Canoe Theatre Festival

Workshop West Theatre is proud to present the hottest two weeks in winter with The Canoe Theatre Festival. Canoe 2014 runs January 22 – February 2, 2014 at C103 (8529 Gateway Boulevard), the Garneau Theatre (8712 109 Street) and still-secret elevators in downtown Edmonton, with special ancillary events at EPIC (11516-103 Street) and La Cite Francophone (8627-91 Street). Canoe 2014 celebrates contemporary performance from local, national and international artists.

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Sapientia Guest Blog by Randy Brososky

Mia Van-Leeuwen has created a piece, quite unlike anything I have ever seen, with the technique of 'object theatre.' A sort of pseudo-puppetry/performance hybrid, object theatre uses objects from our everyday world to represent characters, symbols, set pieces and actions in the telling of a story. No puppets are created, everything necessary for the telling of the story is found, and re-purposed. This allows for some interesting symbolism, where the objects real-world functionality can be used as symbols or metaphors for the choices and actions in the piece. It must be called a hybrid, as sometimes the objects were the sole focal point, sometimes the hands of the performers were used to extend the interactions of the objects, and some moments were entirely in the bodies and expressions of the performers.

This helped the source material become less of a promotional piece for Christianity (which to be fair - and sure, perhaps a bit crass - is what it was during the tenth century) and more of a source for imagery and visual symbolism.

And the style of object theatre lends itself to some pretty interesting and powerful images. The destruction of a teacup becomes a visceral metaphor for the fragility of the human body. The crushing of a pomegranate is the goriest thing I have ever seen on a stage. And I may never use a George Foreman Grill the same way again.

Whether this style of theatre would work for all audiences remains to be seen. I think it has yet un-tapped potential and is fully worthy of continued exploration and experimentation. But Sapientia was a very visual and memorable show, presented by some excellent performers.

About Randy Brososky

Randy is the 'Chief Rogue and Bottlewasher' with the Group of Rogues. He is a marketing & advertising strategist, and creative director, with a background in film and theatre, where he has over twenty years of experience acting, writing, directing and producing. Randy is a TEDx speaker, contributes to several blogs and teaches marketing and advertising through the Business Link. He is possibly the only ad guy in Edmonton who breathes fire.

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Body 13 Guest Blog by Marliss Weber

What does it mean to be Canadian?

This tight ensemble from Kitchener explores what happens when seven stories intersect on a Canadian beach. The characters are familiar in their “otherness” – a young Indian woman struggles to let go of her father, and his ashes. A Syrian woman fights to stay in Canada, and a passive-aggressive blond tries to maintain her professionalism, while fighting her heart.

And then there’s the lovely Ato, a shaman-type figure who runs on the beach, only to be followed by the panic-stricken Tristan. And Assaf, a soldier from the Lebanese civil war, and arrogant and handsome Thomas, debate which side to “let it hang.”

The physical performance style is unique, expressive and intimate, and works well to raise sometimes banal subject matter into the realm of art. The ending might throw a few for a loop, but ultimately, it’s beautiful and soulful. The show is, at times, bawdy. At other times, fragile and sweet. It’s not dissimilar to the Canadian identity – unapologetically kind, aggressively sweet, and powerful in its moments of vulnerability.

About Marliss Weber

Marliss Weber is a former Arts Editor with SEE Magazine, and has covered the arts beat in Edmonton for nearly the last decade. She has been published across the globe, and is the main brain behind Jibber Jabber, a social media management company. Marliss holds a Master of Arts in Communications and Technology, and is mighty fond of cheese.

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More #canoe2014 blog coverage!

While not an official guest blogger, Ephemeral Pleasures has been keeping a terrific account of the performances this year! Check out what she has to say about Body 13, Testament and Static Electric.

Edit: Another review has been added for Sapientia.

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National Elevator Project pt. 2 Guest Blog by Sharon Yeo

Canoe Festival 2014: The National Elevator Project Part 2

Cross-posted from Only Here for the Food

The tagline of Workshop West’s annual Canoe Festival is “theatre that rocks the boat”. The performances range from the use of multi-disciplinary art forms to unconventional spaces, each show pushing the boundaries of what audiences expect of theatre.

Back in October, Mack and I attended the inaugural National Elevator Project. Eight plays had been commissioned by writers from across the country with the specific intention of being performed in an elevator. Five to eight minutes in length, the plays were brief, situational encounters – eavesdropping mid-conversation, stumbling upon the climax of a long-simmering conflict, or, in some cases, becoming a part of the story ourselves. For such short plays, I didn’t anticipate the intensity that many of the scenes conveyed.

Part of the experience also involved trekking from one building to another, and in the process, seeing a different side of downtown Edmonton. Towers virtually empty at night, I loved that this show repurposed elevators into stages, and encouraged foot traffic in areas that would have otherwise been empty. It’s no secret that I’m passionate about the possibilities of underutilized spaces, and the National Elevator Project is a wonderful example of what can come from ingenuity.

Without a formal stage boundary, some of the plays also included elements of audience involvement. In one, we were vetted by an off-site man via FaceTime and in another, poked and prodded as nameless bodies. To cap off the night, we were invited to drink a “shot” and conga-line with our fellow passengers back into the elevator. The interaction was at times unnerving, but made for very intimate scenes.

Although we had been able to take in all eight plays within the two hour window, it had been a tight program; we literally sprinted and just made the final show. As a result, the National Elevator Project Part 2, part of the Canoe Festival, retooled the format, splitting eight shows between two cycles. Mack and I watched both over the weekend.

It’s challenging to write about these brief plays without giving anything away – they are really best experienced firsthand as the unexpected vignettes that they are. That said, I can say that I was transfixed by the raw, emotional confrontation in Brad Fraser’s First Father, and appreciated the Maritime/Alberta context in which Dear Mr. Keith was written. Ian Leung’s dual roles also stood out, first as an understated candidate in The Program, and then as a spirited guide of worldly consequences in #Abandonhope. While I can’t say I connected to every piece I watched, this format provides so much variety that every audience member will encounter something that appeals to them.

A scene from The Program

The byproduct of a more relaxed pace was that we were able to take the time to chat with others attending the shows, instead of dashing off to the next venue. Catching up with people at various points, checking in with their thoughts about what they had seen, was an accidental but welcome element of the new format.

The National Elevator Project Part 2 runs until Sunday, February 2, 2014. I’d encourage you to check it out while you still can! You can buy tickets here.

About Sharon Yeo:

Sharon Yeo is a food enthusiast who has been blogging for seven years at onlyhereforthefood.ca. In 2011, Sharon was named one of Western Living Magazine’s "Top 40 Foodies Under 40", recognizing the impact of her blog. Sharon is also an active member of Edmonton’s food community, co-founding What the Truck?!, Edmonton’s food truck extravaganza, Blink, a series of pop-up events highlighting the potential of the downtown core, and Eat Alberta, an annual food conference that has brought chefs, farmers and foodies together since 2011.

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Body 13 Guest Blog by Mike Hudema

Body 13

The carefully scripted work is a masterful blend of script, voice, movement and sound. A live band creates the backdrop for this work that comes from the creative minds of “The MT Space” from Kitchener, Ontario.

Body 13 looks at our demons and angels and the struggles that we all face in wrestling with the complexities of our identity.

If you ever have a chance to check out ‘The MT Space’s’ work it’s highly recommended.

Be sure to check out the rest of the Canoe festival’s 2014 line-up: http://www.workshopwest.org/index.php/shows/2014-canoe-theatre-festival/2014-01-07-00-23-56

About Mike Hudema, Greenpeace Canada

Mike Hudema is a long time member of the Canadian progressive scene. He was part of a motley band of activists that took to the streets of Quebec City for the FTAA protests, slept on the steps of the legislature to protest rising tuition rates when he was President of the University of Alberta Students’ Union, and occupied Anne McLellan’s office to defeat Canada’s anti-terrorism legislation. In his spare time he used to co-host CJSR’s alternative news program Rise Up: Radio Free Edmonton and co-wrote books like the recently published “An Action a Day Keeps Global Capitalism Away”.

Mike worked in San Francisco for 3 years for the Peace and Human Right organization Global Exchange on a corporate campaign with the Ruckus Society and the Rainforest Action Network targeting the auto industry. He currently works for Greenpeace as the Climate and Energy Campaigner focusing on stopping the tar sands, the largest industrial project on the face of the planet and bringing about a green job future. He is also a climb trainer with the Ruckus Society.

Follow Mike on twitter @mikehudema

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National Elevator Project pt. 2 Guest Blog by Jenna Marynowski

National Elevator Project Shows Possibility of Extraordinary Theatre in Ordinary Spaces

Cross-posted from After the House Lights

The National Elevator Project. Photo courtesy Workshop West.

The shows I liked most in Cycle B made explicit use of the fact that the show was being performed in an elevator, and played with the strange relationship we seem to have with elevators. I think most of us are familiar with the “rules” of elevators – and if you’re not, there are at least 914,000 webpages that can bring you up to speed on elevator etiquette (like this one). First Father by Brad Fraser was the first performance I saw, and I loved that it played with the convention that we’re not supposed to talk about anything except the weather in an elevator. While I won’t spoil the story for you, it was really interesting to examine how you reacted to overhearing this conversation as an audience member and comparing that to how you would react if the exchange happened in your day-to-day life instead.

Another of my favourite performances was Replay by Melissa Thingelstad. Focusing on creating connections between people, and the inner dialogue and anxiety that goes on inside one’s head in intimate social situations like you find in an elevator, Replay especially stood out as it included sound in the performance. In such a small space, the addition of sound created an even more heightened emotional experience than it typicallydoes in a theatre.

I have to say though, my favourite moment at the National Elevator Project wasn’t supposed to happen. As Replay came to a close, the doors opened and the main character was about to step out of the door but before he did, someone else got inside the elevator. The main character exited and all eyes turned to the newcomer. After pushing several buttons without any results, he turned to us, said “I don’t think it’s working” and then followed what the rest of us were doing and leaned against the elevator wall while the audience watched. The actor from Replay had to come back and tell us that this wasn’t actually part of the performance, and let the newcomer know that the elevator was being used for a performance. And that’s the beauty of the National Elevator Project – these incredibly intimate experiences in ordinary spaces that open our minds to the possibilities of that space and what “performance” could be.

Canoe Theatre Festival runs January 22 – February 2. The National Elevator Project runs until February 2. Tickets are $20 – $30. Check out the full festival schedule on Workshop West’s website.

About Jenna Marynowski:

As a lover of all things theatre, Jenna is excited to be invited back to write about the Canoe Theatre Festival. 

Jenna’s articles appear on both Sound + Noise and After the House Lights. By day, Jenna works in marketing, but in her spare time, she is an avid theatre-goer, serial volunteer, and downtown dweller.  

Tags: theatre edmonton yeg canoe2014 canoefestival workshopwest wwt Jenna Marynowski body13 mtspacetheatre yegtheatre yegarts

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Body 13 Guest Blog by Jenna Marynowski

Body 13 an Intense Examination of Body Image, Sexuality

Cross-posted from After the House Lights

Jessalyn Broadfoot, Nada Humsi, and Trevor Copp in Body 13. Photo credit: Ali Kheireddine

In particular, the advances made by Thomas (played by John Havens) on all of the characters – from giving those on stage creepy gazes and sleazy flirting to name calling to physically attacking someone allowed me to reflect on what I, and others, experience on a day-to-day basis. What situations do we accept this behaviour in? What situations is it creepy? Why doesn’t someone intervene? Much as in life, each of the characters in Body 13 must encounter Thomas’ behaviour and decide how to react, and ultimately overcome, it, thus freeing themselves from social norms holding them back.

Body 13. Photo credit: Ali Kheireddine

Another aspect that made Body 13 such a powerful piece was the live musical accompaniment. I don’t think I’ve ever heard music that is so chilling in a performance before. Throughout the show the musicians sit omniscient behind the stage, partially hidden by a sheer curtain that only gives us glimpses of them in the moments when the stage lights come up. The music is an eclectic mix of noise music and more traditional sounds, made through the intersection of electronics and traditional instruments like the guitar, cello and drums. Instead of using sounds that maybe a more traditional score would have employed – screeching seagulls, crashing waves, the soundscape used a mix of individually unidentifiable sounds to accelerate the action and the audience’s understanding of the action – throwing you off-balance and creating the sense of attack and prejudice that is being portrayed on stage.

Canoe Theatre Festival runs January 22 – February 2. Body 13 will be performed again January 24 and 26. Tickets are $18 – $20. Check out the full festival schedule on Workshop West’s website.

About Jenna Marynowski:

As a lover of all things theatre, Jenna is excited to be invited back to write about the Canoe Theatre Festival. 

Jenna’s articles appear on both Sound + Noise and After the House Lights. By day, Jenna works in marketing, but in her spare time, she is an avid theatre-goer, serial volunteer, and downtown dweller.  

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Static Electric Guest Blog by Mike Hudema

Static Electricity

Static Electric is an ambitious work that brings two dancers, together with a lighting designer, and a pianist. The work is completely improvised and each discipline must work and build from the other.

In the end it’s an incredible exploration of sight, sound and movement that journeys from airplane flights, to intimate portraits, to movement interpretations of some of the Oilers greatest moments.

The exploration is definitely worth the price of admission.

Here are some random pie charts about Static Electricity because, Hey! Who doesn’t like pie?

About Mike Hudema, Greenpeace Canada

Mike Hudema is a long time member of the Canadian progressive scene. He was part of a motley band of activists that took to the streets of Quebec City for the FTAA protests, slept on the steps of the legislature to protest rising tuition rates when he was President of the University of Alberta Students’ Union, and occupied Anne McLellan’s office to defeat Canada’s anti-terrorism legislation. In his spare time he used to co-host CJSR’s alternative news program Rise Up: Radio Free Edmonton and co-wrote books like the recently published “An Action a Day Keeps Global Capitalism Away”.

Mike worked in San Francisco for 3 years for the Peace and Human Right organization Global Exchange on a corporate campaign with the Ruckus Society and the Rainforest Action Network targeting the auto industry. He currently works for Greenpeace as the Climate and Energy Campaigner focusing on stopping the tar sands, the largest industrial project on the face of the planet and bringing about a green job future. He is also a climb trainer with the Ruckus Society.

Follow Mike on twitter @mikehudema

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Sapientia Guest Blog by Jenna Marynowski

Object Theatre Form in Sapientia Creates Layers of Meaning

Cross-posted from After the House Lights

Sapientia at Canoe Theatre Festival. Photo credit: John Battye

The original piece van Leeuwen’s work is adapted from tells the story of a mother and her three daughters who are tortured by the Roman Emperor Hadrian, who wants them to renounce their Christian faith. Being firm in their beliefs, the daughters stand strong and find joy in the torture and eventually die, while their mother encourages them to become martyrs for the Christianity.

The main characters are portrayed as a kettle (the Emperor; played by David Barnet), a flashlight (the Emperor’s servant; Brendan Nearey),  a mirror (Sapientia, the matriarch; Nancy McAlear), and three tea cups (the daughters Faith, Hope, and Charity; Kara Chamberlain). With the actors playing the role of puppeteer, the story is told through the objects, not the people on stage. What’s so fascinating about van Leeuwen’s adaptation is that by performing Sapientia in the style of object theatre, I questioned the preconceived notions about the play that I walked into the theatre with.

Roswitha of Gandersheim, the author of the original Sapientia, lived and worked at Gandersheim Abbey as a secular canonness, which means she lived a religious life but was not a nun. Being one of her lesser-known and rarely performed pieces, I had a hard time finding information on Sapientia‘s origin, but given Roswitha’s lifestyle and the play being written in the 10th century, my assumption going into the performance was that the play’s intent was to celebrate the Christian faith. Van Leeuwen’s adaptation threw that into question for me. Using the form of object theatre made the torture scenes less painful to watch, allowing me to truly comprehend the dialogue. What emerged was a criticism of the idea of a martyr – Sapientia was hoping all three of her daughters would be tortured, killed, and pass on into heaven. Oftentimes in plays with gruesome torture scenes, the character’s (and playwright’s) intent is overshadowed by the pain we witness on stage. Using object theatre removed the suspense and some of the impact of the violence – as an audience member I wasn’t dreading the next torture scene or cringing when it happened and I was able to focus on why this was happening in the first place. As a mother, should Sapientia really have been encouraging her daughters to be tortured and die for their faith? Did the daughters truly believe in Christianity, or were they just trying to please their mother? Does faith have to be so all-encompassing that you put your faith before your children? Does the way you express your faith really have to be so public? Why can’t it be a private affair? Had Sapientia been performed in a traditional theatrical style, I think I would have empathized too much with the pain the daughters were experiencing to question the larger motives of the piece and its characters. As my first exposure to object theatre, Sapientia showed me the possibilities this performance style gives to theatre creators. Perhaps I’ve just missed object theatre performances in Edmonton in the past, but Sapientia is worth attending not just for the performance itself, but as a study of the theatrical form as well.

Canoe Theatre Festival runs January 22 – February 2. Sapientia will be performed again on January 25 and 26 as part of the Canoe Theatre Festival. Tickets are $20. Check out the full festival schedule on Workshop West’s website.

About Jenna Marynowski:

As a lover of all things theatre, Jenna is excited to be invited back to write about the Canoe Theatre Festival. 

Jenna's articles appear on both Sound + Noise and After the House Lights. By day, Jenna works in marketing, but in her spare time, she is an avid theatre-goer, serial volunteer, and downtown dweller.  

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WHAT IS YOUR FAVORITE INANIMATE OBJECT?

A Paddle to go with #Canoe2014!

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Tanya Tagaq's Nanook of the North

Nanook of the North by Tanya Tagaq

Co-Presented by Alberta Aboriginal Arts

Nanook of the North plays January 30 @ 7:30pm at Metro Theatre.

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Testament

Testament by Théâtre Archeologique 

Testament plays the following days at C103:

January 23 @ 10pm January 25 @ 9pm January 26 @ 7pm

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Static Electric

Static Electric by Mile Zero Dance

Static Electric plays the following days at C103:

January 22 @ 9:30pm January 24 @ 7pm January 25 @ 2pm

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Sapientia

Sapienta by out of line theatre

Sapientia plays the following days at C103:

January 22 @ 7:30pm January 25 @ 6:30pm January 26 @ 5:00pm

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The National Elevator Project pt. 2

The National Elevator Project pt. 2 by Theatre Yes

Dress for the weather. Be prepared to stand, walk and lean during each performance.

The National Elevator Project pt. 2 plays the following days in a collection of downtown elevators:

January 23 @ 7:30-9:30pm (Cycle A) January 24 @ 7:30-9:30pm (Cycle B) January 25 @ 2-4pm (Cycle A) & 7:30-9:30pm (Cycle B) January 26 @ 2-4pm (Cycle A) & 7:30-9:30pm (Cycle B) January 28 @ 7:30-9:30pm (Cycle B) January 29 @ 7:30-9:30pm (Cycle A) January 30 @ 7:30-9:30pm (Cycle B) January 31 @ 7:30-9:30pm (Cycle A) February 1 @ 2-4pm (Cycle B) & 7:30-9:30pm (Cycle A) February 1 @ 2-4pm (Cycle A) & 7:30-9:30pm (Cycle B)

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Body 13

Body 13 by MT Space Theatre

Body 13 plays the following days at C103:

January 23 @ 7pm January 24 @ 9:30pm January 26 @ 1:30pm

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Canoe Fest 2013: Northern Soul Guest Blog by Mike Hudema

Posted February 1, 2013 by guest blogger Mike Hudema:

It’s not often that a somewhat random assortment of home movies and childhood tales could make for an engaging piece of theatre, but when mixed with a healthy dose of northern soul and equal parts pigeon that is exactly what you have with Northern Soul.

Northern Soul, (part of the 2013 Canoe Theatre Festival from Workshop West) is a journey with UK theatre artist Victoria Melody into her awkward musings and fact finding about two dying culture groups – pigeon fanciers and northern soul dancing. Through random tales, photographs, home movies, and intimate dialogs, Victoria weaves a tale of woe and wonderment.

Walking into the theatre I knew very little about Victoria, pigeons, or northern soul. Coming out I now know that:

• There is a pigeon hall of fame. • Northern soul dancing is best done with stretchy pants and baby powder. • Pigeons can play ping-pong and prefer Frank Sinatra.

Those are just the tip of this play’s iceberg.

On a scale of 1 to pigeon, Northern Soul was definitely Frankie Beverly and the Butlers.

After-Haiku: Awkward journeying Family, dance, music, life. Soul to the Pigeon.

About Mike:

Mike Hudema is a long time member of the Canadian progressive scene. He was part of a motley band of activists that took to the streets of Quebec City for the FTAA protests, slept on the steps of the legislature to protest rising tuition rates when he was President of the University of Alberta Students’ Union, and occupied Anne McLellan’s office to defeat Canada’s anti-terrorism legislation. In his spare time he used to co-host CJSR’s alternative news program Rise Up: Radio Free Edmonton and co-wrote books like the recently published “An Action a Day Keeps Global Capitalism Away”.

Mike worked in San Francisco for 3 years for the Peace and Human Right organization Global Exchange on a corporate campaign with the Ruckus Society and the Rainforest Action Network targeting the auto industry. He currently works for Greenpeace as the Climate and Energy Campaigner focusing on stopping the tar sands, the largest industrial project on the face of the planet and bringing about a green job future. He is also a climb trainer with the Ruckus Society.