why we were not emotional engaged with such a heart-breaking story.

Although I could never pull of such a grand piece of art – so therefore who am I to criticize but, well, that’s the job.

I think what happened is so much work was put into how to lift and stylize that what was forgotten was why key moments were in the original story. Why does the priest who took the deformed Quasimodo in as an orphan babe get upset when as a young hunchback man he goes to a festival and gets crowned King of Fools? I suspect it was to show his love and care for the boy. How does Quasimodo’s killing of the priest rapscallion brother affect the priest? I suspect it was to push the priest deeper over the edge.

In this adaptation these and many incidences just… happen. The priest is so mad and twisted from the get-go so there is little journey. As the cast of characters, from soldiers to silly fiancés to gypsy kings parade across the stage they are just markers to get us to the next song or set piece.

In act two there are some beautiful and touching scenes and I cannot stress how beautiful the show is and how powerful the cast is. (I was also giddy excited to see Andrew Cohen who I directed in a musical 8 years ago or so, he was great!).

So much to admire, I just wish act one had not been so long and uninvolving.

There is a new gay theatre company in town called Ghost Light Projects and they are presenting original works by transplanted Torontonians, The Pitch by Jordan Patterson and Mother May I by artistic director Randie Parliament. Looking forward to checking out their double stuffed package!

Check out their site http://www.ghostlightprojects.com/ !

Enjoy live arts and stuff a fiver in the artists pants – they need it.

Joyously

David C. Jones

Middle Aged Fag

Intimate Apparel by The Arts Club Theatre

Until March 10^th

Pulitzer Prize winning playwright Lynn Nottage transports us back to 1905 New York City with warmly told tale about Ester who makes money making ornate and beautiful corsets for the women of 5^th Avenue and the prostitutes of the Tenderloin red-light district. She saves up her money in a quilt that will one day buy her a beauty parlor for colored women.

Ester’s world is a small circle of acquaintances; Mrs. Dickson (Leslie Ewen) the opinionated landlady where she rents a room. Mrs. Van Burnen (Anna Cummer) a chatty women of society, Mayme (Marsha Regis) a piano playing prostitute and Mr. Marks (Jonathan Young) the orthodox Jewish merchant who sells Ester fabric so she can make her corsets.

Ester’s world is shaken though when a Barbadian (Darren Herbert) who is working in Panama strikes up a pen pal relationship.  At first her friends are cautious about the correspondence, as is she but then she starts to sway back and forth when she talks and giggle as each new letter arrives.

As the distance in the relationship gets much, much shorter quiet passions and secrets under the surface start to reveal themselves like the tantalizing corsets created by Ester (designed by Alison Green).

This is a quiet and deep show as directed John Cooper – as things unspool there is no fireworks and big emotional implosions – this tale of societal and religious oppression and how to negotiate it is steady and heartbreaking.

Each of the actors gives a richly layered performance that is deeply human. They are all trapped and making the best of bad situation. There are no overt villains or heroes everyone is quietly flawed. The diverse cast are all stellar.

Marci T. House makes Ester an inspiring heroine. Righteous and hopeful, steadfastly resolute and cautiously optimistic she is so quiet you need to look for clues, how she touches a sample of cloth or subtly smiles at a word. She broke my heart and humbled me with her resolve and strength.

The production design by Pam Johnson, Itai Erdal and Doug Blafour (set, lights and sound) is evocative and as nuanced as the performances.

A lovely soft spoken show of longing and low but desired expectations , Intimate  Apparel is a subtle struggle as part of Black History Month.

I Love You Because by Intimate Theatre Productions

Until February 25^th

A new theatre company has been birthed in Vancouver. Intimate Theatre Production’s mandate is to do shows with small casts.

Their first show features lyrics by Ryan Cunningham, set to music by Joshua Salzman, who started writing it back when they were in the musical theatre program at New York University. It is based on Jane Austin’s Pride & Prejudice.

The show is slickly produced with multi-media elements and Kerry O’Donovan (Musical Director) plays a wicked piano. Director Shel Piercy keeps like bright and romantic and the choreographers Shelley Stewart Hunt, assisted by Julie Tomaino create some fun moves and witty visuals for the diverse cast.

Speaking as the cast – there are moments of genuine brilliance and clearly they are all very talented.

With a story so predictable – two ladies decide to find rebound guys – who are wildly different from them – to fool around with but end up falling in love with them – you need a lot of innovation as well as deep honesty to make the telling of the story compelling. Not to mention speed.  But to be fair there is not a lot of tension in this script.

Will Austin choose chose Marci over his ex-girlfriend Catherine. Well since Catherine is played an invisible person I guessed ‘yes’. Will the fastidious Diana choose the rapscallion slacker Jeff (brother of Austin) – again the answer is obviously, yes.

Erin Palm (Marci) and Harper Smith (Diana) are strong singers and open performers – they could stand to make bolder choices though. Sayer Roberts (Austin) is strikingly handsome with a rich voice and a boyish charm. Victor Hunter as Jeff is another great singer but he starts to overplay the comedy to the point in Act Two I was worried he would combust.

Sheryl Anne McMillan and Aaron Lau play a variety of service people with vim and verve but their characters do not really impact the story although they are very appreciated for adding life.

In the end the 20-somethings with limited life experience and desire to make an impression wrote this script – like the recently produced Glory Days – and the results are trite but show promise.  I was left with the desire – as a middle age fag – to go the New York University and say to the teachers – ‘stop telling them to write what they know.’.

If you want to see diamonds in the rough in the writing or the performers then don’t miss “I Love You Because” they are good people and deserve your support.

The Mystery of Edwin Drood by Fighting Chance Productions

Until March 3^rd

So frustrating – I find reviewing Fighting Chance Productions tricky because I have to recognize the intentions of the company and weigh that with my opinion for the potential audience.  It breaks my heart because there is so much love and commitment in all of their shows and they are clearly doing something right.

They have full casts, dozens of supporters and hundreds (thousands (?) of fans).

Writer and composer Rupert Holmes based this show on an unfinished novel by Charles Dickens, it is likely the only Panto to win a Tony Award for Best Musical (in 1985).

The mystery unfolds as close to the original source material with the aid of a narrator and when it gets to the part where there are no more words (due to Mr. Dickens untimely death) the audience is asked to vote on three things 1) Who is the disguised detective who is investigating the disappearance of the title character? 2) Who killed Edwin Drood? And 3) which two characters can have a romantic entanglement / happy ending? (It is set up so there cannot be a same-sex coupling, drat).

Since the show is a ‘sort of’ panto that means there are no human truths to connect to – no heartfelt emotions  – it is a heighted silly acting and jokes. To make that sustain a three-hour show you need to be very clever in the acting choices and since it is a musical you need to hear the wit and pitch perfect vocals in the song.

Some of the diverse cast are stellar and cracked me up: Chris Lam as Bazzard is expressive and physically adroit, James Walker makes a charming and laugh inducing drunk, Jessie Steka is lanky and uniquely over the top and Alex McMorran knows how to use timing with bombastic character choices.

Vashti Fairbairn directs the band and they do a good job. The issue is the sound mix. My companion and I could not hear the lyrics at all.

So it’s silly, sometimes very funny with bouncy music.

But it is when I look at the actors in the chorus, (particularly the straight boys) and they are beaming and dancing in time and acting with verve in the group scenes my (perhaps bitter) heart melts. It is there I see community, there is fun and it is there I see the value of art and the good things Fighting Chance is doing.

David C. Jones

Middle Age Fag

West Coast Ambassador

Calendar Girls by The Arts Club Theatre

Until February 26^th

I remember when the movie came out – starring Helen Mirren – it was based on a true story about some middle aged British women who posed in tasteful nude pictures for a fund-raising calendar. I thought at the time 1) good for them and 2) sounds like a “women’s movie”. By that I meant a film made to appeal to women not that all women would enjoy it.

So I never saw the movie but it was my duty to see the play when it came to Vancouver and I thought it would be prudent to take my middle aged female friend along.

Even though Tim Firth bases it on a true story the script follows the formula of many ensemble women’s comedy ranging from Stepping Out, to Tea With Mussolini to For Black Girls. There is The Ballsy One, The Naughty One, The Wounded One, The Mousey One, (who will get a big laugh and a round of applause when at some time in act two she will tell someone to ‘Fuck Off’). Each is given a bit of story line about their life outside of their gathering except usually The Old One who just has to crack wise about being old and saying a few things that out naughty The Naughty One.

Being formulaic and predictable what is left is the acting and staging. The just barely diverse cast of 11 all does fine work; the highlight for me was seeing Shawn Macdonald as leukemia stricken husband who inspires the calendar. Normally a wildly comic actor he was so warm and grounded that like his (Mousey) wife, played warmly by Wendy Noel, you wanted more time with him. I love seeing artists do something new.

Director Rachel Ditor creates some lovely staged moments that are quite moving, like when the letters arrive and uses spotlights where a close-up in the movie would have taken place. There is a languid flow that moves the show along and the scene where they are taking the nude pictures has a lot of funny moments.

If you like your stories warm, witty and highly predictable, if you like shows about women empowering themselves than there is something here for you. My lady friend found it ‘sweet but a little boring, not as invigorating as the movie’ and me, I just found it … nice.

Julius Caesar by Studio 58

Until February 26^th

The students of Studio 58 – the professional theatre-training program at Langara College had a problem – they had too many female students and not enough female roles, at least not a lot of meaty female roles. Enter director Scott Bellis and his gender flipped version of Julius Caesar. William Shakespeare’s script only had two female parts, the wives Calpurnia and Portia – those remain but now Caesar, Octavius, Caius, Metellus are female. Et tu Brutus? You betcha and many others.

This is a different vision of Rome – same-sex marriages and a matriarch society where women carry swords and the men sit on separate benches. The production values are crisp and slick. The set by Amir Ofek is a raised square that features Michael Sider’s multi-media images from above and below. Naomi Sider’s costumes are fun and corporate and the lighting by Alan Brodie is moody and powerful.

I have never been a fan of this script – Caesar only has a few scenes before he – I mean she – is murdered by the conspirators and a lot of the show is about political machinations. But Mr. Bellis creates theatrical drama where he can. When Leslie Dos Remedios’ confident Caesar is set upon, she fights back with such ferocity that you think she may survive. The battles when Octavius returns for vengeance are cleverly executed  since they are scripted mostly off stage.

When Cinna the poet, a priest here, is killed by an angry mob, Stephen Beaver brings such confused sadness it is heartbreaking. Tim Carlson as Mark Anthony is so passionate and bent on justice his “cry havoc and let slip the dogs of war’” speech made me tear up.

The diverse student cast does great work – the women (especially Lindsay Winch as Cassius and Andrea Houssin as Brutus) own their space and the men are ambitious though clearly second-class in this topsy-turvy world. Sometimes the casts young age causes them to posture rather than inhabit their titles but it is a great showcase for the students and they should feel proud.

Special mention to Agnes Tong who plays a funny and aged Popilius as well as the Xena-like Octavious, she has shown herself in past productions to be an actress of considerable range and innovation and that is confirmed here.

Congratulations to Studio 58 and director Scott Bellis for taking the problem of too many actresses and making an original and sharp production of a lesser classic. Fine job everyone.

From the West Coast Ambassador,

David C. Jones

Middle Age Fag

PS: It has come up that some newer readers have questioned why I delineate if a cast is diverse or all white. For years I have rallied for Vancouver theatre to do as prescribed and use art to hold a mirror up to society. Since Vancouver is almost 52% non-white I use to tally the white and non-white faces. The disparity was very noticeable.  Weary of being a statistician, this past year I have opted to just ‘all white’ or ‘diverse’. No judgment is intended, simply fact.

Vancouver performing artists have always been innovative – they choose unusual subject matter, adapt things in unique ways and do shows in non-traditional places. Two shows I saw last week are very original for different reasons.

Do You Want What I Have Got ? A Craiglist Cantata by the PuSH Festival

Until February 11th

Originally presented as 20 minute piece a couple of years ago at PuSH International Performing Arts Festival, Mr. Bill Richardson and Ms.Veda Hille have mined the on-line ads on Craigslist and come up with a powerfully funny and deeply touching cabaret that makes you laugh and ponder at the same time.

Some of the ads are almost word for word transcribed into song existing in a surreal place of the hysterically odd. But the palatable neediness is almost disturbing in it’s desperation. Other times the songwriter and writer have been inspired by the ads to scratch beneath the surface, for example the I Saw You ads become a wry song called Did Anyone See Me?

The skilled and diverse cast was pitch perfect in the songs and I have never seen a group so skilled at comedy. J. Cameron Barnett, Dmitry Chepovetsky and Bree Grieg were so rich in exploiting the eccentricities of the various ad writers and Selina Martin knows how to play a deadpan head turn and then astonishes with a killer set of pipes.

Director Amiel Gladstone not only stages the various songs and odd assortment of characters in fluid but always eye-catching way – he also doesn’t let his actors mock the people they play. They bring great truth to the characters so that makes the laughs richer.

Veda Hille and Barry Mirichnick play live on stage and take on roles and songs as well. The songs by Ms. Hille are special creations stylized so sometimes they are Brechtian and other times show tunes and always witty and engaging.

I sometimes cry at theatre because I am moved by the story. As the cast sang and joked and danced (although no choreographer is listed – wtf?) I was socaptured when they busted out instruments I whispered an astonishment ‘no way’ and my eyes teared with delight.

Who knew that a bunch of Craigslist ads could be so entertaining? The audience laughed loud and long and the show received not one but two standing ovations. It’s funny but it’s more – because the wonderfully needy and abrasively weird people they portrayed are real, they are us.

Talking about holding up a mirror to society. Bravo! Great idea very well done.

Gunmetal Blues by The Vancouver Playhouse

Until February 4^th

The Vancouver Playhouse Theatre Company performs at a building called The Vancouver Playhouse. It’s weird because they are not the same thing. The building is owned by the city and the company was (is?) British Columbia’s ‘Regional Theatre.’ The building was built years ago and it was clearly built by someone who did not truly understand what performing artists and audiences need.

Deep in the basement with no easy access from the outside is a finished – recital hall (?)  Years ago when I worked at the Playhouse – they tried to hold rehearsals there but the odd ventilation and tiny stage made it not conducive. We also had a reception there once but the room felt confined and restrictive.

But 20 years since I worked there the space it is brought back to life. Artistic Director Max Reimer has staged a very droll private eye musical called Gunmetal Blues by Marion Adler and Richard March.

A world-weary detective played with sardonic charm by Andrew Wheeler (“Don’t let the trench coat fool you, I was expecting rain.”) is asked by a mysterious blonde played by the stunningly talented Megan Gardiner to help find a wayward heiress. A lot of the action takes place at the Red Light Lounge, one of those bars in one of those hotels out by the airport.

Red Light’s resident piano player is Buddy Toupee played by the delightfully surprising Tom Arntzen. I have known the tall and handsome Tom as a piano player but who knew he was such a fun actor. Like Ms. Gardiner he has to play about 6 different characters and each was a funny creation.  A little clichéd as fitting the throwback script but fully embodied. A little like watching the variety show sketches from the 80’s tv shows, only really funny.

The show is fun – the all white cast sings and acts with inventive charm. The concept of doing a late night show in the basement of a civic building has paid off. The place was packed and appreciative. So much talent and so much fun in a ‘my dad has a barn’ type of place but please no more setting scenes on the floor. The stage is small and I was in the fifth row. On the floor scenes were impossible to see. But then again this space was not designed for theatre – oh and it got really warm with all those people in there.

Gunmetal Blues was fun and tuneful script played by great artists in an odd place. I am glad I experienced it and recommend it. Sit close and wear light clothes.

Joyously

David C. Jones

middle aged fag

Westcoast Ambassador

We are stoked! Tonight is the world premiere of RuPaul’s Drag Race Season 4 on OUTtv.  The 90-minute premiere kicks off tonight Monday, January 30 at 9 PM ET/PT (the series’ regular timeslot), followed by a new season of the behind-the-scenes fan favorite “Untucked: RuPaul’s Drag Race” at 10:30 PM ET/PT.

Another exciting news! OUTtv is bringing the Drag Race experience to 6 cities across Canada.  Join us for the Official RuPaul’s Drag Race Season 4 Launch Party & the Search for Canada’s new drag superstars in your city with headliners: Manila Luzon, Shangela & Lady Bunny! Winner in each city will receive a trip of a life time to attend the Official RuPaul’s Drag Race Finale Party in New York City as our VIP guest. The event kicks-off in Vancouver, BC on Wednesday Feb 15 with the final event in Ottawa, ON.   See the complete dates & venue info below:

Wednesday February 15 – Celebrities Nightclub | 1022 Davie Street  Vancouver, BC
Friday February 17 – Diva’s Club | 110-220 3rd Avenue South  Saskatoon, SK
Saturday February 18 – Fame Nightclub | 279 Garry Street, Winnipeg, MB
Monday February 20 – Crews and Tangos | 508 Church Street  Toronto, ON
Tuesday February 21 – Cabaret Mado | 1115 Ste Catherine E, Montréal, QC
Thursday February 23 – The Flamingo | 380 Elgin Street  Ottawa, ON

Make sure to come out to support your local queens as they compete for the grand prize in your city and be entertained by one of the celebrity guest judges   Manila Luzon, Shangela, and Lady Bunny!

To compete, contact the club in your city!

Note: There are preliminary rounds before the finale dates above. Contact the club early to participate!

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

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

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.

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

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

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

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