Tuplin Gets Personal With Dis/Connected

June 21, 2015December 18, 20151 Comment

Melissa Tuplin’s Dis/Connected was presented by Sage Theatre’s Ignite! Festival. Image provided by Sage Theatre.

In our daily lives, do we exhibit the true self, that which is grounded in our personal convictions, or a false self, an image built upon expectation? For Melissa Tuplin, the former is a desire, while the latter is reality. And so, she asks, if our identities exist outside ourselves, then what does that leave us with?

Presented by Sage Theatre’s Ignite! Festival, Tuplin’s latest solo piece Dis/Connected explores the complex relationship between who we are and how we want to be seen.

The lyrics “what is wrong with me?” repeat. It is a persistent echo of the mind. Nothing, Tuplin responds by baring herself to us. Yet, despite her confidence, there are small glimpses of hesitation that reveal themselves. But the desire to be happy, to be sincere and at peace with oneself is overwhelming. The dancer’s movements slice the air with vigor as she strives to resuscitate a connection lost too long ago.

In an act of defiance, Tuplin crosses the threshold and walks out into the audience. A determined look meets our curious gaze, until finally she takes a seat. No more is she an image.

Tuplin’s Dis/Connected is at once introspective and bold. Tuplin’s intimate examination of self-expression versus self-censorship excites with its vulnerability.

Melissa Tuplin’s solo piece Dis/Connected was presented by Sage Theatre’s 2015 Ignite! Festival. The festival ran June 18 – 20 inside The Studio at Vertigo Theatre.

A full recording of Tuplin’s Dis/Connected is available here: http://dancingmonkeylab.com/2015/06/14/disconnected-a-new-solo-work-by-melissa-tuplin/

For more information about Melissa Tuplin, visit: http://www.melissatuplin.com/

MacAlpine’s Polonius and His Children Delivers Intense Family Drama

June 21, 2015June 24, 2015Leave a comment

Anna MacAlpine’s Polonius and Children ran as part of Sage Theatre’s 2015 Ignite! Festival. Pictured: John McIver (Polonius) and Brianna Johnston (Ophelia). Imaged provided by Sage Theatre.

One hopes that the dead find peace in the afterlife; some respite from their mortal pains. That is, after all, the promise of death: an ultimate end. But what if, what if the dead are no different than those who roam the earth, burdened by secrets and regret?

Anna MacAlpine’s Polonius and His Children imagines a reunion between the titular character (John McIver) and his children – Ophelia (Brianna Johnston) and Laertes (Greg Wilson) – in the afterlife. The reunion is, unfortunately, not a happy one as the characters, the very same from William Shakespeare’s Hamlet, meet only to confront each other on unresolved issues. Among them is an unseen, mischievous spirit of the void (Amy Sawka) who narrates the drama.

Ophelia is the first to meet Polonius. Upon seeing her soaked dress, Polonius, whose stab wounds have not healed, asks who drowned her. Ophelia’s response is, very fortunately, interrupted by Laertes’ entrance into the void. Quickly, Ophelia and Laertes find that their father, despite an eternity for reflection, is the same old fool he was when they were alive.

While Polonius’ children both assert themselves against their father, it is Ophelia who struggles most to have her independence recognized. Even in this hellish landscape, Polonius and Laertes continue to dominate Ophelia’s life. They speak so much over Ophelia that she is never given the chance to explain herself. In fact, MacAlpine argues, Ophelia has never been allowed to explain herself.

Here, MacAlpine examines through a feminist lens the works of art inspired by Ophelia’s death. MacAlpine does so by envisioning what Ophelia would say about the artists who, over the years, have portrayed her as a virginal beauty who died a ‘beautiful death’. It was not beautiful, Ophelia says, it was painful. And why is there, she asks, such importance placed on virginity? How does that make a death beautiful in any way? Ophelia’s soliloquy is replete with anger, frustration at the narratives imposed upon her exploited body.

Along the way, MacAlpine infuses humour into the play in the way of clever references to the source material. The playwright, too, has fun with the characters whom she has written with her own flavour. Although, while the humour works in some areas, the humour feels out of place and at odds with the play’s overall brooding tone.

In terms of performances, the ensemble is strong. Sawka is very physical and light on her feet. Her playfulness never upstages the main action. McIver plays Polonius brilliantly. McIver’s mannerisms signal a Polonius who has lived one life too many; an old man unable to find rest. Johnston and Wilson do well as Ophelia and Laertes. Wilson’s casual demeanor mixed with his solid delivery attracts big laughs from the audience. Johnston nails the soliloquy given to her, she is truly in synch with her character.

MacAlpine’s Polonius and His Children is a smart, poignant drama that intrigues with its troubled characters and urgent themes.

Anna MacAlpine’s Polonius and His Children was presented by Sage Theatre’s 2015 Ignite! Festival. The festival ran June 18-20 at The Studio inside Vertigo Theatre.

Urban Curvz Theatre Takes A Trip Across Legoland

June 16, 2015August 21, 2015Leave a comment

Penny Lamb (Kelly Malcolm) and her younger brother Ezra (Matt McKinney). Photo Credit: Aldona B Photography.

Being a teenager can be hard. Everyone wants to be an individual, but no one wants to stick out. No matter what you do it seems like teachers are always out to get you. And your hormones are everywhere, so you really never know how you feel.

And yet, despite everything, being a teenager can also be pretty awesome.

Presented by Urban Curvz Theatre, Jacob Richmond’s Legoland is a fun, spirited celebration of youth. A vaudeville-inspired comedy, Richmond’s play looks at our crazy world through the bright eyes of a teenage girl ready to leave her mark.

Sixteen-year-old Penny Lamb (Kelly Malcolm) and her younger brother Ezra (Matt McKinney) are not your typical teenagers. Penny and Ezra were raised on a hippie commune outside Uranium City, Saskatchewan. For years, the outside world, dismissively referred to as “Legoland” by the commune’s elders, fascinated the Lamb siblings. One day, the commune is busted by police for being Saskatchewan’s largest grow-op. With their parents imprisoned, Penny and Ezra are enrolled into a private Catholic school where they quickly learn that Legoland is as bizarre as it is unwelcoming.

In Legoland, commercial music lacks originality as reflected in the use of recycled personality types – the bad boy, the cute one, the sporty one, etc. People are unkind and distant. The status quo is maintained through prescription pills, which are seen as easy fixes to all life’s problems. Yes, Legoland is a rather plain, material place that is as rigid as a plastic toy brick.

As one might guess, Penny and Ezra’s unconventional upbringing makes them total outcasts in Legoland. Penny is rejected by the popular girls at school for being a “lesbian,” while Ezra is prescribed Ritalin to keep his behaviour in check.

It is this rejection by their peers that ultimately bring Penny and Ezra to us, or rather the assembly of high school students whom they present their story to as part of their community service.

When introduced to the boy band Seven-Up as a way to help fit in with the other girls, Penny develops a major crush on the lead singer Johnny Moon. She follows Johnny’s career long after Seven-Up breaks up, eventually becoming determined to meet him in person. Meeting Johnny, however, means crossing the border and traveling cross-country to Orlando. Thankfully for Penny, Ezra’s medication can easily fetch the necessary funds for such a trip.

What Richmond does with Penny is provide teenagers with a positive, albeit imperfect, role model. For one, Penny stands up for her values, despite the constant pressure from her peers to abandon what she believes in. And secondly, Penny sees no limits to her potential; her potential is limitless. She is abound with the sort of youthful enthusiasm that springs creativity – and sometimes trouble! But that is okay, we learn, because it is all a part of being young and inexperienced. Everyone starts somewhere.

Penny’s mistakes – which are her’s and her’s alone to make – encapsulate the excitement of being a teenager, of growing up and discovering yourself as a young person. Penny is the kind of person that Legoland needs, flaws and all.

Where Richmond’s play falls flat is in its cross-country scenes which feel unnecessarily drawn out. The audience, in fact, may feel like they too are on board a greyhound bound for Orlando with the way Richmond stretches the play’s conclusion with the same repeating bits.

Otherwise, the play is a wildly energetic blend of puppetry (puppet design by Lindsey Zess Funk), song, and dance; a real vaudevillian treat. Director Jacqueline Russell’s creative staging sees the actors transform the stage into a dynamic space from which the story unfolds from, corner-to-corner.

Malcolm throws herself into every scene like it is, at the moment, the most important part of Penny’s life. Malcolm brings an infectious charm to the character who in other hands might be too much for the audience. Here, thanks to Malcolm’s take on the plucky teenage girl, Penny is almost impossible not to like. And despite Ezra not saying very much, McKinney is successful, too, in drawing us into his character. McKinney’s often deadpan look sells the character’s dark, bizarre humour. Together, Malcolm and McKinney are a lot of fun to watch on stage.

Optimistic, vibrant, and certainly unique, Richmond’s Legoland is one not to miss.

Urban Curvz Theatre’s production of Jacob Richmond’s Legoland runs June 11-20 at Motel Theatre.

For information about the show and how to purchase tickets, visit: http://urbancurvz.com/current-season/legoland/

Theatre Transit Visits Matt & Ben

June 3, 2015June 4, 2015Leave a comment

Matt Damon (Kristen Padayas) and Ben Affleck (Carly McKee), startled by Good Will Hunting. Photo Credit: Justine Matsalla

The scene: Ben Affleck’s apartment, 1996.

Out of nowhere, the script to 1997’s Academy-Award winning Good Will Hunting falls from the sky and lands right in front of Ben and his best bro Matt Damon. A test, a curse, or a pivotal point in both their careers? Whatever it is, it’s certainly better than Ben’s line-for-line adaptation of Catcher in The Rye.

An explosion of pop culture references, Mindy Kaling and Brenda Withers’ Matt & Ben is a fun, totally absurd parody of Matt Damon and Ben Affleck’s famed ‘bromance’.

Matt Damon (Kristen Padayas) and Ben Affleck (Carly McKee) are two struggling actors trying to make it big in Hollywood. Creative partners, the two friends meet in Ben’s greasy, run-down apartment to work on their screen adaptation of J.D. Salinger’s Catcher in The Rye. While Ben believes it’s their ticket to Hollywood, Matt is not so sure about the project and sneaks off to auditions behind his back. So begins the rift that emerges between the friends.

Good Will Hunting’s sudden appearance makes clear the differences between Matt and Ben. Matt, a neurotic loser, has always hated the way Ben, a dumb popular guy, has coasted through life, not putting much effort in the things he does. In some way, Matt feels that Ben has held him back through the years. So, while he could stay with Ben and continue eating doritos and writing a terrible (plagiarized?) screenplay, Matt could also use Good Will Hunting to propel him to stardom, earning him the success he feels he deserves.

The only issue is, where did the Oscar worthy original screenplay come from? And why does it have both their names written on it? (Damon and Affleck both co-wrote and starred in Good Will Hunting). These questions and more threaten to destroy the greatest bromance of the 1990s.

Along the way, Kaling and Withers throw winks and nudges at both actors’ personal lives and filmography. Enough so that if one is coming in not well versed in their Damon/Affleck histories they might miss a good amount of the play’s jokes.

Even so, audiences can still appreciate the bizarre circumstances that Kaling and Withers throw two of Hollywood’s top leading men into. Gwyneth Paltrow and J.D. Salinger make guest appearances, turning the weird factor up. And the Good Will Hunting script seemingly has a life of its own.

Designer Julia Wasilewski has created a wonderfully detailed set for Matt & Ben. The refrigerator is stocked with take-out containers and expired food. Budweiser cans are scattered everywhere. The couch is ugly and possibly rotten. Ben Affleck’s headshot hangs neatly on the wall, along with a movie poster for 1992’s School Ties. Yes, it’s certainly the kind of place one would expect 1990s Ben Affleck and Matt Damon to live in.

Padayas and McKee’s comedy chops elevate Kaling and Withers’ wicked funny script. Padayas’ nervous energy mixed with McKee’s boisterous portrayal of Ben Affleck have the audience in stitches, agasp for air. The madcap physical humour lights up the stage, but sometimes Valmai Goggin’s direction feels too relaxed. Padayas and McKee get lost in the play’s antics and bungle through some moments. While it passes just enough as part of the play’s quirky charm, one cannot help but feel that the direction could be tighter for Kaling and Withers’ zippy script.

Of course, that is not to say that the script itself is not without issues. Although it starts strong, Kaling and Withers’ script does start to feel sloppy as it tries to reach a satisfying ending. Nostalgia and pop culture references carry the show, which runs at 80 min, only so far before the material dries up.

Presented by Theatre Transit, Mindy Kaling and Brenda Withers’ Matt & Ben is a hilarious play that has fun with its premise, making for a lively night at the theatre.

Theatre Transit’s Matt & Ben runs May 28 – June 6 at Motel Theatre (Arts Commons).

For more information about the show, visit: http://www.theatretransit.ca/matt-ben

Dancers’ Studio West Invites Emerging Artists to LEAP

June 2, 2015June 4, 2015Leave a comment

Sylvie Moquin and Dario Charles with Davida Monk, after rehearsal.

Dancers’ Studio West Artistic Director Davida Monk with emerging artists Sylvie Moquin and Dario Charles, after rehearsal in the studio.

Two years ago, Dancers’ Studio West made the decision to leave its theatre space, located in Sunalta. The company would instead operate remotely, renting both rehearsal and performance spaces, for its 2014-15 season. The decision was a difficult, but necessary one, says Artistic Director Davida Monk.

“The question of the DSW theatre space was a very difficult one for the board to resolve because the company had been there for 15 years,” said Monk. “Before that, it had been in a brewery over in the Inglewood area. In both cases, there was a theatre associated with the company. Productions and regular season events for the company were there, but not enough to really fill the theatre all the time.”

With the costs associated with the theatre unsustainable, DSW moved out of the space. (Presently, the space is shared between Calgary Young People’s Theatre, Ghost River Theatre, and Green Fools Theatre Society).

But ultimately, it’s not the space Monk is concerned about, it’s the artists.

“[We wanted] to channel what resources we did have into something that is effective for the development of the art form. If you ask me, it’s a lot more effective to put that into people than it is to put into a space.”

Founded in 1980, DSW nurtures contemporary dance artists through artist-focused programming. Two of the company’s major production programs are the Annual Alberta Dance Festival and the Dance Action Lab, a 10 week creative intensive that culminates in a full production.

This season, as part of the Dance Action Lab, DSW has invited Sylvie Moquin and Dario Charles to participate in the company’s Lab Emerging Artists Program (LEAP). Funded by The Royal Bank of Canada’s Emerging Artists Project, LEAP offers pre-professional dance artists exposure to professional practices, and the rigours of professional rehearsal and contemporary dance performance.

Originally from Ottawa, Ontario, Moquin is a graduate of Ryerson University where she received her BFA in Performance Dance.

“I’ve been here almost two years now,” said Moquin who left for Calgary shortly after graduation. “The first year I came, I did [Decidely Jazz Danceworks’] Professional Training Program. And I immediately found something that I really liked about Calgary, and specifically the dance community. I don’t know if I can pinpoint – I think it’s the idea of how welcoming this community is and how much people are excited about new artists and young emerging artists such as myself.”

“I was looking for an opportunity of where I was going, to find my voice and where I fit, and [LEAP] fell at the exact right time.”

Charles, an Edmonton-based dance artist, studied at The School of Toronto Dance Theatre. He then later completed a five month international dance program in Israel with Vertigo Dance Company. Since returning to Edmonton, Charles has worked with emerging companies and artists like himself.

“This application came up and I just thought…it would be great to be a part of [DSW], because most things I’ve done have been with starting out companies or people starting out,” said Charles. “[LEAP] appealed to me for the sake of an emerging artist being able to work with professionals. I think there’s tons to learn with emerging artists, but also with this other group as well.”

DSW’s Dance Action Group form the artistic core of the Dance Action Lab. A diverse ensemble of choreographers/performers, the DAG includes DJD company members Catherine Hayward and Shayne Johnson, MoMo Dance Theatre’s Artistic Director Mark Ikeda, and independent dance artists Deanne Walsh, Kate Stashko, and Helen Husak. The group is led under Monk’s direction.

Since April, Moquin and Charles have not only rehearsed, but also trained daily in technique classes with the professional ensemble. The dancers’ day starts at 9:30am with open classes that are run by Monk.

“The ensemble creating together have a technical beginning to the day,” said Monk. “Their bodies warm up and refresh the basic principles that will support the body through various rehearsals and repetitions. We’re trying to bring a balance and a strength and a fluidity to the body so that when we’re in rehearsal, we don’t get injured. We can sustain and repeat and be strong. Class is intended for that purpose.”

When class ends at 11:30am, the dancers take a short break, then rehearse until 3:00pm in their respective sections.

“We got to be involved in the creation process right away from week one, even pieces we weren’t cast in.” said Moquin. “We’re part of it. We’re part of what is this about, what can we try, where can we go with this, what is the potential of every single idea.”

“We go into some unknown places,” added Charles. “We’re working with choreographers who are treading deep waters. It’s all questions.”

And though there may be a lot to take in, Moquin says she is committed to taking away as much as she can from the experience.

“I’m…taking in every bit of information I can from these amazing artists,” said Moquin. “I take a lot of notes, and sometimes I just feel like I need to run to my notebook and write something down, because [something they said] really just struck and you need to hold onto that.”

Retaining these concepts and exercises is important, says Charles, because dancers must be multi-skilled (e.g. teaching, choreographing, performing).

Moquin and Charles are also gaining valuable insights outside their studio rehearsals.

On May 11th, DSW invited the public to an informal showing of the Dance Action Lab’s works-in-progress.

“It was informal, so we were willing to try things,” said Charles about the showing. “There were times where we would stop and do it again…I think it’s really important to able to talk about the work with the audience and get them involved in it.”

“I think it was great to have that dialogue with a new viewer,” said Moquin. “We’ve all been working and seeing these ideas together. As soon as you have someone new looking at it, it shifts the way you or the choreographer sees it.”

“Often times, I think you create work, then you mount it…and get all this feedback and dialogue afterwards,” Moquin continued. “And it’s like, I want to keep going with that! We’ve added that stage midway, so that the choreographers have that chance to take it in.”

Later this month, DSW will formally present Mythbehavin’, four new works produced by the Dance Action Lab.

“They’re all based in myth in some way or another,” said Monk about the works. “The choreographers determined that we would find a theme that we can all spring something from. The aspects are all very different, the ways the choreographers are responding are different. In some cases, it’s the interpretation of the myth, Jungian archetypes for example. In other cases, it’s more looking at the gods.”

“I think there’s excitement within the community,” said Moquin about the show. “I know other dancers are excited to see what’s going to happen, because this is such a diverse, dynamic group.”

Then, upon completing what were a rigorous 10 weeks, Moquin and Charles’ time with DSW will be over.

“Wouldn’t it be nice if it were 12 weeks, three months?” asked Monk. “This kind of experience is so valuable that the way you improve it is to lengthen it.”

Unfortunately, Monk says, a lack of political representation for the arts and, as a result, insufficient funding makes such an extension difficult.

“There is no person in political authority to speak and represent the arts publicly [in Alberta], to even lead the public towards a well understood policy of support for the arts,” said Monk. “We’re a long way away from that.”

That means dancers feel they need to look elsewhere for work, says Charles.

“There are no artists that stay here,” said Charles. “There’s a few professional training programs in Calgary, but there’s none in Edmonton, so everyone leaves because they think they’re going to get more work elsewhere. So, it’s a hard time growing a community here in Alberta.”

How DSW and other organizations can make a difference, says Monk, is by supporting those who choose to stay here. But, she adds, these organizations have just enough resources to operate as it is.

“I hate to sound like a broken record, but more money would be nice,” said Monk. “These two young people are getting experience here and they’re getting paid, but it’s a tip. They’re not really getting paid. That’s good in some ways, but not in other ways because it’s really limiting. It would be nice to have a larger pot to draw funds from. We’ve been very successful – I think this is our 4th year being able to access those funds, but they don’t go very far.”

“In the meantime, you do what you can. You pour everything into the opportunities.”

Dancers’ Studio West’s Mythbehavin’ runs June 25 – 27 at the Victor Mitchell Theatre (Pumphouse Theatres).

For tickets, visit: http://www.brownpapertickets.com/event/1626771

For more information about Dancers’ Studio West, visit: http://www.dswlive.ca/

A Pioneer in Classical Ballet: JCBS Founder Umran Sumen Shares Her Story

May 26, 2015October 24, 20191 Comment

Jeunesse Classique Ballet Society’s Founder & Artistic Director Umran Sumen, standing beside a portrait of herself from when she was a leading soloist with The National Ballet Company of Turkey.

When Umran Sumen arrived in Calgary 33 years ago, the former leading soloist with The National Ballet Company of Turkey thought her days of dancing were over.

“When I came here, I was thinking that I am not going to dance. I danced 16 years [with the NBCT]…I have a family, so now I am going to be a mother and wife to my husband…But then, the three boys in my life, my husband and two [sons], saw that I cannot. I am bitten by that virus for arts.”

At the time, however, ballet in Calgary did not have quite the same presence as it does today. Alberta Ballet, Canada’s second largest ballet company, was still in Edmonton and would be until 1990 when it merged with the Calgary City Ballet. (Sumen was appointed Artistic Director of the CCB in 1986). There was yet to be a place that offered young dancers intensive training in classical ballet. For Sumen, there needed to be not just a school, but also a company where dancers could apply what they learned to the stage, enhancing their dance education through live performance.

In 1988, Sumen founded the International School of Ballet and Jeunesse Classique Ballet Society. Sumen’s mission: “to put Calgary on the international dance map.”

Today, JCBS is one of the only pre-professional youth ballet companies in western Canada that does full-length productions of classical ballets. In addition to supplementing ballet dancers’ education, the company also aims to preserve and promote the cultural aesthetic of classical ballet in southern Alberta.

“In that time, it was a dream, but I believed so much that if you are not dreaming then you cannot achieve. You have to dream. [And now] we are celebrating 28 years.”

And in those 28 years, JCBS has produced numerous professional dancers who are not only prominent here in Canada, but internationally as well. JCBS & IBS alumnus Alexandra MacDonald is a second soloist with the National Ballet of Canada. Heather Myers has danced with the Boston Ballet (as a soloist) and Nederlands Dans Theatre where her choreography has also been produced. Other notable alumni: Michael Binzer (Royal Winnipeg Ballet), Gillian Abbot (Cirque de Soleil, Juilliard N.Y), Natalie Chui (Alberta Ballet).

For those who have continued on professionally in other fields, Sumen says she is just as proud of them as she is of those who have continued with ballet.

“If they want to do other professions, then they will still…make me proud. They carry that love of discipline, teamwork and [I know] they will shine in their own profession.

“Do you know how much classical ballet and that kind of high intensive training helps [students] develop as humans? That strength, that involvement in teamwork…makes me so happy when I see that. Do not give up. Raise the bar, always.”

Taylor Yanke, 12, and Montana Chong, 16, are two long-time JCBS members who are driven to succeed, and who will be performing in the company’s upcoming production of Coppelia.

Coppelia is a comic ballet about a life-like mechanical doll invented by Dr. Coppelius and the trouble it causes between Franz and Swanhilde, an engaged couple. From below her balcony, Franz admires and falls in love with the doll, Coppelia, who he believes to be real. Jealous, Swanhilde decides to dress as the doll in order to win back Franz.

“You can tell the instructors have a big background in ballet,” said Yanke who has been with the company since the age of three. “You want to work hard. Everyone is nice to each other and help the younger ones out. The older ones are very supportive of everyone.”

And with Coppelia, as with other classic ballets in JCBS’ repertoire, Yanke is excited to perform roles that have been played by distinguished dancers.

“I love JCBS, it’s really a great place to dance at. You get multiple opportunities to do all of these different roles you see principal dancers in Russia, in France do. When you have the opportunity to do those same variations, it’s really exciting.”

Having just finished her Advanced 2 last year and now progressing to her Solo Seal (the Royal Academy of Dance’s highest level), Chong says the support from her peers is also important to her and her success as a dancer.

“Overall, it’s a really great community here. I feel like I can always come here and be supported both onstage and off,” said Chong who will be playing Swanhilde.

“Their age is so young but what they are producing is amazing,” said Sumen about the 40 dancers involved in Coppelia. “Whoever we are inviting [as] guest dancers, they [are] surprised of the quality of the dancers.”

This year, JCBS is joined by Cuban dancer Elier Bourzac. Bourzac trained at the National Ballet School in Havana for eight years and graduated with honours in 2003. In 2007, he became a principal dancer with the Ballet National Cuba.

Yanke is thrilled to be “dancing among such a high dancer.”

“Just to see how [Bourzac] dances and what he does. He helps us out, too. He gives us corrections after we dance. It’s really great to have him here,” said Yanke.

Sumen is excited to stage Coppelia as she believes there is something for everyone to enjoy in this fun, lighthearted ballet. But she reminds us that such a production would not be possible without the generous help from her volunteers.

“I owe everything to the volunteers. Everyone is so dedicated, supportive. I cannot find anywhere else that has what we have in Calgary. If they will understand that you love what you are doing, you have a respect for what you are doing, you have a strong education in what you are doing, they are behind you. That is why I owe a lot to volunteers in Calgary.”

A pioneer in classical ballet, Sumen looks back on her successes with great joy. She tells her story and speaks about her students with immense pride. And Sumen looks forward to many years to come, because this is not her job, she says, this is her life.

“The arts feed your soul and bring you different perspectives to look at life…to see what is the purpose of who you are and what you are going to bring after you leave this life. If you are going to bring one drop of change in people’s life, then you are successful.”

Jeunesse Classique Ballet Society’s production of Coppelia runs May 29-30 at University Theatre.

For tickets and more information about the company, visit: http://jcbs.ca/

International School of Ballet: http://www.iballet.com/

Theatre and Biography Meet In Mike, Karen, Karen, Mike

May 15, 2015June 21, 2015Leave a comment

Mike Keir and Karen Johnson-Diamon. Imaged supplied by Verb Theatre.

Mike Keir and Karen Johnson-Diamond. Imaged supplied by Verb Theatre.

Mike Keir has a story to tell. Actually, he has many stories to tell.

A co-production between Verb Theatre and Inside Out Theatre, Mike, Karen, Karen, Mike: A Soap Opera is, at its core, a compelling blend of theatre and biography.

Inside Motel Theatre, Keir is joined by director Col Cseke and Karen Johnson-Diamond (co-artistic director of Dirty Laundry). Cseke sits beside Keir, interviewing him about his past. Meanwhile, Johnson-Diamond waits on the side to improvise scenes with Keir – a long-time fan of Dirty Laundry.

Keir, who has cerebral palsy, starts his story with an incident that happened between him and a counselor at a camp for youth with disabilities. From this incident, a larger story of abuse, sexuality, and fear unfolds.

Keir’s story, however, is not one that can be told in ordinary linear fashion because, unlike stage dramas, real life events cannot be so easily isolated in time and place. There are many ‘characters’ that need to be introduced; relationships that have to be defined; histories that need to be explained. That is why Keir is adamant on backtracking, so that he can give proper context to the events that follow.

And as Keir’s story grows larger in its scope, so too does the connection between audience and storyteller. We become involved in this story that is, at times, difficult, but nonetheless engrossing. Keir captures our attention with his frankness, along with his sense of humour. And that humour is a reflection of Keir’s belief that telling a story enough times weakens it. In other words, telling these stories is Keir’s way of overcoming the experiences that have had far-reaching effects on his life.

And so, we remember that the stage can mean many different things to many different people. Here, Keir’s stage is one of healing, transformation – moving on. Mike, Karen, Karen, Mike: A Soap Opera is theatre for the soul.

Mike, Karen, Karen, Mike: A Soap Opera runs May 13 – 16 at Motel Theatre.

For information about the show, visit:
http://www.verbtheatre.com/season/
http://insideouttheatre.com/in-performance/

Dads in Bondage Breathes Enthusiasm, Delights

May 12, 2015May 26, 2015Leave a comment

Left to Right: Kirk (Eric Wigston), Charles (Doug McKeag), and Joey (JP Thibodeau), “A Fistful of Pampers.” Photo Credit: Nicole Zylstra.

Robert More’s Dads in Bondage, with music by Tom Doyle, returns to Lunchbox Theatre where it was first produced in 1988. Relevant, hilarious, and heartwarming, Dads in Bondage will make audiences smile from ear-to-ear.

For Charles (Doug McKeag), Joey (JP Thibodeau), and Kirk (Eric Wigston), staying at home with the kids will be a piece of cake. Why? Because they’re ‘millennium men’ who know what they’re doing! Well, that’s what the men tell themselves, anyway. Little do they know that bravado alone is no match for stinky diapers and baby colic.

Directed by Glenda Stirling, Dads in Bondage is a ‘fish out of water’ story about three new fathers turned stay-at-home dads when they find themselves suddenly unemployed. Charles and Kirk, an oil executive and construction worker respectively, have been laid off as a result of sinking oil prices. Joey, a nervous Latin teacher, is placed on stress leave to remedy his burn out. Quickly, dreams of ‘having it all’ fill their heads as they take on their new roles. But it is not too long afterwards that Charles, Joey, and Kirk realize what a task it is to raise children.

The men navigate through fatherhood by themselves, then together as they join in their common cause. Knowing murmurs and outbursts of laughter are heard as More presents experiences that parents in the audience may have encountered at some point themselves. Of course, the story More tells is one with a twist, a play on traditional roles.

Much of the show’s humour grows out of the masculine pride that begins so strongly, then falls apart as the stress of parenthood piles on. The men try their best to fool their wives into thinking that nothing is wrong when in fact everything is a disaster. Charles, for example, is completely sleep deprived, while Joey is at his wit’s end trying to handle twins. But for their wives’ sake, and to save face, the men keep silent about their difficulties.

To great effect, More turns antiquated notions of masculinity into something more human. The men eventually get a hold on fatherhood. What was once strenuous and taxing becomes a privilege, a source of joy. The ultimate lesson More leaves the audience with is that being a ‘successful man’ is not what’s important, it’s being a loving parent that is.

McKeag, Thibodeau, and Wigston are a whole lot of fun to watch on stage. There is a lot of great character work by the actors who dive into infectious musical numbers like “A Fistful of Pampers” with gusto. Each contributes significantly to the upbeat, zany nature of the show. Vanessa Sabourin, who plays the men’s three wives and other characters, is a fun addition to the show as well. Although she does not share the stage as much, Sabourin brings plenty of laughs with each appearance.

(And the puppets – they’re something too!)

An enthusiastic musical comedy about stay-at-home dads, Dads in Bondage is sure to delight and entertain audiences.

Robert More’s Dads in Bondage, with music by Tom Doyle, runs at Lunchbox Theatre, May 4 – 23.

For more information about the show, visit: http://www.lunchboxtheatre.com/calendar/2015/4/27/dads-in-bondage-by-robert-more-with-music-by-tom-doyle?view=calendar

Before The Night Takes Us Lurks, Bumps

May 9, 2015May 9, 2015Leave a comment

Kas Nixon as Alison in Ryan Reese’s Before The Night Takes Us. Photo Credit: Colton Holmes.

Alison (Kas Nixon) hasn’t been sleeping well lately. Nightmares of grisly murders torment the frustrated clarinetist who has all but lost her ability to play. When Ray (Joel David Taylor), a telepathic pianist, walks into Alison’s life, she is soon thrown into something more sinister than she could ever expect. For Alison, things are only going to get worse (and weirder) before they get better.

Presented by Theatre BSMT, Ryan Reese’s Before The Night Takes Us is a suspense-filled drama that trips over its paranormal premise.

For a character whose abilities are even a mystery to him, Ray sure seems to have a lot of answers, or a lot of good guesses. Part of that is due to Reese being quick to change/expand the rules of Ray and Alison’s telepathy when convenient. Of course, Reese is faced with the challenge of both establishing ground rules to adhere by and fleshing out a whole story within 120min, so wild assumptions by the characters are to be expected. Still, one cannot help but feel that the drama is undermined by fluctuations in the play’s logic.

Thankfully, Amy (Samantha Duff), a no-nonsense detective, gives the play immediacy, a sense of danger. While Amy trusts Ray’s abilities, Amy also needs answers now. She can’t wait on Ray to unlock the secrets of Alison’s dreams, especially not when there is a serial killer loose in the city. For Amy, the clock is ticking, and every minute that goes by is another minute where someone’s life is in danger.

But again, there are some problems with the play’s logic that are hard to ignore. The truth about Alison’s dreams raise questions about what kind of office Amy is working in that none of her colleagues or superiors would notice something off about one of their top detectives. And despite having access to her case files, in addition to her mind, Ray fails to recognize any inconsistencies with the investigation.

These issues aside, Reese intrigues with the general greyness of the characters – greyness in terms of his characters’ true motives, their murky pasts, and their relationships with one another. As we become more acquainted with Alison, Ray, and Amy, the loneliness of these characters become more apparent; the search for a connection more potent. And that is mainly what carries our interest through to the end: the fate of these characters thrown together against strange circumstances.

Unfortunately, the play proceeds at a choppy pace, mainly due to its scenes of varying lengths and their hard transitions. When the lights come down, so too does the energy. The dip in pace is partly due to the odd configuration of just one entrance/exit. Director Kyle Schulte might have opted for a set-up that allows better flow between scenes, rather than one where there is a good amount of unused physical space (which would feel emptier if it were not for some instruments laying around).

Taylor rises to the task of playing the piano live on stage. He and Nixon share good energy together on stage. Though Duff is who most catches our eye with her menacing presence. Fortunately, Nixon holds her own in her clashes with Duff. The two are a sharp pair that respond to each other effectively.

A murdery mystery with a paranormal twist, Reese’s Before The Night Takes Us catches our attention with its grey characters, but then loses us with its thin logic.

Theatre BSMT’s Before The Night Takes Us runs May 6 – 9 at Motel Theatre (Arts Commons).

For more information about the show, visit: http://www.theatrebsmt.ca/Theatre_BSMT/Whats_On.html

Spotlight: Katherine Kumpula

April 27, 2015June 17, 2015Leave a comment

Katherine Kumpula, on a recent visit to Calgary.

For Katherine Kumpula, dance is a “never-ending art.”

“Dance is a multi-dimensional experience [that] encompasses so many of the senses,” said the Toronto-based dancer. “The music, the timing, the visual aspect of everything from the audience’s perspective. Then, there’s the whole story behind it. Exploring all of those is such a multi-faceted experience.”

Kumpula started dancing at the age of three, beginning with classical ballet. As the years went on, the dancer, intrigued by the abstract, pushed towards contemporary dance. Kumpula attributes the shift in styles to her growing into her own as a dancer.

“Behind dance there is always the technique, and that’s what everyone starts with because you need the foundation in order to progress,” explained Kumpula. “The early years are often…technique-based. You spend a long time building your technique.”

“As you get older, you get to experiment with things…the creativity came out a lot more as I got older. Thinking about a piece of dance as a full thing onto itself beyond its technique.”

Today, Kumpula applies what she has learned over the years with Silhouettes Dance Company.

Founded in 2002 by Caryl Mostacho and Alesia Kachur, Silhouettes Dance Company is a performance-based dance troupe at the University of Toronto that performs several times over the year, ending its season with an annual showcase. The company adheres to values that promote a positive learning environment where both new and seasoned dancers can learn from one another.

“It’s choreography that’s made by the company members,” said Kumpula about Silhouettes Dance Company. “It is a space where there isn’t really a ton of restriction on the kind of choreography you can make. It’s a free space for people to experiment with different ideas.”

Katherine Kumpula, “The Nights,” Silhouettes Dance (2015). Photo Credit: John Yelinek.

Last year, she choreographed a piece for the company that explored the dancer’s quest for perfection. It is an experience dancers know all too well, says Kumpula.

“The quest for perfection and how you’ve got this ideal you are working towards, but you’ll never quite get there. That’s a very angst-filled experience, and it’s a very emotional experience for a lot of dancers…because you’re always trying to fit this ideal which is essentially impossible to fit. By the very nature of it, it will never be perfect, but there is a big pressure with how demanding dance is to be perfect.”

But these days, dance is more an escape for Kumpula than something that causes her stress.

“[Dance] is very therapeutic. It’s therapeutic for me to have that [creative] outlet and to do something totally different than what I am doing the rest of the time,” said Kumpula who works at the hospital as a nurse.

Kumpula says dance is important too for the social connection, connecting with those who have a wide-variety of interests and, at the same time, want to keep their passion for dance alive. And though her journey through dance has seen many changes over the years, Kumpula’s passion for dance has been constant.

After all, dance is never-ending.

For more information about Silhouettes Dance Company, visit: http://silhouettes.sa.utoronto.ca/