It is two generations into the future. What is left of humanity survives in space stations in orbit around our planet. Interstellar travel is not yet possible and Earth is uninhabitable. A misfit group of college students of the “post script” generation—the first to be born in space—bond over their shared anxieties and a desire to reconcile what happened to the rest of their species.

Artistic Team: Director Mily Mumford
Featuring Main Cast Douglas Ennenberg, Xander Williams, Bailey Soleil Creed, Levi Schneider, Ming Hudson
Holograms Played by Amitai Marmostein, Nina Boosheri, Jay Clift, Luc D’lppolito
Sound Designer CJ McGillivray
Lighting Designer/Technical Director Kougar Basi
Projection Designer Cameron Fraser
Makeup Designer Kelsey Zimmerman
Makeup Consultant Cheyenne Mabberley
Stage Management Samantha Pawliuk
Assistant Stage Manager Nico Dicecco
Production Assistant Hannah Rose Brearley
Production Design Mily Mumford

When: April 11th Preview at 8pm, April 12th-14th at 8pm, April 15th and 16th shows at 2pm and 8pm.

Where: Studio 1398 (1398 Cartwright St.)

For tickets, please visit TheatreWire.com.

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 Generation Post-Script appeared first on Biz Books.

We caught up with Neil LaBute in advance of his stop in Vancouver for a live reading of his play, The Way We Get By and asked him for his insights into effective plays, his acclaimed career and what he enjoys about Vancouver.

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Can you start by telling us a little bit about how your career first got started?

Like many people,  I  was an overnight success ten years in the making. After I got out of graduate school, I started teaching while also having productions of my work done in various theaters, mostly in Chicago to start. It was not easy to take advantage of those productions, however, as I was living elsewhere and it was not until I finally decided to make a film that my theater career really took off. After I directed In the Company of Men people were interested in my work in a more global way, including my plays. That film allowed me to get productions in New York and London of the play Bash and my career in both film and theater expanded very rapidly after that. I have since tried to maintain a relatively even commitment to both plays and films, with television becoming the latest expansion in my work. So far I’ve been very lucky to do a lot of what I  wanted to do in my life, at least from a creative standpoint.

What projects are you currently involved in these days?

I’m in Vancouver working on a television show called Van Helsing about Greenpeace and global warming. Actually, it’s about vampires and the apocalypse; the Greenpeace thing just sounded really noble in my mind. A super-volcano does create a shroud of ash over much of the northwest in Van Helsing so in a sense it’s about global warming but the rest of that was a complete lie. After this, I’m going to direct Uncle Vanya in Germany and then be in New York in the fall for the presentation of a new play of mine called All the Ways to Say I Love You starring the amazing Judith Light. There’s also the possibility of a new film in there as well but I’ve become very zen about making movies—they happen when they happen and I don’t chase after them like a madman any longer. I’ve made ten already, more than half of which are pretty good, and  I’ll make another one when the time is right.

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From your experience as a playwright, what are the three most important elements for writing an effective play?

The first most important element of writing a play is actually writing it. People love to talk about writing and love to sit in coffee shops and have people watch them writing but actually writing something is very different. So, first, write the damn thing.

Second most important thing is to not be afraid of re-writing. I know people who hate to re-write — some hate it so much that they don’t ever do it and I’m including some very famous and successful people. I think this is a mistake. I’ve never once written something that was at its best the first time out. Not one time, and I’ve been doing this for almost thirty years. So, learn to re-write. Give it a try. Think outside your little box.

Third most important thing is seeing and hearing your play on its feet. I don’t mean just get the thing read because that’s good, too, but to see it in a performative state, that’s the purpose of a play (even though I believe it should be very enjoyable to read as well, simply as literature). This, of course, may mean that you have to put it on yourself if no one else wants to — be it a theatre company or a producer or group of students at a local college — and that’s exactly what you should do. Go watch an old Mickey Rooney–Judy Garland movie and see how it’s done: get somebody’s dad who has a barn and go put on a show in front of whomever will come watch it. That experience will be invaluable.

As someone who has been involved with creative work in different forms of media – film, television, and theatre – what is rewarding about each of these platforms for you?

Each one is different and each one is special. I hope I get to continue working in all three of them, along with radio theater whenever the chance arises (not very often in the U.S. but on occasion).

I love how fast you work in television; very quickly you see a show come together and a longer-form story being told. You also get to work with a variety of writers and directors in a way you don’t experience them in other mediums.

Film is a beautiful collaboration with a group of people in a very limited time frame and I’ve enjoyed the outings I’ve had very much — that said, there is a pressure to film and television that I haven’t experienced in theater and I love the privacy and the steady, step-by-step process that comes with rehearsing a play.

Theater is where I started and remains my religion. The other mediums have been artistically and financially rewarding, an international passport to working with other artists in other countries and a wonderful way to tell stories that don’t belong on stage. That said, the theater is where I belong and find myself most fulfilled and happy.

You will be visiting Vancouver for a live reading of your play, The Way We Get By. What can you tell us about this play and the inspiration behind it?

The Way We Get By is a two-hander (two characters) that takes place in ‘real time’ on the stage; the 90 minutes you spend with the characters is the 90 minutes we see of their lives. It is a ‘morning after’ play, where two people find themselves together against their better judgement and face the crossroads of ‘should we go on or should we leave this where it is?’ I set out to write an unabashedly romantic story and think I succeeded; it also became the basis for a television series I recently did called Billy & Billie, although the characters in each are different people and not a continuation of one story into the other.

You have been involved with several film and television projects that have been produced in Vancouver. What advantages does Vancouver offer to the film and television industry that other cities don’t have?

Well, if you need rain in your work you’ve come to the right place. Actually, it’s a beautiful place to live and work—the breadth of locations is amazing and people are just generally nice to work with and that’s a huge part of the process for me—do  I  want to spend time with this person and create something with them? I made a movie here ten years ago that was poorly received and I still take sh*t for it (The Wicker Man) but I had a blast making it. Nothing but good memories about the city and the creation of that project. Now, a decade later I find myself shooting on several of the exact same locations and they work wonderfully well for a whole new world. That’s a pretty lovely and rare thing. You also have just enough good used bookstores and independent cinemas to keep me going when I’m away from home — I also love to walk through the International Village Mall because it is one of the strangest buildings and collection of stores I’ve ever seen in one place.

What’s the biggest challenge you’ve faced in your career and how did you deal with it?

The biggest challenge of your career is always yourself: getting your voice out there and then if you do, doing it again. And again. And one more time. And then not repeating yourself and remaining relevant in a fickle and ever-changing creative landscape. Trying not to sell out and trying to do good work but needing money to survive and finding it harder and harder to make yourself and your producers and the studio and the public happy. Listening to the critics is also tough but important — in case they say something worthwhile but not being brutalized by them, those people who sit on the sidelines (or heckle you from the cheap seats of the Rio Theatre) rather than getting out on the playing field themselves. I love this job but I do think of it as a job and believe that I’ve worked hard to get anything that I’ve received through my talents and perseverance. I must say, though, that I continue to love what I do and I’m always ready for the next experience rather than wondering why I’m doing what I do or just biding my time until my next few vacation days. I’ve been very lucky in that one respect.

What advice would you have for aspiring playwrights?

The same that Chekhov gave to Gorki: “Write! Write! Write!”

Nothing replaces sitting on your ass and doing the work. Let the pages pile up. Get to the end and then start over again. This is a blue-collar business paid for by white-collar patrons. I hope that changes in the future and of course it’s not completely true but it’s not untrue, either. The ‘blue-collar’ part I truly believe, though; you have to eventually stop wanting to be a playwright and become one. Roll up your sleeves and get started. Turn a blank piece of paper into something extraordinary. It’s not magic. It’s not alchemy. It’s just good old-fashioned work.

What plays, books, and authors have been influential in your career so far?

Everything I’ve read and seen and listened to. All of it. The sh*t with the gems. I’ve learned as much about what not to do by bad or, even worse, mediocre material as I have by the good stuff. I could roll off a list of names and it wouldn’t be enough but even one good film or book or play or album by someone is better than nothing at all. It’s more than most people will ever create. I admire the creative process — I grew up working on a farm and I like getting my hands dirty; I just happen to prefer them covered in ink rather than soil but it’s the exact same principle. You want a good film? La Dolce Vita. You want a good play? Top Girls. You want a good novel? Disgrace. You want a good album? Revolver. You want a good opera? Hell if I know. Carmen, I  suppose. Or Madame Butterfly. The one where the two lovers have a falling out and they sing a lot and then someone dies. That one.

Where can we find out more about you?

On the internet, where else? That Pandora’s Box of the 20th and 21st centuries. I feel like Oppenheimer when I point a finger at that world-wide-web and say “watch out” but here I am saying it. It’s all fun and games to look sh*t up on YouTube and to download movies for free and get your news 20 minutes ahead of your neighbor, but be careful out there, people. There are things that go bump in the night and I think the internet is one of them. I know I sound old and backward and like I should hang out with Jonathan Franzen more often, but all I’m saying is “Be careful what you wish for.”

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Thanks to Neil LaBute for speaking with us!

You can join him for a live reading of The Way We Get By on June 16th at Studio XX in Vancouver. For tickets, please visit neillabute.brownpapertickets.com.

The post The Biz Interview: Neil LaBute appeared first on Biz Books.

BizBooks.net will be on location with many of Mr. LaBute’s plays available for sale.

The show will be followed by a Q&A, and the bar will remain open for mingling!

There will also be a silent auction and all proceeds will be donated to Project Limelight!

Event Details

When: Thursday, June 16th

Where: Studio XX – 1380 Napier St., Vancouver BC, Alley Entrance

Doors/Bar: 6:30PM

Reading: 7:30PM

Tickets are $20 + service fee and are available at NeilLaBute.brownpapertickets.com

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 Neil LaBute’s The Way We Get By – Live Reading 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.

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Can you start by telling us a little bit about you and The Merry Widow?

I am a Vancouver-based TV, film & theatre actress and filmmaker, as well as a soprano, dancer, and pianist. I have a voracious appetite for learning new things, and the thing that thrills me most is getting a full new script and juicy role to sink my teeth into. Most recently, I have discovered how much I love to sing, dance, and act at the same time! So after doing straight plays for years, I’m debuting with my first operetta, in the title role in The Merry Widow. It runs May 19th-29th at Presentation House in North Vancouver. Here is a 1 minute audio clip that I sing in the show with ensemble and orchestra:

The Merry Widow is a comedic operetta, with gorgeous music by Franz Lehar, and internationally loved since it premiered in 1905.  North Shore Light Opera Society (NSLOS), which has produced 68 years of musical comedy on the North Shore, placed the show in their season after Stage Director, Edette Gagné, and Music Director, Stephen Pickett, were inspired by a 2015 production starring Renée Fleming at The Metropolitan Opera.

How did you become involved in this production?

Last year, I started studying opera with my incredible voice teacher, Marisa Gaetanne. I sought her out because one of my theatre roles (Angelique in Moliere’s The Imaginary Invalid) demanded that I sing a couple of numbers. One day, on the fly, she mentioned that North Shore Light Opera was doing a production of The Merry Widow and were still looking for a Widow. I watched a YouTube production of the show and was enchanted! I auditioned without expectations and was thrilled to be offered the role of the Widow. I have been in sheer heaven ever since.

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What should audiences expect to see on stage?

Audiences can expect a great energetic show with a huge cast of twenty-six and a live orchestra – all with immense talent!  There’s some stellar singing in this show!  There’s a moving romance set amidst the clashing of cultures, political intrigue, marital affairs, gender wars and money issues.  We’re using Jeremy Sams’ very witty and snappy English translation, and our fabulous Stage Director, Edette Gagné, has created detailed, motivated and entertaining staging.  Oh and original choreography!  My co-lead, Carlos Vela-Martinez, and I have been training in Viennese Ballroom Dance with choreographer, Dominic Boyer, for the last couple of months.  And with my background in Ukrainian dance, I choreographed the folk dance numbers.  Lots of variety and family friendly, with a few subtleties for the adults!  It’s a lovely show and I am super proud of it.  Tickets can be found at nslos.com.

What was your creative process like for getting into character?

As a second generation Ukrainian prairie girl, I can relate to the character of Hanna!  She is an Eastern European farm girl who suddenly becomes one of the richest women after her 70 year old ultra rich husband dies on their honeymoon.  OK, maybe not the last bit!  But Hanna is definitely a fish out of water in a new environment, as she tries to navigate the unfamiliar high society world around her.

As Hanna spends nearly 80% of her time onstage with her romantic interest, Danilo, it has been fun mining every moment with my equally passionate colleague, Carlos.  We have put a lot of thought and effort into getting deeper with motivations, psychology, tactics, objectives, and subtext to bring Hanna and Danilo and all of their exchanges to life.  It has been a thrilling ride!

What was the biggest challenge for you with this role and how did you deal with it?

When I was first offered the role of the Widow, I went through a period of self-doubt about whether I could pull it off.  This was my first operetta role, and the role of Hanna is huge!  Could I get through a two week run of singing eight vocally demanding numbers?  Also, five months ago, I was a mezzo-soprano, squeezing out Gs and As.  Hanna is a soprano role with many As, Bs and even a couple of high Cs.

So what to do?!  I accepted the role! Then I plunged into a daily practice of body and vocal exploration and working on my role.  I ramped up my kundilini yoga and studies with my opera instructor, Marisa.  I was vigilant about getting to bed at the same time each night, and eating healthy food.  I felt as though I were training for a marathon!  And I still do, as it’s not over yet, thankfully!

Bit by bit, my range opened up.  My voice shifted into soprano territory and is literally growing by the day – I have recordings of my lessons over the months to prove it!  And now, with the show opening a week away, I am confident in my role and cannot wait to share it.  This brings to mind a quote by Lemony Snicket: “If we wait until we’re ready, we’ll be waiting for the rest of our lives.”

I was extremely lucky to have this opportunity, and that Edette and Stephen believed in me the whole way.  I could not have done it without my amazing family – my husband and two preschool daughters were champions with their busy mama.  And it was also great to have an extremely supportive and awesome agent, Esther Cohen, at Carrier Talent.

What’s the most rewarding element for you about performing?

The most rewarding element of performing is feeling the energetic magical exchange between performer and live audience – when I am so fully present in my role and can feel the audience right there with me alongside my character’s journey.

What’s the most important advice that’s ever been given to you about your career?

A few years back, one of my acting teachers said to our class -“Everyone has access to their own unique personal charm, and there is nothing holding one back from finding it except oneself.” It took me years to figure out exactly what that meant!  But last year, inspired by the book A New Earth by Eckhart Tolle and after increasing my own self worth and self esteem, I was finally able to give myself permission to be myself without apologizing to myself.  My attitude towards people and the world changed for the positive.  My career took off and I was booking professional TV jobs one after another. I made a decision to let out my voice, literally, with singing.  And here I am today singing this incredible role!

What books, and authors have been influential in your career so far?

So many books have been influential on my artistic career and life!

My most favorite are:

Gandhi An Autobiography by Monhandas K. Gandhi

The Art of Time and The Return of Courage by Jean-Louis Servan-Schreiber

The Story of Art and A Little History of the World by E. H. Gombrich

The Power of the Actor by Ivana Chubbuck

Story by Robert McKee

Self Management for Actors by Bonnie Gillespie (she is a wonderful person and has set up an incredible supportive community for actors)

What other projects are you involved with at the moment?

The Merry Widow has consumed nearly every spare moment at the moment! Though, a few weeks ago, I had the opportunity to work on the NBC pilot, Miranda’s Rights, directed by Mad Men director Jennifer Getzinger. Once the operetta is done, I will go back to auditioning for TV and theatre (and likely musicals now!). I will pick up where I left off with some personal screenwriting projects. I have a short film (that made a shortlist for the Hot Shot Shorts Competition last fall) to shoot, and am working on a feature film as well.

Where can we find out more about you and The Merry Widow?

Olesia Shewchuk – Olesia.ca, IMDB, Facebook, and Twitter.

North Shore Light Opera Society – NSLOS.com and Facebook.

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Thanks to Olesia Shewchuk for speaking with us!

The Merry Widow is on now until May 29th at Presentation House in North Vancouver. Performances are on at 8PM Thursday to Saturday evenings along with matinees on Sunday afternoons at 3PM. Tickets are $20 to $30 and are available from PHTheatre.org

The post The Biz Interview: Olesia Shewchuk appeared first on Biz Books.

This is the set-up for Late Company, written by Jordan Tannahill and produced by Touchstone Theatre.

Katrina Dunn – Touchstone Theatre’s Artistic Director – directs this production and she spoke to us to give us some insights into the play and the process of putting it together.

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Can you start by telling us a little bit about you and how you came to be involved with Late Company?

I am the Artistic Director of Touchstone Theatre and my job is to program the season’s activities.  I originally programmed Late Company for the fall of 2014.  It really struck a chord with my audience and was nominated for several awards, so I elected to remount it as part of our 40th Anniversary Season.

What can audiences expect from this production?

This is a character driven drama.  Two couples meet for a kind of restorative justice dinner after the teenage son of one couple has committed suicide.  The son of the other couple has bullied him in high school.  It’s a naturalistic play, but we’ve set it in an immersive environment, so that the audience really feels like they are in the room where it’s all happening.  So expect top notch acting, and a big emotional ride that will feel very close and present.

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What are the three most important things that stage directors needs to remember to be most effective?

It’s your job to steer the ship despite the nature of the waters, so hang onto that wheel.

It’s a collaborative form, so respect your collaborators and learn how to encourage the best from them.

Try to be a blank space every time you watch a run.  Remember that your audience has only what’s onstage with which to make sense of the production.

What was the biggest challenge for you in directing the play and how did you overcome it?

This biggest challenge with this one was in modulating the audience’s emotional experience.  The stakes are high so the temptation is to get very hot very fast.  We solved this by try to really listen to the language and see where we had alternate playing options.  We also identified where we really wanted the show to peak and worked on pulling back in the lead up to those moments.

You’re also the Artistic Director at Touchstone Theatre. What are the main responsibilities of Artistic Directors and what’s a typical day like for you?

As I said, I program the season.  But I also fundraise (grants, foundations, corporate), put together artistic teams (designers, casting, technicians), and supervise my staff.  It’s a job with a pretty broad skill set required.  You need some business sense, as well as a vision for the company and high level of artistic skill.  Oh, and my job is up for grabs by the way! We are currently looking for a new AD to replace me at the end of next season.  Take a look at Touchstone’s website – the staff and board page – for details.

How would you describe your vision for Touchstone theatre and its productions moving forward?

Touchstone does only Canadian plays and we tend to be a playwright-focused company.  In the last six years I’ve also introduced a focus on new Canadian musicals.  For me, it’s really important that my audience gets to sample, through Touchstone, the finest voices in Canadian theatre.

What’s the most important piece of advice that you would give to aspiring theatre directors?

Just do it.  There is no way to learn without getting in the room, working with actors and putting shows up.  Find a way to do that without bankrupting yourself.  And develop a critical dialogue with yourself where you can (supportively) assess your own work as a way of learning and growing outside of whatever critics and others might say.

How would you describe the current state of the Vancouver theatre industry?

It’s amazingly vital.  The growth in the last 30 years has been phenomenal.  Artists now move here to be a part of it, whereas when I was young, everyone was moving away.  It’s very exciting to me to see all the sub-communities and groups of artists taking things in different directions.

What books and authors have been influential for you in your creative journey so far?

The Presence of the Actor by Joseph Chaikin.

Any of Anne Bogart’s books.

National Performance by Erin Hurley.

I don’t read books about directing, but I hear there are some really good ones!

Where can we find out more about you, Touchstone Theatre and Late Company?

It’s all at TouchstoneTheatre.com. Hope everyone can come and check out this moving and important show!

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Thanks to Katrina Dunn for speaking with us!

Late Company is now on at the Evergreen Cultural Centre until April 2nd before moving on to the Vancity Culture Lab from April 5th to April 9th.

Tickets are available through TouchstoneTheatre.com.

The post The Biz Interview: Katrina Dunn appeared first on Biz Books.

We spoke to director Ryan Nunez to find out what’s in store for existing Bonnie and Clyde fans and what audiences can expect from this musical incarnation.

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What drew you to be a part of this production?

Frank Wildhorn’s score is incredible. The music swells, and takes you to a place where although times are hard, you can still find peace within yourself. I was also drawn to this show simply that it is based on real life events. The actors could do some amazing research and base their characters of the real life people. It’s an amazing story between two ill-fated lovers, and I love that.

Can you share some of your creative process in directing this production – from the initial planning all the way to opening night?

This process was definitely a collaboration between many people.  We knew the venue was small, so we had to take everything out of context. I loved the idea of setting the show in a lounge, giving the characters circumstances to play when not on the stage. We called it the “Onstage-offstage”. I also really wanted to play with putting woman in roles of power. Bonnie is an obvious woman of power, but I also wanted to have the Preacher, and Judge as a woman as well. And of course Governor Ferguson, who in real life was the first woman to be the Governor of Texas. I also wanted to play with tying in modern day focus and fascination of how influential media can be, which you can see with the art deco on the walls.

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What should audiences expect from this show?

Audiences that come to the Havana Theatre should feel uncomfortable, excited, and touched. You fall in love with these people, even though they are cold-blooded killers. People who see the show should be moved by the music, the lyrics, and the amazing true story.

This is a musical version of Bonnie and Clyde. What was the biggest challenge in bringing an existing story to stage as a musical? What was the biggest reward?

I think the biggest challenge was making the story relatable to a modern audience. The biggest reward? Working with the most amazing cast and crew. As a performer myself, it was exciting to work on the other side of the table and get to work with my peers, and also met some incredible new people who worked on this production. I think this was an incredibly rewarding experience.

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

I am extremely influenced by Oscar Wilde and Sylvia Plath. I also love playwright Neil Simon, and Neil LaBute. I just look for anything that inspires me to create art.

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

Be humble.

What other projects are you involved with at the moment?

With Play On Words, we are continuing our Cabaret Series, which will have 2 nights in June at Seven Dining Lounge on W Broadway. We also will be announcing our next production that will happen in Fall 2016 soon. I am also currently living the life of an actor, auditioning for shows around the Lower Mainland.

Where can people find out more about you online?

You can check out any information about Play On Words on Facebook, Instagram, and Twitter.

Myself, you can find me on Twitter, Instagram, and Facebook.

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Thanks to Ryan Nunez for speaking with us!

Bonnie and Clyde: The Musical stars Sherry Freeman, Charlie Deagnon, Cassady Ranford, Will Hopkins, Henry Beasley, Stef Stanley, Nathan Cottell, Taylor McKee, Jason Sakaki, Sabrielle McCurdy Foreman, Chloe Rowat, Steven Masson, Annastasia Unger, YooRa Kang, and Jesse Alvarez.

Besides Ryan Nunez, the crew also features Music Director Marquis Byrd, Choreographer Lyndsey Britten, Stage Managers Kaja Jean and Ziggy Shultz, Set Design by Jessica Snook, Prop Design by CJ McGillivray, and Sound Design by Clare Wyatt.

Bonnie and Clyde: The Musical is now on until April 9th at the Havana Theatre. For tickets, please visit Eventbrite.

The post The Biz Interview: Ryan Nunez appeared first on Biz Books.

BizBooks.net is pleased to support Wait Until Dark at the Havana Theatre – now on until March 12th.

Wait Until Dark by Frederick Knott is a masterfully constructed thriller woven with secret identities, a sordid drug smuggling ring and murder. Recently blinded, Susy Hendrix unwittingly finds herself in the possession of a doll that the sinister Roat is after. He enlists two con men to assist him, developing into a tense and deadly game of cat and mouse as Susy desperately attempts to even the playing field. Each suspenseful moment builds in menace until the final terrifying, breath stopping scene.

Director: Michelle Ferguson
Featuring: Eric Regimbald, Ashley O’Connell, Angelo Renai, Sandra Medeiros, Brent Clark, Amelie Love and Madeline Angel
Stage Manager: Maria Denholme
Set Design: John R. Taylor
Costume Design: Cheyenne Mabberley
Lighting Design: Jeff Elrick
Sound: Curtis Tweedie
Fight Choreography: Sylvie LaRiviere
Props: Kris Neufeld
Publicity: Damon Jang
Photography: Angelo Renai and Luka Cyprian

Produced by Naked Goddess Productions

Join us for Wait Until Dark by Frederick Knott at the Havana Theatre, 1212 Commercial Drive, Vancouver.

The show runs until March 12th, Tuesday-Saturday at 8pm.

Tickets can be purchased for $20 in advance at BrownPaperTickets.com or for $25 at the door.

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 Wait Until Dark at the Havana Theatre 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?

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?

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.

As the lead in the upcoming Vancouver production of Heathers: The Musical – the first time in Canada – she’s helping to bring life to a staple of 1980s pop culture in a whole new way. We caught up with Christine Quintana to get the goods on how the themes of Heathers can resonate on stage.

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What is your involvement with Heathers: The Musical and how did that get started?

Our director David C. Jones approached me a few months ago to ask me if I was interested in playing Veronica in the musical version of Heathers. It was a lightning-quick meeting we both fit in between other meetings – so quick that I left thinking, did that just happen? But I’m so glad it did because here I am. Now I’m seeing my dang face on posters around town. Things happen fast sometimes!

What drew you to be a part of this production?

I have a terrible confession to make – I hadn’t actually seen Heathers. Not the movie, or the musical. But I knew about its cult classic status and I’d heard wonderful things about the musical.  After I  did a bit of research, I knew I wanted to be involved. It’s rare that you get a cast stacked with female leads, but that’s Heathers – Heather MacNamara, Heather Duke, Heather Chandler, Martha and Veronica all have incredible, meaty, rich material. The boys get to be the eye candy and comedic relief!

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? 

I only watched the movie once – just to see the style and the iconic moments. I think with a show like this it’s important to nod to the origins, but the scenes and even plot points are different and I didn’t want to start getting attached to choices from the movie that no longer suit the musical.

Our rehearsal process has been very part-time over the last few months. I’m used to working in the traditional Equity process where you come together for two weeks, three at most and bang out the whole show working full-time. I’ve really enjoyed having a lot of time to let the material sink in, focus on one thing at a time. Without the pressure of having to turn out the shape of the show immediately because you head into tech in a week, there’s time to get to know the material well.

Right now, I’m focused on the guts of the show – going into those deep dark teenage feelings and mining the emotional truth of it. Once we get into runs, it’ll be time to fine tune the technical aspects of comedy – staying inside the show for the personal arc, but standing just outside enough to make those precise choices of timing and gesture that make the show as funny as it can be.

The preview performances will be essential to nailing down the rhythms of the show once we have an audience in the house responding – or not responding, as is sometimes the case – and making sure the audience doesn’t miss a beat. I can tell already that it’s going to be totally jarring to be in a moment that is a five alarm high stakes devastating situation for Veronica, and the audience might be laughing their asses off. But it’s only funny if it’s real for us – the comedy lies in the dichotomy between truthful moments and absurd situations in Heathers. Come opening night though, it’s time to put the script and my notes away and play for real.

What should audiences expect from this show?

Fierce singing, fierce dancing, and the sting of teenage angst that might hit a bit too close to home. Heathers: The Musical is hilarious and has killer music, but I think the real surprise for audiences will be the incredible cast. There are a lot of new faces on stage and I think people will be really blown away.

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

I’m going to use the Heathers as my inspiration for this question:

Heather Chandler: Leadership.

It takes a lot of people to make this thing happen – we’ve got producer Lori Watt, director David C. Jones, stage manager Michael Brooks, musical director Steven Greenfield, choreographer Ken Overbey, and also lots more help even within the cast, like our dance captain Daren Dhyengco and music captain Steffanie Davis. Everyone has a unique job and important perspective to add to the production.

Heather Duke: Confidence.

I think in the performing arts, particularly in the theatre, we suffer from low self-confidence. Sometimes in Vancouver we feel like all the action is happening somewhere else or that theatre as an art form is somehow ‘less than’. We need to fight that, always – to believe that we’re worthy of audiences and that we’ve got something important to offer. We need to value our work and believe in its worth to our community.

Heather MacNamara: Vulnerability.

These two go hand in hand – it requires confidence to be vulnerable and vulnerability to be confident. Just the act of getting on stage or offering your art to the world requires tremendous vulnerability. In our working process we need to be open and generous with our scene partners and collaborators – that’s when the work gets good. It’s a lifelong practice to be comfortable with making yourself vulnerable, but it’s an essential ingredient for worthwhile art.

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

I find this is a love-it-or-hate-it read, but I love True and False by David Mamet. I certainly don’t agree with the entire thing, but he nails some pithy, tweet-sized philosophies about how to approach work as an actor. Sometimes we can get so bogged down in our fears and distractions about the ‘industry’ – I gagged a bit just saying the word – and then also about our process that we lose the ability or focus to just get the f**k to work, as David Mamet would say it. There’s some great food for thought in there about putting your ego and fragility aside and just doing your damn job.

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

Very little will come to you on its own – you’re responsible for your destiny as an artist. Whether that’s a large-scale thing like producing your own work or creating opportunities for yourself to perform, or as simple as being clear on what you want from a rehearsal day and setting yourself up to achieve that objective, it’s up to you. And hey, you can learn something from the Heathers on this one – that takes leadership, confidence, and vulnerability. But it’s worth it – the hardest thing in this business, especially as an actor, is feeling like you have no agency over yourself or your work. Taking charge is the only way to feel like you’re moving forward.

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

I’m the co-Artistic Producer of an indie theatre company called Delinquent Theatre which has a show coming up in the spring called Never The Last. We’ll share all the details on our website and Facebook page.  I also write essays and other things on my personal website.

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Our thanks to Christine Quintana for speaking with us!

Heathers: The Musical runs January 6th to 17th, 2016 at The York Theatre, 639 Commercial Drive in Vancouver, BC. For tickets, call the Cultch box office at 604-251-1363 or order online.

The post The Biz Interview: Christine Quintana appeared first on Biz Books.