Determination, delusion, and dark comedy. Stone’s Throw Productions launches full speed ahead into the absurdist Problem Child, by one of Canada’s most prolific playwrights, George F. Walker. R.J. and Denise, two dysfunctional parents from the wrong side of the tracks, are trying to get their baby out of the system and back in their arms. But… they have to get around Helen, the by-the-book social worker who isn’t budging. With the help of Phillie, the drunken motel employee, how far will Denise and R.J. go to reunite their family?

Directed by Alex Kirkpatrick.

Featuring Lindsay Curl, Tim Howe, Jalen Saip and Conor Stinson O’Gormon.

Sound and Lighting Design by Theo Bell.

Marketing and Communications by Amanda Millar.

When: July 5-8 at 8:00pm

Where: Pacific Theatre – 1440 W 12th Ave, Vancouver, BC

Tickets: $15. Available at 604-731-5518 or pacifictheatre.org

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The post Problem Child at Pacific Theatre appeared first on Biz Books.

For Evelyn Chew, a graduate of acting programs at both Douglas College and Studio 58, A Good Way Out marks her first performance on the Pacific Theatre stage. We spoke to Evelyn Chew about her debut and her career.

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What is your involvement with A Good Way Out and what drew you to be a part of this production?

I’m an actor and I’ll be playing Carla in the play. It means a lot to me that Anthony (the director) asked me to audition. When I read the script I was moved by the characters and their family dynamic. Something about good people doing the wrong thing rings true to me. I thought Carla would be a lot of fun for me to play.

Can you share some of your creative process in preparing for the role – from the initial planning all the way to opening night?

Carla’s a stripper so I’ll definitely be going to a few strip clubs and getting a feel for the scenery and people. Maybe take a class or two just to get a feel of how she might use her body. When I’m there I’ll listen to what people are talking about and what they do; Observe. I’ll really want to understand why Carla does the things she does and feels it’s the best possible choice. I’ll feel it out a long the way. I do know I want her to feel relatable to the audience in that she’s human and capable of making mistakes. I’m curious as to what motivates her. Why do people do the things they do? I’ll keep trying things until it feels right.

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What should audiences expect from this show?

You’ll see realistic characters who love each other, who are desperate to make things work and make things worse. I kinda like watching that stuff. It’s like watching a Greek Tragedy or Jerry Springer.

What are the three most important ingredients for a successful stage production?

Great artists, a great story and a lot of heart.

Are there any books or authors that have been influential to you so far in your creative journey?

I’ve mostly been moved by my own family and friends. They’re inspire me to be honest, truthful and better. But if I had to pick… E.E. Cummings, Shakespeare, Daniel MacIvor, Holly Hughes, Tina Fey, Rumi, Awakening The Buddha Within, The Dalai Lama, Paulo Coelho, Darren O’Donnell, Naoki Higashida. I’ve been reading Anatomy Of The Sprit by Caroline Myss. I’m enjoying it.

What is the most important lesson you have learned so far in your career?

Follow my gut.

What other projects do you have coming up and where can people find out more about you online?

Next, I’ll be in Carousel Theatre’s Sultan’s Of The Street from October 29th- November 13th. I’m also an actor with Lucas Talent Inc so maybe you’ll see me on your TV screen one day. And I made a new Facebook page at https://www.facebook.com/esbchew

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Thanks to Evelyn Chew for speaking with us!

A Good Way Out is now playing at Pacific Theatre until October 15th. For tickets, please visit PacificTheatre.org.

The post The Biz Interview: Evelyn Chew appeared first on Biz Books.

We spoke to Medina Hahn to find out more about her process in writing the play with Daniel Arnold and the fascinating true story that inspired it.

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Can you start by telling us a little bit about you and Any Night?

I am an actor, writer, singer, producer, wife and mother who has worked in theatre, film and television. Born in Edmonton, I have bounced back and forth between BC and Alberta for much of my life – earning a BFA from the University of Victoria and a BFA from the University of Alberta (where I met Daniel Arnold) in the process.

Any Night is a play about a troubled young dancer who moves into a new basement suite and finds herself drawn into romance with the charming young man living above her—until she starts suffering strange behaviour in her sleep. It’s a romantic mystery about privacy, trust, and the power of the subconscious. It’s a play that Daniel Arnold and I co-wrote, performed and toured for four years (including a production in Vancouver presented by the Cultch and Touchstone Theatre, and a run Off-Broadway), and now Pacific Theatre is producing a new production through their apprentice program.

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What was the inspiration for the story?

There were a couple things that inspired us to create this story… The first was the true 1987 story of Ken Parks, a man who got up in the middle of the night, drove to his in-laws house, attacked them and woke up in his car with blood on his hands. He had slept walked. We began to study somnambulism, dreams and night terrors in great detail – talking with specialists, visiting sleep labs, etc… and we became fascinated with how much the medical industry still can’t explain about our sleep/dream world. The other inspiration I can’t really tell you about without giving away some of the play! But it definitely made us want to explore the themes of fear and trust.

Can you share some of your creative process in writing the script?

The development and creation of Any Night was super unusual . We started writing it while we were touring our first play, Tuesdays & Sundays. Then our first draft got optioned into a film by a company out of  New York, so we stopped writing the play and started writing the screenplay! And then once we had a draft of the screenplay, we went back to the play, and then we back to the film and so on… for many many years. We were often on the road and in different cities. I think the play started to really come together when our director Ron Jenkins came on board, the Vancouver Playhouse helped develop it, and we did a workshop production at the Belfry Theatre in Victoria. We were able to see what worked and what didn’t. And we just kept tweaking it until it all fit into place. I actually remember us finding an entirely new storyline and writing it hours before premiering it in Toronto at the Summerworks Festival. One of the challenging and exciting things about the creative process spanning so many years, is that through those years, we were changing, the world was changing and as a result the play continued to expand and evolve.

What should audiences expect from this show?

Well, I have never been lucky enough to see someone else’s  production of it so I’m super excited to see what these young creators do with it! The great thing about this play is that it keeps you guessing and thinking. It jumps timelines and as an audience you really get to be present and go on a pretty wild ride. It’s edgy. A little scary. And it’s the type of play that gets people talking and debating with one another afterwards.

What are the three most important ingredients for a successful play?

Oh wow, if I knew that, I’d never have been involved in an unsuccessful play! There are so many aspects- only three ingredients? Okay if we are saying a successful play on paper, the first thing that comes to mind for me is a solid interesting structure, strong relationships and good dialogue. And little bit of risk. And heart. Ugh see that’s five!

Are there any books or authors that have been influential to you in your journey?

I want to sit here and say that a bunch of technical books have been really helpful, and some definitely have – like The Intent to Live by Larry Moss, A Practical Handbook for the Actor  and Story by Robert McKee.  But it’s the books and stories about people’s journeys navigating through life that have had the most influence on me. I’m a bit of an auto-biography junkie. I love to learn of people’s ups and downs and their willingness to get back up and fight when they have been told “they can’t” or “that will never happen.” I really enjoyed Goldie Hawn’s, A Lotus Grows In The Mud and Sidney Poitier’s The Measure of a Man.

What is your most important lesson you have learned so far in your career?

Since I was a little girl, I always knew that I would be an artist. I started as a dancer and then added singing and acting to the mix. Writing and producing soon followed. I always had a strong idea of where I was heading and the arts were always a major part of me. A few years ago, I had a child and stepped away from the artistic world I knew to focus my energy on him. I remember worrying that if I was out of the creative arena for too long I might lose it or be really rusty, but when I returned, I found that I had actually grown. I’m a better actor and a better writer now than I was before. What i have learned is that when you continue to grow as a person, you can’t help but grow as an artist. And sometimes, doing something else – changing your patterns and comforts – allows for a new perspective and more openness. And those qualities are nothing  but a gift to your artistic endeavours.

What other projects do you have coming up and where can people find out more about you?

In the fall, I will be onstage at the Firehall Theatre in a remount of the fantastic new musical Miss Shakespeare, which just won a Jessie Award for Best Musical  and our feature film script of Any Night, which won the nation-wide CFF Super Channel Screenplay Award, will hopefully be going into production this winter.

You can find me at DualMinds.com, Facebook: DualMindsCanada and on Instagram: @mhahn111.

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Thanks to Medina Hahn for speaking with us!

You can see Any Night at Pacific Theatre until July 16th with nightly performances at 8PM. Tickets are “Pay What You Think It’s Worth” Cash Only after the show!

For more information, please visit PacificTheatre.org!

The post The Biz Interview: Medina Hahn appeared first on Biz Books.

In Pacific Theatre’s newest production, Wit, Katharine Venour plays a renowned professor dealing with cancer who learns about kindness and redemption over the course of her treatment.

Now on until June 11th, the storyline and and acting demands in Wit ultimately offered Katharine Venour a deeply rewarding experience. She spoke to us about the play and her career.

What is your involvement with Wit and how did that get started?

I play Vivian Bearing in Wit.  I’ve loved the play for many years now.  I first saw the play in production at The Vancouver Playhouse and thought it was just a wonderful role and story.  I was overjoyed to be offered the role by Pacific Theatre, and to be directed by Angela Konrad.  I’ve always have wanted to work with Angela, so this has been an exciting collaboration for me.

What drew you to be a part of this production?

Margaret Edson has written a very beautiful play in Wit. The language, the character of Vivian Bearing, the construction and rhythms of the play are powerful, and have great range for an actress to play. The play says important and true things about what is important in life when we face the end of life.  It is a joy to play an English professor of John Donne as I have always loved Donne’s sonnets.  After I completed my theatre degree, I got a Masters degree in English Literature, so this play, to some degree, combines my two loves of theatre and literature. It also offers an actress a wonderful dramatic range to play, as it combines humour and tragedy in the Vivian’s story. It is a play that is ultimately about struggle and the movement towards grace, expressed with a humour and sensitivity that is very powerful.  Also, I connect personally with the play in that I have people close to me in my life who have struggled or died from cancer.

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Can you share some of your creative process in preparing for the role – from the initial planning all the way to opening night?

As soon as I heard that I got the role, I ordered the play and started to work.  I researched ovarian cancer and the medical terms used in the play.  I researched and read about John Donne.  From the very first time I read a script, I begin to personalize the story – finding and searching for the ways in which the story is a part of me.  That is – who is Vivian Bearing in the text and how do I find her in me?  I think of people in my life whom I’ve met who are ‘forces of nature’, like Vivian.  In practical terms, I set out a schedule for learning the text which is massive.  The more time I have to ‘absorb’ a role, the better.

What should audiences expect from this show?

It is a beautiful expression of grace. It explores themes of life, death, God, John Donne’s literature, the struggle with illness, ambition, and identity, and it does all this with great depth of feeling, as well as humour.  The play is a superbly written piece of theatre.

What are the three most important ingredients for a successful stage production?

Three most important ingredients for a strong production:  I think a strong production always begins with the playwright.  A strong show starts with a strong script.  Then, strong actors and designers of set, lights, and sound.   And I will add that a strong director who has a clear vision of the heart and workings of the story is very important too…I think that’s more than three ingredients!

Are there any books or authors that have been influential to you so far in your creative journey?

My acting mentor when I was an acting student doing my theatre degree in performance was Grant Reddick and he was taught by Uta Hagen.  So Uta Hagen’s Respect for Acting and her approach to the craft has been a deep influence on me as an actor.  In recent years, I have participated in workshops at the Michael Howard Studios with Patsy Rodenburg and I really like her approach to acting in the powerful work she does incorporating voice, body, presence, and Shakespearean text.  I have all her books, and I highly recommend, The Second Circle.

What is the most important lesson you have learned so far in your career?

I think it is important for an actor to keep training.  I try to seek out the professionals whose work I admire, and take workshops to continue to hone my skills.  Remember that it is a joy and privilege to be an actor, and love the people in your life with generosity.  Have faith. Breathe onstage, and in life.  Technique and the craft of acting liberates you to be free and serve the story you share with other actors onstage and with an audience.  The actor serves the story.

What other projects do you have coming up and where can people find out more about you online?

Not sure what project will be next, but I continue to hope for strong, powerful stories and wonderful artists to work with!

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Thanks to Katharine Venour for speaking with us!

Wit is now on at Pacific Theatre until June 11th. For tickets, please visit pacifictheatre.org.

The post The Biz Interview: Katharine Venour appeared first on Biz Books.

Inspired by the 1991 film, Dogfight takes audiences into a story set on November 21, 1963, when on their last night before deployment, a chance meeting with a waitress changes the lives of three Marines – offering newfound lessons and perspectives for everyone involved.

Jessie nominee and Ovation winner Chris Lam directs this adaptation with musical direction by Peter Abando (Off Key Musical Improv), along with lighting design by Jonathan Kim (The Amish Project) and set design by Carolyn Rapanos (Common Grace).

In a unique choice, this presentation of Dogfight includes double cast leads, who will play on alternating nights: Stuart Barkley (Les Miserables), Sara Vickruck (Love Bomb) Justin Lapena (King and I), and Amanda Sum (Vancity Idol).

We spoke to the four leads to find out the inside story on Dogfight.

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What is your involvement with Dogfight?

Stuart Barkley: I am performing as Eddie Birdlace, as well as Gibbs, on alternating nights.

Sara Vickruck: I am playing the part of Rose.

Amanda Sum: I will be playing one of the Rose Fenny’s, an awkward girl who doesn’t get out much. Accurate description of myself, come to think of it.

Justin Lapena: I play alternate playing Eddie Birdlace and Gibbs.

What drew you to be a part of this production?

Stuart Barkley: When I saw Dogfight a year ago, I remember watching the performance of “Come Back” and thinking “Wow, I wanna do that!” Lo and behold, here I am!

Sara Vickruck: My initial interest was mostly the opportunity to work with Chris, and meet others in the musical theatre community in Vancouver. I had seen some plays that Chris was in, and met him many times at different events around the city. He seemed to be a mover and a shaker. This is also the first traditional musical I have been in in a while, so I was excited to ‘Get back on the horse’ or perhaps the Dog in this case.

After looking more into the script and listening to the music, I was really excited about the great songs that the character of Rose has, she goes on quite an interesting journey throughout the script. I love the music in Dogfight.

Amanda Sum: I had not actually heard of the show or the movie prior to being approached by Chris Lam to audition for the part. After doing some research I immediately fell in love with the score. Seeing the way the men treat the women in the show is appalling, and the discomfort still sits with me. I think that the misogynist aspect to the show drew me in even more, it is so interesting to work with ideas that don’t settle quite right with you.

Justin Lapena: I love the story and I love the score just as much so it was a no-brainer. I’m drawn to humanity of it all and more so that it’s not afraid to delve into the ugliness of being young; the awkwardness, cockiness, ignorance, vulgarity, yearning, vulnerability, frustration and a deep longing for acceptance and understanding underneath it all.

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Can you share some of your creative process in preparing for the role – from the initial planning all the way to opening night?

Stuart Barkley: The process has been interesting. Justin Lapena and I share the lead role (Eddie) and Gibbs, as previously mentioned, so we’ve been taking turns playing as one or the other during rehearsals. Needless to say, learning the blocking, lines and harmonies of two different characters with little repetition has been a challenge.

Still, it’s a two-sided coin. Being able to share the role with a friend allows me to see some of his character choices or thoughts that I hadn’t considered which motivates me to think outside of the box.

Sara Vickruck: Lots of subtext work. Lots of singing and entertaining my neighbours while practicing in the Library at the coop where I love. I like to begin analyzing a script by plotting my characters journey using Joseph Campbell’s work on the 17 steps of a heroes journey. Not ever characters trajectory fits this model perfectly, but it has helped me to identify some major shifts and big moments for Rose along the way.

I have never been in a play where I was double cast before, so it’s interesting to see the struggles and triumphs of this process. It’s cool to have, like a ‘twin’, who I can talk to about what we think is going on for our character at this moment, and to watch someone else interpret the same lines and characters completely opposite of me, but equally truthfully. The struggle comes with the amount of time in an already short rehearsal being halved, and not comparing yourself to your talented counterpart. It’s humbling.

Amanda Sum: Learning the music was the first step for me, just getting familiar with the songs before the rehearsal process started. I’ve watched snippets of the movie and the musical, but haven’t watched them all the way through, to avoid comparing myself to existing versions. We are midway through rehearsal now, and I’m in the midst of textwork and analysis, which I know I will continue to dive deeper into up until closing night.

Justin Lapena: I read the script the first time as an observer. I take in the story make notes of any striking scenes or moments that I particularly enjoyed or found interesting. Then I read the script again paying attention to my character and his journey through the show researching things that he says that I don’t understand and I try to pay attention to what kind of a person he is without being judgmental about it or labeling him as just one thing. For example, is my character a chronic liar, are there subjects that he is uncomfortable talking about, how does he relate to the people around him and how is he perceived by them, etc. Then I memorize what I can of the text in anticipation for rehearsals and then when we get to rehearsals the fun begins and you get to play around with staging and get to see how chemistry between characters and different actors affects the delivery or emphasis of the text or your objectives in the scenes. Then you keep playing and collaborating and offering new ways to do the scene until it feels right and the director approves and it falls into a rhythm but not so much so that the performance gets locked into a cookie cutter way of performing. That’s the best thing about live theatre, it can be completely different every night because we know where we start and where our characters need to be by the end and as long as we hit certain cues and checkpoints the journey to the end is always a series of new discoveries which keeps everything fresh and fun.

What should audiences expect from this show?

Stuart Barkley: Oh, man. Expect to see a roller-coaster ride of a show.

Sara Vickruck: New faces, who you haven’t seen a lot of in Vancouver yet. Catchy tunes. Some aggravating realities. A well told story.

Amanda Sum: The audience should be prepared for an intimate, up close and personal telling of a beautiful story and some mean harmonies!

Justin Lapena: A night of honest, intimate repertory storytelling that just happens to have some seriously killer tunes.

Dogfight is based on the 1991 film of the same name. In what ways is this production different and which elements are similar?

Stuart Barkley: I won’t lie, I haven’t seen the movie. But, seeing a live show beats a movie any day.

Sara Vickruck: I haven’t seen the original movie, and have avoided it, because I don’t want to let that movie affect my acting choices.

Amanda Sum: The interracial couples definitely give the story some depth, in both casts. I’ve not seen the full movie, but whichever cast you come to see, our production does not stray too far from both the vulgar and endearing moments that the movie has.

Justin Lapena: The movie is very similar to the Musical at its core. The themes, timeline and the message are the same, however one major difference being the story focusing on “three bees” in the musical as opposed to “four bees” in the movie. Some scenes have also been cut, abbreviated or changed around to accommodate the songs and a general adaptation to the stage but largely, the important scenes are there almost verbatim.

Are there any books or authors that have been influential to you so far in your creative journey?

Stuart Barkley: 1 book comes immediately to mind – The Mastery of Love by Don Miguel Ruiz. To supplement it, The Power of Now by Eckhart Tolle and The Way of the Peaceful Warrior by Dan Millman. No three books have furthered myself as an individual or a performer.

Sara Vickruck: Of course. Here are a few.

The Hero with a Thousand Faces by Joseph Campbell. I read this book along time ago, but from it I still work with the structure of the 17 steps to help flesh out my characters journey over the course of the musical.

The Tao Te Ching as interpreted by William Martin – this just helps to remind me to have compassion for myself and shift my perspective as I go about my days.

Audition by Michael Shurtleff – I just picked this up again the other day, wanting to be continually learning and challenging and trying new tactics as an actor.

Amanda Sum: Lately, I’ve been really into reading contemporary Canadian plays. Stephen Massicotte has been high on my list, as well as works by Daniel MacIvor.

Justin Lapena: That varies for me from project to project. Each project is a different beast entirely. That being said I really enjoy Mitch Albom and Don Miguel Ruiz’s books when I want to work on some self betterment or trying to understand myself more as a story teller, an artist and a person.

What is the most important lesson you have learned so far in your career?

Stuart Barkley: Be kind to everyone. As the saying goes: “Do onto others as you would have them do onto you.”

Sara Vickruck: Everything is connected. This is a lesson I learn over and over again, because I always seem to forget it. Opportunities come your way that seem to lead you down one path, and all of a sudden something else comes along that takes you in a different direction, but eventually those things come together again, some how.

For example. I am currently in another play called Love Bomb, produced by Shameless Hussy Productions. A few years ago I stopped acting for a while. I needed a break and decided to focus more on my music, I released my first album last summer. At the time I thought, ‘Sara you are so silly leaving acting to go work on music, you should stick to one thing.’ Then, a friend of my room mates, who happens to be on the Board for Shameless Hussy Productions and has jammed at our house a few times, mentioned they needed a musician for a show they were producing and I should audition. I got the role. Which has led to me getting an agent and being part of Dogfight. Had I not taken the time to work on my music, I would have been capable of being in Love Bomb. To add to the craziness, Love Bomb deals with the subject of sex trafficking and about 6 years ago I became interested in this topic and wrote a song about it. Everything seems to tie together in the end.

Another lesson I continue to learn, is that everyone’s journey is unique, and there are many ways to get where you are going. As a result, there is no point comparing yourself to others – I still struggle with this of course – because their journey will be different from yours.

Amanda Sum: When in doubt, make a fool of yourself.

Justin Lapena: The success of others does not automatically equate personal failure. Stay hungry and willing to learn. Don’t take casting personally and remember perseverance is paramount because if you’re in this career for the long haul, rejection is an old and familiar friend you’ll run into more often than not.

What other projects do you have coming up and where can people find out more about you online?

Stuart Barkley: During rehearsals, I have been wrapping up my BCRPA Personal Training Certificate program at Douglas College. Performance-wise, I will be performing this Summer in Chemainus in the upcoming production of Footloose as the priest’s daughter’s boyfriend, Chuck.

After that, I am considering going back to school full-time for a Sports Science Diploma, then finishing my Performing Arts Degree.

Sara Vickruck: We are continuing to re work and re mount Love Bomb, which we are currently touring as a work shop along side WAVA (women against violence against women). I am playing musical gigs around the city often along side a friend of mine Brian Africa, and in another all girl band The Bandwagon. You can check for updates at SaraVickruck.ca

Amanda Sum: I don’t have any projects lined up yet, but I will be focusing on school for the next few years. I’ll be continuing to fill my life with the theatre and music as per usual. Hopefully some new covers and originals will appear on my Youtube channel, but we shall see.

Justin Lapena: Just a few auditions and some things up in the air in the works but I don’t have anything else officially lined up after this just yet.

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Thanks to Stuart Barkley, Sara Vickruck, Amanda Sum, and Justin Lapena for speaking with us!

For tickets to see Dogfight, please visit PacificTheatre.org.

The post The Biz Interview: Dogfight appeared first on Biz Books.

We caught up with Carl Kennedy to find out more about Common Grace and what he brings to the production.

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What is your involvement with Common Grace?

I will be portraying the role of Pastor “Dan”.

What drew you to be a part of this production?

First and foremost, Pacific Theatre feels like family. My first show in Vancouver (Jesus Hopped the A Train) was at Pacific Theatre. It’s always exciting to work on a new play. Now, add the fact that we actually have the opportunity to (not only interact), but share the stage with the playwright. How many times in life will an opportunity like this present itself?

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Can you share some of your creative process in preparing for the role – from the initial planning all the way to opening night?

I will be portraying a pastor in the show, so my first reference was the word of God – The Bible. I was drawn to Galatians 5:22-23 – “But the fruit of the Spirit is love, joy, peace, long-suffering, gentleness, goodness, faith, meekness, temperance: against such there is no law.” Often – in life – we listen to respond. I feel that its Dan’s aim to listen in order to gain understanding. Dan is obviously a friend of the family, so it’s important to create a solid backstory with every member of the family. Also, using improvisation in the rehearsal process as a tool will help strengthen the relationship structure/dynamic.

What should audiences expect from this show?

This play is a hearty stew, filled with love, loss, anger, resentment, shame, compassion and forgiveness (stirred with the ladle of life altering decisions) If not carefully watched, the pot will boil over.

What are the three most important ingredients for a successful stage production?

For this question, you have to go back to the basics. The three ingredients essential to a stage production would be the players on stage, a well written story and a captive audience. With this particular production, I feel that the audience will feel like a part of the family – a part of the community by the time the play is over. The chairs in the audience will feel like living room furniture – the awkwardness of crossing to the refrigerator for a glass of milk will be palpable.

Are there any books or authors that have been influential to you so far in your creative journey?

The Six Steps by Uta Hagen readily comes to mind. It’s important to note that acting is “action” so my training at the University of North Carolina at Wilmington (BA in Theatre) and the University of Washington (MFA in Acting) has been indispensable to my growth as an actor.

What is the most important lesson you have learned so far in your career?

What’s meant for you is for you and no one else. You’re only competing with yourself.

What other projects do you have coming up and where can people find out more about you online?

I’ll be performing in The Sunset Ltd at Rosebud Theatre from July 8th to August 27th.

I’m also on Twitter: @carlkennedyshow    Instagram: @carl_kennedy_actor

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Our thanks to Carl Kennedy for speaking with us!

Common Grace is now on at Pacific Theatre until February 14th, 2016. Visit PacificTheatre.org for ticket information!

The post The Biz Interview: Carl Kennedy appeared first on Biz Books.

Opening on December 4th, this production is directed by Sarah Rodgers and features a cast that includes Peter Church, Matthew Simmons, Chris Lam, Diana Squires, Paul Griggs, and Kirsty Provan. We spoke with Chris Lam about his involvement in this production and what went into this incarnation of the Charles Dickens classic.

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What is your involvement with A Christmas Carol: On the Air and how did that get started?

This year I’m doing voices for multiple characters and musically directing all the musical sections of the piece. I was involved last year with Pacific Theatre’s It’s a Wonderful Life radio play primarily playing many voices and dancing in a sombrero. I was invited back to read for this version of A Christmas Carol as I’ve already established a working relationship with director, Sarah Rodgers and adapter, Peter Church and they were excited to see if I can fill the shoes of musical director and operating most of the Foley sounds.

What drew you to be a part of this production?

Initially, there was talk of remounting It’s a Wonderful Life, because it had been very successful and the idea was to remount with the original cast. The radio play conceit is one that doesn’t get done often in Vancouver, however, Pacific Theatre ended up going with an adaptation with Christmas Carol which is in some sense the original version of Wonderful Life. But it will be great to work with Sarah Rodgers and Peter Church again and working at PT, which is just a like second creative home for me.

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Can you share some of your creative process in preparing for the role – from the initial planning all the way to opening night? 

Because the show is primarily a radio play, the focus is really generating distinct character voices, and usually the presentation is pretty static. We want to listen to the voice and the text, but Sarah wanted to make it visually more interesting by staging it with more movement like a staged reading, so there is a fun layer of watching the process of radio play actors creating voices and playing with the expectation of how one is actually seen when doing radio. “A face for radio” ring a bell? Our rehearsal process is short because essentially we don’t have to memorize our lines, but having the familiarity of the text and versatility in manipulating voices make it an intense and urgent production.

What should audiences expect from this show?

The “studio” cast returns to do a reading of A Christmas Carol.

What are the three most important ingredients for a successful stage production?

Generosity, playfulness, and discovery.

Are there any books or authors that have been influential to you so far in your creative journey?

I love reading pulpy novelists such as Stephen King and I try reading one play a day. Playwrights like Sam Shepard, Judith Thompson, Edward Albee, Henrik Ibsen and Anton Chekhov… pretty standard diet.

What is the most important lesson you have learned so far in your career?

Keep re-inventing yourself.

What other projects do you have coming up and where can people find out more about you online?

I’m currently directing a production of Paul Zindel’s The Effect of Gamma Rays on Man-in-the-Moon Marigolds and working on writing  a new play with Frank Theatre. I will hopefully be directing a revival of Dogfight in Vancouver for March.

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Our thanks to Chris Lam for speaking with us! For more information about A Christmas Carol: On the Air, please visit PacificTheatre.org

The post The Biz Interview: Chris Lam appeared first on Biz Books.

This is the story behind Smoke on the Mountain, the first production of Pacific Theatre’s 2015-2016 Season. We caught up with Kim Larson and Matthew Simmons, two of the stars of Smoke on the Mountain, to find out a little bit more about the production and their respective careers.

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What is your involvement with Smoke on the Mountain and how did that get started?

Kim Larson: I’m playing Denise Sanders in Smoke on the Mountain.  I got involved through my Apprenticeship at Pacific Theatre.

Matthew Simmons: I play Dennis Sanders, he’s one of the twins. He’s the boy. I also play upright bass during some of the songs. I had worked with Sarah Rogers last December in It’s A Wonderful Life Radio Play at Pacific Theatre, so she put my name in for consideration when they were holding auditions.

What drew you to be a part of this production?

Kim Larson: I love this style of music.  I grew up with it and love singing it.  So this production is really exciting for me to get to sing a swack of old time music.

Matthew Simmons: As soon as the concept of the family band was explained to me I was drawn in. I love a lot of music including folk, Gospel, and country, and this has touches of all of them throughout. When I was cast I had not been in a scripted musical yet, I’d only ever improvised musicals with Off Key Improv, so I knew it would be a challenge that would really push me.

Can you share some of your creative process in preparing for the role – from the initial planning all the way to opening night?

Kim Larson: I always start by reading the play a few times and then hunkering into some text work, looking at what my character says about herself, what other characters say about her.  I see what my first hit is on things – what makes me laugh out loud the first time, if I tear up at anything.  Those first bits can be really useful clues about her journey.  Then I sourced all the songs (read: YouTube) and tried to get familiar with them.  Once we meet as a group, it’s always exciting for me to see what the Director’s vision is for the show and what other actors bring to their characters.  That changes how I see my character and the offers I bring to rehearsal.  Then it’s just hard work and lots of playing around – learning the songs, building character, and exploring how everything grows and develops.

Matthew Simmons: The biggest part for me is getting used to talking like the character. I’ve been looking for the sound of his voice, his accent, and cadence. There are some things that you can pull from the text, especially in his monologue, and some of it comes from the way he sings, and the rest is just what feels right for his place within the family and how the all talk to one another.

Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People

What should audiences expect from this show?

Kim Larson: A lot of laughter and great music.  I think the show is both sweet and ridiculous.  The antics this family gets up to are hilarious and they are so genuine that you can’t help but laugh.

Matthew Simmons: It has a lot of levity but right down at the core there is a lot of honesty about how people act, whether it be alone or with each other. It also says a lot about how we see ourselves and judge ourselves. There truth, and there’s also a lot of great music. You’ll be leaving with more than a few melodies in your head.

What are the three most important ingredients for a successful stage production?

Kim Larson: I’m a pretty big fan of simplicity:  A good story, good storytellers, and an audience who wants to go on that journey with you.

Matthew Simmons: Having source material that really speaks to you, respect for your fellow performers, crew, and audience, and knowing how to take care of yourself.

Are there any books or authors that have been influential to you so far in your creative journey?

Kim Larson: I love Kate DiCamillo.  She writes children’s novels and she weaves the most beautiful stories I’ve ever read.  I adore reading them to children, but I may (on occasion) read them aloud to myself alone in my room.

Matthew Simmons: I cut my teeth on a lot of fantasy and science fiction, and I especially like those who combine sharp analytical minds with a sense of humour. Douglas Adams, Ursula K. LeGuin, and Terry Pratchett come to mind. I’d also add Bill Bryson for his similar approach to non-fiction work.

What is the most important lesson you have learned so far in your career?

Kim Larson: Don’t get too attached to anything.  Learning how to give my whole heart to a moment and then not be hurt if it gets cut.

Matthew Simmons: If you can do what you love and love what you do then all of the thousand little frustrations each day won’t matter. You’ll be able to look at it and be happy with yourself and with the people around you.

What other projects do you have coming up and where can people find out more about you online?

Kim Larson: I’m producing a show this Fall with the other ladies I’m apprenticing with.  We’re very excited about it, but can’t release details yet!

Matthew Simmons: I’ll be returning for another staged radio play at Pacific Theatre this December in A Christmas Carol on the Air. And I’ll be continuing to perform with Off Key Improv around Vancouver. Sorry, there’s not really a place to search for me online. I’m a digital ghost!

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Our thanks to Kim Larson and Matthew Simmons for speaking with us! Check out Smoke on the Mountain at Pacific Theatre until November 1st!

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The post The Biz Interview: Smoke on the Mountain Cast Spotlight appeared first on Biz Books.

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Can you start by telling us a little bit more about you and what projects you have on the go right now?

Sure. Right now I’m working on a family drama called Common Grace which goes up at Pacific Theatre in January, and a screenplay called Trying, which is a Judd Apatow-style comedy about a couple trying to get pregnant. I’m also working as a dramaturg on Ron Reed’s play about the friendship between C.S. Lewis and J.R.R. Tolkien!

The 2015 Vancouver International Film Festival is coming up. Your short film, Bedbugs, which you wrote and starred in, screened there last year – along with other festival appearances. What can you share about the journey of creating the film and taking it through to festivals?

Films are incredibly collaborative things and you go in with a plan, but you don’t really know what’s going to come out until the thing is done. So it’s been an incredibly informative experience in terms of learning so much more about how films are made, how they evolve, and how everyone contributes to make a thing what it is. And I love Bedbugs. I love what a fantastic cast and crew I got to play with and how much support we got from Crazy8s to make this wacky little puppet film. So taking it to festivals just feels like gravy. Or whipping cream. Like you get to invite everyone in on the fun.

Having gained some experience on the film festival circuit, how are they beneficial for filmmakers and what challenges did you run into along the way?

I think seeing your work in front of an audience is extremely informative because you need to know if your story lands – if your jokes are funny, if your moments lead people on a journey, if people are connecting. You learn how well you succeeded in telling a story – or not. There are jokes in Bedbugs that I thought were funny and no one ever laughs at. Ever. That’s interesting to me. What should we have cut? Where did we need another beat? As far as festivals, it helps to meet people. It helps to win awards. It helps to see what other people are making and creating to spur you forward to the next thing.

In terms of challenges, I would say it’s expensive. Festival entries are expensive and going to festivals is expensive. And also it’s very time consuming to be spending so much time administrating. As a writer looking forward to the next project it’s hard spending a lot of time on emails and correspondence and uploading things to Dropbox when you’re not being paid for any of it. But it’s also a great problem to have, because it means people want to see your film.

You’re a prolific writer as well as being an actor. What inspired you to do both?

I think if you’re a storyteller, if you’re an artist, then that impulse can come out in different ways. I love bringing a character to life as an actor and connecting with my heart and mind and body to a story. It’s so physical and happens with other people – on a stage or a set. But I also love that as a writer I get to create the world, all the characters, and the whole journey myself. But the seed of  it is the same. Plus, I like to write what I want to play as an actor and what I want to see as an audience member. It’s all about story.

If someone sees your name in the credits of a film as a writer or actor, what qualities do you want the audience to associate with you as a performer and writer?

I guess I want them to see truth. I want them to see something in the story or the character that feels true or authentic to them. And I hope I make them laugh at least once.

What have been some of your career highlights at this point in time?

Getting my first professional production of a full-length play in January is pretty exciting, for sure. It’s a play I really love, full of funny, broken, deeply human people and I can’t wait to share it. Working with Kristin Lehman and Louis Ferreira on the set of Motive was something I really loved because I think the writing on that show is stellar, and they’re two incredibly gifted, hard-working, and generous actors. And every time Bedbugs plays on the big screen and people genuinely laugh, it’s a career highlight. I could eat those laughs for breakfast.

You’ve written for stage as well as for screen. What are the challenges and rewards of writing for these two mediums?

I would say that one of the challenges of theatre is that you can’t visually cut away to reveal something or button a scene or build suspense – the actor has to do it with their performance and you have to construct it with your words. On the flip side, the challenge for me in film and TV is to not use words so much – to think more visually.

The reward of film and TV both as an actor and a writer is that you have something tangible when you’re done. You can watch it again and again. You can look at it. In theatre, the beauty and the difficulty is in its ephemeral nature. But you get to live the story with the audience in real time which is this beautiful, marvelous, kind of sacred thing when it’s done well. You actually breathe the same air and hold your breath together and affect each other. It’s alive.

What advice would you give to actors who are considering writing their own material?

Do it. Absolutely do it. But also, learn about writing. I studied writing for a long time. I’ve written a lot of stuff – and it’s hard. Sometimes you write things that are bad. Very bad. It’s hard to do it period, and it’s hard to do it well. So read the books on story and structure, then practice and get feedback. And don’t let wanting to play the part cloud your judgement about whether the story works or not. Then rewrite. And rewrite again.

Which books and authors have been influential to you in your career so far?

I’m most moved by stories that explore the depth of human experience. I connect most with stories that have some kind of existential longing. Stories that make me feel, think and laugh. I loved
A Circle of Quiet by Madeleine L’Engle. The Brothers K by David James Duncan. Bird by Bird: Some Instructions on Writing and Life by Anne Lamott.

I saw Good People last year, by David Lindsay-Abaire and half-way through I almost jumped out of my seat because I realized “This play is about something.” And it was fantastic. The Last Days of Judas Iscariot by Stephen Adly Guirgis, too.

And I love good television – I love The West Wing, Six Feet Under, Parenthood, The Good Wife. And I love seeing smart, funny women telling stories – they influence me. Elizabeth Meriwether. Tina Fey. Amy Poehler. Amy Schumer. Smart and funny. Gets me every time. I’m sure gonna miss Jon Stewart.

Where can we go to find out more about you?

You can go to my website, which should be updated this month, or you can find me on Twitter!

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Our thanks to Shauna Johannesen for speaking with us!

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Recommended Reading

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Bird by Bird:
Some Instructions
on Writing and Life
Anne Lamott

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Good People
David Lindsay-Abaire

[/bscolumns]

[bscolumns class=”one_third_last”]

The Mistakes Madeline Made
Elizabeth Meriwether

[bscolumns class=”clear”][/bscolumns]

The post The Biz Interview: Shauna Johannesen appeared first on Biz Books.

Eurydice is Sarah Ruhl’s retelling of the Greek myth, “Orpheus and the Underworld”. Featuring seven Vancouver actors, led by Ovation award nominee for “Outstanding Female Newcomer” Julie Casselman, Eurydice is directed by Eleanor Felton and runs on selected dates at Pacific Theatre.

We spoke with Julie Casselman and co-stars Brandon Bate and Joel R. Butler to find out more about Eurydice.

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What is your involvement with Eurydice and how did that get started?

Julie Casselman: I am playing the role of impulsive and curious Eurydice. I was asked to be a part of the show by Eleanor Felton and Brandon Bate, who I did my theatre training with at Trinity Western University and who I’ve had the pleasure of working with before!

Brandon Bate: I’m co-producing with Eleanor Felton, and I’m playing Orpheus. Eleanor Felton and I have been working together for the last 5 years onstage and off. We decided to set our sights on the Vancouver Fringe Festival while we were working as apprentices at Pacific Theatre last year. That was the birthplace of our company, Plan Z Theatre.

Joel R. Butler: I play the role of The Nasty Interesting Man/ Child!

Can you share some of your creative process in preparing for the role – from the initial planning of the production all the way through to opening night?

Julie Casselman: Sometimes I’ll read a bunch of material related to the production before I get into the rehearsal hall, but I actually kind of distanced myself from any of that this time. I even had the chance to see another production of Eurydice while I was out at the Winnipeg Fringe Festival, but decided I kind of wanted to come to rehearsal on day one with a fresh perspective and nothing “decided” ahead of time. Making discoveries in the moment and having to find more of my own impulsive side actually aligns with Eurydice’s nature, which I think has been helpful for me. And scary.

Brandon Bate: I knew I wanted to play Orpheus from the moment I read his line “My music sounds better in my head than it does in the world”.

I am constantly immersed in music and the worlds it can create just on a day-to-day basis. So getting to play Orpheus seemed perfect. I have enjoyed finding his passion and intensity, as well as the lightness and humanity in this myth of a character.

Joel R. Butler: Given the nature of the character(s) it has been quite different from my usual process. Getting to play these different roles has been a ton of fun, being able to explore the different nuances I can bring to each one, so my character homework has basically been me messing around with playing a seemingly sophisticated gentleman and then flipping it around and playing a child. It’s been a trip!

What should audiences expect from this show?

Julie Casselman: Expect to laugh at some pretty unexpected things, and to have random lines floating through your head late at night. The script has a strange way of saying beautiful things in jarring ways. And jarring things in beautiful ways.

Brandon Bate: Expect the unexpected in Eurydice. Sarah Ruhl has written some very quirky characters and bizarre turns in this play. The mythical story of “Orpheus and the Underworld” isn’t as cut and dry as it may seem. Especially when it’s told from the perspective of Orpheus’ beloved wife. Also expect to ask yourself questions about what is worth holding onto. Especially once you are dead.

Joel R. Butler: This show has a lot of beautiful language and imagery and is so fun, but it carries with it this deep overtone of sadness that will definitely have you feeling bittersweet at the end!

Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People

What are three most important ingredients for a successful stage production?

Julie Casselman: Coffee. Levity. Not quite enough time.

Brandon Bate: Commitment. Passion. Laughs and high fives.

Joel R. Butler: Full on commitment first and foremost. Especially with a show where the director and star are moonlighting as producers! It takes a lot of guts to take on those roles in the first place so as an actor in this type of situation, it is very important to accommodate them by doing the work and showing up to rehearsal with nothing but the play on your mind.

Secondly, having an open mind to fresh ideas and weird things that get you out of your comfort zone so you are able to explore and grow.

The third thing is to keep having fun and loving the wonderful opportunity to put on a wonderful piece of art!

How did you get started in acting?

Julie Casselman: I started as a dancer, and then did the whole musical theatre dealio in junior high. My first real role was Santa’s understudy in grade four, though.

Brandon Bate: I started acting when I was 12 years old. My first role was Mayor Shinn in The Music Man. From then on, the question of “Will I audition for the next play?” was never really a question at all. Since then, I’ve never gone more than 3 or 4 months without having a new theatre project to hack away at. And what a gift those projects are.

Joel R. Butler: I have been acting since I was 11 years old, having done my first show in grade 6 back in my hometown of Coquitlam! And it’s been a wild ride for the last 13 years since!

What books and authors have been influential to you?

Julie Casselman: Anne of Green Gables. Nancy Drew. Diary of Anne Frank. Mindy Kaling’s book. The Inner Voice by Renee Fleming. Basically, strong, bold female characters.

Brandon Bate: A Director Prepares by Anne Bogart, Wild at Heart by John Eldridge, Inner Game of Tennis by Timothy Gallwey, Hinds Feet on High Places by Hannah Hunard.

Joel R. Butler: I love Patrick Rothfuss, author of the King Killer Chronicles. His work is outstanding. My biggest play writers would probably be Sam Shepard, Tennessee Williams and Edward Albee! I am also a big fan of Cormac McCarthy and Irvine Welsh!

What’s the most important lesson you have learned so far in your career?

Julie Casselman: The learning doesn’t stop. Allow levity into the room.

Brandon Bate: The most important lesson I’ve learned is that failure is par for the course. Every time I fail or fall short of a goal or expectation, I take time to congratulate myself. Because I know that my failure brings me closer to finding a solution. Fail boldly.

The next most important thing is definitely that one should never stop playing. I find that hard work can only take you so far. Learn to have fun and “play” your way through a challenge.

Joel R. Butler: Keep on doing it. Doesn’t matter if the role is small, the risk is high or the people around you are telling you its a pipe dream. If its what you love, You have to find a way to keep doing it. 

What other projects are you involved with at the moment?

Julie Casselman: I’m currently writing original music for Tender Napalm, being produced by Twenty Something Theatre.

Brandon Bate: I will be in Wit at Pacific Theatre in May. There might be one or two other project percolating between now and then, but it’s a little too soon to say for sure.

Joel R. Butler: I am currently working on a Hip Hop/ Jazz album and a couple of short films! So stay tuned!!

Where can people find out more about you?

Julie Casselman: juliecasselman.wix.com/juliecasselman is where I have my sound design and acting portfolio. I love collaborating and coffee.

Brandon Bate: Find me on LinkedIn, or view some of my work on the Pacific Theatre blog: soulfoodvancouver.blogspot.com

Joel R. Butler: As long as the fine people of Vancouver are supporting their local arts, I’ll be around in some fashion making sure they are finding a new story to take them away from their day to day. 

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Our thanks to Julie Casselman, Brandon Bate, and Joel R. Butler: for speaking with us!

You can find out more about Eurydice and everything else at the 2015 Vancouver Fringe Festival at VancouverFringe.com.

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The post The Biz Interview: Fringe Spotlight – “Eurydice” appeared first on Biz Books.