December 14-16: FIRST CHRISTMAS Reunites Original Company!

Just yesterday I was sitting with a friend from Regent College, talking about the people who founded Pacific Theatre with me 24 years ago. Talking about our very first show, FIRST CHRISTMAS: AN ENTERTAINMENT, and reflecting on how different those times were - and yet, how much connection there still is.  Our annual CHRISTMAS PRESENCE is a fixture at PT, evenings of readings and music woven together (however loosely) into some sort of vaguely cohesive celebration - essentially, a pulled-together-on-the-spot version of the first production the company ever mounted, back in 1984.  (Even stranger, I was on the phone with someone from Rosebud yesterday - they needed Father Damien's glasses for their production of FIDDLER ON THE ROOF - who knew they had lepers in Russia in 1905? - and when she needed to phone the office to make some arrangements, she asked if the number was 222-8226.  Oy vey. Some sort of time warp thing going on here?)

Well, this morning I received confirmation from the last of the original performers.  In celebration of the company's 25th Anniversary Season, the three performances of CHRISTMAS PRESENCE which we stage at Pacific Theatre will feature the founding PT company reading the pieces that comprised our debut production.  Allen Desnoyers, Elaine Adamian, Byron Linsey, Roy Salmond and I - backed by the Nelson Boschmann Trio and Michael Hart Spencer Capier and Brett Ziegler and Rick Colhoun and who knows who else, that ever-expanding Christmas Presence house band - will revisit the show that started it all.  (The off-site performances, at Sutherland Chapel in North Vancouver and the Matsqui Centennial Auditorium in Clearbrook, will be CHRISTMAS PRESENCE as usual).

If you were a Pacific Theatre fan in those earliest days - if you saw FIRST CHRISTMAS or BACKSTAGE TOUR or THE ZEAL OF THY HOUSE or FISH TALES or INTO AN EMPTY ROOM - we're going to hold a whole lot of seats for you for the Sunday, December 14 performance, as well as a smattering of seats for the 15th and 16th.  We can't hold them forever - CHRISTMAS PRESENCE always sells out early, mostly to our subscribers, and they'll be clamoring for tickets - but if you go back to that very first season or two at PT, call the box office soon (604 731-5518) and we'll make sure you get a seat.  (Once I can confirm numbers and dates with the box office, we'll provide an actual cut-off date for those "birthday party" seats.)

I'm so psyched!  Anybody else remember "The Truth From Above"?  

Ron

PS  At the risk of sounding all corporate and everything, I do want to mention that the Rosedale On Robson Suite Hotel is the sponsor of all five of this year's CHRISTMAS PRESENCE events, the three at PT plus the off-site shows on the North Shore and in the Valley.  Now, that might sound all official and corporate-sponsorship-agreement-y to you, but not to me.  These folks are our pals, very much a part of the Pacific Theatre circle, just like any of our other fans: fact is, they contacted us out of the blue to ask if they could help us out in the first place!  They provide us with free accommodations for visiting out-of-town artists (see the FIRST CHRISTMAS tie-in?), they send us bucks that help keep the whole operation operating, and they include promotion of our shows in their radio advertising - all at their initiative.  Can you believe it?  So it's more than just their name on our programme: they're every bit as much a part of Pacific Theatre as our artists, our volunteers, or anybody else in our audience.  No wonder they won the 2007 Globe & Mail Business and the Arts Partnership Award - national recognition for their enthusiastic support of Pacific Theatre.

May 31, June 7, 23, 28 - Leora Cashe

Let My Spirit Sing!
Beata Vocal Ensemble, Carousel Chorus & special guest, Leora Cashe

Two Shows!
Saturday, May 31st, 8pm
North Lonsdale United Church
3380 Lonsdale Avenue, North Vancouver
Tickets for May 31st, call 604-261-7854

Saturday, June 7th, 8pm
Knox United Church
5600 Balaclava Street, Vancouver
Tickets for June 7th, call 604-523-9404

Beata Vocal Ensemble, in collaboration with the Carousel Chorus, is proud to present "Let My Spirit Sing"- an evening of sacred music with special guest vocalist, Leora Cashe. This unique concert event is a celebration of spirit and community with songs drawn from jazz, classical, soul, spiritual and gospel styles. Led by the talented and charismatic director, Crystal Bergman, the program moves from the ethereal harmonies of small a cappella groupings to the pulse of vibrant, captivating rhythms and arrangements combining all the singers and instrumentalists on stage. Grounded in her jazz and gospel roots, Cashe illuminates the stage with her rich and innovative vocal style. With an exquisite range of emotional power, Cashe engages listeners of all ages- from her spirit-raising "It's Time to Sing" to her soulful rendition of Joni Mitchell's "Circle Game". The union of Cashe with Beata and Carousel ignites a brilliant alchemy of something bigger, richer, and deeper than the sum of the individual voices. Together they weave a beautiful tapestry of sound and spirit.
Come join Beata and our special guests for an unforgettable evening sure to make your spirits sing!
Both performances will include ASL sign language interpretation.
For more information please call: 604-523-9404


June 23 - 12 noon
Jazz Vespers presents: Gospel Comes Home

St. Andrews Wesley United Church, Nelson & Burrard
With Ross Taggart -piano, Paul Rushka -bass, and Buff Allen- drums.

June 28 - 9:00 pm
ANOTHER SIDE NOW - The Songs of Joni Mitchell
Vancouver International Jazz Festival

O'Douls Restaurant and Bar
1300 Robson Street, Vancouver, BC
With Ross Taggart -piano, Paul Rushka -bass

Leora Cashe and The Ross Taggart Trio pay tribute to Canadian icon Joni Mitchell, one of our most influential and innovative recording artists. Grounded in her jazz and gospel roots, vocalist Leora Cashe reaches into the core of the listener with an exquisite range of emotional power. Her rich resounding voice illuminates the stage bringing her own soulful perspective to these Joni classics. She's accompanied by the swinging Ross Taggart Trio and, together, their arrangements capture fresh creative statements where folk, jazz and gospel combine reflecting the sophistication in Joni's early folk recordings.

From the Afro-Cuban beat of 'Carey' to the gospel tinged' Big Yellow Taxi,' Joni Mitchell's songs are as poignant today as they were forty years ago and the limitless possibilities of the jazz spectrum creates the perfect picture frame to revisit songs like 'Circle Game', 'Chelsea Morning', 'Woodstock', 'Michael From Mountains', 'The Gallery', Both Sides Now', 'Rainy Night House' and others. For Leora Cashe and The Ross Taggart Trio, 'Another Side Now' is a tribute to Mitchell's artistry and inspiration. They adore her music and it shows! Join them in this swinging soul filled intimate evening of music. Featuring Juno Award winning pianist Ross Taggart (Hugh Fraser Quintet/Ian McDougal Sextet), Juno nominated acoustic bassist Darren Radtke (Denzal Sinclair), and Juno Award winning drummer Buff Allen (Moe Koffman, Ed Bickert).

YOU CAN'T TAKE IT WITH YOU - production photos

Check out these great photos of You Can't Take it With You, taken by Damon Calderwood.

Vanderhof-Sycamore Family Photo (with friends!)


Brett Ziegler and Kerri Norris as Ed and Penny

Thomas Gage as Kholenkhov and Christy Gage as Essie

Rebecca Branscom as Alice and John Voth as Tony;
Jacqueline Youm as Rheba and Anne Youm as Rhoda

...And people are crazy about this show! Here's what they're saying:

"A marvelous performance. "

"I went to the play on Saturday and loved it! I have and will be recommending it to as many people as I can. "

"I want to thank one and all for the great work you did in the presentation last night.
My friends and I enjoyed the play so much.
What a lot of hard work you've all put into it but I believe you will have great success."

YOU CAN'T TAKE IT WITH YOU: Wanna be a star? Walk-ons needed.

At the end of the second act, we need a couple men each night to spend about a minute onstage, say about one or two lines each, and wear a cool looking trench coat and fedora. Want to?

Last I heard, our stage manager (Lois Dawson) was still looking for actors for the following performances:

Friday, May 30
Saturday, May 31 (Both Matinee and Evening)
Friday, June 6
Saturday, June 7 (Both Matinee and Evening)
Friday, June 13
Saturday, June 14 (Both Matinee and Evening) (CLOSING)

If you're interested, email Lois: stagemanager@pacifictheatre.org

Jun 16: Lee Aaron benefit for Semiahmoo Family Place

Hello Friends,

I'm on the Board of Directors for the non-profit children's resource centre below and will be performing for their upcoming fundraiser. It's a local show, and should be a really fun evening, with silent auction, wine and Chocolate buffet!
Semiahmoo Family Place is the only parent-run family resource in B.C. and has made a difference in the lives of families in our community for the past 17 years by offering programs, education, and a safe play environment for parents/caregivers of small children to network, support and learn from each other.

Hope you are able to make it!

Cheers,
Karen Cody ("Lee Aaron")

May 25: Pacific Rim String Quartet at Pacific Theatre

A note from the artistic director of the Pacific Rim String Quartet
Hello friends,

Just a reminder that the next Music at Pacific concert, featuring the Pacific Rim String Quartet (of which I’m the cellist) is this coming Sunday, May 25, at 3:00 PM. The PRSQ will be joined by Eric Wilson, UBC cello professor, in Schubert’s magnificent Quintet for 2 violins, viola, and 2 cellos. The PRSQ’s performance of this piece last week at The Cellar was sold out, so make sure you reserve your tickets for this performance. Flutist Paolo Bortolussi will also join the PRSQ in works by Mozart and Beethoven.

Pacific Theatre is the perfect venue to experience chamber music, with only 120 seats. The furthest seat in the house is the 8th row.

If you don’t know Schubert’s great masterpiece, the String Quintet, don’t miss this opportunity to hear one of the greatest works in chamber music live and in an intimate setting. If you do already know it, you won’t want to miss hearing it again.

Sunday, May 25, 3:00 PM
Pacific Theatre
1440 West 12th Ave. at Hemlock (one block east of Granville St.)
Box Office: 604-731-5518
www.pacifictheatre.org/productions/2007-2008/music-at-pacific/index.htm

Tickets will also be sold at the door.

Also, check out the PRSQ website at www.pacificrimstringquartet.com.

Hope to see you there!

Brian.

THE WOODSMAN: Audience response

May 13

I was quite impressed by The Woodsman. I thought it was excellent writing and was acted so well. Words like "naturally" and "compassionately" come to mind.
It's a shame the theatre wasn't filled every performance. I'm sure most people watch much more disturbing portrayals on weekly TV shows and the evening news.
For me, I just must remember not to plan anything in the real world right after the Saturday matinee. I was in a trance when I walked to an appointment with my tax accountant. I could have been run over by a bus.
Warm regards,
Margaret Brown

April 29

Thanks so much for putting on The Woodsman. It really struck a chord with me and I found it very moving, enlightening, and healing. Bravo!

- Mike Mason

And one more April 29 email, a PT friend passing along the response of his guests;

I thought you might like to read the email I received from a friend who is a deep thinker and theologian (not necessarily the same thing) whose wife is a high school principal. I gave them 2 tickets for the Friday night show:

"Thank you indeed for the tickets to the Woodsman. We both thought the play was both harrowing and magnificent. It caused us to talk about all the great themes of grace, forgiveness and repentance all the way home. I suspect that such conversations are the very thing Pacific Theatre hopes for."

Here is the real thank you: "We will subscribe next season."

Again, thank you for a great, courageous performance. Long may PT do the courageous thing that makes a difference in our community.

April 27

Just wanted to let you know that I went to see the matinee yesterday and I was so moved by the performances. Kudos to you for including this play in your season. Forget that PT is a Christian company, it's courageous for any Theatre Co. to produce it, much less a Christian one. But who better to present this difficult and uncomfortable subject with such tenderness and raw humanity.

I applaud you!
L. Ong

April 25

I have had some excellent discussions with my friends and family in regards to the compassion/ trust/ justice issues we should struggle with as a society and as individuals in regards to pedophiles.

I am a police officer and spent several years as sex crimes investigator. I interviewed many pedophiles over those years. Those were interesting conversations. Some were heart wrenching, many were frightening. We do ourselves a disservice to quickly demonize these individuals. Pacific theatre started an important conversation.

Thanks again for your efforts...

April 21

I often think about going to PT, but too often don't turn that into action. Perhaps it's the West Van thing. I'm glad I acted on my intention this time. The cast did a superb job of personifying a really ugly topic. I wasn't really surprised that so many in the audience stayed for the talkback session - at least one-third did - which speaks volumes to the fact they wanted to know more and/or understand, perhaps like me, what had drawn them to attend the play.

Since Saturday night, I've spoken to a few people about having gone to the play and the subject matter. The kindest response has involved dismemberment - and you know the "member" to which I refer. There seems to be a lot of anger / fear and very little grace offered up in this situation.

I was running an errand yesterday afternoon and passed a couple of pretty young girls wearing spring dresses. Normal enough. But my reaction wasn't normal - I was thinking of Walter, tortured by his past actions and seeking some modest sense of understanding and forgiveness from people just like me. My initial revulsion at the thought of someone violating those young girls turned to a door opening on the awareness that the perpetrator would also be a victim of sorts, in need of help as much as those whom he/she violated. Your play caused that door to open for me. Thank you.

Best regards, John Jennings

April 20

I was not planning on going to see the Woodsman. Due to circumstances I could not have foreseen I was invited to go by a good friend last night. Thus, to be with my friend I went to the play. I think he too was surprised he was there. (both of our wives were out of town)

I want to thank you for taking the risk of doing this play. I didn’t want to go because the topic made me queasy and I certainly didn’t want any grace for those f…king perverts. What I experienced was a profound sense of the complexity of sin, the power of friendships and the opportunity of hope in the midst of a sense of defeat in an area of personal struggle with sin (that we all have).

I am a better, more reflective person for having gone. The cast did a superb job as well.

Thanks.

April 17

As I drove home last night I was thinking of the parallels between the Woodsman and the 'Good Samaritan' story - With 'Nikki' being the Good Samaritan. The men were less than effective in the efforts to 'help' - it was only she, of foul mouth and loose morals, that saw the true person of Walter and loved without condition. Funny as I also saw Walter as someone beat up and bruised. A 'victim' by a very different definition from the common. This play does embody the identity of Pacific Theatre. Asking the questions - what is true Grace? What is forgiveness? Where, as a society are our lines drawn? Where as a person is my line drawn? A brilliant story, a brilliant cast, and a brilliant set, lighting, and sound. wow.

Rory Holland

A couple of my own thoughts in response to Rory's note...

Fabulous comments on THE WOODSMAN. Yeah, I'd say Nikki really is about the best embodiment of the samaritan I can think of at the moment: exactly the last person we think of as that means of grace (redemption through sex?). And yes, Dirk's portrayal of Walter is especially like the man beaten up by the side of the road: very guarded, damaged, wary of blows.

Yeah, parable. Absolutely. We have to turn our expectations, our understanding of what the world is and how it works, upside down to be able to receive this play - which is exactly how Jesus' parables were meant to work. Indeed, the "message" of the parable might never have been as important as the radical chiropractic realignment of our perceptions, preconceptions, attitudes. It's important that parables and theatre challenge specific beliefs about the world: it may be more important that they cause us to adopt a less rigid, fixed and certain general stance toward the world, and toward other people and God. And WOODSMAN demands that of us more than most.

(Further to that conversation, here's a link to Mark Van Steenwyk's thoughts on the way that Jesus' parables work, plus his list of "7 Flicks That Subvert," which includes - wouldn't you know - THE WOODSMAN.)
April 13

Once again, what a delight last night's performance was. Wow. The little girl shadowing Walter was brilliant - such a picture of innocence evoking feelings of fear and menace. But I found myself wondering - was it Walter or the girl who was the source of the menace? Or was it the tension between the two like a newly sober alcoholic and the wine on the table at a dinner party? Brilliant. Dirk van Stralen was totally believable and that takes so much work for it to appear so effortless, doesn't it? I mean, he really was Walter! Just like Camille became Robin.

Rosen was great and the merry go round metaphor is now stuck to my bathroom mirror. By going in circles, we find things we missed the first time around. It reminds me of "When I don't know what I'm doing, I'm doing research. Due to the abundance of 'Theatre Magic,' I completely missed the fact that Rosen, Carlos and Lucas were all played by the same actor!

Wish I could have stayed for the talk back but we have tickets for Stage & Screen evening so looking forward to that.

Lorri Romhanyi

April 10

Kudos to you! I saw ... _The Woodsman_ tonight and was very impressed insofar as I was often uncomfortable with the story unfolding before me. Uncomfortable in a good way ;-). The intimate venue and theatre in the round forced the audience, I think, to confront (or be complicit or part of) what was going on on the stage. At the same time to see other audience members watching the actors from the other side (and to know that I was similarly being watched) seemed to add a feeling of judgment, as if we were judging Walter as he unveiled himself to us. Do we damn him, forgive him, empathize with me??? To do the latter, does that mean we identify an equatable and undesirable aspect within ourselves? Dirk and Rebecca, in particular, were fabulous and handled the difficult subject matter very well. I was grateful to see such evenly acted (not over-the-top or uneven) performances. Just wanted to thank you for rising to the challenge putting on a difficult piece of theatre. It prompted a lively debate after the show with my fellow theatre-goer.

Cheers,
David van den Broek

April 7

Just wanted to say that we watched "The Woodsman" with some friends at Pacific Theatre on Saturday, and were blown away by the quality of the acting and the script. We noticed that the play's script included some scenes (or extended scenes) which were not in the film version, and which helped crystallize the "woodsman" theme. A gutsy choice for Pacific Theatre to put on. And very well performed.

Thanks.
Larry & Sylvia Adams

Apr 3

Just wanted to say thank you for the free tickets to see the Woodsman last night. Brilliant show, went to bed thinking about it, woke up thinking about it, and the more I think the more I relish it!

Every time I’m at Pacific Theatre I see something that feeds my soul...thanks for bringing truth and beauty to our city!

Janice Miller
Worship Arts Director
Langley Evangelical Free Church

And here is an email from Alison Chisholm, part of our staff at Pacific Theatre, with a beautifully personal response. A bit of a SPOILER warning for the first paragraph;

Hey Ron;

(The person who saw the play with Alison) liked it. He was relieved that it was not quite as graphic as the film. We both thought that Kevin Bacon was a lot creepier than Dirk, which was a good thing. I think (my friend)'s issues (with the film and play) were that Walter only redeemed himself after finding out the girl was already a victim (which my friend didn't seem was all that redemptive). We actually talked about it a lot after show. In the end we just concluded that there may not have been a permanent change in Walter, but that at least for a moment he was able to stop being a wolf to become the woodsman. Which I think is the whole point of the story. Everyone has the chance and capability to show compassion and be a hero, even if just for a moment. I really hope to make it out to the talk-back. ...

Thanks again for choosing this show. It means a lot to me, personally. I'm so proud to be on the staff of the company who produces shows such as this. It's just another great reminder as to why I work in theatre.

Thanks again,

Alison

May 13, 25: Pacific Rim String Quartet

Artistic Director Brian Mix writes...

Hello friends,

There are two performances of the Pacific Rim String Quartet coming up soon.

The first is Tuesday May 13, at the Cellar Restaurant & Jazz Club, 3611 West Broadway. This is presented by David Pay’s Music on Main series at the Cellar. Enjoy great classical music in a relaxed setting with dinner and dessert. Doors open at 6:30 PM. Please order your meal by 7:40 PM. Music starts around 8:00 PM. The Pacific Rim String Quartet will perform two works by Schubert: the vibrant Quartettsatz and the luminous and epic Quintet for 2 violins, viola, and 2 cellos. The guest cellist will be Eric Wilson, professor of cello at UBC and former cellist of the Emerson String Quartet. Seating is limited to 80, so book early through the Music on Main website (www.musiconmain.ca/MOM_amonthoftuesdays.html). Tickets will also be available at the door.

The second concert is part of the Pacific Rim String Quartet’s own series at Pacific Theatre, W. 12th and Hemlock. The date is Sunday, May 25 at 3:00 PM. The intimate space of Pacific Theatre is perfect for chamber music. The concert will feature Mozart’s Flute Quartet in D, Beethoven’s Serenade for flute, violin and viola, and a repeat performance of Schubert’s glorious String Quintet. Guest performers Paolo Bortolussi, flute, and Eric Wilson, cello will be joining the PRSQ. Only 120 seats are available, so book ahead through the Pacific Theatre website (www.pacifictheatre.org/productions/2007-2008/music-at-pacific/index.htm) or phone 604-731-5518. Tickets will also be available at the door.

If you don’t know Schubert’s great masterpiece, the String Quintet, don’t miss this opportunity to hear one of the greatest works in chamber music live and in an intimate setting. If you do already know it, you won’t want to miss hearing it again.

Tuesday May 13, 8:00 PM
Cellar Restaurant & Jazz Club
www.musiconmain.ca/MOM_amonthoftuesdays.html

Sunday, May 25, 3:00 PM
Pacific Theatre
www.pacifictheatre.org/productions/2007-2008/music-at-pacific/index.htm

Also, check out the PRSQ website at www.pacificrimstringquartet.com

Hope to see you there!

Brian.

THE WOODSMAN: Reflections from a Cast Member

Hey Ron,

I suppose I didn't really want to feel this, but I miss the show.

I woke up Sunday morning after closing with tears streaming down my cheeks, and the subsequent days here in Wells have been quite a process of letting go; long tensed-up muscles in my back have been slowly relaxing, and I've been feeling waves of powerful emotions rolling through me as I let go of Walter.

The Woodsman was one of the richest and most profound theatrical experiences of my life – emotionally, personally, technically and artistically. My experience of the process was grace-filled and bathed in a particularly spectacular light the whole way through. I felt an intense need to be a good steward of this production, and was frightened at the commitment level I knew it would require. Morris made the rehearsal hall a very safe place to work in, however, and fear was replaced by the exhilaration of the challenge.

The cacophony of souls on this show produced a uniquely beautiful song I will treasure for years to come. I loved / hated playing the show each night, and could think of little else throughout the run, even on days off.

I have never had a theatre experience where the sense of audience participation in the show was so utterly palpable, even if most people stayed away in droves. There was a tangible feeling each time that those who dared come were challenged, stirred, offended and moved. So rare!

This experience was a much-needed reminder for me of the privilege it is to be a artist, to say nothing of the sort of miraculous transcendence a play with themes as ugly as this one can inspire. I haven't felt so alive in my art, my loves, my life or my sense of purpose for a very long time.

Moreover, doing a play about a man whose deepest secrets are on the table has inspired new levels of trust and honesty in my own relationships that have awakened, challenged – even threatened – and renewed them in an almost embarrassing flood of riches.

I am humbled and feel beyond lucky to have been a part of this.

Thank you thank you thank you.

Much love,

Dirk

May 15 - Jun 14: YOU CAN'T TAKE IT WITH YOU at Pacific Theatre

DON’T MISS YOU CAN’T TAKE IT WITH YOU
The Comic Classic by George S. Kaufman & Moss Hart
at Pacific Theatre | 1440 West 12th Avenue
...an emerging artist showcase

Wednesdays to Saturdays 8pm, Saturday matinees at 2pm
Pay what you can preview May 15, on day-of at door, or $10 in advance.

TICKETS: 604.731.5518 or email ptbox@pacifictheatre.org
You can also BUY ONLINE

Vancouver, BC – May 15-June 14 (opens May 16)

It’s the middle of The Great Depression, but there’s nothing depressing about life in the Vanderhof-Sycamore household – they dance, they make plays, they make music and babies and revolutionary tracts, and fireworks in the basement. All is peaceful anarchy until Alice brings home her all-too-ordinary Wall Street boyfriend…

Join Pacific Theatre and Theatre at TWU in lauding the remarkable talent of emerging artists, ranging in age and background, and coming to you from Vancouver, all over the Lower Mainland, and as far away as Arlington, Virginia. You can’t take them with you, but you can invest in their passion and talent, and laugh out loud all the way home. Starring Karl Petersen (Curious Savage), Rebecca Branscom (The Importance of Being Earnest), and John Voth (Pride and Prejudice), and directed by Ron Reed (A Bright Particular Star), this first rate comedy is not to be missed!

George S. Kaufman and Moss Hart’s sharply funny classic won the Pulitzer Prize in 1937 – it premiered at the Booth Theater and ran for an astonishing 837 performances. It was the basis for the 1938 Academy Award-winning Frank Capra film starring Lionel Barrymore and James Stewart. Frank Capra took home the award for Best Director and the show won Best Picture.

For those of you who think you’ve seen the movie so you don’t need to see the play, you’re making a big mistake! Uproarious errors combined with acerbic social criticism will make this play one of the most enjoyable shows ever presented on the Pacific Theatre stage.

Five Actors

What do these five actors have in common?

Keir Dullea Broadway credits; Doubles, P. S. Your Cat Is Dead!, Cat on a Hot Tin Roof, Butterflies Are Free, Dr. Cook's Garden. Film credits; Hoodlum Priest, David & Lisa (Golden Globe winner), The Fox, 2001: A Space Odyssey, The Good Shepherd.

Mia Dillon Broadway credits; Our Town, The Miser, Hay Fever, The Corn Is Green, Agnes Of God, Crimes of the Heart (Tony nominee), Once A Catholic (Drama Desk nominee), Da. Co-starred with Jane Curtin and Paul Newman in Newman's return to live theater at Westport Country Playhouse, Connecticut, in "Our Town", June 2002.

Chris Sarandon Broadway credits; Cyrano de Bergerac, The Light in the Piazza, Nick & Nora, Censored Scenes From King Kong, Two Gentlemen of Verona, The Rothschilds. Film credits; Dog Day Afternoon (Leon Shermer), The Day Christ Died (Christ), The Osterman Weekend, The Princess Bride (Prince Humperkinck), The Nightmare Before Christmas (Jack Skellington).

Joanna Gleason Broadway credits; Dirty Rotten Scoundrels (Tony nominee, Drama Desk nominee), Into the Woods (Tony winner, Drama Desk winner), Nick & Nora, Social Security (Drama Desk winner), Joe Egg (Tony nominee, Drama Desk nominee), The Real Thing, I Love My Wife (Theatre World winner). Film credits; Hannah & Her Sisters (Carol), Crimes & Misdemeanors (Wendy Stern), Mr Holland's Opus, Boogie Nights.

Libby Skala LiLiA!, A Time To Dance, Twelfe Night, etc.

May 3-10: Lucia Frangione in NO EXIT

Hey, we just opened No Exit last night at the Digital Centre for Media Arts off Great Northern Way. Electric/Virtual. I have to say, it's a really cool show. I think you'd really like it. It closes May 10th, catch it if you can. It's a neat hybrid of film and theatre, I'm loving every second of this. So nice to be acting again. .... Lucia

NO EXIT
by Jean-Paul Sartre
A Live-Cinematic Interpretation from Director Kim Collier
the French existentialist masterpiece
co-produced by Electric Company and The Virtual Stage
starring Lucia Frangione, Laara Sadiq, Andy Thompson and Jonathon Young

May 1 - May 10 at the Centre for Digital Media at the Great Northern Way Campus, Vancouver

Tickets and information: Click Here or call Tickets Tonight at 604.684.2787

In May 2008 Electric Company joins forces with The Virtual Stage in a production of Jean-Paul Sartre's modern classic No Exit. Virtual Stage Artistic Director Andy Thompson approached Kim Collier to direct the play and Kim quickly began to envision a concept that will result in the presentation of both a live performance and a film, simultaneously. This project is in some ways a departure for Electric Company, but it represents a natural continuation of our investigation into the intersections of live and mediated performance.

In the Hangar at the Digital Media Centre we are building our own hotel room as the site where Sartre's three characters must endure each other's company for eternity. This sense of entrapment will be intensified as the actors will be literally confined within the four walls of the tiny room. Through modern projection technology will audiences be able to watch with cinematic intimacy, a meticulously staged live film of what goes on inside the box.

But that's not all... Inhabiting the space between audience, hotel room and giant movie screen is the play's minor character, The Valet (Jonathon Young). Just what he gets up to out there beyond the confines of the script must be seen to be believed. By creating a theatrical space around the walls that traditionally define the perimetre of No Exit, we are widening the frame and possibly finding an exit to this famous play about eternal damnation.

THE WOODSMAN: One Last Audience Letter

May 2

Ron:

I am a PT season ticket holder (several years now) who attended last Saturday night's play, The Woodsman. I stayed for the talkback session afterwards and hoped to speak briefly with you following that, but since others were already approaching you, I left.

A few days later I was enjoying brunch with a friend at Sophie's in Kits when friend Ian Farthing dropped by, and the talk drifted to the topic of theatre. I brought up the play and my reaction to it, and Ian encouraged me to email my thoughts to you. I do hope this gets to you, Ron, it often seems professional email accounts don't get accessed as frequently as personal ones, but here goes.

I still cannot get that play out of my head. It was riveting. I've described it to friends as both raw and gentle, sweet and repugnant, brutal and yet oozing grace. Who would have guessed, given the subject matter?

And the audience talkback was such a bonus--a thoughtful, sensitive way for all of us to go a bit deeper and make some sense of the emotional overload. It was comforting to connect with others who were also struggling to process this.

The whole experience felt scary, holy and a privilege. (Those words seem strangely out of context to me now, but that was my exact comment which prompted Ian's suggestion I contact you.)

I so admire your very bold decision to stage this play, and your commitment to its themes. And thank you for the background blurb you wrote in the programme.

It occurred to me later that there are blessed places the audience cannot get to unless we dare walk into very uncomfortable territory. And because you took the risk, we all benefitted.

Thank you.

Anita Orendi

THE WOODSMAN: Artistic Director's Notes

I'm a pacifist. I've never hit anyone, can't even remember yelling at anybody. One time I pushed my cousin, and I still feel bad about it.

I'm also a father. Once one of my elementary-school-aged daughters didn't show up at her friend's house when she was expected. Probably nothing was wrong, but there'd been word of a man driving around the neighbourhood in a van, so as I raced to my car to scour the neighbourhood for my daughter, I took the time to go to my garden shed and grab a baseball bat.

*

I kept seeing the trailer before shows at the Fifth Avenue. "What's the worst thing you ever did?..." "An unforgivable act. A chance to start over. A fight for redemption...." "I'm not a monster...." And I knew The Woodsman was a film I had to see.

It opened, and Morris happened to be in town, so we went together. The end credits rolled, tears streamed down my cheeks, and we said to each other, "Did you see what I just saw in that movie?" The credits told me it was based on a play, and I knew The Woodsman was a story we had to stage.

*

Not so long ago a sexual offender was released into a lower mainland neighbourhood, and he was hounded from community to community by angry, frightened people. You heard about it on the news. His pursuers didn't seem quite human, they seemed like a mob: or, they seemed all too human. Human or not, it seemed quite apparent that they didn't see this man as human. He was a predator, and they wanted him gone. And I was glad we'd decided to put The Woodsman on our stage.

*

This play goes to a very dark place. I don't know what to think about it: I don't know if it goes too far, or if it doesn't go far enough, but I'm glad it has the courage to go where it does. And finally, that's enough for me. This is not a position statement, it's not a documentary, it's not a theological treatise, it's not a community action plan or a psychology textbook: it's a play. The story of a man, a story that implicitly asks whether we can see him as a human being. A fellow human being.

And at the end of it all, I think of that Bruce Cockburn song that goes, "Even though I know who loves me, I'm not that much less lost."


Ron Reed,
Artistic Director

May 1: Sara Ciantar / Wicker Robot

Sara and a subset of WR played CHRISTMAS PRESENCE in December (and the Kitchen Aid benefit for Grandview Calvary Baptist prior).  Here's the latest...

The (probably) last James Lamb and the Liabilities/Wicker Robot show (in it's present incarnation) until 2010!!!!! (I play accordion in this group and BG's and there are some fantastic things happening with this group. catch us while you can)

At the Biltmore (12th and Kingsway downstairs from the hotel part), Thursday May 1.

When is always my weakest link here....I think it's 9. There's 3 acts so if you show up at 9ish you should be catching us shortly thereafter

We're playing with the Crackling and Dan Mangan. He's always selling out shows so if you're really interested you should actually try for 9 to make sure you're in.

and I believe it's a tener to get in (not bad for three fabulous bands and a fabulous nite of music and merrymaking)

hope to see ya guys soon...

sara

Set: You Can't Take It With You

Dale Marushy is our scenic designer for YOU CAN'T TAKE IT WITH YOU - you saw his work in SHADOWLANDS and THE WOODSMAN.  Right now the set is being loaded into the theatre so we move our rehearsals on set next week - I'm directing, we open May 16 - and I thought you might be interested in getting a look at the set model.  

I get a kick out of these.  As an actor, I very much rely on the model the designer creates to give me a mental picture of the world where the story will live once we move into the theatre, and I love looking at the completed set, model in hand, and marveling at how what's in front of me, big as life, emerged from the little box I'm holding.  So here's a foretaste...

May 2: VCC, "Songs Of Faith And Home"

SONGS OF FAITH AND HOME
Wes Janzen Conducts

with
Vancouver Chamber Choir
Ay-Laung Wang, Organist
Wes Janzen, Guest Conductor

8pm Friday, May 2, 2008
Ryerson United Church

The Vancouver Chamber Choir and Artistic Director Jon Washburn present SONGS OF FAITH AND HOME Wes Janzen Conducts at 8pm Friday, May 2 at Ryerson United Church (2195 West 45th Avenue at Yew Street in Vancouver). The Choir’s frequent colleague, Dr. Wes Janzen (Director of Choral Activities at Trinity Western University) guest conducts in this final concert of the season, with organist Ay-Laung Wang.

SONGS OF FAITH AND HOME is a programme of marvellous music by choral masters Benjamin Britten, Johannes Brahms, Arvo Pärt, John Rutter, Charles Villiers Stanford and others. A perfect way to close the choral season!

Wes Janzen has been Director of Choral Activities at Trinity Western University (TWU) since 1981. He is Principal Guest Conductor of the Kiev Symphony Orchestra and Chorus, and Co-Artistic Director (with his wife Kimberley) of the award winning Pacific Mennonite Children’s Choir. He has studied with Eric Ericson in Sweden and served on juries for numerous international choir competitions. Choirs under his direction have frequently appeared at the invitation of the Vancouver Chamber Choir and the Vancouver Symphony Orchestra.

Ay-Laung Wang is an active recitalist whose superb musicianship, excellent technique, and great personal charm make her a favourite with audiences wherever she performs. She graduated from TWU and excelled in piano and conducting studies. She continued her studies at UBC and received a Masters of Music with top standing in organ performance.

Tickets to SONGS OF FAITH AND HOME are $21.25 - $23.75 and are available at Ticketmaster. Rush tickets are available for $10 one hour before the concert for youth under 26 and students (valid ID required for both). Tickets may be purchased at ticketmaster.ca or by phoning 604-280-3311.

The Vancouver Chamber Choir appreciates the support of London Drugs and the Vancouver Sun.

May 2: Sheree Plett, Jonathan Inc, etc

sheree plett and her husband Jeremy Eisenhauer have made themselves essential to Christmas at Pacific Theatre, and this coming season they'll be playing live as part of our mainstage production, JESUS MY BOY. Here's a chance to hear them live, as well as Jon Anderson, another CHRISTMAS PRESENCE regular. (By the way, the "Brett" who said I could possibly put this on the blog is Brett Ziegler, also a CP fixture - on keyboards - who's playing Ed, the xylophone guy, in our upcoming production of YOU CAN'T TAKE IT WITH YOU...)


hey ron-
thought I'd pass this poster on to you. brett said you could possibly put it on your blog. it will be a full night of really great music. we're on first at 9pm, following will be andrew lee(from in medias res) and Kensington prairie(who will be releasing their album this night) and of course the ever great jonathan inc (jon anderson)
hope things are going well for you!
sheree

Until May 14: Special accomodation offer, SAINT JOAN, Chemainus

Click here for more on this offer

Buy a Wednesday Theatre Getaway Package for 2 people
and receive the Tuesday Night Accomodation Free!

Includes: Dinner in the Playbill Dining Room, tickets Chemainus Theatre presentation of Saint Joan, two nights accommodation at the Best Western Chemainus Festival Inn, and two Deluxe Continental Breakfasts.

Valid until May 14, 08. New reservations only.

Call to book: 1-800-565-7738 or 250-246-9820

What theatre patrons are saying about Saint Joan......
“I really loved this play, it was so strong – it instantly transported me back to the 15th century!”

“It is refreshing to see something as different as this, an interesting page in history.”

“I was very impressed, I didn’t know what to expect, it was so emotionally moving that I found tears in my eyes at the end.”

“Live history on stage – very thought provoking; the acting was wonderful.”

Deserving Redemption?

LITTLE BILL

I don't... deserve this... to die this way. 

I was... building a house.

MUNNY

(aiming his pistol point blank)

"Deserve" don't mean shit, Little Bill.

UNFORGIVEN screenplay

May 6 - Jun 12: Bruce Marchfelder, History Of Cinema

Bruce Marchfelder is a film maker who teaches directing at Vancouver Film School, and a number of film courses at Regent College and Corpus Christi, the newish Catholic college at UBC. The first time one of his courses is offered and I can attend all the lectures, I'm there, no exaggeration: this guy is an inspired teacher. I've heard him two or three times show film clips and talk about what's going on onscreen, and I'm not hyping when I say he's a master teacher. But I'll be in rehearsal for YOU CAN'T TAKE IT WITH YOU the first couple weeks of this one, so it's no go for me. Hey, you can go in my place...

Course: HISTORY OF CINEMA 1930's - 1960's
Dates: MAY 6 - JUNE 12, Tuesday and Thursday evenings 6:15-9:15PM.
Cost: Full credit: $462.00 + ($50.00 registration) = $512.00
or
To audit: $276.00 + ($50.00 registration) = $326.00

If interested, please contact: Margaret Trim or Marjorie Budnikas at 604-822-6862.

*

Course Description
An introduction to film history from the release of sound motion pictures in the late 20’s to the 1960’s. Emphasis will be placed on the achievements of directors who are representative of significant developments in the medium.

Course Objectives
The objectives of the class are three fold:
(i) to provide an overview of film history focusing on its key contributors;
(ii) to foster an appreciation for the language of film, and;
(iii) to equip students with the critical tools to engage and comment on film intelligently and responsibly;

Course Format
Two 3 hr. classes per week. Lecture with in-class screenings.

Required Reading
Kawin, Bruce F. and Mast, Gerald. A Short History of the Movies (Abridged). 9th ed.

Selections from the Following Texts:
Cousins, Mark. The Story of Film: A Worldwide History, 1st ed. New York, Thunder’s
Mouth Press, 2006

Sklar, Robert. Movie-Made America: A Cultural History of American Movies, 2nd ed.
Vintage, 1994

Course Outline

Class 1 Fritz Lang: The Darkened Screen
Screenings: M, Metropolis, Scarlet Street

Class 2 John Ford: The Cinema of Remembrance
Screenings: How Green Was My Valley, Stagecoach, My Darling Clementine, The Man Who Shot Liberty Valance

Class 3 Orson Welles: Genius and the Fractured Image
Screening: Cabinet of Dr. Caligari, Citizen Kane, Lady from Shanghai

Class 4 Howard Hawks: The Aesthetics of Omission
Screening: Red River, Scarface To Have and Have Not

Class 5 Frank Capra, Gregory La Cava, Preston Sturges: Cinema of Conscience
Screenings: Sullivan’s Travels, My Man Godfrey, Meet John Doe, It’s a Wonderful Life

Class 6 Alfred Hitchcock: The Banality of Evil
Screenings: The 39 Steps, Notorious, Vertigo, Psycho

Class 7 Billy Wilder: The Master Ironist
Screenings: Double Indemnity, Sunset Boulevard, The Apartment

Class 8 Vincent Minnelli: The Choreographer
Screenings: Cabin in the Sky, Bad and the Beautiful, The Band Wagon

Class 10 Roberto Rossellini, Vittorio De Sica: The Neo-Realists
Screenings: The Bicycle Thief, Open City

Class 11 Carl Th. Dreyer, Ingmar Bergman: Nordic Cinema
Screenings: The Seventh Seal, Ordet

Class 12 Akira Kurosawa and Kenji Mizoguchi: Post War Japan
Screenings: Ikiru, Rashomon, Shichinin No Samurai, Ugetsu

Chris Humphreys, "More Synchronicity"

Remember Chris Humphreys?  King Henry VIII and Cromwell in our recent MAN FOR ALL SEASONS.  This just in from Chris...

So I was in Los Angeles, at a friend's dinner party and two of the guests are twins, former models, Carrie and Camilla... MORE. Direct descendents of Sir T. Daughters of musicals' writer Julian More (Irma la Douce, Expresso Bongo).

'More' synchronicity.

Hope you are well. Hoping to get down and see Woodsman this week.

Cheers,

Chris

Could it be? Is it possible? You be the judge...

Camilla

Carey

Tom

Tom II

WOODSMAN on CBC's "Q" Podcast

Download the podcast here: THE WOODSMAN interview begins at 39:25.

WOODSMAN INTERVIEW ON "Q"

Between 2:00 and 3:30 Thursday (April 17) Dirk Van Stralen talks with "Q" host Jian Ghomeshi and playwright Steven Fechter in New York about Pacific Theatre's production of THE WOODSMAN. This from the website of the national CBC program: "The play THE WOODSMAN poses the most challenging of ethical questions - do society's most reviled citizens deserve redemption? We hear from the playwright and the actor who is starring in the Canadian premiere." (Of course, this raises the question whether any of us deserve redemption. But you know what I mean.)

And remember, this is the second last week for WOODSMAN, which I personally consider one of our company's artistic high points. I understand that the subject matter is off-putting, but if you stop and think about it, so is the subject matter of all the best of Jesus' parables. I mean, who wants to hear stories about people being beaten and left for dead at the side of the road, or of a young man spitting in his father's face then bottoming out among hookers and addicts. Sure, YOU CAN'T TAKE IT WITH YOU will be more comfortable, a perfect follow-up to THE WOODSMAN, but are those really the only stories we should tell?

THE WOODSMAN closes April 26. Tickets available at 731-5518 or www.pacifictheatre.org

reviewVancouver Applauds WOODSMAN

The Woodsman by Steven Fechter
Closes Apr 26, Pacific Theatre
Erin Jane, reviewVancouver

Steven Fechter’s The Woodsman isn’t the easiest play to enjoy, not in small part because of its controversial subject matter. A convicted pedophile begins his rehabilitation, and takes on the challenges and difficulties of new relationships, society, and his own self-loathing. In spite of what most would consider a rather disturbing or unsettling play, The Woodsman takes its subject matter head-on and triumphantly succeeds in achieving what I think it sets out to achieve, which is to illuminate one man’s humanity and redemption, even in his darkest place.

The Woodsman is powerful because it shows its audience the human being inside the monster. It sheds light on an issue of which most of us are either largely ignorant or aggressively judgmental, and explores the psychological burden of being tormented with pedophilic desires. Walter is a surprisingly and enormously empathetic character, and is played by Dirk van Stralen who portrays Walter’s struggle for control and for normalcy deftly and intimately.

The Woodsman is uniquely fortunate to have a brilliant four-person cast of actors that shine in their roles, without exception. Michael Kopsa tackles three roles himself: Walter’s therapist, brother-in-low, and threatening police officer who makes sure Walter is still paying for his crimes. Kopsa easily flows into each role with utterly seamless changes, and his “triality” of characters in no way disrupts the spellbinding nature of the play.

The young Camille Beaudoin is remarkably confident and mature in her portrayal of a young girl who at times haunts and at times interacts with Walter. Rebecca de Boer plays Walter’s love interest, Nikki, who supports him despite an abhorrent past he can’t seem to escape. Against all odds (in fact as Nikki says at one point during the play, “odds are bullshit”), Walter is able to carry on fighting his demons with his girlfriend and therapist at his side, two grace-filled people who (as Director Morris Ertman says) show faith in those who do not have the capacity for faith in themselves.

The set design at first appearance looks like a small clearing in a forest, with piles of leaves and a few chairs, table, and a couple of boxes. This is where Walter lives. On second look, the leaves are actually furled pictures of children, little girls, and we realize that the stage is set up to remind us of the constant presence and shame of the affliction from which Walter is suffering, and the psychological burden of his sexual desires.

When I read that Pacific Theatre’s Artistic Director Ron Reed had said, “The play goes to a very dark place. I don’t know if it goes too far, or if it doesn’t go far enough, but I’m glad it has the courage to go where it does,” it was a sentiment with which I wholeheartedly agreed. Experts in the field of sexual dysfunction have stated a belief that pedophilia could potentially be successfully treated, if only the medical community would give it more attention.

Pacific Theatre’s The Woodsman in no way attempts to be political, but nevertheless, I applaud Pacific Theatre and its brilliant cast for taking on the challenge and succeeding.

Apr 17 - May 17, Jun 7 - Jul 26: SAINT JOAN, Chemainus

Saint Joan
By Nobel Prize Winner George Bernard Shaw
April 17 to May 17, Reopens June 7 to July 26
Chemainus Theatre Festival
Directed by Sarah Rodgers

1429 France. Joan of Arc, a charismatic young peasant girl, leads the French to victory over the English, but two short years later she is burned at the stake. Why? Regarded as one of the most riveting and powerful texts in the English language, Shaw's monumental work re-examines Joan's dramatic rise and fall in light of the nationalism, political corruption, religious intolerance and hero worship that caused not only World War I, but that also challenges our world today.

"One thousand like me can stop them. Ten like me can stop them with God on our side."

THE WOODSMAN: Artistic Director's response

Of all the shows at Pacific Theatre this season, THE WOODSMAN is the one that people might be most likely to miss. Well, I saw the opening last night, and... Don't. Don't you dare miss it.

It's simply a beautiful, beautiful play. Yes, it has a heart-in-your throat edge to it: at one point I happened to reflect on my own emotional state, and thought "How odd: I'm not having an emotional reaction to this", only to notice that I could literally feel the blood pounding in the veins in my neck. A gripping piece of work. But I was mostly struck not with how difficult it was to watch, or how scandalous, but almost the opposite: how much attention had been paid to every tiny detail of production, performance, design, timing, and how that reflected the respect and reverence, tenderness, care, grace, and prayer that surrounds the show. The maturity of the work, both aesthetically and in terms of the sensibilities of the artist who have worked together to shape it and craft the tiniest details of sound, lighting, motion, gesture. There isn't a moment from beginning to end that speaks of exploitation, shock, scandal, tawdriness: it embodies the opposite of each of those words.

Here's the first of what I expect will be many responses from audience members, this from the worship arts director of an evangelical church in Langley; "Just wanted to say thank you for the free tickets to see the Woodsman last night. Brilliant show, went to bed thinking about it, woke up thinking about it, and the more I think the more I relish it! Every time I’m at Pacific Theatre I see something that feeds my soul...thanks for bringing truth and beauty to our city!" Not, perhaps, what you expected?

The show is Georgia Straight's Pick Of The Week: "You might never know it from all the hatred being spewed in the name of God these days, but at its best, Christianity—like theatre—is about compassion. And compassion can be extremely difficult to muster. By producing Steven Fechter’s The Woodsman, Pacific Theatre, which is a Christian company, is asking us what it might be like to be a pedophile. Dirk van stralen plays Walter, a quiet guy who has served his time and is back in the community—but the only place he can find to rent is across from a school, and his demons won’t let him be. The show runs from April 4 to 26 at Pacific Theatre and there will be nightly talk-back sessions hosted by Circles of Support and Accountability, a community organization that claims to have reduced incidents of re-offending by 80 percent."

And Vancouver Magazine's Pick Of The Month. The whole text is at our blog (www.soulfoodvancouver.blogspot.com), but here's an excerpt of what editor Matt O'Grady has to say: "The play—part of Pacific Theatre’s series of film-related dramas—was turned into a 2004 movie starring Kevin Bacon and, in keeping with Pacific’s long-standing examination of Christian values, provides no easy answers or morals. 'For an audience of the film or play, they’re particularly challenged because they’re given a man who seems, in all respects, rather decent,” says playwright Steven Fechter, “except that he has, in his past, done this really horrible thing. The question is, Does every person deserve a second chance? How forgiving, as a society, are we? And are there some things that are ultimately unforgivable?'"

It is specifically because of the understandable impulse to avoid this subject matter that I particularly encourage you to see this production. It is challenging shows like this and GRACE and ESPRESSO which - in a sort of dynamic tension with works like A MAN FOR ALL SEASONS and SHADOWLANDS and COTTON PATCH GOSPEL - define the essence of our company. If you skip this one, you miss one of our landmark shows.

Last thought: If this WOODSMAN is scandalous, it's the scandal of grace.

Apr 12: Lee Aaron in concert

Man it goes against my grain to promote something happening at a casino. Heck, I wouldn't even go hear Stephen Lewis because he was speaking at the River Rock (or whatever they call the abomination of desolation erected on the north edge of Richmond). But it goes further against my grain NOT to enthuse about this rare opportunity to hear Lee Aaron in the lower mainland, mixing her older rock tunes with her new (sometimes faith-inflected) material, which is more in a jazz and pop vein. Indeed her husband John Cody, who has written about music in BC Christian News for decades, will be on the drums - we've been buddies for years, but I've never heard him play! So glad to finally get the chance to hear them both live. Even worth stepping through the doors of "one of those places"....

There's lots to read at the Lee Aaron website - especially in the Press section. And she talks about her Christian faith in a piece at CanadianChristianity.com

Lee Aaron with Prism
Date: Saturday April 12, 2008
Doors open at 7:00pm
Shows start at 8:00pm
Ticket Price: $30.00 + GST

Summit Theatre Show Lounge
@ Cascades Casino
20393 Fraser Highway, Langley, BC
Tickets are available through Cascades Casino
Guest Services or by phone
604-530-2211

Lee Aaron is an award winning singer, songwriter and performer. Over the course of her career, she has been nominated for eight Juno Awards, won the CMPA Songwriters Award, a Much Music Video Award, three Toronto Music Awards, and an Ampex Golden Reel Award. In addition, she has graced the covers of an assortment of international magazines - TV Guide, Melody Maker and Sounds - to name three - and topped dozens of music-polls.

In response to numerous inquiries, Lee’s new 2008 show will feature material from her latest releases Beautiful Things and Slick Chick – and for the first time in nearly a decade - revisit her popular rock hits . A comprehensive and entertaining evening that showcases her versatility as an artist and performer, response from fans to this personal selection of songs has been overwhelmingly positive.

A local success story, Prism rose to international superstardom in the seventies and early eighties with classic FM rock tracks like “Armageddon”, “Spaceship Superstar” and “Young and Restless” earning them platinum records.

Apr 6: MURDER IN THE CATHEDRAL

New company starting up, aims to be New Westminster's professional theatre - indeed, I met the Artistic Director after A MAN FOR ALL SEASONS one night, and sense affinities with Pacific Theatre. As confirmed by their play choice for their inaugural public reading. Note Damon Calderwood in the cast, as well as many other of Vancouver's very fine and recognizable actors.

One performance only of T.S. Eliot's spiritual classic MURDER IN THE CATHEDRAL, Sunday April 6 at 3pm. And note that the venue is neither Holy Trinity Church in Vancouver where Pacific Theatre lives, nor the Cathedral in downtown Vancouver where so many staged readings occur - this is Holy Trinity Cathedral in New Westminster.

Here's a map.


And there's more about City Stage New Westminster at their website

Georgia Straight Announces THE WOODSMAN is "Pick of the Week"

The Woodsman

Publish Date: April 3, 2008

You might never know it from all the hatred being spewed in the name of God these days, but at its best, Christianity—like theatre—is about compassion. And compassion can be extremely difficult to muster. By producing Steven Fechter’s The Woodsman, Pacific Theatre, which is a Christian company, is asking us what it might be like to be a pedophile. Dirk van stralen plays Walter, a quiet guy who has served his time and is back in the community—but the only place he can find to rent is across from a school, and his demons won’t let him be. The show runs from April 4 to 26 at Pacific Theatre and there will be nightly talk-back sessions hosted by Circles of Support and Accountability, a community organization that claims to have reduced incidents of re-offending by 80 percent. Go to www.pacifictheatre.org/ for complete info.

---

Source URL: http://www.straight.com/article-139218/the-woodsman

THE WOODSMAN is Vancouver Magazine's Pick of the Month

THEATRE

Rebecca deBoer and Dirk van Stralen star in Pacific Theatre’s production of The Woodsman Photo: Kevin Clark

Editor's Choice: The Woodsman

Pacific Theatre, April 3-26

By Matt O'Grady


On July 29, 1994, Jesse Timmendequas—a previously convicted sex offender—lured seven-year-old Megan Kanka into his Hamilton Township, New Jersey, home to see his puppy. He then raped and beat her, strangling her to death with his belt. After Timmendequas was charged, Megan’s parents started campaigning for a law requiring neighbours to be notified when a convicted pedophile moves into their community. By 1996, “Megan’s Law” was in force across the United States.

New York playwright Steven Fechter was, like many people, captivated by the case—and by a question: Can a pedophile find redemption? “It was very black-and-white,” Fechter says of the media coverage surrounding Megan’s Law." “The men were depicted as monsters. I thought it would be interesting to write a play about one of these men who serves his term and returns to society, and the huge obstacles facing him.” In The Woodsman, which debuted off-Broadway in 2000 (and makes its Canadian debut here), the story centres on Walter, a child molester released from prison after 12 years, and his struggles to reintegrate into society, to rebuild ties with friends and family, to pursue a normal sexual relationship, and, most of all, to live with himself.

The play—part of Pacific Theatre’s series of film-related dramas—was turned into a 2004 movie starring Kevin Bacon and, in keeping with Pacific’s long-standing examination of Christian values, provides no easy answers or morals. “For an audience of the film or play, they’re particularly challenged because they’re given a man who seems, in all respects, rather decent,” says Fechter, “except that he has, in his past, done this really horrible thing. The question is, Does every person deserve a second chance? How forgiving, as a society, are we? And are there some things that are ultimately unforgivable?” 604-731-5518. Pacifictheatre.org

Art & Theology projects at Regent College

Duffy, the Arts Gal at Regent College, hereby invites us all to a heap of Art/Theo projects. As follows...

Greetings,

I thought I would send you an invitation to our upcoming Integrative Projects in Art and Theology presentation by students at Regent College in pursuit of an MCS.

Monday April 14th
Corrigan Clay presents I Am Your Father: An Autobiographical Documentary Film by Corrigan Clay
7:30pm Regent College Chapel

Monday, April 21st
Murray Stiller presents: Nailin’ it to the Church: Religious Satire and the Gospel According the Wittenburg Door
A documentary film
7:30pm Regent College Chapel

Wednesday, April 23rd
Ali Cumming presents Flotsam Blues: an original screenplay based on the works of Søren Kierkegaard
A live reading
7:30pm Regent College Chapel

We also welcome you to the next opening reception in the Lookout Gallery featuring the work of
Lynne McIlvride Evans
Constructions and Paintings

Opening reception: Wednesday, April 9, 4:30 – 7:30pm
April 9—May 2, 2008

We look forward to seeing you at these events!

Duffy Lott Gibb
Arts • Summer School • Events
Regent College
http://www.regent-college.edu/
604-224-3245

Mar 26 - Apr 5: PRIDE & PREJUDICE at TWU

Theatre at TWU presents Pride & Prejudice March 26 - April 5 on the Trinity Western University campus in Langley. This adaptation of Jane Austen's beloved novel sparkles with wit and romance, using 16 of TWU's most talented actors to tell the story. Familiar faces include Jordaan Montes as Mrs. Bennet (Holy Mo, Broken Sleep, As It Is In Heaven), Kaylee Harwood (Holy Mo, Broken Sleep) as Elizabeth and John Voth (Taming of the Shrew, The Importance of Being Earnest) as Mr. Darcy.

The show also marks the co-directing debut of Angela Konrad and colleague Aaron Caleb.

Shows Wednesday - Saturday at 8, Saturday matinees at 2. For more info and tickets, go to www.twu.ca/theatre

Costume Renderings for THE WOODSMAN, April 3-26 at Pacific Theatre

Check out these tremendous costume renderings for Pacific Theatre's next show, THE WOODSMAN, playing April 3 (opens April 4) - 26. Costume design is by Krista Sung.

From the outside, Walter seems like the perfect neighbour – a calm and quiet man who keeps to himself. On the inside, he is a cyclone of frenzy and agitation. Walter is a pedophile, tormented incessantly by his proclivities. Temptation, that great architect of destruction, is an excruciating fiend that bars him from ever being normal. Shadowed by his parole officer, and estranged from his family, his main source of tranquility and support is Nikki, a co-worker, who sees the humanness behind the monster.

Starring Dirk van stralen, Rebecca de Boer, Michael Kopsa, and Camille Beaudoin. Directed by Morris Ertman.

Playing April 3-26 (opens April 4). For tickets ($16-$32, GST incl.) call 604.731.5518 or buy online pacifictheatre.org.

Walter, played by Dirk van stralen

Nikki, played by Rebecca deBoer

Rosen, played by Michael Kopsa

Robin, played by Camille Beaudoin

Apr 4: Merton Society poetry event VENUE CHANGE

Poetry event: change of venue!

Greetings everyone,

On Saturday I received a call (several actually) advising me that Saffron Fourth Avenue closed unexpectedly last week. Our event will now be at The Wired Monk which is located two blocks away at Fourth Avenue and Trafalgar. Please note the time change and the new flyer attached. Erica Mah, a young and very talented musician/singer/songwriter, will begin her set at 9 instead of 8 pm to accommodate us. So it's folk/funky music following the readings instead of jazz in between. The Wired Monk serves wine and beer and food. Check out their website at www.kitsmonk.com At this late date, I'm very grateful to The Wired Monk for accommodating us. It will be a fabulous event so please spread the word!

Judith

*

SOUNDS OF CONTEMPLATION

Join us for a café-style evening of music and poetry with poets Br. Paul Quenon, Susan McCaslin, Doug Beardsley and Sheila Rosen. Minimum donation: $5.

This is a Thomas Merton Society event. It should be an interesting evening. McCaslin, Beardsley and Rosen are BC poets. Brother Paul Quenon has been a monk for 50 years, and received his formation under Thomas Merton. He has published three collections of poems, Monkswear, Laughter My Purgatory, and Terrors of Paradise, and a CD of poetry Hooded Sentinels. He is cantor, cook, and photographer for his monastery, the Abbey of Gethsemani in Kentucky.

Mar 19: Adam Bergquist in "5 Sides Of A Circle," St Paul's Anglican Church

This just in from Adam Bergquist, who you'll remember from CHICKENS, LAST TRAIN TO NIBROC, and the recent A MAN FOR ALL SEASONS...

Imagine you are a Christian living in the first century AD, some decades after Christ. Then a scroll shows up called "the Gospel of Christ". Then another and another, at least 4 of them over a period of many years which get read regularly. They're similar but not identical and in some places contradictory!
Now imagine you can get these 4 writers together in one room to see if they can sort out their differences. Can they come to some sort of agreement about which emphasis to follow? What is meant literally and what is symbolic? And can they stem the tides of conflict already growing amongst them?
Now imagine that I am one of the authors of the Gospel according to John.

If this sounds like an argument you'd like to hear. Come hear a staged reading of "5 Sides of a Circle" at St. Paul's Anglican Church (on Jervis 1/2 block north of Davie) this Wednesday at 8:00. Admission is free, the pews are wooden and sit near the front since we won't be miked and the acoustics are designed for choirs.

Mar 16: sheree plett, Backstage Lounge

hey ron-
thought I'd let you know I have a show coming up this sunday on march 16th at the backstage Lounge on granville island, 8pm, $7 at the door. we're playing full band, with some special people you know as well, kenton and becca.