Our 17/18 season takes its final bow – thank you for making it so much fun!

Our 17/18 season takes its final bow – thank you for making it so much fun!

With the closing of Bears we have officially finished our 17/18 season — and what a season! Thank you for taking the journey with us, and making our 17/18 season our most successful one to date.

The cast of Bears gets a well deserved standing ovation! Photo by Roaming the Planet.

With 21 theatrical shows across our three different stages, three great Soft Cedar shows (and more to come!), partnerships with some of the most amazing companies in Vancouver and around the world, and a million amazing memories, it has been a busy year, and we can’t help but get a little nostalgic. Take a peek at a few of the great curtain calls from the season — we bet you can’t help but get a little nostalgic too!

And now it is your turn — take a bow — we couldn’t do any of this without you! Thank you, Thank you, Thank you!


 Don’t forget to buy your subscription for our 18/19 season soon. Shows are already filling up!

Thank you for choosing to make The Cultch, and the arts, a part of your life!

Corporate Sponsor Spotlight: Giulio Recchioni from the Italian Cultural Centre

Corporate Sponsor Spotlight: Giulio Recchioni from the Italian Cultural Centre

Giulio Recchioni

Can you tell us how the Italian Cultural Centre first got involved with The Cultch?

Our very first time at The Cultch was in March 2012 with FRESCO, a play the Italian Cultural Centre commissioned from Lucia Frangione and BellaLuna Productions, telling the lesser known story of the internment of Italian citizens in Canada during WW2.

However the first proper partnership with The Cultch was in May 2017 with LA MERDA, featuring a naked Silvia Gallerano sitting on a stool on a dark stage… what a tough show that was!

What has surprised you and your colleagues most about partnering with The Cultch?

I was surprised by the richness and diversification of the shows offered at The Cultch, and also by the number of people that created a community around this historical institution in Vancouver;  some of the audience changes according to what’s playing, but there is also a hard core audience that comes to every show. I think that’s great. They trust The Cultch, they know whatever gets put on stage will be good and will have an impact on them, and they come with an open mind.

Over the years, the Italian Cultural Centre has supported several Cultch shows. Are there any highlights or memorable moments?

I still can’t help but smile when I think of Pss Pss and what they did with the ladder. Pss Pss was a funny show by Compagnia Baccalà that made adults and children laugh with non-verbal humour. In our line of work, cross-generational and cross-cultural are adjectives we use constantly, but this show brilliantly embodied both concepts.

How important do you think it is that the arts organizations continue to cultivate and sustain partnerships with corporate sponsors and local businesses?

It’s of paramount importance. The population is growing in this expensive city, and we are also seeing the consequential multiplication of cultural and artistic organizations. Often putting up cultural activities costs more money than ticket sales can generate, and government grants (municipal, provincial, federal) do not always keep up with the growing demand for funds. I hope more and more thriving businesses will want to share some of their wealth with the local community to keep this city interesting and interested.

What are you curious about right now?

I am curious about the new Creative City Strategy that the City will be rolling out – hopefully soon. There have been a number of explorative meetings to get an idea of what is needed in the arts and culture sector, and I can’t wait to see how all that knowledge will convert into an action plan.

Do you have a favorite show?

This is always such an unfair question… I see a decent number of shows throughout the year, and I have to constantly update my list of favourites. If I had to single out something I saw recently, though – I am a jazz fan, and I was lucky enough to go to Pyatt Hall for the live concert of the great baritone sax player, Gary Smulyan, with strings. He is a powerhouse!


As a registered Canadian charity, The Cultch relies on the support of the community to operate as a cultural hub; bringing diverse and engaging live performance to the stage.
Please consider making a donation today! Contact Natalie Schneck, Development Associate: natalie@thecultch.com; 604.251.1766 x.121
Charitable registration # 11928 1574 RR0001

YOUTH TAKEOVER! A Guest post with our Youth Program Manager!

Youth Takeover! A guest post  from our Youth program Manager, Ariel Martz-Oberlander, about IGNITE! Youth Driven Arts Festival!

Youth Program Manager, Ariel Martz-Oberlander. Photo by Trey Le

Every year, for one week in May, The Cultch is taken over and transformed by young people for the IGNITE! Youth-Driven Arts Festival, run by our Youth Program. Hundreds of young people are involved in what has grown to be Western Canada’s largest youth-driven arts festival. The festival includes showcases in music, dance, and spoken word, the world premiere of 4 one-act plays, a visual arts exhibit, variety shows featuring music, circus arts, and much more. All of this is created by local artists between the ages of 13-26.

As the Youth Program Manager, it has been my great pleasure to support this festival as a learning opportunity and as the main project of our program. Putting on a festival of this size, with nine nights of programming, is no small task! It is such a joy to work with young people dedicated to learning the skills necessary for a life-long pursuit of the arts in a variety of fields.

Kevin Matthew Wong in The Chemical Valley Project. Photo by Julia Howman

This year, I am thrilled to be bringing in a touring show for the first time as part of the festival. The Chemical Valley Project was created by youth-run Toronto theatre company, Broadleaf Theatre, through conversations with activists from Aamjiwnaang, near Sarnia, Ontario. Through a unique blend of documentary-theatre, projections design, object puppetry, and solo-performance, the show sparks conversations on Canadian environmental policy, treaty rights and Indigenous relations, as well as the current nature of Canadian identity and values. I am excited for these cross-country conversations, and about connecting youth based on important topics about the country they will inherit.

Youth Panel Member, Anna Matthews, hard at work!

Literally every aspect of the IGNITE!Festival is produced by the youth. From media relations and promotion, to stage managing and running the lighting and sound boards, to curating and hanging the gallery show, there are countless ways to become involved, whether on stage or behind the scenes, and it’s not too late for this year! If there is a young person in your life who wants to lend a hand with this eclectic and ambitious festival, please drop me a line at ypm@thecultch.com.

IGNITE! Gallery Opening: May 2nd, 6 pm
Special Presentation of The Chemical Valley Project in the Vancity Culture Lab: May 8, 7:30 pm
IGNITE! Mainstage Week at the Historic Theatre: May 15-19, 7:30 pm
One Act Plays at the Vancity Culture Lab: May 11-12, 7:30 pm
Visual Arts Gallery Exhibit: May 2-19, Opening night May 2, 6-8 pm – FREE!

The Chemical Valley Project ticket pricing: 

Youth (26 and Under) / Senior (65+):  $15.00

Adult: $20.00

IGNITE! One Act Plays, and Mainstage week ticket pricing:

Youth (26 and Under) / Senior (65+): $2 (in advance); $4(at the door)

Adult: $10 (in advance); $12 (at the door)

IGNITE! Mainstage Week Festival Passes :
Select a pass to see every show in the festival.
Youth: $8.00 
Senior: $8.00 
Adult: $40.00

Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363

Some of the Youth Panel Members!

Donor Spotlight: Lynda Stokes

Donor Spotlight: Lynda Stokes

Lynda, can you tell us about how you first got involved with The Cultch?

I first got involved with The Vancouver East Cultural Centre as an audience member. The first show I recall was the Holy Body Tattoo’s Circa in 2000, shortly after I moved to Vancouver. It was a remarkable, tango-influenced duet between Dina Gingras and Noam Gagnon with film and a live band, the Tiger Lilies. I became a regular season subscriber and then a donor and a few years ago I was asked if I would be interested in joining the Board.

What has surprised you most about volunteering with The Cultch? 

As an audience member who is also on the Board and therefore privy to the financials, it is amazing how subsidized tickets are! We think of artists and venues benefitting from government grants and sponsorships, but really it is the audience who benefits. Accessibility is a priority for The Cultch and staff work hard to keep ticket prices low and pay it forward by making tickets available for free through the Cultch Connects Program. Regular monthly donations really help with cash flow, I recently learned (although this should not have surprised me). 

Your legal practice spans several years – can you tell us how this skill set intersects with your involvement at The Cultch?

My practice consists predominantly of solicitor and advisory work on behalf of local governments. Basically, I practice municipal law and I do not go to court. There was a vetting process when I looked into joining the Board and for whatever reason I was feeling pretty flat and lacklustre when I was interviewed but I sold myself by expressing an interest in being the Board Secretary and preparing  meeting minutes. I read, write and think for a living and while I really enjoy my work, I also recognize that most people would find a lot of what I do very tedious. I do not act as a lawyer for The Cultch, but because of my legal skills and experience, I understand Board governance and I am happy to help with important but boring bits like minutes, bylaws and contract negotiations.

Can you tell us what you wish other people knew about The Cultch?

I suspect that many people know more about The Cultch than I do! It has such a long history as an important performing arts institution in Vancouver, and I know that Cultch staff engage, and are connected with many, many people locally, nationally and internationally. If I have to wish, though, I wish more people knew that it is worth the risk. Get a subscription. Invite your friends. The upcoming season looks fantastic, and it’s easy to book a whole year’s worth of entertainment and take care of birthday and other presents. You will be grateful you did when rainy winter inertia takes hold. And you can always change the dates of your tickets if something comes up. 

Is there a Cultch show that has really inspired/stayed with you? 

I just saw The Explanation and really enjoyed it. It reminded me of some of the shows that influenced me in when I was in high school – like Michel Tremblay’s Hosanna and Caryl Churchill’s Top Girls (shout out to the Grand Theatre in London, Ontario, particularly its experimental Under Grand series). The Explanation is a really lovely, empathetic exploration of a relationship and a reconciliation of self.

I am partial to dance and I really loved Company 605’s The Sensationalists from 2015 (full disclosure – I recently joined the 605 Board) and Frédérick Gravel’s All Hell is Breaking Loose, Honey from 2016. Wow those were great shows.

What are you curious about right now?

I am curious about engaging with others in The Cultch, so I am trying to start up a Cultch Club. I see it as a kind of book club alternative for theatre and theatre adjacent nerds by theatre and theatre adjacent nerds, without a lot of rules or terrible attitudes. I am curious about how can we use The Cultch to connect with other people. The potential of theatre many of us recognized at a young age: “Wherever you are from, welcome home.”

  • If you are interested in joining The Cultch Club please email Georgia Beaty, Patron Development Associate (georgia@theculch.com ) and she will put you in touch with Lynda Stokes

As a registered Canadian charity, The Cultch relies on the support of the community to operate as a cultural hub; bringing diverse and engaging live performance to the stage.
Please consider making a donation today! Contact Natalie Schneck, Development Associate: natalie@thecultch.com; 604.251.1766 x.121
Charitable registration # 11928 1574 RR0001

Q&A with Titus de Voogdt from The History of the World (Based on Banalities)

A Q&A with Titus de Voogdt from The History of the World (Based on Banalities)

We are so excited to have the Belgian company Kopergietery here with their hit show The History of the World (Based on Banalities). It plays at the York theatre until May 5.

In The History of the World (Based on Banalities), a youngster, Philip, decides to look after his mother in the last months of her life. Starting from run-of-the-mill situations and objects, he embarks on a quirky voyage through her past.

Titus De Voogdt, the performer in The History of the World (Based on Banalities), is a beloved Belgian actor who works for theatre, film and television. He has worked/s with renowned directors as Arne Sierens (theater writer and director) and Felix Van Groeningen (movie director). He also starred as Vincent Bourg in the BBC-series The Missing (2014).

Titus De Voogdt in The History of the World (Based on Banalities). Photo by Phile Desprez

We are so excited to have you here in Vancouver. What makes you most excited about bringing this show to Vancouver?

I have never been here before. Vancouver always had an attraction on me, and I am very happy to finally be here. Besides, I love hiking and fishing so I hope I will get some opportunities in my free time to do so.

You are one of the co-writers of the show — what was the inspiration?

I’ve always been interested in inventions, how things work and stuff is made throughout history. That has been a key inspiration for writing this show.

While I was working on the script, Peter Higgs won a Nobel price for his work on the Higgs-Boson particle. It caught my attention and I started reading up on it. In this way it became a mayor topic in the show…

Your character, Philip, is interested in illusions and fantasy — do you share these interests with him?

I do, although I’m lousy at it, I like to do a coin trick from time to time..

What makes doing this show fun for you?

That it’s quite physical, it feels like a workout to me.

What makes doing this show meaningful for you? 

I hope people who see the show learn a thing or two about science they didn’t knew before. With a bit of luck it even moves them in the process.

Geoffrey Burton and Titus de Voogdt. Photo by Phile Desprez

The History of the World (Based on Banalities) features a musician (Geoffrey Burton- from Hong Kong Dong) who joins you on stage for the show — what is it like doing a show with live rock music?

It’s great, although he claims he is NOT a rock musician. It’s really a dialogue…the music brings the script to a higher level.

You do a lot of film and television work as well as theatre work — what are you working on these days?

Just finished a 12-episode series about a hostage situation in a bank it is called ‘de dag’ meaning ‘the Day.’  In Belgian TV an movies I usually play the bad guy. Don’t ask me why….

The History of the World (Based on Banalities) runs at the York Theatre April 25-May 5, 2018. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363.

Sponsor Spotlight: Patti Flaherty with brainstreams.ca

Sponsor Spotlight: A chat with The Cultch & Patti Flaherty from brainstreams.ca

Patti Flaherty from brainstreams.ca

Can you tell us how brainstreams.ca first got involved with The Cultch?

The good folks from the Cultch approached brainstreams.ca to explore with us our interest in being associated with the production of Reassembled, Slightly Askew.  The relevance to our group and what this production represented was so aligned that it only made sense to try and figure out how we could support the production.  Getting the story of Shannon out into our network and community was very important to all of us.

Patti, how unique was it for brainstreams.ca to sponsor the international and experiential show, Reassembled, Slightly Askew? What were the benefits to your professional community?

Brainstreams.ca and BC Brain Injury Association has never financially sponsored anything.  In fact, brainstreams.ca is normally reaching out to our friends and organizations to find financial support to do the good work we do. So, it was highly unique for us to sponsor the show. Being associated with this show was right up our alley and we were so proud to be a part of it. The benefits to our community are still somewhat unclear. However, it is clear that we have done something that has strengthened our efforts to offer education and awareness opportunities to the community. We produced a short video that lives on our site to celebrate this partnership. To see this video please go to: http://www.brainstreams.ca/videos/video-type/bcbia-presents-reassembled-slightly-askew/.

I have worked in the health care and brain injury rehab field for a very long time and have been deeply involved in many educational and learning opportunities; Reassembled, Slightly Askew is by far the most powerful and effective learning tool I have ever experienced.  I wish that everyone who works in the field or loves someone who has a brain injury could experience it.  Somehow, we need to find more ways to share this unique and brilliant performance.

Did you feel like there was a certain amount of risk involved in taking on this show?

Yes, there was some real risk in taking on this show. This partnership was very different from every other partnership that we have purposefully engaged in. The risk was in the unknown and in the use of our precious financial resources. That said, the board of directors unanimously agreed that this partnership made very good sense and was willing to take the risk. We are so pleased we choose to be involved with the Cultch and the show……no regrets!!

Can you tell us more about the work you do with brainstreams.ca?

Brainstreams.ca is the official website for the BC Brain Injury Association. Essentially the work of the BCBIA has become what brainstreams.ca offers to the people in BC who work with and live with the effects of brain injury. This site is a place where people’s stories are shared as a method of healing. It also offers an online library of brain injury related services and resources that are available in our province to our brain injury community. The bottom-line is that we are here to help strengthen the network of services and supports for people living with brain injury by offering decision makers strategic insights from our learnings and to help people navigate the system of services throughout British Columbia.

What are you curious about right now?

I’m curious to see how our partnership evolves. We would love to continue to be involved and develop our connection with the Cultch. We are planning on hosting our AGM in June at the Cultch and we are looking forward to finding other creative ways to build on this great experience.


As a registered Canadian charity, The Cultch relies on the support of the community to operate as a cultural hub; bringing diverse and engaging live performance to the stage.
Please consider making a donation today! Contact Natalie Schneck, Development Associate: natalie@thecultch.com; 604.251.1766 x.121
Charitable registration # 11928 1574 RR0001

A Q&A with Kevin McKendrick and Lindsey Angell about BUTCHER

A Q&A with Kevin McKendrick and Lindsey Angell about BUTCHER

Butcher, an edge-of-your-seat thriller from award-winning Canadian playwright, Nicolas Billon, opens March 21 at the Historic Theatre, and runs until March 31.

Early Christmas morning, on the doorsteps of a Toronto police station, Inspector Lamb discovers an unlikely bundle; a drugged and abandoned old man, who doesn’t speak any English, dressed in a strange military uniform. Atop his head a Santa hat, and around his neck a business card impaled on a butchers hook with the words, “Arrest me,” scrawled on it. Inspector Lamb begins an investigation into the identity of the stranger that will forever tie together the lives of four people: a lawyer, a translator, the stranger and the inspector.

 

We connected with Director, Kevin Mckendrick, and performer, Lindsey Angell, to ask them a few questions about bringing the hit show to The Cultch stage.

What excites you most about bringing Butcher to The Cultch stage?

Lindsey — Butcher has managed to get under my skin and I think it will truly draw our audiences in as well. It is deceptive and sneaky and even oddly charming at times, but be careful, you might get *hooked*…hehehe.

The Cultch has partnered with Amnesty International as a Community Partner for Butcher. Our Community Partners offer us the opportunity to spread the word about important issues at the same time as helping us spread the word about our shows. Knowing what you do about Amnesty International, do you feel that it is a good fit? Why?

Kevin — I think it’s an excellent partnership because Amnesty International wrestles with the issues in Butcher every single day. In her forward to the play Louise Arbour, a former Supreme Court of Canada justice, and former Chief Prosecutor of the International Criminal Tribunals for the former Yugoslavia and Rwanda said, “When can victims find peace when justice is elusive?” and  “Can offenders find closure if punishment is not extended to them?” Are these not huge questions for our time? Real peace and closure, it is often said, can only come from forgiveness. It falls to organizations like A.I to help us find our way through these tangled questions.

Why do you think Butcher has hit such a chord across Canada since its debut?

Lindsey — Butcher is brave. It does not choose sides or lead its audience in any way. That kind of experience in live theatre is rare and exhilarating.

In an ideal world, what would you like audiences to take away with them after seeing Butcher?

Kevin — One of my mentors, the playwright  John Murrell, impressed upon me the idea that theatre must be provocative, yet entertaining. It’s a maxim I try to apply to every play I work on. I want audiences leaving Butcher at The Cultch to feel we exceeded their expectations. I want them to be  thrilled and moved by the experience. To be glad they left the comfort of their home to take in a play. And I want them to leave the theatre arguing about the themes of justice and revenge. The best theatre serves to help us strengthen our society by spurring us to make changes.

You have put together an all-star cast of performers and creators for this production. Lindsey, what do you think Butcher offers actors that other plays may not?

Lindsey — Butcher is unlike any show I have done before. I have spoken in dialects and even other languages but never have I been given the gift of learning an invented language (playwright, Nicolas Billon, had two linquistics professors from the University of Toronto invent the language of ‘Lavinian’ specifically for this play). This story is incredibly mysterious and the characters are fighting fiercely for what they need, creating a tension I have yet to experience on stage. That’s about all I can say without spilling any spoilers.

Butcher has some very serious themes — justice, revenge, forgiveness — Have there been many discussions during rehearsals? Do you think it will stir up debate with audiences?

Lindsey — Of course! We have turned this play over and over, hashing out the ideas and the arc of the story. It is our hope that the audience will discuss the piece passionately afterwards, not only the themes but their own personal response to the ride.

Is there anything else about putting on Butcher that you would like to say a few words about?

Kevin — I have been so fortunate to have this opportunity. To work on this fine Canadian play with this outstanding team of collaborators. And it is very gratifying to us to have The Cultch recognize the importance of Nicolas Billon’s play and afford us the opportunity to share it with Vancouver audiences.

Thank you Kevin and Lindsey!

To read more about Butcher check out this great article from the Vancouver Sun, a Q&A with Peter Anderson.


Butcher runs March 20-31 at the Historic Theatre. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363.


Written by: Nicolas Billon

Starring: Peter Anderson, Lindsey Angell, Noel Johansen, and Daryl Shuttleworth

Director: Kevin McKendrick

Artistic Associate: Christy Webb, Set Designer: David Roberts, Costume Designer: Jenifer Darbellay, Assistant Costume Designer: Alaia Hamer, Lighting Designer: Michael Hewitt, Original Music and Sound Design: Keith Thomas, Stage Manager: Joanne P.B. Smith, Makeup Consultant: Miss Nikki Ying, Student Apprentice: Leah Read

Official Website: www.butcherplay.com 

Behind-the-scenes of Jabberwocky and No Foreigners!

Behind-the-scenes of Jabberwocky and No Foreigners!

It is an exciting week here at The Cultch – we have TWO shows opening! At the York Theatre, Jabberwocky runs Feb 6-17 (Opening Feb 7), and at the Vancity Culture Lab, we have No Foreigners playing Feb 7-17 (Opening Feb 8).

In this exciting blog post we reveal a few behind-the-scenes images for both of these amazing shows – A sneak peek just for you!

Jabberwocky:

Inspired by Lewis Carrol’s famous nonsense poem, Jabberwocky explores the things that keep us awake at night. What will it take to slay our own Jabberwock? Take a look at some of the behind-the-scene images from The Old Trout Puppet Workshop:

For an exciting behind-the-scenes look at Jabberwocky, check out this great video from Vancouver Presents!

No Foreigners:

An interdisciplinary collaboration (co-presented with Theatre Conspiracy) from Hong Kong Exile and fu-GEN Theatre (Toronto), two leading Asian-Canadian performing arts companies, No Foreigners takes a unique look at Chinese malls, through live performance, micro-to macro video, text, miniatures, and media design in this exciting world premiere. Check out these images from their time creating at Carleton University:

Jabberwocky runs at the York Theatre Feb 6-17. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363.

No Foreigners runs at the Vancity Culture Lab Feb 7-17. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363.

 

Meet the Honeys!

Meet the Honeys!

Hot Brown Honey opens at the York Theatre January 10. This fierce patriarch-smashing show has been shaking things up on its #WorldPollinationTour, and the buzz is palpable. We couldn’t be more excited to introduce you to the amazing women that will be taking over the York stage for most of January (Jan 9-27).

It’s time to get sticky!

Lisa Fa’alafi by Dylan Evans

LISA FA’ALAFI aka THE GAME CHANGER
(Creator | Writer | Director | Choreographer | Designer)
Definition: Innovator of an event, idea, or procedure that significantly alters in the
current way of doing or thinking. Shake’Em Up Woman. Defies the
Norm. Shifts the Paradigm. Rocks The Boat.

In The Words Of Dr Angela Davis:
‘You have to act as if it were possible to radically transform the world.
And you have to do it all the time.’

Ofa Fotu by Dylan Evans

OFA FOTU aka THE MYTH SLAYER (Soul Woman)
Definition: Defeats a fiction or half-truth, especially one that forms part of an
ideology. She slays. Staff Holder. Soothsayer. Smashes Stereotypes.
Centrestage.

In The Words Of Chimamanda Ngozi Adichie:
“The single story creates stereotypes, and the problem with stereotypes is not that
they are untrue, but that they are incomplete.
They make one story become the only story.”

Hope Haami by Dylan Evans

HOPE HAAMI aka HOPE ONE (Beatboxer)
Definition: Advocates a joyful of mindset of positive outcomes for the world at
large via rhythmic beats made with the mouth. Music Maker.
Collaborator. Decolonise and Moisturise.

In The Words Of Maryann Talia Pau:
“We ARE light. We ARE love. And love, is everything.”

Crystal Stacey by Dylan Evans

CRYSTAL STACEY aka THE PEACE MAKER (Hoops & Aerials)
Definition: She who brings about a sense of unity through truth. Poet. Mover.
Embodies the change she wants to see. Future Sculptor. Radical
Fierce Love.

In The Words Of Audre Lorde:
“We’ve been taught that silence would save us, but it won’t.”

Elena Wangurra

ELENA WANGURRA aka THE GROUND BREAKER (Contemporary Dancer)
Definition: Originator or pioneer that leads to/makes possible further growth. Risk
Taker. The Fierce Awakens. Makes Noise.

In The Words Of Dr Lilla Watson:
“If you have come to help me, you are wasting your time. If you have come because
your liberation is bound up with mine, then let us work together.”

Busty Beatz by Dylan Evans

BUSTY BEATZ aka THE QUEEN BEE
Creator | Writer | Musical Director | Composer | Sound Designer
Definition: So Boss. Vessel for The Word of The Mother. Divine Feminine Power.
Hip Hop Wrath. Filled with joyous rage. Protector of the Hive.
Nurturer. See Matriarchy. Fights The Power.

In The Words Of Busty Beatz:
“Fighting The Power Never Tasted So Sweet.”

— WORD TO THE MOTHER —

The Mother- The Hive- By Dylan Evans

Want a taste of the show? Meet the Honeys up close and personal in this live facebook interview with Vancouver Presents:

Live in the hive with the company of Hot Brown Honey

Hot Brown Honey runs at the York Theatre Jan 9-27. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363.

Hot Brown Honey is heating up Manchester!

Hot Brown Honey is heating up Manchester!

We are getting so excited! Hot Brown Honey has begun their #WorldPollinationTour, and Vancouver is on the flight path! From Jan 9-27, these fierce females will be taking over the York Theatre with their fun, fabulous, and patriarch-smashing hit!

As we speak Hot Brown Honey is heating up Manchester. The reviews are buzzing in and they are GREAT! Take a look:

— Make Noise! —

Hair Image By Dylan Evans

★★★★★ “Unlike anything you will have seen before… Smoking hot. If fighting the power is this much fun, we should all get on board and rock the boat a little bit.” – Frankly My Dear

★★★★★ “Busty Beatz [and] Lisa Fa’alafi have created a truly ground-breaking production unlike anything you’ve ever seen before – but will definitely want to see again… An empowering must-see performance full of laughter, joy and truth that is entirely faultless.” – Upstaged Manchester

★★★★★“The Honeys force us on this side of the world to think about the impact of our colonial past that is still having an impact today, centuries after the first colonialists spread their poison across the Pacific region.” – North West End

★★★★★ “A triumph of a show… Fast-paced, sexy, hilarious, and the all-female cast are a seriously talented and fierce bunch… But it’s more than just good entertainment value, behind the glitz of the huge golden beehive and the sassy dance routines there’s an important message which seeks to confront and challenge our perceptions of racial stereotypes and sexism.” – Northern Soul

★★★★ “A brave, and thought-provoking show… If you fancy something a little different this festive season: a show with plenty of attitude and sass then Hot Brown Honey is the show for you.” – The Reviews Hub

“Fearless, resolute and downright entertaining… The women of Hot Brown Honey simultaneously raise the roof and your consciousness.” – Circles & Stalls

“The[se] luscious ladies leave the audience on their feet shaking their booties to some sweet tunes… It creates such a party atmosphere… A celebration… The exact type of excitement and energy that could begin a revolution.” – Culturebean

Hot Brown Honey is not trying to encourage or give space for reflection and debate, but rather to utterly subvert the patriarchal world view and to urge action. Subtlety is not the path to revolution.” – Unrestricted Views

“A flamboyant evening of cabaret entertainment… Fighting the power never tasted so sweet… Just brilliant, a complete blast from start to finish.” – The Greater Manchester Reviewer

Hot Brown Honey runs at the York Theatre Jan 9-27. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363.