Jul 20: DIRT, Christopher Domig, Seattle

I met Chris Domig at Schloss Mittersill when I was there in 2003. Last summer he presented DIRT in the NYC Fringe Festival, and received Best Actor honours.  He's taking the show to the Edinburgh Fringe, and en route, one performance in Seattle.

DIRT

July 20, 7pm

Fremont Abbey, Seattle

"A play about racism and the havoc it wreaks on the human spirit. For seventy-five minutes, the stage belongs to Austrian-American actor Christopher Domig, who brings depth, turmoil, and even a touch of well-pruned humor to the lonely role of Sad, a 30-year-old Iraqi man living illegally in the United States. He sells roses on the street: his name is Sad but he is not sad.

"Sad is an Arab living in New York City in 2008. He loves the English language, and America too. He is thankful for the life he is “allowed” to live in this country, and is sensitively aware of his rights – and lack thereof. He is careful about what he says and does, to the point that he remarks repeatedly he has never once sat on a park bench in this city. To Sad, the benches are reserved for the people he at once admires and abhors, including the 40-year-old men that buy his roses but refuse to look him in the eye. He resents their behavior yet feels obligated to respect them, and the exploration of this conflict drives the play."

by Audrey Dimola, LIC magazine, Issue 10

“See this show....Christopher John Domig is captivating, highly skilled, and utterly heartbreaking“ 

-NY Theatre

“riveting Christopher John Domig“

-Time Out 

“Stunningly realized in Christopher John Domig's performance.”

- Backstage Critic's Pick 

“An exciting new actor who stands out from all the rest. Go see Dirt and discover Mr. Christopher Domig. It’s a dazzling performance.“ 

-Talk Entertainment

“A brilliant performance from Domig“

- Downtown Express

“Christopher Domig gives a stellar performance“

- Off-Off-Online

“extremely capable, charming performance of Christopher Domig“ 

- Newbienyc.blogspot.com

“A startling young actor whose name is Christopher Domig, will not remain unknown for long. Watching Domig in DIRT brings to mind a young Dustin Hoffman or Al Pacino when they were just starting off Broadway.”

-Theater Life

“Christopher Domig is one of the finest actors we’ve seen lately. Watch for big things from him in the future.”

- Off-Off-Online

“…aptly played by Christopher Domig, who captures the subtle nuances of his dejected character”

-Show Business

“A powerful, mesmerizing and thoroughly enthralling performance by Christopher Domig“

-Talk Entertainment

“The fire and vigor in this young actor’s eyes keeps us peeled to his thoughts.“

-Theater Life

Jul 31 - Aug 16: METAMORPHOSES in PT space

Not a PT production, but our resident Stage Manager Lois Dawson is in the booth, and you've seen the director, Christine Willes, at Pacific Theatre - she played the mother in PRODIGAL SON. For my money, one of the strongest performances I've ever seen on our stage.

The show itself has some real interest. Apart from being staged in a swimming pool (!), it's also noteworthy that two of Pacific Theatre's sister companies have staged the piece, Lamb's Players in San Diego and Theatre & Company in Kitchener. I'll definitely be checking it out.

Jul 29: Scott Cairns at Regent College

Poet Scott Cairns will give a reading (with Marilyn McEntyre) in Vancouver, B.C. as part of Regent College's Summer School 2008. The reading will be held Tuesday, July 29, from 8:00 – 9:30 p.m. in the Regent College Chapel. The event is open to the public and free of charge. Regent College is located at 5800 University Blvd., Vancouver, B.C. V6T 2E4. For further details, call 604 221-3378.

All evening special events are free and held from 8:00-9:30 pm in the Regent Chapel. These events can draw large crowds, so plan to arrive early for a good seat. Private taping is not permitted. Audio recordings may be ordered following each lecture.

Jul 1: Damien Canonized

They need a relic? Something that's been touched by Father Damien? Can I volunteer?

VATICAN VOTES TO ELEVATE FATHER DAMIEN TO SAINTHOOD
Celebrations Expected For Belgium, Hawaii
July 1, 2008

HONOLULU -- The Congregation of the Causes of Saints at the Vatican has voted to canonize Father Damien of Molokai to sainthood.

After the verification of two medical miracles, after decades of investigation into the life and works of Damien De Veuster, the Consisterie at the Vatican has at long last voted to elevate the Martyr of Molokai to its Pantheon of Saints. The measure now awaits the signature of Pope Benedict XVI.

"People are very excited because they know he was a great person and role model, and that is the most important thing of the sanctification, he finally can be the role model we need," Damien historian Hilde Eynikel told KITV from Belgium.

The search is now on for a relic of Father Damien, which will be presented to the pope at the sanctification. A relic can be something touched by the saint, worn by the saint, or an actual body part of the saint. The diocese in Brussels is now looking into the retrieval of such a relic from Damien's tomb in Leuven, Belgium. Damien's grave in Kalaupapa contains only his right hand, which was re-interred following his beatification in 1995.

The canonization will take place in Rome, possibly at the end of next year, with celebrations in Belgium and Hawaii. The pope will probably not travel to Hawaii. Cardinal Daneels of Belgium may be in attendance.

Supporters of the sainthood effort are overjoyed that now the world will know what Hawaii has known for 100 years -- that Father Damien of Molokai is a saint.

He was born Joseph De Veuster in Tremeloo, Belgium, in 1840. De Veuster's older brother, Pamphile, was set to travel to the "Sandwich Islands," but was too sick to go. Instead, De Veuster traveled to Hawaii in his brother's place. The Roman Catholic priest arrived in Hawaii in 1864 and took the name Damien. He served the leprosy patients at the Molokai colony at Kalaupapa for 12 years before he succumbed to Hansen's disease at age 49.

His body was exhumed from his Molokai grave in 1936 when his remains were sent to Belgium, for reburial. In 1995, a relic of his right hand was given back to the Hawaii Diocese and returned to his Molokai grave.

Jul 14-18: Kids and Youth Summer Acting Class at PT!

June 25-28: PROOF, PT Apprentice Project

Becky Branscom was Alice in YOU CAN'T TAKE IT WITH YOU, and she's the lead in this smart, widely performed four-hander. In the role of the dad you'll remember James Wilson, who was the dad in HALO, and Hamlet's stepdad in HAMLET. Julius Chapple was Norfolk in A MAN FOR ALL SEASONS, this is his full length directing debut, and he gets lovely work out of his cast, which also includes Jackie Faulkner and Michael Edwards.

8pm, Wed through Sat
$10 in advance, or pay what you can at the door
at Pacific Theatre

Jun 29: Balke/Krause/Reed Photo Show at View Gallery

Curator Barb Bowen writes...

Come on by Fraserview Church's View Gallery and check out a new showing of photographers Ron Reed (who many of you know through Pacific Theater) Tom Balke and Rudi Klause. The opening reception is Sunday June 29th at 11:30 am. The church is located at 11295 Mellis Drive Richmond BC. ( 604-270-4211) The show runs until Sept 7th. The church is open from 9am to 4pm- sometimes closed at lunch. It is also open at special times through appointment.

CITA Conference in L.A. Times

I spent quite a few years closely involved with CITA. Love it, love the folks, but at a certain point couldn't figure out the money to keep attending the conferences. Planning on Florida in 2009, though. 

I was involved for most of my CITA years in the new play end of things, working with and then taking over from Lloyd Arnett, and eventually handing that over to Bryan Coley. CITA recently published an anthology of plays associated with our annual playwriting competition, for which I wrote the Introduction.

Wayne Harrel was one of the playwrights we invited to the Rosedale Writers Week in Feb 2007, and SECOND BLOOM was the play he brought to workshop, then titled DYING'S EASY. Another of Wayne's plays, SONG OF THE BOW, is slated to follow REFUGE OF LIES for production in New York by Firebone Theatre.

Christianity's role in theater takes center stage
A conference of Christians in Theatre Arts at Azusa Pacific University addresses issues in bringing together faith and entertainment

By Larry Gordon, Los Angeles Times Staff Writer
June 14, 2008

Wayne Harrel's new play "Second Bloom" deals with big issues of faith, mortality and forgiveness. In it, a dying woman and her long-estranged daughter reach out to each other while "there is still time for God to work in their lives," the writer said.

Harrel, from Portland, Ore., infused the play with his own Christian sensibility from his membership in a Covenant church but he said he hopes to engage secular audiences too.

"I try to write for a broad public," Harrel said. "I hope they feel the way I do, but it's their call. I don't want to dictate."

That pull between the world of Christian churches and colleges and wider arenas of entertainment was a running theme at a conference this week on the campus of Azusa Pacific University. Harrel was among about 100 people from around the country who attended the annual convention of Christians in Theatre Arts, a 20-year-old organization with headquarters in Greenville, S.C.

The four-day meeting, which ended Friday, offered training in many standard aspects of stagecraft, such as writing, scenery, royalties, mime and singing, along with the usual business-card swapping and casting buzz. The gathering's special focus, however, was evident in the prayers that opened most sessions and in classes about "Staging Christian Classics" and "Theater in Worship."

Christians in Theatre Arts is a nondenominational organization, said Executive Director Dale Savidge, who teaches theater at North Greenville University, a Baptist-affiliated school in South Carolina.

The majority of members are from evangelical Protestant churches but some are Roman Catholics and from other denominations. The group describes itself as "furthering the kingdom of God by equipping Christians in theater arts" and connecting "spiritual life and artistic vocation."

The organization was founded to support Christians who felt uncomfortable bridging the two sides of their lives and who may have faced suspicion from fellow churchgoers and secular theater professionals. Now, much of that suspicion has evaporated, Savidge said.

Live theater is incorporated in many church services and activities, even though video and movies increasingly challenge that presence. And the secular theater world, Savidge added, "is very tolerant and that extends to Christians too. We feel accepted on the same terms that everyone is accepted."

But isn't there a stereotype of theater life as too liberal or even repellent to some conservative Christians? Most theater socializing is no wilder "than an office party at an investment firm," Savidge said. All jobs present some conflicts, he noted, and people should know "when to say no and when to say excuse me."

The conference explored practical and spiritual issues in the classrooms and dance studios of Azusa Pacific, an evangelical Christian school in Azusa. At a session of "Staging Christian Classics," directors and designers shared tips on elaborate versions of C.S. Lewis' Christian-themed "The Lion, the Witch and the Wardrobe" and bare-bones productions of the musical "Godspell." In other classes, people spoke of the difficulty of sustaining the iPod-Facebook generation's attention for religious theater or sermons.

Christians in Theater Arts seeks to encourage new plays and movie scripts that have Christian or moral content. Harrel's "Second Bloom" won this year's top prize in the group's writing contest, beating out 30 or so other submissions, and received a staged reading.

Some of the plays had overt biblical or Christian themes, but many tackled contemporary issues without proselytizing, said Joseph Frost, a theater professor who oversaw the contest.

"We are stepping beyond something that is strictly an evangelical piece," said Frost, who teaches at Belhaven College, a Presbyterian school in Jackson, Miss. "We are trying to nurture good plays but written by people who have a particular view of life that happens to be consistent with the Christian outlook of the world. But the idea is that it is still a good play and not a good play because it espouses this. It is a good play and it does this."

Some of Frost's students come from conservative, home-schooled backgrounds and have had little prior contact with modern drama. Nevertheless, he has them study works by playwrights such as David Mamet, Sam Shepard and Tony Kushner.

"You can't be a theater person and be ignorant of those things," Frost said.

Those plays, along with Broadway shows he recently saw in New York -- "Spring Awakening" and "August: Osage County" -- may have rough language and themes, but, Frost said, all "raise questions Christians should be wrestling with: What is my position in the world? What is my position to others? How do I deal with struggle and strife?"

Conference participants acknowledged some self-censorship because they work at schools or churches that would not tolerate plays with strong sexual or anti-authority themes. But that doesn't limit them to Christmas and Easter pageants.

Julia Reimer, who teaches at the Mennonite Brethren-affiliated Fresno Pacific University, recently wrote a modern-dress drama based on New Testament parables that was performed on campus and at area churches. She also produced a stage version of "Nickel and Dimed," Barbara Ehrenreich's book about trying to live on low wages. Reimer toned down some of that script's language without changing its message of sympathy for the working poor.

"I think carefully about selections when I'm thinking about a secular play, and there is always a question of how far I can push things," she said. "I want an audience to not turn off. I want them to remain open to whatever message the play is trying to communicate."

Jun 28: Stephen Toon release party

Soul Food pal and frequent PT drummer Kenton Wiens sends us this. Both Kenton and Kathleen Nisbet are playing!

Jun 18-21: PT Apprentice Project, THREE RINGS FOR MICHELLE

THREE RINGS FOR MICHELLE
by Patricia Joudry
June 18 - 21
Showtimes:
Wednesday - Saturday, 8pm
$10 in Advance, or PAY-WHAT-YOU-CAN at the door!

All performances at Pacific Theatre 1420 W 12th Ave (at Hemlock St), Vancouver
Buy Tickets Online
For more information call our box Office today at 604.731.5518.

Two strained mother-son relationships with an immense gulf and emptiness between the family members. Suddenly, an orphan from another country comes into the midst and brings back memories of a father. She seeks only to live with a family where she belongs, but will she ever belong to this family?

Featuring Alison Chisholm, Patricia Braun, Josh Hallem, Lynne Karey-McKenna, Troy Young. Directed by Joyce Chung.

SAVED runs Off-Broadway

Variety:

"The general trend for screen-to-stage adaptations is to make everything larger than life -- broadening the comedy, heightening the romance and rendering the characters sufficiently loud and cartoonish to play to the back row. But the creative team behind the tuner adaptation of the 2004 indie pic, which satirizes life in an evangelical Christian high school, has gone the opposite route. "Saved" the musical has reined in the spoofing and is softening the edges of the characters, playing them more empathetically. It even excises the exclamation mark from the film's title. ...

Librettist-lyricist John Dempsey:"Every time we took an honest, sympathetic approach, the show seemed to work," he explains. "Any time we went toward harsher satire or commentary, it stopped working." That's why Hilary Faye, the righteous leader of a teen-pop gospel group played by Mandy Moore in the movie, gets a sympathetic number in act two. She makes more sense as a real person, not as a caricature." ...

Composer-lyricist Michael Friedman: "Our audience isn't necessarily from a world where people speak in tongues or practice that really charismatic Christianity. It's more complicated and more satisfying to take them to an emotional place, where those beliefs suddenly seem very approachable." ...

Here's a link to the Playbill article. And NY Times has a slideshow interview with composer Michael Friedman. Runs at Playwrights Horizons, closes June 22.

June 5: Carmen Tome opening

Once a year, in June, there is a Portuguese Heritage Month in Vancouver where we get to celebrate all things Portuguese. A few artists, including myself, are exhibiting our artworks at Chapel Arts Gallery on Dunlevy (corner of Cordova and Dunlevy). I know its late notice for tonight's opening reception but it is on all month long. The doors will be locked (due to the neighborhood) but just knock loudly and you will be let in. Hope to see you there.

:) Carmen

It is with great pleasure that our organization invites you to attend the
official opening to "Portuguese Heritage Month" 2008 celebrations in the
city of Vancouver-Canada.

THURSDAY, JUNE 5
7:30pm @ Chapel Arts
304 Dunlevy Avenue (Vancouver)

"My ART, My HERITAGE" exhibits works of art by Canadians connected to the
Portuguese heritage including international award-winning artist Mandy
Boursicot (Macau), Kara Lawrence (Azores), Sara Marreiros (Portugal), Joao
de Matos (Azores), multiple award-winner including a COPA award Maria
Miranda Lawrence (Azores), Virginia Quental (Brazil), Olga de Sousa
(Azores) and international award winning photographer Carmen Tome
(Portugal).

Also performances by Amigos do Pico Choral Group and Folklore Cruz de
Cristo among others will entertain all until approximately 10pm.

This event is made possible with the support of Canadian Heritage, City of
Vancouver and the Government of Azores (Direccao Regional das Comunidades)
and the hundreds of hours of volunteer work.

We hope you are able to join us in the celebrations. For other events
please visit http://www.portuguesemonth.com (updated daily).

Sincerely,

Terry Costa
Portuguese Community Centre of British Columbia
http://www.portuguesecentre.com

OFFICE CONTACTS:
tel 604.684.5876
825 Granville Street, suite #401

Aug 26-30: SADDEST GIRL Comes To Vancouver! (Tina Teeninga)

In 2006/2007, Tina Teeninga was an apprentice at Pacific Theatre. She wrote and directed several Stones Throw / Apprentice Showcase shows, presented her full length play LUDDITES! at the Rosedale Writers Week, and played Max in REMNANTS on the PT mainstage.

Still a presence around Pacific Theatre, Tina also continues to write and produce independently. Her latest is set to tour to Winnipeg, Saskatoon and Vancouver this summer. I won't be missing it!

THE SADDEST GIRL IN THE WORLD
A new play by Tina Teeninga

July 16th- July 27th - Winnipeg Fringe Festival
July 31st - August 9th - Saskatoon Fringe Festival
August 26th - August 30th - Carousel Theatre, Vancouver
To reserve tickets please contact tickets@saddestgirl.com

Separated from everyone she knows. Haunted by a bloody past. Natya believes Canada is the beginning of a new life. Canada harbours dirty secrets of its own, however, and Natya must face personal demons in a fight to survive. Natya’s one possible ally is Ava: an innocent woman she has never met, whose dreams of jewels glimmer with hope.

For more, visit the SADDEST GIRL website

Tom Pickett opens Acting Studio!

Pacific Theatre fans tend also to be Tom Pickett fans - MASTER HAROLD & THE BOYS, TENT MEETING, DRIVING MISS DAISY, etc, etc, as well as many roles at Bard On The Beach, The Vancouver Playhouse, and other Vancouver theatres. Even if you don't know Tom offstage, you won't be surprised to learn that he's one of the most big-hearted, generous, kind and nurturing people you'll ever meet. So it seems to me a very exciting development that Tom and his wife Jackie are opening an acting studio! I can't help but think that his soulful, welcoming, encouraging presence will create an environment where people really can be free and confident to create, and to grow in the craft of acting. As Tom wrote in an email to me, his heart is to "create a safe place for kids and adults to come and be bold, fearless and inspirational."

SOUTH SURREY ACTING STUDIOS WILL HAVE A NEW OWNER THIS SUMMER!

Kids Only Acting Classes (est. 2003) and Chameleon Studio (est. 2007), founded by Film Industry Professional Michele Sands Partridge, will have a new owner August 1, 2008.

Its time for me to take a break, says founder and current owner of the acting studios, Sands Partridge. It was not an easy decision for me as its been such a pleasure for me and for our wonderful instructors to have guided such talented actors of all ages with their quest in learning the craft of acting. We have such a growing acting community here in South Surrey, so I couldnt be more pleased that the studios will remain open for the students and the community. explains Sands Partridge.
New owners, Professional Film and Theatre actor TOM PICKETT and his wife JACKIE PICKETT will continue Kids Only Acting Classes (KOAC) and Chameleon Studios tradition of offering fun and professional acting programs for actors of all ages taught by some of the best professional performing arts instructors in the lower mainland.

KOAC (ages 3 17) and Chameleon Studios (ages 18 and up) regular schedule of professional beginner to advanced acting programs and diverse monthly workshops will remain, with the addition of some new and exciting workshops for kids and adults such more casting director workshops and singing workshops focusing on Jazz, Blues, R&B and Gospel vocal instruction with an emphasis on stage performance.

Professional film and theatre actor TOM PICKETT will manage the creative side of the studios as Creative Director and JACKIE, will manage the business side as Business Operations and Registration.

Film and Stage actor, Tom Pickett brings over 50 years of diverse performance experience to the students of KOAC and Chameleon Studio. Tom grew up in Berkeley, California listening to the sounds of his fathers group The Four Aces whose tutelage may be sampled on the 1999 Flyright Fly CD 62: The Four Aces 1946-1955. Toms professional acting career began in Vancouver over 17 years ago quickly gaining film and television credits on Neon Rider, The Commish, X-Files. Most recently he can be seen inMasters of Horror, The Supernatural, Personal Effects, The Gym Teacher and Traveling. Tom extended his acting skills to the stage with the National and International tours of Hal Princes Show Boat, debuting at The Prince Edward Theatre in Londons West End. Tom has been seen in Athol Fugards Master Harold and the Boys (for which he received a Jessie Richardson Award), The Pacific Theatre, James Fagan Taits adaptation of Fyodor Dostoevskys Crime and Punishment (for which he received a Jessie Richardson Award nomination), NeWorld Theatre and Alfred Uhry's Driving Miss Daisy, Chemainus Theatre 2002 and The Pacific Theatre 2007. Tom loves Shakespeare and has enjoyed five seasons at Bard on the Beach.

Tom and Jackie would like to invite the community to their OPEN HOUSE to meet the new management team and see some new workshop demonstrations, Saturday, September 6, 2008 at the studio located at #20 15531 24thAve., South Surrey, BC from Noon until 4pm.Tom and Jackie look forward to meeting the local acting community at the Open House and cant wait to show everyone whats in store for the Fall Schedule at KOAC (www.kidsonlyacting.com) and Chameleon Studio (www.chameleonactingstudio.com).

KOAC is currently registering for their June programs and workshops and Julys Summer Acting Camps for all ages. To register call Lorraine at 604.817.3602.

FOR MORE INFORMATION PLEASE CONTACT:
Michele Sands Partridge, owner KOAC/Chameleon Studio
Tel: 604.831.5324 Email: kidsonlyacting@shaw.ca
Michele Sands Partridge

AND
Tom Pickett, new owner of KOAC/Chameleon Studio as of August 1, 2008.
Phone: 604-943-9103, Cell Phone: 604-836-9103 Fax Number: 604-648-9088 E: tompickett@telus.net

June 6/6: Sara Ciantar

Sara was ubiquitous this past CHRISTMAS PRESENCE: she performed her own tune and others with a subset of Wicker Robot, then played the pipe organ for our special performance in the Holy Trinity sanctuary. Rick Colhoun produced her cd...

Hey ya'll,
After a couple of months of doing other people's lovely music I'll be celebrating mine in full force. I cordially invite you to one of two gigs (or both if the fancy should strike you).
Come hear some of the new tunes I've been working on and some other beautiful musicians to boot!

Friday nite, June the 6th
I'm opening for all you "early to bed early to rise makes a man healthy wealthy and wise"-ers
So that should be around 8:30
Following is local legend Peter Lagrand and then
Justin Grounds of Australian fame (but I knew him before...) starting the northern leg of his world tour
Cafe Deux Soleils (I didn't know that the same people also own Cafe Du Soleil-go figure!) Commercial and 5th


Saturday nite, June the 7th
The nomadic spirit (and actual presence) of Michael Peters of Winnipeg will be opening up for me at 8:30
It's a small world you know. We found each other's music on myspace and it turns out that it's a miracle we haven't met before we know so many of the same people (I was set up with his brother once or twice before....)
This event will be at the Wired Monk. I was crossing my fingers on this one folks. This is my favorite place to play my music in this city. (Trafalgar and 4th)

I think both events are $5 covers but really for such quality music how could you go wrong.
Can't wait to see some of your smiling happy faces.
Cheers

Sara

June 13-28: COTTON PATCH GOSPEL at Gallery 7

The Greatest Story Ever RE-told
Cotton Patch Gospel
Book by Tom Key and Russel Treyz
Music and Lyrics by Harry Chapin
June 13 & 14, 19 - 21, 26 - 28, 2008 @ 7:30 PM
Discount Matinees: June 14 & 21 @ 2:00 PM
MEI Secondary School Auditorium
4081 Clearbrook Road, Abbotsford
Tickets: check the Gallery 7 website

Lloyd Arnett (TWU Theatre) directs G7 Artistic Director Ken Hildebrandt in the Tom Key classic. "Celebrate the life of Jesus in a whole new way with this modernized re-telling of the Gospel story. Set in rural Georgia during a time not too distant from our own, the disciple Matthew takes us on a grand adventure as he recounts Christ's dynamic impact on the world, from His birth to ministry to death to resurrection. An entertaining musical feast for the soul, Cotton Patch Gospel is a poignant experience for the entire family."

June 10: Final Stage & Screen Night at PT

Join Pacific Theatre's Artistic Director Ron Reed and special guest Jan Keisser for the last in our series of Stage & Screen nights. We'll be talking about PT's current show, the sparkling comedy YOU CAN'T TAKE IT WITH YOU. Members of the cast will be joining us to show some scenes from our production, and we'll be comparing not only the beloved 1938 Frank Capra film treatment, which fundamentally changes the focus of the story, but also a videotape of the 1984 Broadway revival starring Jason Robards.

For more about celebrated Canadian cinematographer Jan Keisser, check the Stage & Screen post about DRIVING MISS DAISY. And you can get a sneak preview of some of my thoughts over at the Soul Food Movies blog.

Hope to see you there!

For tickets to Stage & Screen or the Pacific Theatre production of YOU CAN'T TAKE IT WITH YOU, call our box office at 731-5518 or order online. And if you want a look at the DVD... You know where to go... Videomatica!

*

This season's special Stage and Screen events have been sponsored by Rhema Health Products. You know, it's easy to assume that sponsorship for the arts is some obligatory thing that multinational corporations dole out, a tiny line item from a massive budget that's portioned out from some remote corporate office someplace. But at Pacific Theatre, these sponsors really are just like anybody else in our audience: enthusiastic fans of the work we create who step forward to get involved. Less than 7% of our annual budget comes from government sources, and 3% from large public foundations: all the rest is from our audience, who buy tickets and subscriptions (about 45% of our revenue) and make charitable donations (the other 45%), whether as individuals or through the companies and foundations they are involved with.

This amazing support from Rhema is an especially great story. In 2006, a couple contacted us out of the blue and said they were long-time fans who had just seen A BRIGHT PARTICULAR STAR and decided it was time to begin supporting Pacific Theatre's work financially. Within a couple weeks a cheque arrived for $7000, a year ago they increased that support to $10,000 (to sponsor our Stage & Screen series), and this year they've decided to make that $15,000 to underwrite next season's Emerging Artist Showcase production of YOU STILL CAN'T.

Artists can feel pretty isolated and unsupported. But that hasn't been Pacific Theatre's story, because of the extraordinary affirmation and practical support of our audience. It's not just a platitude to say that PT is more than just a group of actors and other theatre artists: those folks are just the most visible part of a pretty large community of people who are as invested in the life of this company as the ones you see onstage or in the office. Thanks Rhema. Thanks, Holy Trinity Church. Thanks, all of you.

June 1: Eastside Story Guild

YOU CAN'T TAKE IT WITH YOU photos from PIXAROLA.com

This show is selling like mad, and it's no surprise - look at these amazing photos of an equally amazing cast. Credit for these works of photographic magic must go to PIXAROLA.com, a Vancouver-based company providing high quality film and digital photography.

Kolenkhov demonstrates his wrestling prowess.

Kolenkhov (Thomas Gage)

"There was a young lady from Wheeling who had a remarkable feeling" (Laura van Dyke as Gay Wellington)

Penny Sycamore, Tony Kirby, and Essie

Essie offers up her Love Dreams.

"Well Sir, here we are again."

Brett Ziegler, Rebecca Branscom, and John Voth

Rhoda and Rheba (Anne Youm and Jacqueline Youm)

Soul Food: YCT, Cashe, Aaron, PT Founders Return!, etc.

Quick Soul Food buffet.  Click on the links for much more!

YOU CAN'T TAKE IT WITH YOU

Classic comedy closes June 14.  We're in week two of the run, and the tickets are going fast: I believe the matinees are already sold out.  Lots at the blog; production photos, shots of the set model, even an opportunity for you to do a walk-on part in a mainstage PT show! And over at Soul Food Movies, a piece about the film versions that's mostly about the play itself - diligent readers will realize it's pretty much my director's notes from the YCT program. 

LEORA CASHE

May 31 & June 7, Leora (a Christmas Presence regular, currently living far away, back in town to make some music) is the featured soloist with the Beata Vocal Ensemble and Carousel Chorus. Then June 23 she's doing Jazz Vespers ("Gospel Comes Home"), followed by her Jazz Festival gig June 28 singing jazz interpretations of Joni Mitchell tunes. Welcome back, Leora!

LEE AARON

is playing a benefit June 16, her jazz material. I saw a gig in Langley a month ago where she also mixed in her older power guitar pop tunes, and my gosh, that girl can rock!  A treat, too, to finally see John Cody working out on the drums - wow.  

CHRISTMAS PRESENCE: FIRST CHRISTMAS Reunites Original Company!

Dec 14-16 on the PT stage we'll be reuniting Elaine Adamian Myers, Allen Desnoyers, Byron Linsey, Roy Salmond and me to recreate Pacific Theatre's first-ever production, FIRST CHRISTMAS, which we staged back in 1984!  An incredible celebration at the centre of our 25th Anniversary Season.  We're reserving half the theatre at the Sunday show for all of you who were there that first season - details to follow.

And while you're catching up on PT, check out the audience response to THE WOODSMAN. Lowest-attended PT show in I don't know how many years, but no regrets - read those letters and you'll see why.  (And hey - if you skipped that one, you can make it up by taking everybody you know to YOU CAN'T TAKE IT WITH YOU.)  

SOUL FOOD MOVIES

With YCT rehearsals done, our season chosen and even a new General Manager hired (! more on that in due time), this young man's thoughts turn to...  The movies.  / SON OF RAMBOW may be the first time the Plymouth Brethren get themselves a feature film - and no, I'm not talking about a group of vintage car enthusiasts.  Think Regent College.  Think University Chapel and Marineview.  (Though you won't be that much closer.)  Small British coming-of-age comedy is darn near perfect story of boyhood friendship (and cinephilia) for its first half,well worth seeing even though it loses its way after the midpoint.  Religion not necessarily The Good Guy in this one, but by the end I couldn't help wondering if there's more than a little autobiography in it, and that while the Brethren may be in the filmmaker's past, God wasn't left behind so easily. Sweet film. / And speaking of rarely-filmed Christian sects (and rarely-filmed Christian sex, too, now that I think of it), the Soul Food Movie Moment so far this year looks to be the screening of SILENT LIGHT at the VanCity June 5-12. Filmed by Mexican enfant terrible Carlos Reygadas among the old order Mennonites, the picture was feted at Cannes a year ago, with references to Terence Malick and ORDET.  Yum. / THE BAND'S VISIT is back at the Hollywood this week, as is my favourite Soul Food pic so far this year, IN BRUGES (Wed and Thu 9:15 only) - the hired-killers-on-the-lam black comedy and meditation on mortality is also at Granville 7. Also at G7 is the latest very flawed Mamet, REDBELT - which nevertheless moved me deeply, spiritually even, with its portrayal of the central character - finding Soul Food in some very odd places these days!  / And whoa, what do you know!  According to Cinemaclock, U23D is back at the Canada Place IMAX theatre - I saw it twice, rekindled my religious almost-devotion to God's Rock Band.  / Oh, and also at soulfoodmovies, the Halliwell Top 1000 list: it's pretty heavy on Brit pics little known over here, and has leans toward vintage films, but a darn fine list nonetheless.  

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