To give you a small taste of what’s available, we’re casting a spotlight on four productions that are part of this year’s Fringe.

For tickets to these productions and every other Fringe show, please visit tickets.vancouverfringe.com

How to Adult: The Musical at the Cultch Historic Theatre

A brand new musical created by real adults.

Single? Jobless? Finished your favorite show? It’s time to adult the f*ck up! Roommates Holly, Imogen, and Rosie, decide that enough is enough and create a list of rules to follow to become the perfect adults. Enter Imogen’s brother, Graham, bringing a whirlwind of betta fish and confusion. Featuring songs like, Adult the F*ck Up, Recently Single (And In Love With Everyone), and Dr. Who-inspired My True Companion, this show mixes the reality of the life of a 20-something, with the hilarity of… the life of a 20-something.

Written by Amy Dauer
Music and lyrics by Peter Abando
Directed by Eleanor Felton
Starring Erika Babins, Aaron Lau, Natalie Moon, and Jill Raymond
Set/lighting by Kougar Basi
Costumes/props by Margaret Schroeder
Stage Management by Clara Chow

Festa! at the PCOV (Portuguese Club of Vancouver)

Portuguese Buns Productions presents Festa!

There ain’t no party like a Portuguese festa!

You’re invited to eat and drink and take part in all the fun and drama of a Portuguese Festa, alongside two actors playing all the members of a typical Portuguese family!

When you grow up, what gets passed on and what gets passed over?

Let’s get this festa started!

Written and Performed by Maria J. Cruz and Sandra Medeiros
Directed by Maryth Gilroy
Directorial Consulting by Michael Fera

Grounded at the Vancity Culture Lab

Lutalica Theatre presents Grounded– the story of an ace fighter pilot whose career in the sky is ended early due to an unexpected pregnancy. Reassigned to operate military drones from a windowless trailer outside Las Vegas, she hunts terrorists by day and returns to her family each night. As the pressure to track a high-profile target mounts, the boundaries begin to blur between the desert in which she lives and the one she patrols half a world away.

Director/Producer: Danielle Lavallée
Starring: Joanna Gaskell
Featuring: Iris O’Neill
Assistant Director: Sarah Lubbe
Technical Director/Sound Coordinator: Taylor Janzen
Stage Manager/Co-Producer/Assistant Set Designer: Gillian Hanemayer
Set and Prop Designer/Assistant Stage Manager: Josie Lee
Lighting Designer: Jonathan Kim
Costume Designer: Alexa Fraser
Original Song Composition: Carmine Santavenere
Production Dramaturg: Katie Gartlan-Close
Producing Assistant: Lily Cryan
Dramatic Works Mentor Director: Marisa Emma Smith

The Nether at the Firehall Arts Centre

Redcurrant Collective proudly present Jennifer Haley’s The Nether.

The Nether: a detective story explores the nature of virtual realms, fantasy, and morality.

The play is set in the near future. The Internet has evolved into the Nether, a vast network of virtual reality realms. Users may log in, choose an identity, and indulge any desire. When Detective Morris investigates a realm called The Hideaway where pedophiles may live out their fantasies involving children, she brings its creator in for interrogation. They discover they have made emotional attachments in his realm that blind them to the greater questions of ethical behavior, both in the imagination and the outside world.

Redcurrant Collective is a theatrical equity co-op featuring David Bloom, Lissa Neptuno, Linden Banks, Douglas Ennenberg, and Julia Siedlanowska.

Designed and directed by Chris Lam
Sound and music Composition by James Coomber
Lighting by Jonathan Kim
Stage Management by Jasmin Sandhu

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

The post 2016 Vancouver Fringe Festival Spotlight 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.

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

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.

What inspired you to take on this production?

Alison Chisholm: I’ve been wanting to write a musical for a while now but I put that dream aside once I came to the conclusion that I had no ability to pull it off on my own. But when I started doing musical improv with Jen and Peter I realized that there was a chance for that dream to come true after all. So after one of our workshops I threw the idea out to them, and like any good improvisers they accepted the offer and we went from there.

Peter Abando: When Alison suggested we create and present an original musical, it was exactly the sort of wild and crazy idea that gets us musicians and improvisors excited. While I have composed for musicals before, the chance to write a new work with Jennifer Pielak and Alison Chisholm isn’t something that comes along every day.

Jennifer Pielak: I’m crazy? Writing an original musical has always been a dream of mine. I’ve been doing musical improv for the past 5 years, and knew that the timing was right to use the skills I’ve learned to put toward writing. Combine that with the musical genius of Peter Abando and the messed up comedic writing style of Alison Chisholm and I knew we’d have a stellar team.

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

Can you briefly walk us through your creative process for this production, from the early stages all the way to opening night?

Alison: It began with weekly meetings to discuss what kind of a show we wanted to do. We knew we wanted it to be a more character-based project but we thought it would take the form of a song-cycle. But after we started talking about ideas our theme of connections came all the more clear and around the time we started meeting a lot of articles were coming out that were saying that Vancouver was a lonely city and that people lacked connection. So we took that idea and some of the other quirky ideas we came up with and the general story of Connected: The Musical was born. We knew as soon the story was created that we wanted to bring on fellow improvisers and castmates Richard Meen and Brad Rossington, and fortunately they said yes. Then we pulled the rest of the creative team together and since having everyone together its been so great to have this be a true collaborative process. The three writers may have come up with the basic story and songs, but we’ve made a lot of edits since our first read through and those edits have been at the suggestions of the collective. It’s pretty great knowing that on opening we won’t just be putting up the show that Jen, Peter, and I wrote, but something that we created collectively. That’s a pretty awesome feeling!

Peter: We started simply by brainstorming ideas based on the idea of connection, and all that may imply. Once we had some concepts down, Alison created a story structure, which we used as a base for improvisation to create scenes and song sketches. I created musical motifs for characters and based song ideas on their drives and emotions at particular plot points. Then it was catering the songs to our cast and fleshing out arrangements with the musicians. There was lots of editing to be done, with changes in script and character development, but it was a fantastic process.

Jennifer: It all started one day after a musical improv workshop that Peter, Alison and I are a part of. Alison came up to Peter and I and asked if we’d like to write a musical, and we simply said, “Yes”. So we started meeting weekly at 8am on Friday mornings to brainstorm ideas. We originally thought it would be more of a comedic song cycle featuring a variety of characters. But as we continued brainstorming we ended up finding a deeper story that we felt people could relate to today in a city like Vancouver. We used a variety of techniques, sometimes we would individually take the script and work with it for a little while and bring it back to the group. Other times we would write or work scenes and songs together. We used improv a lot to hash out ideas and made new discoveries through musical improvisation and free association. In May we brought in the two other actors in the show (Brad Rossington and Richard Meen) and put the scenes on their feet to see if they played out well. We also brought in Chris Lam our director to do some dramaturgy so we could get the best story possible. As many know, a work may never ever be finished, and so we have been re-writing and adding things to the script even up to today, and it’s a week before opening night! As of June, we have a great production team now. Our stage manager, set designer, choreographer, lighting designer, director, musical director, musicians – all including the actors are putting their stamp into this show. This is the first time it’s going up, so everyone is responsible for a piece of it in a way. It’s has been collaborative from the start, and I feel very lucky that it’s been with such an amazing team.

What can audiences expect from Connected: The Musical that will make for a unique stage experience?

Alison: I think the best thing about this show is that our improv backgrounds really shine through in the story-telling. It’s a fun quirky show, featuring some highly relatable characters who can be both over-the-top and extremely grounded all in the same scene. And that’s where this show lives. It’s silly, serious, sexy with songs that will break your heart and make you want to get up and dance.

Peter: It’s a show that people will be able to relate to, given how we explore relationships and their issues in many ways. The music isn’t fixed to a specific genre, and there’s both touching and ridiculous moments, often in the same scene. Maybe a little like looking through a series of similar profiles on an online dating site – things you know, with a twist of things you didn’t expect to find there.

Jennifer: It’s relatable. It’s comedic with some very poignant moments. Without giving too much away, there is a little bit of everything in this musical – love, sass, fights, comedy and awesome songs. Plus the cast is super sexy.

What were your reasons for getting involved with acting, writing, and producing/directing?

Alison: I realized at fairly young age that theatre is what I wanted to do. I started off as an improviser and then took a break from improv as I pursued my BFA in Theatre. I realized through my degree that I actually really enjoyed the behind-the-scenes work in putting up a show which is why I pursued a career in theatre administration. But I do get the urge to do those things like write, act and improvise. I love being behind the desk, but it means a lot to me to be able to get back up on stage.

Peter: I got into theatre after high school, as a rehearsal and performance pianist. I began composing music shortly after that, when working with youth on play building, crafting original musical theatre productions.

Jennifer: This creative field chose me. I don’t feel like I have a choice. I have to do it or I will not be whole. It is my way to connect with people in the strongest way possible. Ha ha, see what I did?

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

Alison: There are a number of playwrights who inspire me including Christopher Durang, and local playwright Morris Panych. Their knack for comedy even in dark situations is something I really appreciate and look up to.

Peter: There were definitely composers who have been influential over the years. Stephen Sondheim, Jonathan Larson, Jason Robert Brown, Igor Stravinsky, Marvin Hamlisch, Robert Lopez, Duncan Sheik, Marc Shaiman, John Kander and Fred Ebb… the list could keep going!

Jennifer: The Power of Myth by Joseph Campbell. Kierkegaard. Keith Johnstone, Del Close and Charna Halpern. Musical Improv Comedy by Michael Pollock.

What were the biggest challenges for you in your respective roles in developing this production and how did you deal with them?

Alison: The biggest challenge has been balancing a full-time job, with the various roles I’ve taken on in this production, including writer, performer, producer, production manager, and others. There have been a lot of long days at Pacific Theatre, but fortunately I can’t think of anywhere else I’d want to spend so much time. Especially when I’m surrounded by an amazing group of people every time I’m there. If it wasn’t for the people I’ve had the privilege to work with, this process would have been a whole lot harder.

Peter: Toughest part? Getting all the music written and scored in time for the actors and musicians to learn and perform it. So, I managed to find a few days when no one could interrupt me, and focused in on writing and composing – some much needed alone time.

Jennifer: Having to wear multiple hats – writer, producer and actor and keep a balance without going crazy. I am dealing with it by breathing and taking things day by day and enjoying the moment. Eating. Sleeping. Exercise. Listening to myself. It’s stressful, but in the best possible way!

What advice do you have for other performers who want to develop or act in their own musical?

Alison: Do it. Don’t let your doubts or insecurities get in the way. There were a number of opportunities for us when it might have been easier to give up, but we got through it and now we have a show we can all be proud of. I’d say surround yourself with people you trust who will encourage you and hold you accountable, but who will also understand that life gets in the way and that sometimes deadlines need to shift and that’s okay. If it’s something you really want, you’ll find a way to make it work.

Peter: Don’t give up on your idea, and schedule time to work, even if you’re not feeling up to it. Jennifer, Alison, and I are all very busy people individually, let alone as a team, but we met regularly to discuss ideas and try things out.

Jennifer: Just jump into the deep end. Don’t think about it. Be open to possibility. Take everything as an opportunity. Stick to a regular schedule, and you’ll be surprised with how much you can get done. Alison, Peter and I are some of the busiest people, and we managed to write a musical in a year, just because we met up every week no matter what.

What can you share about any future projects that are in development?

Alison: Well fortunately our regular improv shows at Second Storey Theatre and our Off Key Musical Improv shows are ongoing. It’s a relief knowing that I’ll still be creating with Jen and Peter on a regular basis. But as for another project of this scale – time will tell. All I can say is that I look forward to more.

Peter: Future projects? Is someone planning a sequel? We might be too busy with improvised musicals, teaching, and other theatrical commitments at the moment. But who knows?

Jennifer: We have created a monster. There will be more. Muah ha!

Connected: The Musical is now on at Pacific Theatre. For tickets, please visit BrownPaperTickets.com.

The post The Biz Interview: Alison Chisholm, Peter Abando, and Jennifer Pielak of “Connected: The Musical” appeared first on Biz Books.