We'll keep posts going about summer activities, but otherwise we'll all have some fun in the sun! Can't wait to see you in October - maybe a group meeting to share what we did over the summer?
Monday, June 30, 2014
pt summer mode
We're about to get quiet for the summer - there will still be the occasional post and update, but the staff have gone off to recuperate from the year and get ready for another one. Emails and messages will be checked a couple of times a week, and Cara will be on top of all enquiries about the Summer Theatre School (email her directly: cara@pacifictheatre.org).
Friday, June 27, 2014
the tolkien-lewis new play project | indiegogo launch
CS Lewis and JRR Tolkien wrote some of the most beloved stories of the past century, and for years Ron has been fascinated with their friendship. Now he's writing a play about them, but since Pacific Theatre's play-development funds are tied up in other artists, he needs your support. Check out this Indiegogo campaign. There are a lot of cool perks to choose from, and you get to be a part of Ron's "fellowship" for this project.
Check out The Tolkien-Lewis New Play Project HERE.
Check out The Tolkien-Lewis New Play Project HERE.
Wednesday, June 25, 2014
PT Teens | Meet Camp Assistant Pippa!
Pippa Johnstone was one of PT's three apprentices this season and you may have seen her on stage in MEASURE FOR MEASURE. And you can see her this summer in her final apprentice project GRUESOME PLAYGROUND INJURIES. Pippa has been a camp leader for many years and has signed up to help Kerri teach our PT Teens Theatre School!
Pippa is a local actor in Vancouver who has been working at Pacific Theatre this past year since finishing her BFA at UBC. She was last seen in Measure for Measure with the Honest Fishmongers Theatre Co-op and Whose Life is it Anyways with RealWheels Theatre, and will be next in Gruesome Playground Injuriesin July on the Pacific Theatre stage. She is so thrilled to be a part of the Pacific Theatre summer camps this year and can’t wait to meet all the kids!
It is not too late to sign your kids up for the PT Teen or KiDS Theatre School. Email Cara at cara@pacifictheatre.org with any questions, or register today by calling 604-731-5483.
PT SUMMER THEATRE SCHOOL
When: July 7th-11th (KiDS) & July 14th-18th (Teens), 9:30am-2:30pm
Where: Pacific Theatre – 1440 W 12th Ave
(corner of 12th & Hemlock)
Who: Kids ages 9-12 or Teens ages 13-15 who love to perform!
How much: $200(including GST) per child
(Family discount – each additional child from the same household is $150)
More info about the camp can be found here!
Pippa is a local actor in Vancouver who has been working at Pacific Theatre this past year since finishing her BFA at UBC. She was last seen in Measure for Measure with the Honest Fishmongers Theatre Co-op and Whose Life is it Anyways with RealWheels Theatre, and will be next in Gruesome Playground Injuriesin July on the Pacific Theatre stage. She is so thrilled to be a part of the Pacific Theatre summer camps this year and can’t wait to meet all the kids!
Did you go to summer camp?
Summer camp was always a huge part of my life – I went to overnight camp in Squamish from 8 years old, and worked at that same camp for many summers. I also spent many summers at Bard on the Beach Young Shakespeareans and Arts Umbrella theatre summer camps.
What is your favorite part about summer?
In Vancouver? How do I pick just one? Sunshine, beach days, biking and ice cream.
What is your favorite Theatre game?
Hmm…probably charades! Or really anything that involves guessing and teamwork.
What’s your favorite movie?
You ask tough questions! Maybe Forrest Gump? Or if we are keeping it classic…Lion King.
If you could be a kid again for one day, how would you spend your day?
Probably like this young lady…
It is not too late to sign your kids up for the PT Teen or KiDS Theatre School. Email Cara at cara@pacifictheatre.org with any questions, or register today by calling 604-731-5483.
PT SUMMER THEATRE SCHOOL
When: July 7th-11th (KiDS) & July 14th-18th (Teens), 9:30am-2:30pm
Where: Pacific Theatre – 1440 W 12th Ave
(corner of 12th & Hemlock)
Who: Kids ages 9-12 or Teens ages 13-15 who love to perform!
How much: $200(including GST) per child
(Family discount – each additional child from the same household is $150)
More info about the camp can be found here!
Tuesday, June 24, 2014
espresso | artistic director notes
Our season closer has closed. But I feel like posting one last thought - to put a period at the end of that final paragraph in the story of our 30th Anniversary Season. So here: my notes on that marvel of a play, ESPRESSO.
When I think back on Espresso's debut at Pacific Theatre, so much comes back with clarity. The story, its authenticity and rawness. Specific moments. The array of vivid characters. Images. Even a decade later, so much remains. But what hit me earlier this spring when I turned again to the script was the language. This is first and foremost a play, a performance piece, meant to live and breathe and move on a stage. But – and I feel this more strongly than with any of the dozens of works we've premiered at Pacific Theatre – it is also a work of literature. The words, the turns of phrase, the shape and juxtaposition of sentences.
When I think back to January 2003, I also remember the people whose sacrifices brought the play to the stage in the first place. The company was in a dire situation financially – in fact, it was a play of mine, Mercy Wild, that got us there! – and it looked unlikely that we could even stage another play. But we knew we had to honour our commitment to Lucia's play, and Scott Campbell found a way. He trimmed the costs as far as they could be trimmed. He talked with artists – the design team, technical crew, actors, stage management, everyone – and let them know that we wouldn't have the money to pay them. People refused to leave the show, and worked for free, or for a pittance of what they had contracted for. Seasoned professionals like Morris Ertman and Kevin McAllister simply committed to get the play onstage, regardless of their pay. Scott worked crazy hours, long into the night, up ladders and in the tunnels, it seemed almost single-handedly doing whatever was needed to make up for the crews we couldn't afford to hire.
Espresso blew the walls out. It made up all the money we had lost on my play, and then some. And we were able to go back to the artists whose sacrifices put the play onstage, and pay them. Extraordinary.
And I remember the response. The audiences – before long, you couldn't get a ticket. Our fellow artists, the Jessie jury, the critics – I'll never forget the closing paragraph of Colin Thomas' review, which I can nearly quote from memory. "Espresso deserves many, many more productions. Artistic directors from across the continent should be flocking to Vancouver to experience it."
So here we go, offering one more of those well-deserved productions – the culmination of our thirtieth anniversary season. Nothing could better embody the essence of Pacific Theatre – like a five-course Italian feast, served up with love and passion and artistry from Lucia's kitchen. Food for the soul.
Buon appetito!
When I think back on Espresso's debut at Pacific Theatre, so much comes back with clarity. The story, its authenticity and rawness. Specific moments. The array of vivid characters. Images. Even a decade later, so much remains. But what hit me earlier this spring when I turned again to the script was the language. This is first and foremost a play, a performance piece, meant to live and breathe and move on a stage. But – and I feel this more strongly than with any of the dozens of works we've premiered at Pacific Theatre – it is also a work of literature. The words, the turns of phrase, the shape and juxtaposition of sentences.
When I think back to January 2003, I also remember the people whose sacrifices brought the play to the stage in the first place. The company was in a dire situation financially – in fact, it was a play of mine, Mercy Wild, that got us there! – and it looked unlikely that we could even stage another play. But we knew we had to honour our commitment to Lucia's play, and Scott Campbell found a way. He trimmed the costs as far as they could be trimmed. He talked with artists – the design team, technical crew, actors, stage management, everyone – and let them know that we wouldn't have the money to pay them. People refused to leave the show, and worked for free, or for a pittance of what they had contracted for. Seasoned professionals like Morris Ertman and Kevin McAllister simply committed to get the play onstage, regardless of their pay. Scott worked crazy hours, long into the night, up ladders and in the tunnels, it seemed almost single-handedly doing whatever was needed to make up for the crews we couldn't afford to hire.
Espresso blew the walls out. It made up all the money we had lost on my play, and then some. And we were able to go back to the artists whose sacrifices put the play onstage, and pay them. Extraordinary.
And I remember the response. The audiences – before long, you couldn't get a ticket. Our fellow artists, the Jessie jury, the critics – I'll never forget the closing paragraph of Colin Thomas' review, which I can nearly quote from memory. "Espresso deserves many, many more productions. Artistic directors from across the continent should be flocking to Vancouver to experience it."
So here we go, offering one more of those well-deserved productions – the culmination of our thirtieth anniversary season. Nothing could better embody the essence of Pacific Theatre – like a five-course Italian feast, served up with love and passion and artistry from Lucia's kitchen. Food for the soul.
Buon appetito!
pt at the jessies | 1994-2014
Jessie Richardson Awards
1994/95 - 2013/14
20 seasons of eligibility
106 Pacific Theatre nominations
33 nominations for artists presented or sponsored by PT
winners in boldface (2013/14 awards to be announced June 23)
1994-95 (6 nominations)
VOICE OF THE PRAIRIE
Actress: Erla Faye Forsyth
Supporting Actor: Dirk Van Stralen
COTTON PATCH GOSPEL
Director: Morris Ertman
Musical Direction: Allen des Noyers
Ensemble Cast: Spencer Capier, Allen des Noyers, Tim Dixon, Ron Reed,
Wyndham Thiessen
Set: Morris Ertman, Damien
1995-96 (2 nominations)
HOWARD BUYS A MOTORHOME
Musical Direction: Scott Hafso
Actress: Erla Faye Forsyth
1996-97 (4 nominations)
TALLEY’S FOLLY
Set: Bruce Repei
Lighting: Bruce Repei
Actor: Dirk Van Stralen, Mass Appeal
Ensemble Cast: Lucia Frangione, Erla Faye Forsyth, Anita Wittenberg, Holy Mo
1997-98 (4 + 4 nominations)
NAVY WIFE
Actress: Miriam Brown
Supporting Actress: Linda Bush
Sound: Steven Bulat
Actor: Dirk Van Stralen, The Nerd
A VIEW FROM THE BRIDGE (Building Bridges)
Director: John Juliani
Actor: Terry Jang Barclay
Supporting Actor: Hiro Kanagawa
Set: Robert Gerow
1998-99 (4 nominations)
AGNES OF GOD
Actress: Gina Chiarelli
Lighting: Kevin McAllister
Set: Morris Ertman
Actress: Miriam Brown, The Lion, The Witch & The Wardrobe
1999-2000 (8 + 2 nominations)
MASTER HAROLD... & THE BOYS
Production: Pacific Theatre
Director: Morris Ertman
Actor: Jeremy Tow
Supporting Actor: Tom Pickett
HOLY MO
Costumes: Christine Hackman
Actress: Tiffany Lyndall-Knight
Set: Kevin McAllister
Original Composition: Allen des Noyers, Dreams of Kings & Carpenters
Actress: Sharon Heath, Quilters (Quilters Co-op)
Actress: Katharine Venour, Saint Joan (Candlelight)
2000-2001 (2 nominations)
Musical Direction: Karen Parent, Tent Meeting
Supporting Actress: Carolyn Tweedle, The Foreigner
2001-2002 (2 + 1 nominations)
CARIBOO MAGI
Original Play or Musical: Lucia Frangione
Actor: Dirk Van Stralen
Sydney Risk Award, Emerging Playwright: Lucia Frangione
2002-2003 (10 nominations)
LETTICE & LOVAGE
Supporting Actress: Trish Pattenden
Actress: Erla Faye Forsyth
ESPRESSO
Production: Pacific Theatre
Original Play: Lucia Frangione
Actress: Lucia Frangione
Actor: Todd Thomson
Set: Kevin McAllister
Lighting: Kevin McAllister
Critics' Choice: Espresso
Supporting Actor: Ron Reed, God's Man In Texas
2003-2004 (2 + 1 nominations)
THE LION, THE WITCH & THE WARDROBE
Performance, TYA: Paul Moniz de Sa
Performance, TYA: Julia Mackey
Supporting Actor: Bob Frazer, The Glass Menagerie (Liffy)
2004-2005 (4 + 1 nominations)
CHICKENS
Supporting Actor: Corina Akeson
Set: Kevin McAllister
Costumes: Nicole Bach
Supporting Actor: Kyle Rideout, Halo
Actor: Rick Dobran, The Domino Heart (Section 8)
2005-2006 (17 + 5 nominations)
SHADOWLANDS
Production, Small Theatre: Pacific Theatre
Direction: Morris Ertman
Actor: Ron Reed
Actress: Katharine Venour
Set: Dale Marushy
Costumes: Nicole Bach
THE FARNDALE CHRISTMAS CAROL
Actress: Erla Faye Forsyth
Supporting Actor: Kyle Rideout
Costumes: Nicole Bach
Significant Artistic Achievement, Props: Francesca Albertazzi & Lauchlin Johnston
PRODIGAL SON
Production, Large Theatre: Touchstone Theatre & Pacific Theatre
Original Script: Shawn MacDonald
Direction: Katrina Dunn
Supporting Actor: Bob Frazer
Supporting Actress: Camille Beaudoin
Lighting: John Webber
Sound Design or Original Composition: Paul Moniz de Sa
ELEPHANT MAN (Five Bob Equity Co-Op)
Production, Small Theatre
Supporting Actress: Annabel Kershaw
Lighting: Adrian Muir
Costumes: Sheila White
Gordon Armstrong Playwright's Award winner: Lucia Frangione
(For LEAVE OF ABSENCE, which Lucia is developing for Pacific Theatre in partnership with the Playwrights' Theatre Centre)
2006-2007 (8 nominations)
GRACE
Production: Pacific Theatre
Director: Angela Konrad
Actress: Alexa Devine
Actor: Craig Erickson
Supporting Actor: Kerry Vander Griend
Supporting Actor: Duncan Fraser
A BRIGHT PARTICULAR STAR
Costumes: Nicole Bach
CARIBOO MAGI
Costumes: Nicole Bach
CARIBOO MAGI
Set: Kevin McAllister
2007-2008 (2 + 2 nominations)
DRIVING MISS DAISY
Supporting Actor: Paul Moniz de Sa
Sound: Stephen Bulat
A MAN FOR ALL SEASONS
Actor: Ron Reed
Costumes: Tracy Wright
2008-2009 (1 nomination)
Supporting Actor: Ron Reed, Mourning Dove
2009-2010 (4 nominations)
REFUGE OF LIES
Set: Lauchlin Johnston
Lighting: Lauchlin Johnston
Actor: Terence Kelly
Costumes: Naomi Sider, The Lion, The Witch & The Wardrobe
2010-2011 (10 + 12 nominations)
Significant Artistic Achievement: Curation and Execution of an Outstanding Season of Theatre
PLAYLAND
Production
Director: Anthony F. Ingram
Actor: Michael Kopsa
Actor: Tom Pickett
Set: Drew Facey
Lighting: Lauchlin Johnston
MY NAME IS ASHER LEV
Costumes: Naomi Sider
Sound/composition: Luke Ertman
Set: Lauchlin Johnston
JESUS HOPPED THE 'A' TRAIN
Production
Director: Angela Konrad
Actor: Rob Olguin
Actor: Carl Kennedy
Lighting: Itai Erdal
THE BUSY WORLD IS HUSHED
Production
Director: Richard Wolfe
Actress: Gina Chiarelli
Sound/composition: David Mesiha
Set: Michael Schaldemose
Lighting: Michael Schaldemose
Sam Payne Award, Most Promising Newcomer: Evan Frayne (Pacifc Theatre apprentice)
2011-2012 (10 + 2 nominations)
RE:UNION
Co-Production with Horseshoes & Hand Grenades
Production
Director: John Langs
Actor: Andrew Wheeler
Actor: Evan Frayne
Projection Design: Jason H. Thompson
DOUBT
Supporting Actress: Leslie Lewis Sword
A CHRISTMAS CAROL
Set: Brian Pollock
DANNY AND THE DEEP BLUE SEA
Annunciation Pictures
Director: Jason Goode
Actor: Aleks Paunovic
2012-2013 (2 + 3 nominations )
HOW TO WRITE A NEW BOOK FOR THE BIBLE
Actress: Erla Faye Forsyth
100 SAINTS YOU SHOULD KNOW
Supporting Actor: Chris Lam
MOTHER TERESA IS DEAD
Actress: Julie McIsaac
Supporting Actor: Kayvon Kelly
Sound Design: James Coomber
2013-2014 (14 nominations)
THE FOREIGNER
Outstanding Production
Director: Evan Frayne
Actor: John Voth
Supporting Actor: Peter Carlone
Supporting Actor: Erla Faye Forsyth
Set: Lauchlin Johnston
THE SEAFARER
Outstanding Production
Director: Anthony F. Ingram
Actor: John Emmet Tracy
Actor: Ron Reed
Supporting Actor: Tim Dixon
Set: Drew Facey
Costumes: Sydney Cavanagh
Sound: Luke Ertman
2011-2012 (10 + 2 nominations)
RE:UNION
Co-Production with Horseshoes & Hand Grenades
Production
Director: John Langs
Actor: Andrew Wheeler
Actor: Evan Frayne
Projection Design: Jason H. Thompson
THE LAST DAYS OF JUDAS ISCARIOT
Co-Production with Pound Of Flesh, Rumble, NeWorld, Cultch
Actor: MIchael Kopsa
Actor: Marcus Youssef
Actress: Dawn Petten
Supporting Actress: Leslie Lewis Sword
A CHRISTMAS CAROL
Set: Brian Pollock
DANNY AND THE DEEP BLUE SEA
Annunciation Pictures
Director: Jason Goode
Actor: Aleks Paunovic
2012-2013 (2 + 3 nominations )
HOW TO WRITE A NEW BOOK FOR THE BIBLE
Actress: Erla Faye Forsyth
100 SAINTS YOU SHOULD KNOW
Supporting Actor: Chris Lam
MOTHER TERESA IS DEAD
Actress: Julie McIsaac
Supporting Actor: Kayvon Kelly
Sound Design: James Coomber
2013-2014 (14 nominations)
THE FOREIGNER
Outstanding Production
Director: Evan Frayne
Actor: John Voth
Supporting Actor: Peter Carlone
Supporting Actor: Erla Faye Forsyth
Set: Lauchlin Johnston
THE SEAFARER
Outstanding Production
Director: Anthony F. Ingram
Actor: John Emmet Tracy
Actor: Ron Reed
Supporting Actor: Tim Dixon
Set: Drew Facey
Costumes: Sydney Cavanagh
Sound: Luke Ertman
pt at the jessies | 2014
What a great night! We always love joining with our friends and colleagues to celebrate the year of theatre in Vancouver, and last night was no exception. We were thrilled to see John Voth, Peter Carlone, and Erla Faye Forsyth recognized for their roles in THE FOREIGNER, as well as the team of THE SEAFARER take the prize for Outstanding Production! Here's some shots from the night.
Congratulations to all the nominees and winners. In other friends-of-PT news, we were thrilled to see our friends at Horseshoes & Hand Grenades Theatre win the Critic's Choice Innovation Award for their production of THIS STAYS IN THE ROOM, Itsazoo and Chelsea Haberlin (currently directing our apprentices Pippa and Kenton in GRUESOME PLAYGROUND INJURIES) took Outstanding Production for Small Theatre with KILLER JOE. Frequent PT director Richard Wolfe received the John Moffat & Larry Lillo Award as well as Outstanding Direction for INSIDE THE SEED (featuring our friend Carl Kennedy). Emmelia Gordon, who played in MEASURE FOR MEASURE won for her role in DISSOLVE. Plus Drew Facey, nominated for THE SEAFARER, won for his designs for ART, PENELOPE, and body of work in Theatre for Young Audiences.
For the full list of nominees and winners, visit the Jessies Page, or read about the awards in the Straight, Sun, and the Globe and Mail.
Congratulations to all the nominees and winners. In other friends-of-PT news, we were thrilled to see our friends at Horseshoes & Hand Grenades Theatre win the Critic's Choice Innovation Award for their production of THIS STAYS IN THE ROOM, Itsazoo and Chelsea Haberlin (currently directing our apprentices Pippa and Kenton in GRUESOME PLAYGROUND INJURIES) took Outstanding Production for Small Theatre with KILLER JOE. Frequent PT director Richard Wolfe received the John Moffat & Larry Lillo Award as well as Outstanding Direction for INSIDE THE SEED (featuring our friend Carl Kennedy). Emmelia Gordon, who played in MEASURE FOR MEASURE won for her role in DISSOLVE. Plus Drew Facey, nominated for THE SEAFARER, won for his designs for ART, PENELOPE, and body of work in Theatre for Young Audiences.
For the full list of nominees and winners, visit the Jessies Page, or read about the awards in the Straight, Sun, and the Globe and Mail.
Monday, June 23, 2014
30 for 30 campaign | WE DID IT! 107.7% Raised!
In case you haven't heard, this is our 30th anniversary season! We're closing off with a bang with ESPRESSO as well as a fundraising goal of $30,000. We are already halfway there with a matching grant for $15,000, but we'll only get it if you help bring us the rest of the way. Track our progress below and see where your gift fits in!
300+11+500+150+6.5+10+15+100+20+100+25+2+150+150+5+11+150+150+150+30+1000+10+75+150+150+20+75+50+50+5+19.95+2+19.95+21+100+300+3000+20+63+20+36+5+150+100+500+40.40+500+77.50+50+100+10.40+31.5+63+31.5+31.5+12+100+300+160+200+100+400+200+250+30+50+100+31.5+500+20+39.90+36+100+100+25+105+10+31.5+100+100+150+100+30+48.05+30+2500+1000+1000+500 = $17,322.15
Add the Match of $15,000.00 and you get ...
$32,322.15 RAISED! WE DID IT!!!
We have maxed out our matching grant and made 107.7% of our goal!
But it doesn't need to end there. Still want to contribute? It's not too late.
Here's a link...
Thursday, June 19, 2014
PT Teens | Meet Camp Assistant Kenton!
Kenton Klassen was one of PT's three apprentices this season and you may have seen him on stage in OLD TIME GOSPEL RADIO HOUR. And you can see him this summer in his final apprentice project GRUESOME PLAYGROUND INJURIES. Fortunately, Kenton also loves working with kids and has signed up to help Kerri teach our PT Teens Theatre School!
Kenton grew up all over western Canada and eventually moved to Vancouver to pursue an acting career in film and theatre. He discovered early on that there is nothing more exhilarating than the actor's process. Kenton studied theatre in the B.F.A. Acting program at the University of British Columbia and has been a Company Apprentice at Pacific Theatre this past season. Recent credits include The Seafarer, Old Time Gospel Radio Hour (Pacific Theatre), Autobahn (Stone's Throw), The Canadian Badlands Passion Play (CBPP), Rhinoceros, Dancing at Lughnasa, The Duchess a.k.a. Wallis Simpson (Theatre at UBC). Upcoming projects include Gruesome Playground Injuries (Stone's Throw), August in the Spring (Satellite), The Rainmaker (Pacific Theatre).
Q&A with Kenton:
Did you go to summer camp?
Yes, almost every summer growing up! Many of my favourite childhood memories are from camp and I remember counting the days until summer break just so I could get to camp!!
What is your favourite part about summer?
Being outdoors. I love the being out in nature, taking a book or a script to the beach and just spending the day outside. It's also when I get to see my family so that's awesome too.
What is your favourite Theatre game?
My favourite theatre game would probably be the most terrifying one where you have to improvise the scene from the play without the script and using your own words. Definitely scary but can bring out some really helpful stuff.
What’s your favourite movie?
Other than Lord of the Rings? Magnolia.
If you could be a kid again for one day, how would you spend your day?
I could really go for another snowball fight. You know the ones where you build a fort out of snow and then make a stash of snowballs and have a full on war. Oh wait.. this is Vancouver.. you might not know what I'm talking about.. but trust me, it's the best.
It is not too late to sign your kids up for the PT Teen or KiDS Theatre School. Email Cara at cara@pacifictheatre.org with any questions, or register today by calling 604-731-5483.
PT SUMMER THEATRE SCHOOL
When: July 7th-11th (KiDS) & July 14th-18th (Teens), 9:30am-2:30pm
Where: Pacific Theatre – 1440 W 12th Ave
(corner of 12th & Hemlock)
Who: Kids ages 9-12 or Teens ages 13-15 who love to perform!
How much: $200(including GST) per child
(Family discount – each additional child from the same household is $150)
More info about the camp can be found here!
PT SUMMER THEATRE SCHOOL
When: July 7th-11th (KiDS) & July 14th-18th (Teens), 9:30am-2:30pm
Where: Pacific Theatre – 1440 W 12th Ave
(corner of 12th & Hemlock)
Who: Kids ages 9-12 or Teens ages 13-15 who love to perform!
How much: $200(including GST) per child
(Family discount – each additional child from the same household is $150)
More info about the camp can be found here!
throwback thursday| 2013-2014 season retrospective
Our 2014-2015 season has come to a close, and it hasn't taken us very long to get nostalgic. Here's a Throwback Thursday retrospective on our 30th anniversary season.
THE FOREIGNER
COMMUNION
TOP TEN THOUSAND OF ALL TIME
CHRISTMAS PRESENCE
MEASURE FOR MEASURE
SIDESHOW
THE SEAFARER
OLD TIME GOSPEL RADIO HOUR
ESPRESSO
Wednesday, June 18, 2014
crime and punishment
Apprentice Ryan Scramstad is getting ready for his year-end project! Here are the details on his production of CRIME AND PUNISHMENT.
CRIME AND PUNISHMENT
an adaptation by Marilyn Campbell and Curt Columbus
based on the novel by Fyodor Dostoyevsky
June 26-28 at 8pm
PWYC Preview June 25
Described as a “conversation on the nature of evil,” Crime and Punishment is the story of Raskolnikov, a university dropout obsessed with a theory and ravaged by poverty. Fighting a battle between his justification for committing a horrific crime and the guilt which stalks him, Raskolnikov searches for absolution. With a police inspector hot on his trail and an unlikely friendship with a compassionate prostitute ever in his thoughts, Raskolnikov relives the events surrounding his actions in this psychological drama.
The play is performed without an intermission and runs 90 minutes.
Tickets available here.
CRIME AND PUNISHMENT
an adaptation by Marilyn Campbell and Curt Columbus
based on the novel by Fyodor Dostoyevsky
June 26-28 at 8pm
PWYC Preview June 25
Described as a “conversation on the nature of evil,” Crime and Punishment is the story of Raskolnikov, a university dropout obsessed with a theory and ravaged by poverty. Fighting a battle between his justification for committing a horrific crime and the guilt which stalks him, Raskolnikov searches for absolution. With a police inspector hot on his trail and an unlikely friendship with a compassionate prostitute ever in his thoughts, Raskolnikov relives the events surrounding his actions in this psychological drama.
The play is performed without an intermission and runs 90 minutes.
Tickets available here.
Tuesday, June 17, 2014
carolyn rapanos | set design | gruesome playground injuries
Carolyn Rapanos is busy at work designing a beautiful, innovative set for GRUESOME PLAYGROUND INURIES here at PT! You might recognize her elegant designs from OLEANNA (Bleeding Heart Theatre), OLD CURIOSITY SHOP (United Players) and is nominated for a Jessie this year as a part of the design team for JACK AND THE BEAN (Presentation House Theatre). Get a sneak peek of her work, and learn more about this up-and-coming talent here!
How did you first get involved with Gruesome Playground Injuries?
Pippa and Kenton contacted me, having worked with me back when we were studying theatre at UBC. Strangely enough, I had been approached about a year ago about designing for the same show but the project didn't pan out, so I had read the script and was already excited about the opportunity to design for it!
What is your favourite part about the play as a designer?
One of my favourite parts is the transitions - each scene takes place years apart and portrays different injuries, which means the characters have to become younger and older and damaged in different ways right in front of the audience. I wanted to bring visual focus to this in the set design. I was inspired by the feel of the script to find a bold, stylized motif that would also facilitate the action of the play. I started playing around with the look of weaving cotton tape because I liked the visual suggestion of bandages or even playground netting. Weaving this material together became a simple and direct way to bring visual focus to how the two characters' lives intertwine.
What is the biggest challenge this play presents as a designer?
My favourite parts of plays are also often the most challenging. The transitions present a logistical challenge in that each scene takes place in a different location and that the audience must sit through each transition. My goal is to make the transitions seamless and visually interesting while remaining part of the entire set composition.
If you could describe the play in three words, what would you use?
Intimate, bold, quirky
See more of her designs here.
Check out more about GRUESOME PLAYGROUND INJURIES and the rest of our summer series here!
Pippa and Kenton contacted me, having worked with me back when we were studying theatre at UBC. Strangely enough, I had been approached about a year ago about designing for the same show but the project didn't pan out, so I had read the script and was already excited about the opportunity to design for it!
(Carolyn's design for Dancing at Lughnasa at UBC)
What is your favourite part about the play as a designer?
One of my favourite parts is the transitions - each scene takes place years apart and portrays different injuries, which means the characters have to become younger and older and damaged in different ways right in front of the audience. I wanted to bring visual focus to this in the set design. I was inspired by the feel of the script to find a bold, stylized motif that would also facilitate the action of the play. I started playing around with the look of weaving cotton tape because I liked the visual suggestion of bandages or even playground netting. Weaving this material together became a simple and direct way to bring visual focus to how the two characters' lives intertwine.
(An early sketch of her GRUESOME set design)
What is the biggest challenge this play presents as a designer?
My favourite parts of plays are also often the most challenging. The transitions present a logistical challenge in that each scene takes place in a different location and that the audience must sit through each transition. My goal is to make the transitions seamless and visually interesting while remaining part of the entire set composition.
If you could describe the play in three words, what would you use?
Intimate, bold, quirky
See more of her designs here.
Check out more about GRUESOME PLAYGROUND INJURIES and the rest of our summer series here!
Friday, June 13, 2014
a walk in the thai sun | book launch | gjc mckitrick
Want to read a terrific novel? Want to win $100? As well as being a long-time PT fan, Greg McKitrick wrote a play called Unplugged: The Musical, which we workshopped one summer with Michael Hart Ruth Dallas Rich and me in the cast. I was also in a writers group with Greg, and he regularly brought in chapters of his novel A WALK IN THE THAI SUN. Well, the novel's just been published! Check it out, post a review and get entered in a draw to win a C-note! (Ron)
I’ve just released my first novel, A WALK IN THE THAI SUN, and I’m having a contest to celebrate this event. The concept is simple. Read the book and post a two or three sentence review—longer if you like–on Amazon.com. Then send me an email through my website confirming that you’ve done so, I will check to see that the review is there and then enter your name in a draw for a $100.00 Amazon gift certificate. More information here. - GJC McKitrick
A WALK IN THE THAI SUN
by CJC McKitrick
I’ve just released my first novel, A WALK IN THE THAI SUN, and I’m having a contest to celebrate this event. The concept is simple. Read the book and post a two or three sentence review—longer if you like–on Amazon.com. Then send me an email through my website confirming that you’ve done so, I will check to see that the review is there and then enter your name in a draw for a $100.00 Amazon gift certificate. More information here. - GJC McKitrick
A WALK IN THE THAI SUN
by CJC McKitrick
Retired Vancouver Police officer Sam Watson has little use for religion. When his only son, Jeff, commits to missionary service in Thailand, Sam is understandably upset.
An uneasy long distance relationship continues until the unthinkable happens: Jeff is murdered. The mission organization wants nothing to do with the investigation and the Thai Police seem unable or unwilling to solve the crime. Sam finds himself in Thailand seeking his son’s killer but also grappling with loss, culture shock and, ultimately, the meaning of his son’s short life
Thursday, June 12, 2014
throwback thursday | driving miss daisy
In the 2007-2008 season we "went to the movies", producing a year's worth of plays that had been made into films. The season kicked off with DRIVING MISS DAISY, directed by Sarah Rodgers (director of ESPRESSO), featuring Erla Faye Forsyth, Tom Pickett, and Paul Moniz de Sa.
Wednesday, June 11, 2014
espresso | costume design
In a show like ESPRESSO, the costume design can come across as deceptive in its simplicity, but there is still a lot of time and thought that goes into the design. Below are the preliminary research pictures our designer, Naomi Sider, came up with, as well as some of her thoughts on what she wanted to do with the designs.
Some notes from Naomi on the final design:
For Lucia's first dress, I wanted to bring in some vibrant colour. The set is full of metallic colours and hard edges, like the world Rosa sees that is suddenly dangerous for our fragile selves. In contrast to that, I chose for her a bright teal colour that is a flowy rayon. In the midst of Rosa's crisis she is a living, sensual being. The colour choice seemed like it was meant to be when we found the exact shade of green-blue in our shoes.
For the second dress, the colour was determined by the script. Some design decisions for that dress came from the functional necessities of being dressed onstage by another actor. It could not be fussy. The simple lines ensure that Rosa is the focus of our attention, and they reflect her grief.
Tuesday, June 10, 2014
gruesome playground injuries | christopher david gauthier | costume design
Christopher David Gauthier is an award-winning, constantly-creating costume designer who is almost as excited about designing GRUESOME PLAYGROUND INJURIES as we are to have him on our team. Christopher’s work was last seen at PT for MEASURE FOR MEASURE, in GA TING with the Frank Theatre company, PROOF at Mnemonic Theatre, and he is nominated this year for a Jessie for Outstanding Body of Work in Costume Design for Small Theatre.
How did you get involved with Gruesome Playground Injuries, and Pacific Theatre?
Pippa Johnstone asked me as we were working on The Honest Fishmongers' production of Measure for Measure presented at Pacific Theatre. So I said, sure I'll read it, but I was a bit leery about a co-op/low budget production at this point, but Pippa was a draw, Kenton is charming and [director] Chelsea Haberlin and I had been talking about working together so it had all that.
Then I read it.
And I said yes immediately.
The script is achingly beautiful, as well as dark, fiercely funny, and brutally honest.
What is your favourite part of Gruesome Playground Injuries as a designer?
Can't pick just one - I guess "the team", the actors are great, Chelsea is beautifully focused, and is open to discussion, nurturing of creativity, and Carolyn Rapanos's set design is in and of itself gorgeous, simple, evocative, and will integrate the costumes (hooray!).
But wait - the script is fantastic. Truly.
In fact it's one of the few scripts I've read that I just got immediately, on a really deep level, and my admiration for the clean, spare writing just grows and grows.
What are the specific challenges of working on Gruesome Playground Injuries?
Well, there are lots of time shifts as it covers 30 years, and it has been decided that it all needs to happen onstage, but in essence we (and especially Chelsea) have turned that into a plus. It does have to happen onstage, it makes sense, and it helps the design. So we limited the palette, and came up with a simple idea that I think will be effective AND theatrical. And it turns out the injuries which look crazy difficult at the beginning seem not so wild once you are into it (additionally make-up/blood products are fantastic and very user friendly today.)
If you had to pick one year for clothing between 1984 and 2014, which styles or trends would you pick & why?
As a designer while there are things I like and dislike in fashion/styles of every time but I don't like to pick a favourite time/era, I think it can end up limiting you either consciously or unconsciously.
For this play we are less concerned with period, there is a bit of timelessness we are aiming for, as the pieces need to be interchangeable for the show.
Unrelated to the show I do have a huge fondness for Cyndi Lauper's taste as it's developed, she's always been able to grab the key elements in any period and make them her own. I like that, taking the current and making it personal. I dislike the tendency to judge a period you didn't live through. Of course it looks weird to you!
If you could describe the play in three words what would you use?
Honest, Pithy, Bittersweet.
There you have it folks. Come see this genius' designs in action at GRUESOME PLAYGROUND INJURIES here at Pacific Theatre running July 3-12th.
Find more info about the show, and the rest of our summer series here.
How did you get involved with Gruesome Playground Injuries, and Pacific Theatre?
Pippa Johnstone asked me as we were working on The Honest Fishmongers' production of Measure for Measure presented at Pacific Theatre. So I said, sure I'll read it, but I was a bit leery about a co-op/low budget production at this point, but Pippa was a draw, Kenton is charming and [director] Chelsea Haberlin and I had been talking about working together so it had all that.
Then I read it.
And I said yes immediately.
The script is achingly beautiful, as well as dark, fiercely funny, and brutally honest.
(Pippa in Christophers's designs in Measure for Measure.)
What is your favourite part of Gruesome Playground Injuries as a designer?
Can't pick just one - I guess "the team", the actors are great, Chelsea is beautifully focused, and is open to discussion, nurturing of creativity, and Carolyn Rapanos's set design is in and of itself gorgeous, simple, evocative, and will integrate the costumes (hooray!).
But wait - the script is fantastic. Truly.
In fact it's one of the few scripts I've read that I just got immediately, on a really deep level, and my admiration for the clean, spare writing just grows and grows.
What are the specific challenges of working on Gruesome Playground Injuries?
Well, there are lots of time shifts as it covers 30 years, and it has been decided that it all needs to happen onstage, but in essence we (and especially Chelsea) have turned that into a plus. It does have to happen onstage, it makes sense, and it helps the design. So we limited the palette, and came up with a simple idea that I think will be effective AND theatrical. And it turns out the injuries which look crazy difficult at the beginning seem not so wild once you are into it (additionally make-up/blood products are fantastic and very user friendly today.)
If you had to pick one year for clothing between 1984 and 2014, which styles or trends would you pick & why?
As a designer while there are things I like and dislike in fashion/styles of every time but I don't like to pick a favourite time/era, I think it can end up limiting you either consciously or unconsciously.
For this play we are less concerned with period, there is a bit of timelessness we are aiming for, as the pieces need to be interchangeable for the show.
Unrelated to the show I do have a huge fondness for Cyndi Lauper's taste as it's developed, she's always been able to grab the key elements in any period and make them her own. I like that, taking the current and making it personal. I dislike the tendency to judge a period you didn't live through. Of course it looks weird to you!
If you could describe the play in three words what would you use?
Honest, Pithy, Bittersweet.
There you have it folks. Come see this genius' designs in action at GRUESOME PLAYGROUND INJURIES here at Pacific Theatre running July 3-12th.
Find more info about the show, and the rest of our summer series here.
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