espresso | board member night | photos

This week Pacific Theatre's Board hosted a community building evening for a group of board members from other local theatre companies. Everyone was first treated to a coffee tasting led by JJ Bean experts, followed by a performance of Espresso and a talkback with Ron, the cast and the artistic team. It was a wonderful evening spent connecting with other leaders in our theatre community. A big thank you to JJ Bean, the cast of Espresso and PT's tireless board who work so hard to help make PT great. Here are some photos from the event:

2014-2015 season artwork

If you haven't been by the theatre yet to see ESPRESSO you probably haven't had a chance to see the amazing artwork for our 2014-2015 season.  Once again we worked with artist and photographer-extraordinaire Emily Cooper to create something unique and evocative.  Check it out!

may 30 | studio series 005 | we make stuff

If you are interested in a feast of art and inspiration join our friends at WeMakeStuff this month! 

We’ve invited five incredible local creatives to give us a glimpse of their work and why they do it. Ask anyone who has attended a previous Series event, and they’re bound to tell you that inspiration is guaranteed from these amazing manifestations of artistic community.

Studio Works features an art gallery with pottery produced by residents of the Downtown Eastside. Come and join us on Friday night, May 30 at 7:30pm!

Featuring: Chris Janzen, JK Agudo, Brian Liu, Cheryl Bear, and Shelimar Lakowski. 

Studio Series 005
7 pm - Friday, May 30
Mission Possible Studio Works
335 Princess Avenue, Vancouver
$10 at door (suggested donation)
More info here. 

may 7 - june 21 | i, claudia | rosebud theatre

Rosebud Theatre was so impressed with Natalie Gauthier's final student project I, CLAUDIA that they decided to include it in their season! If you are in southern Alberta in the next while you should check it out! Or you can help her put the show on the road through her indiegogo campaign. 

 

She’s 12-¾ and knows more than you think. Starting May 7, audiences are invited to meet Claudia an “official pre-teen” full of heartbreak and humour in Rosebud Theatre’s I, CLAUDIA. A remount of Rosebud School of the Arts graduate, Natalie Gauthier’s final project, it is a one-woman show performed in mask, that was so amazingly performed, Rosebud Theatre wants to share it with everyone!

I, CLAUDIA is the story of a twelve year old girl, who hides in her school’s boiler room with her fish, and reflects upon the stories of her loving grandfather, her parents, new stepmother, and the school’s custodian. Gauthier describes the play, “Claudia's hilarious and endearing perspective on some pretty tough life circumstances is refreshing. She makes it safe to see the tragedy in our own lives with the same gentleness, humor and sorrow that she does. There's so much compassion and so much to laugh about in the midst of so much difficulty that at the end of it you feel like it's safe to laugh and to cry in the midst of your own unbearable difficulties.”

It is a one-woman show presented in mask and Gauthier actually changes costumes and masks on stage, illustrating the progression of story and change of characters. The play was written and originally performed in 2001 by Toronto actress, Kristen Thompson, and has garnered critical praise, including winning the 2001 Dora Mavor Award for Best New Play.

May 7 - June 21
BMO Studio Stage, Rosebud Alberta
Box Office: 1-800-267-7553
www.rosebudtheatre.com
idiegogo campaign

pt at the jessies | 2014 nominations

We had an amazing time at the Jessies nominations party yesterday!  As announcer Dawn Petten put it - in some ways the nominations party is the best part of the Jessies, since it's just about celebrating everyone.  And we have a lot to celebrate!  PT got 14 nominations this year for THE SEAFARER and  THE FOREIGNER, plus a lot of our "PT artists" were honoured for other work.  Here's the rundown.

All the 2013-14 nominees. Photo by Lois Dawson.

THE FOREIGNER:

John Voth - Outstanding Performance in a Lead Role
Peter Carlone - Outstanding Performance in a Supporting Role
Erla Faye Forsyth - Outstanding Performance in a Supporting Role
Lauchlin Johnston - Outstanding Set Design
Evan Frayne - Outstanding Direction
Outstanding Production

THE SEAFARER:

Ron Reed - Outstanding Performance in a Lead Role
John Emmet Tracy - Outstanding Performance in a Lead Role
Tim Dixon - Outstanding Performance in a Supporting Role
Drew Facey - Outstanding Set Design
Sydney Cavanagh - Outstanding Costume Design
Luke Ertman - Outstanding Sound Design
Anthony F. Ingram - Outstanding Direction
Outstanding Production

OTHER PT ARTISTS:

Christopher David Gauthier was nominated for his body of work, which includes costumes for MEASURE FOR MEASURE.  Also from MEASURE FOR MEASURE, Emmelia Gordon and Julie McIsaac got acting nominations.  John Webber designed set and lights for COMMUNION on our stage, and was nominated for his work on ART and EXCEPT IN THE UNLIKELY EVENT OF WAR (written by PT artist Sean Devine).  Last time Gordon Roberts was on our stage was in THE SPITFIRE GRILL, and now he was nominated as a part of the orchestra for FLOYD COLLINS.  Horeshoes & Hand Grenade's Mindy Parfitt was nominated for the direction of ARMSTRONG'S WA.  More PT actors got nominations: you've seen Bob Frazer (THE LAST DAYS OF JUDAS ISCARIOT), Kayvon Kelly (MOTHER TERESA IS DEAD), and Sebastian Kroon (MOTHER TERESA IS DEAD) on our stage, and they were all nominated for their work.  Chelsea Haberlin will direct our apprentices next month and she was nominated for KILLER JOE, Richard Wolfe has directed at PT a number of times, most recently bringing THE MEAL to our stage, and he also got a nod.  Steven Greenfield was a part of the SPITFIRE GRILL gang, as was Caitriona Murphy, and they both got nominations as well - Steven for musical direction and Caitriona for her acting.   Then of course, there's the 7 other nominations that Drew Facey received, including one for Outstanding Body of Work, and Lauchlin Johnston's other set design nomination for KILLER JOE.

And that's just the surface!  There are a huge number of nominated artists in Vancouver this year and so many more that may not have received a nomination, but were truly excellent.  Congratulations to EVERYONE who made theatre happen in Vancouver this year!

espresso | weekday matinee

Tomorrow is the weekday matinee for ESPRESSO!  Take a mini-vacation to another world with us this Thursday afternoon.

ESPRESSO by Lucia Frangione
Weekday matinee: Thursday, May 22 at 2pm
To book: www.pacifictheatre.org or 604.731.5518

espresso | opening night photos

We hope you all had a great long weekend!  Over at PT, we had a fantastic opening of ESPRESSO.  Here's some shots from the opening night reception.

espresso | video trailer

Check out this stunning trailer for ESPRESSO made by Ryan Alexander McDonald. What a great way to celebrate opening!

espresso | opening night

Tonight we open the show that closes our 30th anniversary season!  (I know, I know, it's a weird sentence and I just couldn't help myself.)  Huge congrats to the team behind ESPRESSO - your hard work is done, now let's enjoy the ride.

espresso | pay-what-you-can preview AND international fluevog day

Today is the pay-what-you-can preview for ESPRESSO and it's the inaugural International Fluevog Day!  What with Fluevog sponsoring ESPRESSO, it's all come together like we planned it.  Come on out tonight and get some Fluevog swag with your tickets!

Also, as a twist of fate, our director, Sarah Rodgers, is a HUGE fan of Fluevog Shoes, and was stopped on the street last week by a photographer looking to capture her walking works of art!  Check out this cool shot of her footwear.

may 14 - 25 | pan and superman | adam bergquist

Before Adam Bergquist headed to Toronto for his MFA, you saw him at Pacific Theatre in shows like Last Train To Nibroc, A Man For All Seasons and The Busy World Is Hushed.  He's back!  And here's his inventive new project...

Tonight's the night. PAN AND SUPERMAN will be unleashed into the unsuspecting world.
A theatrical experience unlike anything you've ever seen, or participated in.
It's also a full moon!
And it's going to be the hottest day of the year so far so...
You may get hot.
You may get sweaty.
You may want to howl at the moon in joy or despair.
But I guarantee you will not fall asleep... until later... maybe.

Join me any night this week or next week (except Monday) at the Vancouver East Cultural Centre (1895 Venebles) for a little jog and a little history and a little practical mythology. Wear your runners! (Yes, I'm serious, it's a show where I take you for a jog. Did you expect I was going to jog for you? Or talk to you about jogging for an hour?) The total distance covered in the run is 3km over a span of 45 minutes with periodic breaks for practical challenges. Difficulty is low if you're a seasoned runner, high if you're a couch potato with serious muscular atrophy.

May 14 - May 25

Tickets are available at:
604-251-1363
tickets.thecultch.com
revolverfestival.ca

*Seating is limited to 10 runners per show. It would be advisable to book in advance to avoid disappointment.

pt summer theatre school | meet the instructor

This summer we are thrilled to be bringing Kerri Norris back to teach both the kids and teen camps for PT Summer Theatre School!

Kerri is a local actor, director, costumer and drama educator. She has a BA from the University of Saskatchewan and an MFA from the California Institute of the Arts. She has fifteen years of experience teaching every age group from toddlers to adults. She loves being inspired by her students’ creativity and is always amazed at the energy and fun she has with every teaching experience.

PT KiDS Summer Theatre School
When: July 7th-11th, 9:30am-2:30am
Who: Kids ages 9-12 years old
Cost: $200.00 (including tax)
$150.00/ additional kids from the same family

PT Teens Summer Theatre School
When: July 14th-18th, 9:30am-2:30am
Who: Teens ages 13-15 years old
Cost: $200.00 (including tax)
$150.00/ additional kids from the same family

Spaces are limited – registration starts April 9th, 2014. Download the registration form here, or call our box office at – 604-731-5483.

Questions? Please email Cara at cara@pacifictheatre.org.

espresso | subscriber appreciation saturday

Coming up with ESPRESSO we've got our final Subscriber Appreciation Saturday of the year!  What with ESPRESSO being written and performed by former apprentices, as well as developed here at PT, we thought this was the perfect time to draw you into our artist development work.

ESPRESSO Subscriber Appreciation Saturday
Pacific Theatre's Next Generation
Saturday, May 17th at 4pm (approx)
RSVP to Cara: info@pacifictheatre.org

Pacific Theatre fosters new artists regularly through our apprenticeship program, "Working With" play development group, and the summertime Playground Series. Where do these artists come from? How do we help them? What happens after they're done?

Hosted by former apprentice, actress, and Community Engagement Manager Kaitlin Williams, the talk will feature Tina Teeninga (past apprentice, playwright), Shalyn McFaul (past apprentice, actor), Kenton Klassen (current apprentice, actor), and Shauna Johannesen (Working With member, actor, playwright).

There will be a small reception to follow.

espresso | lucia interview

Here's our interview with playwright and actress Lucia Frangione on ESPRESSO.

Was there a specific inspiration to start writing Espresso?

I started writing Espresso when my Dad fell asleep at the wheel and ended up in a horrific car accident, his heart lacerated. My Italian family crowded the intensive care waiting room, many of them brought food. The nurse warned us that any palpitations, any excitement of the heart due to anxiety or happiness, surprise or even sugar or caffeine, could kill him. And I thought "how horrible" and then I thought, "what a fascinating way to die..." I took down a bunch of notes, but I wasn't able to write the play for nearly ten years after that happened.

How did it get to be included in the Pacific Theatre season?

I was terrified to write this play for two reasons: one, it is inspired by events in my very private powerful family. Two, it is an exploration of the erotic side of Christ's love, the idea that the Song of Solomon is a seduction between God and us. I figured everyone might just hate my guts. It was a very risky leap for me. But I had to write it. I told Morris I thought it was too dark for a Pacific theatre show. He told Ron. Ron made it very clear to me I was not to presume what Pacific theatre programs! Haha, he was so right. Then he gave me DD Kugler as a dramaturge and some script development funding and the rest is history.

Tell me about the progression of the play since then.

The play ran at PT spring 2003 and sold out. It then ran again in the fall of 2003 and sold out again. Morris formed a company called Naked Soul and toured it to the Belfry in the spring of 2004 and the Kaasa theatre in Edmonton and Prairie Theatre Exchange in Winnipeg for Bob Metcalfe's first season as AD there. It was translated into Polish by Malgorzata Semil and was produced by teatr Jeleniogorski on the Chek border and then recently it was produced by teatr Powszechny in Warsaw and played for two years. In the latter they eliminated Amante and made the play about three generations of incest. The full story is here.

It is currently being translated into Russian.

Is a lot of the play very personal for you? What made you decide to make this personal story public and how has your experience of that been?

This was my first play with autobiographical content. It's deeply personal. But it is largely fiction. Yes, my Nonna was married at 13 and yes, her son had a car accident, and yes, she did whip back the sheets on his body and yell out in intensive care, "My God, my son!" and had to be shooed out by the nurses...but beyond some of these little true moments, I weave a fictional tale. In particular, Rosa is not me. It's almost like I plucked a different person into my body and imagined what would play out. I was a "good girl". That doesn't make for a very dramatic story! So, I invented Rosa. Also, I can't possibly presume to know how my Nonna feels, how my Dad's marriage worked...so I make it all up. I don't even try. But I'll steal a few of my Dad's real lines because he's just so damn beautiful sometimes. The way I handle autobiographical material in my plays and in my blog is: I will share my own life fairly ruthlessness when I am writing about something I have resolved. Because it always seems to do someone tremendous good - nobody has singular experience. Whatever I have gone through, thousands of others have too. And if I can put words to it, if I can help someone feel understood and known, well...that's my job. No? I will risk criticism and sacrifice pride for that. I will also share beautiful and idiosyncratic moments I experience with my friends and family. But I never expose people's dark side or their personal stories without their permission.

What kind of feedback do you get on Espresso?

People enjoy the mystery that unravels, the family story, the humour. And for some people...the play hits on a very intimate level spiritually and sexually and it seems to be an agent for change and healing. It doesn't seem to matter what gender they are, what background, what religion. I have received hundreds of letters, emails, notes, over the years, telling me how this play has changed their way of life. It's very humbling. I am grateful. And it reminds me that it has nothing to do with me. Right? I believe if we're called to write - it's because someone out there needs to hear it. To some degree, doesn't even matter how flawed the art is. And if we don't write - we leave a vacuum where our courage should have been.

What is your favourite aspect of the play as a writer?

The play immortalizes some of my favourite moments with my family. My father died ten years ago, shortly after the tour of Espresso ended. This production gives me a chance to cook with him again. To hear his voice. To hear him sing.

What is your favourite aspect of the play as an actor?

It is so deliciously fun to play all of these characters. I really enjoy the shapeshifting.

espresso | 2003 review | throwback thursday

In 2003 we premiered ESPRESSO to great reviews. As a little "Throwback Thursday", we thought we'd share the review we got from The Georgia Straight's Colin Thomas. Unfortunately it's not posted online anywhere, so we can't link to the original (back in 2003 newspapers weren't posting everything online), but we can quote it all below.

Espresso
By Lucia Frangione. Directed by Morris Ertman. A Pacific Theatre production.
At Pacific Theatre until February 22nd.
By Colin Thomas

Reading through my notebook the morning after a performance has never made me cry before. But Lucia Frangione’s new play, Espresso, is so full of love, pain, and redemptive beauty, that as I take in my hastily scrawled, fragmentary records of its lyricism I can’t help but release my grief; Frangione’s words help my heart shed some of its terrors once again. And you know what? The show is really funny, too.

Espresso is one of the best scripts ever produced by a Vancouver playwright and it marks an exciting new level of maturity in Frangione’s writing. Her eccentric comedies, including Holy Mo and Cariboo Magi, are charming, but essentially angry works: in them, she uses clowning and other forms of absurdity to deflate the pomposity and hypocrisy of organized religion. In the infinitely more complex Espresso, Frangione courageously examines the wounds that fueled that anger and the rewards are transcendent.

Espresso tells the story of an Italian family attempting to cope with the life-threatening car accident suffered by its patriarch, Vito. Rosa, Vito’s daughter, begrudgingly shares the narration and enactment of the tale with Amante, whom the script describes as the avatar of love, and who is also clearly Jesus Christ. In Amante, Frangione combines spirituality and Eros, which to my mind — and apparently hers — are one and the same. Through Amante’s interactions with the various women in Rosa’s clan, Frangione lays bare the ways in which the institutions of church and family have so often resulted in the erotic and spiritual diminishment of women.

In doing so, Frangione creates hilariously vital characters. When Cinzella, Vito’s brassy, rebellious second wife, enters the hospital waiting room she crows: “I don’t care what people say, I wear my fur coat. My silver fox …. Something’s always gotta die so something else can live. And this little guy died so I could look like a fucking million bucks.”

But there is also grace. When Nonna, Rosa’s grandmother — whom Rosa likens to a “shriveled little black olive” — prays in the hospital’s kitchen and Amante appears, she thinks that the beautiful creature is mocking her. Nonna was married at 13 and her experience of sex always began with being punched in the shoulder then assaulted with the words, “Woman? You awake?” But when Amante starts to whisper the “Song of Songs”, the most sexual poetry in the Bible, into her ears, she is transported. Amante lifts Nonna, his arms beneath hers. Near death, she finally awakens to her body.

Our parents often influence our erotic and emotional relationships to God, to life itself; Rosa’s relationship with Vito is the core of the play. In a touchingly concrete flashback, Vito cares for his depressed daughter by filling her barren apartment with food and cooking for her for a week, “his round belly dangerously close to the gas stove.” I don’t want to give anything more away other than to say that Rosa must work through grief and self-imposed sexual degradation before she can reclaim her soul. Frangione herself plays Rosa and her pain is so palpable, that I sobbed as she beat Amante’s chest, and cried again when he uttered to her the words of deliverance, from “The Song of Songs”: “The winter is past …. the season of singing has come.”

The two performers who play all of the roles in this production are absolute knockouts. Frangione and Todd Thomson trade characters as easily as people swap ideas in conversation, and it’s always crystal clear who they are. Their wit is enormous — just wait till you see Thomson as Charlotte, the grief counselor — and the passion is deep. ...

This is the best show I’ve ever seen at Pacific Theatre and the Christian company must take credit for its courage in producing such a potentially controversial work.

Espresso deserves many, many more productions. Artistic directors from across the continent should be flocking to Vancouver to experience it.

espresso | introduction

Below is Lucia Frangione's introduction in the published edition of ESPRESSO.  A great piece of the background to the show.

This play is a dark dream I’ve managed to stab onto paper. Real events swirl together with wild metaphors, fantasies, and nightmares. I first came up with the idea a decade ago when I stood beside my father’s hospital bed, his chest broken open and his heart lacerated from falling asleep at the wheel. His condition was so fragile, a few excited palpitations could kill him. Through my tears I was guiltily piecing together a plot line, thinking: “What a fascinating way to die.”

Amante means “lover” in Italian, and that is the best way I can describe the spiritual energy which comes to me in times of loneliness and grief. Maybe he’s female fantasy, maybe he’s an undigested bit of beef, a hormonal flush, a chemical imbalance in my brain, or maybe he’s Jesus. I don’t know. But I’m a lucky woman.

It is entirely biblical for Christ to manifest himself as the groom, but we usually picture him at the altar in the suit, not in the honeymoon suite alive and kicking. It shocks even me to read the erotica of Song of Solomon. While I was writing this play, Amante kept barging into my brain. He made sure I didn’t skip over the hard parts, he demanded I give all my characters a chance to explain their side of the story. Amante challenged me to put him on stage and come out of the closet as a Christian and a Sensualist, and explore the metaphors that have been fig-leafed by the church for centuries. He’s probably going to get me excommunicated. Oh well. He’s worth it.

-January, 2004

may 14-18 | off key improvised musical

We're getting close and comfy with the Off Key Players - they were the key members of this year's SIDESHOW and will be running the show next year.  In between, they're taking on rEvolver Festival.

Eight Improvisers. Four Band Members. Four Lighting Technicians. All improvised. What could go wrong?

Off Key Improv is very excited to be a part of Upintheair Theatre‘s 2014 rEvolver Festival – a festival that presents adventurous, high energy, and sophisticated new work by emerging companies and artists.

Off Key: An Improvised Musical is a one-act musical that is completely improvised. Each show is based on an audience-provided title of a musical that has never been written. Some examples include: “Snow Global Warming”, “Married in Vegas”, “Coffee Shopera”, “Sweet Valley Highlands”, “Tenacity City”, “Zork: The Musical” and “Mr. Muro’s Mathematical Musical”. The audience joins along for the ride while the cast, band and technical crew improvise everything including the story, characters, singing, dancing, music, and lighting. Each show is the opening and closing night of a musical that will never be seen again!

This show has been developed in collaboration with Lost Light Productions, an innovative stage lighting, sound design and production company dedicated to an integrated design process and the creation of visually stunning work.

Off Key: An Improvised Musical is an energetic and adventurous show that embraces collaboration and discovery. Off Key Improv and Lost Light Productions look forward to amazing and delighting audiences with a brand new musical every night.

May 14-18 at The Cultch
Tickets and Info

espresso | special showings

We always have a set of special events for all of our mainstage productions, and with ESPRESSO we've got even more to offer you - here is the rundown.

Pay-What-You-Can Preview: Thursday, May 15th
Subscriber Appreciation Saturday: Saturday, May 17th
Weekday Matinee; Thursday, May 22nd
Artist Talkback: Friday, May 23rd
Theatre Club: Saturday, May 24th

EVERY WEDNESDAY: COFFEE TASTINGS
Our sponsor JJ Bean is offering a FREE coffee cupping event every Wednesday evening before the performance. Starting at 7pm, space is limited, so please RSVP to Alison at alison@pacifictheatre.org if you would like to attend.

espresso | photos

The photos are in for ESPRESSO opening May 16th!  All photos by Emily Cooper.

oct 2-5 | richard osler | poetry writing retreat

Here's a note from Richard Osler - advance notice of a writing retreat he's leading this fall. Richard is a friend of Pacific Theatre, a poet who has read his works at Christmas Presence and other of our anthology evenings (must have one of those again, some time...)  And Honeymoon Lodge is wonderful...

Recovering Words poetry writing retreat
Honeymoon Lodge and Retreat Centre
October 2-5

"Richard Osler makes poetry an integral part of his life. He is exceptionally well-read and brings to a retreat a vast reservoir of poetic knowledge regarding modern and classical poets, their poetry and their craft. These hip-pocket skills from years of practice and reading will make your experience working with him inspirational and productive. From the very first afternoon at a Richard Osler retreat, you will be brought together as a community of poets who through his guidance and your own writing practice will find pathways to possibilities that are rich and valuable." David Fraser *

Hi All:

After two fully-booked retreats in 2013 I am offering another Recovering Words poetry writing retreat at Honeymoon Lodge and Retreat Centre - this time in early October, the 2nd to 5th. I have had great feedback from my retreats and am happy to supply references! I encorage participants of varying experience but no matter anyone's experience - from master poets to those starting out - my retreats have resulted in wonderful writing - many " memorable keepers!"

For more details please check out my website. Look for the Writing Retreats Link. While you are there feel free to check out my blog and subscribe.

Bottom line: my retreats create a safe place to celebrate your creativity and that of your fellow participants.

My format hasn't changed. These retreats are all about writing new work based on specific assignments designed to stretch, challenge and excite everyone's poetic possibilities! We will do 3 in-class poetry writing assignments and 3 longer/larger over night assignments. An example of one of my introductions can be found at the bottom of the page - Poetry Writing Retreats - .

We start at 2 PM Thursday with a 1.5 to 2 hr poetry session. Thursday evening will include a short poetry reading. Friday and Saturday will include two 90-minute morning sessions and a "free" afternoon to write. Both evenings will include poetry readings of participant's poems and poems of favorite writers. Sunday morning consists of a 90 minute wrap up session so retreatants can be on their way by 11 AM.

Honeymoon Bay Lodge is an easy 90 minute drive from either Victoria or Nanaimo on Vancouver Island.

The cost: based on single occupancy the all in cost for food (8 meals), lodging (3 nights) and the facilitation will be $ 675.00 Double Occupancy $ 575. Registration fee is $1 25.00 and non-refundable. A place in the retreat will be confirmed by the receipt of a deposit. The balance will be due August 1st. This balance is refundable if I am able to fill the spot! The deposit can be made through an internet transfer or a cheque sent to: Richard Osler, 1584 Stamps Road, Duncan, BC V9L 5W2

I hope you can join us but if not please feel free to spread the news!

All best,

Richard Osler
Recovering Words

* David Fraser is a much-published poet and founder and editor of Ascent Aspirations Magazine, since 1997. His poetry and short fiction have appeared in 65 print journals, ezines and anthologies.

espresso | cup smash test

A little behind-the-scenes action for you: in shows where flatware is thrown, we get to do smash-tests in rehearsal.  Here, Lucia gets to do a test-toss of a cup in  ESPRESSO.

may 3 | coffee & conversation with judith thompson | shauna johannesen

Shauna Johannesen is a PT artist who is also the Playwright Guild of Canada representative for British Columbia. On May 3rd she is hosting a conversation with two-time Governor General Award winning Canadian playwright Judith Thompson! Theatre makers and fans are welcome to attend this intimate dialogue with an icon of Canadian Theatre. 

Judith Thompson is currently performing in her one-woman-show "Watching Glory Die" at the Cultch and we're excited not only to welcome her here to Vancouver, but also to have the chance to gather as colleagues to hear from and talk with Judith about her process and her latest work. Come with one great question for Judith!


Coffee and Conversation with Judith Thompson
Saturday May 3, 2014
10:30 AM - Noon
The Lobby of the Cultch

Coffee and snacks provided by the Playwrights Guild of Canada

Tickets and information for "Watching Glory Die" can be found here.

espresso | ron reed interview

An interview with AD Ron Reed about our upcoming production of ESPRESSO by Lucia Frangione!

Tell me about the origins of Espresso.

Well, story behind that of course, we had produced a few of Lucia’s plays and then she did a reading from a piece that was a reminiscence about her father cooking for her. I thought it was astounding writing and found out she was making a play out of it. She hadn’t talked to me about producing it because she thought it was too sexual for Pacific Theatre. I asked “who are you to tell me what Pacific Theatre will do? When did you see us put limits on that?” Then we were doing it.

We commissioned a series of workshops and developed the play over several years, and then we premiered it. When we did the premiere, I thought it would be too religious, too explicitly Christian, for the non-religious audience, and too sexual for the religious audience. So we’d alienate everybody. I really thought it was going to be a problem, but I loved it and love Lucia, so we were going to do it. But it was a great risk.

The play is touted as the show that “saved Pacific Theatre” – how did it do that?

It was preceded in the season with a show that I wrote that was a bomb and lost us tens of thousands of dollars. We always operate close to the line, and a true disaster like my show, Mercy Wild, just about did it. We seriously looked at the possibility of having to close our season early, and close our theatre down. I met with the treasurer and asked him if we had to close Pacific Theatre, and he said “not this week, we’ll talk again next week.”

We knew, however, we were going to put that show up. It was exactly the right kind of play for Pacific Theatre, even if it was the last show we ever did. So when we first mounted Espresso, we had to let go of all our designers. They all volunteered to do it for free for the sake of the play, and our general manager hung the lights.

Well, not only did it sell, it made back all the money the one had lost before, and we paid everybody that worked on it. We remounted it in the fall to open our next season and that sold out both runs. So, extraordinarily, it’s the show that saved Pacific Theatre that I thought would end Pacific Theatre.

Lucia is the only member of the original team back in the saddle. What will Sarah Rodgers (director) and Robert Salvadore (actor) bring to the story?

Both Rob and Sarah will bring a whole new quality to it. Once we realized we couldn’t get the original team back together, we called on them.

One thing that I note about Sarah’s directing is that from show to show she brings a widely different aesthetic. She’s a chameleon. She doesn’t do just one show or one kind of thing. She has tremendous breadth and it feels like with Espresso she will readily rise to the challenge. She is also the most imaginative of directors. This play happens in the language and the two characters –it doesn’t call for a naturalistic reading. It calls for a poetry, and probably a sparseness. In that regard I think of Driving Miss Daisy. Very sparse set, and yet aesthetically vivid in your memory. Sarah’s very good at leaving room for the language and the performance. She feels like a really good match there. Lucia was also really keen on having Sarah direct the show.

As soon as we knew it wasn’t going to be Todd it seemed obvious that Rob would be our choice. There’s such an intensity and presence when he’s on stage, and I believe he understands what the story is about. I believe he’ll make an incredible heart connection with the story. He loves edgy, difficult, challenging work. Espresso is all those things.

may 1 | art opening | emily cooper

Our go-to artist for poster images and photography, Emily Cooper, has an art show opening tonight at Lüt Boutique on Main Street.  Swing by and check out a series of her latest artwork for theatre companies, including several PT pieces.

Emily Cooper Art Show
Opening Reception
Thursday, May 1 6-9pm
Lüt Boutique - 4219 Main Street