Little Dickens: The Holiday Hit is BACK!

 

Little Dickens: The Holiday Hit is BACK!

Back by popular demand—Ronnie Burkett’s holiday hit Little Dickens: The Daisy Theatre returns to The Cultch Historic Theatre Dec 4-22, 2018.

In December 2017, Ronnie Burkett premiered this Cultch exclusive, Little Dickens—an adults-only marionette rendition of Charles Dickens’s A Christmas Carol created specifically for the amazing Vancouver audiences who embraced The Daisy Theatre characters in five sold-out runsto the Historic Stage. It was a huge hit with fans, old and new, as well as reviewers!

Check out some of the RAVE reviews from 2017interspersed with an insider look at Ronnie Burkett’s sweet and raunchy characters, direct from his Instagram @ronnieburkett:

“The Dickens story provides a solid platform for Burkett’s high-strung irreverence, but it also has a core of sweetness and generosity that make this show a genuine gift. Enjoy it, Vancouver” — Kathleen Oliver, The Georgia Straight

“The familiar characters from his bizarre repertoire ring a showbiz variation on Dickens’ tale that’s…warmer and fuzzier in a Christmassy way, punctuated by raunchy asides and moments of sheer Burkettian brilliance”—Jerry Wasserman, The Vancouver Sun

“Puppeteer Ronnie Burkett is a genius. He just is…I would watch Schnitzel all night long anywhere” — Colin Thomas, colinthomas.ca

“Ronnie Burkett’s Little Dickens is a retelling of A Christmas Carol but with more bah-hum-buggery, fewer heartwarming lessons in morality, and a whole lot of excellent banter” — Connal Mcnamara, Vancouver Weekly

I’d recommend seeing it twice because it’s guaranteed you’ll be laughing so hard you’ll have missed some of the great lines the first time around” — Monika Forberger, EntertainmentVancouver.com

“It was a delight to see Dickens’s timeless characters given a glorious and slightly smutty twist” — Molly Gray, The Vancouver Arts Review

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In her gender defying performance as Scrooge in Little Dickens last season, Daisy Theatre superstar Esmé Massengill appeared in a stunning red redemption gown at the end of the show. It was pretty wow, but given that Mrs.Edna Rural essentially stole the show in her light up Christmas tree costume, it was decided to give Esmé a new and “WOW”ier final costume. Kim Crossley, who has made my puppet costumes for almost three decades, came to Puppetland this week, and in two days – voilà! – Miss Massengill shines anew. And in Esmé’s own words, “What tops a Christmas tree, darling? A star, that’s what!” . . #esmemassengill #thedaisytheatre #littledickens #thedaisytheatrechristmascarol #esmeplaysscrooge #costumedesign #puppetdesign #puppetbuilder #theatredesign #maketheyuletidegay #instagay #acchristmascarol #bahhumbugdarling #ronnieburketttheatreofmarionettes

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“…bold storytelling, black humour, and unscripted razor-edged dialogue” — John Jane, reviewVancouver

“I guarantee…you will not have seen anything like this before. It is visually spectacular, exceptionally well executed and truly special to behold” — Penny Warwick, Two Pence & Two Cents

“It’s foul-mouthed fun backed by artistic wizardry, and it’s entertaining as hell” —Lillian Jasper, Two Pence & Two Cents

“Burkett had the crowd laughing along heartily as his marionettes refreshed this classic with their inventive songs and quirky personalities” — Tessa Perkins Deneault, Centre Stage

Are you ready to see your favourite Daisy Theatre characters in in the merriest marionette mash-up again? It is almost time!


Little Dickens runs Dec 4 – 22, 2018 at the Historic Theatre, 1895 Venables Street. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363.

A time for Remembrance: Theatre as a means for survival

A time for Remembrance: Theatre as a means for survival

This month, The Cultch is presenting the Ceasefire Series: an exploration of war to commemorate the 100th anniversary of the armistice of WWI. The series features three unique shows that explore the causes, effects, and traumas of war from different lenses; one taking place during WWI (SmallWaR), one taking place during WWII (Three Winters), and one taking place in contemporary times (The Believers Are But Brothers). We hope you will come and enjoy all three!

As part of our Ceasefire Series we are please to present the world premiere of Amiel Gladstone’s Three Winters. Three Winters is a highly theatrical case for the creation of art as a means to survive, inspired by the experiences of Amiel Gladstone’s grandfathers who was a prisoner in Stalag Luft III POW camp—made famous by 1963 film The Great Escape. One of the ways the men in the POW camp survived was by making theatre.

“If it weren’t for their ability to make theatre, my Grandpa said he would have died in those WWII POW camps. This play is about that reality, told with immediacy and connection.” — Amiel Gladstone

Though not commonly known, theatre was one of several ways that men in the trenches, and men in POW camps kept themselves occupied during war. Early this year, the Museum of Contemporary Art in Krakow (MOCAK) exhibited Lagertheater  an exhibition about theatre in concentration camps and POW camps, about which they say: “The assembled documentation reveals how difficult it was – in spite of the radical methods of extermination used – to extinguish the prisoners’ sense of their inner worth, which they expressed through the creative act.”

Amiel Gladstone’s play, Three Winters, has an all-female cast as a way of re-contextualizing this tale of war. “I became very interested in how much of a statement that was about why we make art and its importance…I got interested in how it was all men acting in those places and decided to reverse it to a cast of all young women. They aren’t used to playing war heroes anymore than my 22 year-old grandfather was in his POW situation,” says Gladstone.

Cross dressing was common in prisoner of war camps as well as in theatre for soldiers at the front. Some men became famous for their female impersonations, as shown in these archival photos images:

The idea of theatre as a means for survival is alive and well today. Theatre has used in many therapeutic ways from Drama Therapy, to helping Veterans who are suffering from PTSD, to theatre in refugee camps.

The cast of Three Winters…performing as men performing theatre in a POW camp! Photo by Emily Cooper


Three Winters runs Nov 7-17 at the Historic Theatre. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363. See all three Ceasefire Series shows for as low as $65 with The Cultch’s Choose 3 Subscription package.

A time for Remembrance: Women in War

A time for Remembrance: Women in War

This month, The Cultch is presenting the Ceasefire Series: an exploration of war to commemorate the 100th anniversary of the armistice of WWI. The series features three unique shows that explore the causes, effects, and traumas of war from different lenses; one taking place during WWI (SmallWaR), one taking place during WWII (Three Winters), and one taking place in contemporary times (The Believers Are But Brothers). We hope you will come and enjoy all three!

Inspired by Amiel Gladstone’s fictional recontextualization of his grandfather’s war experience in Three Winters, Outreach Intern, Charlotte Wright, wanted to share the story of her own grandmother’s heroic journey in WWII.

After seeing any of the shows in this series, if you would like to share your reflections, memories, or stories, please email us at outreach@thecultch.com


As we approach a very special Remembrance Day we are flooded with images and stories of the incredible and heroic soldiers that gave their lives. But, as important as it is to remember the two generations of men that were ravaged by two world wars, it’s also important not to forget the women – who weren’t just left behind, but who were fighting battles of their own.

Marija Rudzites, my Grandmother, was imprisoned in a Nazi labour camp at the age of 17 near Riga, Latvia. When she spoke about her time there, which wasn’t often, she remembered pushing what little food she had through a barbed wire fence into the hands of the starving children in the concentration camp on the other side.

Upon her release, when Latvia was “liberated” from Nazi rule by the Soviets, she was given a choice: stay or leave. She, alone, chose to leave. She walked across war ridden Eastern Europe, leaving her entire family behind. She spent her days trekking across the continent for months on end; she spent her nights sleeping in fields and barns in the dead of winter, avoiding air raids that lit up the night sky like fireworks. I don’t know much about what else she faced on this journey, as she didn’t speak about it much, but I’m sure the horrors that I can picture don’t even begin to come close.

When she finally arrived at her destination, England, she was alone in a country where the language was not one of the three others that she spoke. After securing a job working in a hospital kitchen, she began to study. Before long, she hadn’t just mastered this new language; she had also been appointed one of the top nurses in the hospital. She returned to Latvia once, just before I was born. I am told that as soon as she got off of the plane, she knelt on the floor and kissed the ground – so grateful to have finally come home.

Photo by Emily Cooper

It’s not often that we hear the stories of the women that lived through these wars. We often forget to consider our grandmothers just as deserving of hero status as our grandfathers. People find it unusual that the events that take place in Three Winters are being told by women, when all the experiences were had by men. But the women were there too. Women lived and died too. Besides, at the end of the day when all the men were gone, who was left behind to tell their stories?

A time for Remembrance: Three Winters captures the defiance of the human spirit

A time for Remembrance: Three Winters captures the defiance of the human spirit

Louise Chapman, Cultch Development Associate

This November The Cultch is presenting the Ceasefire Series: an exploration of war to commemorate the 100th anniversary of the armistice of WWI. The series features three unique shows that explore the causes, effects, and traumas of war from different lenses; one taking place during WWI (SmallWaR), one taking place during WWII (Three Winters), and one taking place in contemporary times (The Believers Are But Brothers). We hope you will come and enjoy all three!

Our Development Associate, Louise Chapman, had the opportunity to hear the early read through of Three Winters. She responded by writing this post.

After seeing any of the shows in this series, if you would like to share your reflections, memories, or stories, please email us at outreach@thecultch.com


 

Playwright, Amiel Gladstone revisits the site of his Grandfather’s internment

Part of the Ceasefire Series, Three Winters is a based on the true-life experiences of Playwright and Director Amiel Gladstone’s Grandfather in Stalag Luft III, a World War Two Prisoner of War (POW) Camp. Stalag Luft has become one of the most infamous POW camps of the war, mostly due to the escapes engineered by the Canadian, US and British soldiers held there.

Three Winters is set against the backdrop of the famous escape, but the real focus is the plays that the soldiers perform in the camp. Men in Stalag Luft were sent plays by the Red Cross which they staged in the camp, providing a creative space to escape to during the long months of incarceration.

The 1963 film with Steve McQueen immortalized the escape efforts of the prisoners in Stalag Luft III

 

I’m from the UK and growing up, every Christmas I would sit down with my Grandpa and watch the The Great Escape, an iconic 1960s movie based on the Stalag Luft story. We’d laugh at the jokes, whoop at Steve Mcqueen’s motorbike stunts, and hum the theme song for days afterwards.

My Grandpa was in his early twenties when World War Two started. He lost his best friend, watched his city turn to rubble in the Blitz, and experienced the brutality of the army. Like many people who have experienced war, he suffered from Post-Traumatic Stress Disorder and had nightmares into his nineties. Yet he found humour in the darkest of memories and would wistfully recall dances, dates with barmaids in towns he was stationed in, and one boozy night when he slept through a bomb blowing the roof off the house was staying in.

I’ve found this same humour in other people of my Grandpa’s generation. My friend Helma, now in her nineties, lost both her brother’s in the conflict. She still cries with laughter when telling stories of how, in occupied Holland, she would win local potato peeling competitions. Even friends who lived through the more recent Gulf War in Kuwait will share hilarious anecdotes of people escaping whilst hidden in boxes of underwear drenched in pungent fish sauce.

The characters in Three Winters, performed by an all-female cast, have the golden glow of youth that tinged my own Grandpa’s memories. They banter, they joke, they dream of the future and their sweethearts back home. In a world where millions are suffering and dying and their own fates are so uncertain, they explore morality and humanity in the form of theatre. Three Winters captures this defiance – to laugh and dream and live in the face of hopelessness.


Three Winters runs Nov 7-17 at the Historic Theatre. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363. See all three Ceasefire Series shows for as low as $65 with The Cultch’s Choose 3 Subscription package.

Javaad Alipoor: The Believers Are But Brothers looks at the shape of contemporary violence

Javaad Alipoor: The Believers Are But Brothers looks at the shape of contemporary violence

The Believers Are But Brothers (part of our Ceasefire Series) is in full swing in our Vancity Culture Lab (runs until Nov 10), and it has been getting amazing reviews!

“The textural variety of the show is rich…There’s more to take in than a single viewing affords; that’s an enormous achievement.”— Kathleen Oliver, The Georgia Straight

“The Believers Are But Brothers is about the internet and it’s like the internet: it’s bursting with information and I’m not sure how to make sense of it, but I find it really f**king stimulating.”— Colin Thomas

“It’s an impressive and important show.”—Lincoln Kaye, Vancouver Observer

We had a chat with the writer/director/performer, Javaad Alipoor about creating the show that The Georgia Straight said “clicks all the links”:

Can you tell us a little bit about yourself?

I’m a mixed race writer, director, poet, and political/social activist from a city in northern England called Bradford. I tend to make work that tries to encode the questions it asks about the world in the form of the play; whether my own writing like this play or my versions of classic plays. I also do a lot of community and participatory art works, and try to keep my hand in some other stuff too; I helped to set up a campaigning group that defends migrants in the UK, and write about politics and social theory occasionally.

What inspired the creation of The Believers Are But Brothers?

Really, I wanted to decanter the Islamophobic and racist narratives around the war on terror. So if you look at a lot of the ways that so-called “Muslim radicalisation” is talked about its as if we are told there is a problem with Muslim young men. To be slightly tongue in cheek, there’s just a problem with men; and that’s what this play explores.

We are so excited to have you here as part of our Ceasefire Series: An exploration of war to commemorate the 100th anniversary of the armistice of WWI. With this series we set out to start conversations around the cause and effects of war; in what way does this show add to that conversation?

I think there are some ideas in the play that will help people to think about (and ask questions about) the shape of contemporary violence, and in particular how it exists as a sort of fantasy that helps to order a masculinity that finds itself in crisis. From Brexit to Trump, Modi to Bolsonaro, a revanchist and vicious right wing masculinity is ripping through the world. We need to think about what it is, if we are ever going to stop it.

The Believers Are But Brothers is also a co-production with Diwali in BC, and part of this year’s Diwali celebration. We understand that Diwali celebrates “victory of light over darkness, good over evil and knowledge over ignorance”; how do you think that your show brings light and knowledge to issues we are often ignorant of?

I think a lot of the show is about things that people sort of know exist, or have heard of, but that exist just at the corner of vision. The bits of the internet just below the surface, or the young man in the room in the corner of your eye. Hopefully, we turn the light from the centre onto the fringe for a moment or two.

The Believers are but Brothers
Credit: The Other Richard

The Believers Are But Brothers utilizes the app Whatsapp—it is a rare show that people are encouraged to keep their phones on for! How does having people actively engaging via the app change the relationship between you, as the performer, and the audience?

A lot of my work, especially the stuff I write myself, tends to be work that responds to the physical reality of performers and audience being a room together, so in one sense its not all that different. I suppose what this extra level of interactivity brings out is a sense of liveness (weirdly, given that the audience engage through a screen!) that helps me to tell a little bit of the story about the way that we can often be over faces or consumed by the velocity of digital media.

Have you been to Vancouver before? What are you most excited to see or do while you are in town?

I haven’t been here before. I’m really looking forward to seeing some theatre and film here, as well as seeing the Pacific Ocean for the first time. I’ve heard pretty great things about BC wine and seafood too.

The Believers Are But Brothers runs in the Vancity Culture Lab until Nov 10. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363. See all three Ceasefire Series shows for as low as $65 with The Cultch’s Choose 3 Subscription package.

SmallWaR Creator’s Notes

Valentijn Dhaenens, the creator and performer of 2016’s hit BigMouth, returns to the York Theatre stage with his new work, SmallWaR. Read on to discover the inspiration behind the companion piece to a show The Georgia Straight called “a mind-blowing celebration of the power of the human voice.”

BigMoutH (pictured above) was a smash hit of The Cultch’s 2015/16 Season

Photo by Inge Lauwers

SmallWaR Creator’s Notes by Valentijn Dhaenens

The idea for SmallWaR was born while touring BigMouth. I soon felt the urge to make a companion piece dealing with the reverse side of those historical speeches. In contrast to BigMouth’s sensational speeches, dynamic rhythm and mankind trying to be God, SmallWaR is about the small victims, the paralyzing standstill, and the trauma of being stuck in the mud. I grew up in the area of Flanders Fields in the early 1980’s and remember playing on those impressive Canadian, Australian, and British cemeteries. Once in a while, schoolmates living on farms would still find bomb-shells while playing on the ploughed fields of their family. I’ve always been fascinated by the First World War as a symbol for war in general. It was the first industrialized war – war as we still know it today. Tanks were invented, air bombing played a new crucial role, lung-hitting gas introduced first weapons of mass destruction and the ripped apart victims of it all allowed surgeons to experiment with the first plastic surgery.

SmallWaR became the necessary sequel to BigMouth. More than 80% of the speeches in BigMouth are directly or indirectly linked to events that led to war. Nevertheless, they’re speeches with wonderful words, where heroism is emphasized. Leaders try to convince the masses to go to war, then they praise the ones who died and pretend to be grieving with their families. While performing BigMouth, I felt more and more obliged to show the other side. There are millions of people who suffered the consequences of what was being said in those speeches. I felt the urge to tell these stories.

Photo by Inge Lauwers

The First World War proved to be the perfect backdrop to tell these stories. Not only because of the 14-18 commemorations. The First World War was the mother of all modern wars. It was the first time that killing had been industrialized. Modern warfare took shape back then and has barely changed since. And to me, after months of reading on the subject it seemed the most useless and meaningless of all wars. Its cause was preposterous – as if the world just felt like fighting. What most struck me in lots of soldier’s diaries was the difference between the sheer excitement and optimism about entering the war and then not much later the total horror of being stuck in the muddy trenches, fearing to die.

There has been so much literature, movies, poetry, and documentaries on the topic of war. As a theatre-maker, I felt compelled to explore the strongholds and laws of this medium in contrast to the other arts. Rather than depicting battle or reconstructing history, I found an opportunity to make an emotional reflection on the trauma and the repetitiveness of war, concentrating on the deadlock instead of the action. To whisper in fear as not to scream for blood.

SmallWaR runs at the York Theatre from November 6th-11th as part of The Ceasefire Series, an exploration of war to commemorate the 100th anniversary of WWI. To learn more about The Ceasefire Series and to get your tickets to SmallWaR click here.

SmallWaR image credit Daily Dolores


SmallWaR runs Nov 6-11 at the York Theatre. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363.

A conversation with Paneet Singh, Writer/Director of A Vancouver Guldasta!

A conversation with Paneet Singh, Writer/Director of A Vancouver Guldasta

Paneet Singh. Photo by Pardeep Singh Photography

The Cultch is excited to once again partner with Diwali in BC. This year we are co-presenting two shows, The Believers Are But Brothers ( Oct 30 – Nov 10, Vancity Culture Lab) and A Vancouver Guldasta (Oct 2 – 21, Vancity Culture Lab). A Vancouver Guldasta, written and directed by Paneet Singh and produced by South Asian Canadian Histories Association (SACHA), opens next week and we couldn’t be more excited. We chatted with Paneet Singh, and he gave us a little background about the show.

Can you tell us a little bit about yourself?

I am a playwright and filmmaker based out of Burnaby. I absolutely love history, and especially the history of the local South Asian community. A lot of my work is around examining intimate stories that happen within large-scale events, much like the story in A Vancouver Guldasta. I also work in admin and am part of the instructional staff at Arts Umbrella, working mostly out of the Surrey locations. Above all else, I love storytelling. I consider engaging with story to be a large part of my professional and personal life, as well as my spiritual journey – and really the only way in which all of these aspects of my life can intersect. I also like to make a lot of jokes. Usually when I shouldn’t be making jokes. I thought that was important to share.

Where did you get the idea for A Vancouver Guldasta?

About a decade ago, a friend of mine gave me a VHS tape that he had gotten from his uncle which contained a ton of local and newscasts from 1984 immediately after the invasion of the Golden Temple. I was so moved by the content and I knew that there was a story to discover around it. I played with it in many ways over the past few years, eventually discovering that the story would be well-served to be told in a way which captured that trauma is shared across generations and cultures – from there, A Vancouver Guldasta was born.

Is it true that the word ‘Guldasta’ means ‘bouquet’? Can you explain what the significance of the word Guldasta is in the context of A Vancouver Guldasta?

Yes, it does! Guldasta means ‘bouquet’ in a few languages from South Asia, including Punjabi, Hindi, and Urdu. The title is meant to reflect the make-up of many Vancouver neighborhoods that many of us grew up in, where families weren’t just those who you were biologically related to, but also became those who you shared a living space with, and interacted with everyday. It speaks to this being a story experienced in a space which appears to be a Punjabi space, but is actually intercultural. ‘Guldasta’ is also a term used in Indian classical music to refer to a composition that is made up of contrasting musical measures – but I won’t go too far into it, as that’s explored in my favourite scene of the show!

The Golden Temple, also known as Sri Harmandir Sahib (“abode of God”) or Darbar Sahib, (Punjabi pronunciation: [dəɾbɑɾ sɑhɪb], “exalted holy court”), is a Gurdwara located in the city of Amritsar, Punjab, India. Credit Wikipedia

The invasion of the Golden Temple is a significant event in the Punjabi community. Were there difficulties writing about such a significant period of time, one that is so firmly cemented into people’s minds? How did you overcome these?

The biggest challenge comes from the fact that it’s in the lived experience for so much of the community. Even those of us who didn’t live through it personally, feel the tremors of its impact and have inherited the trauma from those around us. Furthermore, the politics of 1984 form the basis of politics today within the community. Most people want to examine one or the other – the politics, or the trauma. I feel as though the two are so heavily intertwined, to really unpack either you need to see how they intersect, and that’s what forms the basis of this piece. You can approach the politics and trauma in a sensitive manner if you put a face and experience to them. I did a lot of research, observation, and consultation in order to ensure that there was a truth and sensitivity behind every distinct voice that is reacting to this catastrophic incident.

What can you tell us about the characters in the play?

They’re so different from one another, but I think you can really believe them to be interacting the way that they do. They’re funny, they’re bold, they’re dynamic, and they’ve all got something to say – but, perhaps they’re still discovering the right way to say it. I don’t want to get too much into each character individually, but the thing that surprises me most about this show is that an audience member will often say that a particular character reminds them of themselves, but they really found themselves listening to the character who was opposed to them – to me, that’s really exciting because it means that there’s a strong thesis and antithesis being examined and there’s a compelling enough argument to draw the attention of otherwise unwilling ears.

Lou Ticzon as Andy, Gunjan Kundhal as Niranjan, Parm Soor as Chattar, and Arshdeep Purba as Rani. Photo by Pardeep Singh Photography

We are so excited to have A Vancouver Guldasta in our Culture Lab; the last time it was presented, the stage was set in an actual Vancouver Special, the location that the play is set. How did you manage creating a stage inside of a home? What are you looking forward to about having it in our Culture Lab?

Typical Vancouver Specials. “Vancouver Specials have similar floor plans with the main living quarters on the upper floor and secondary bedrooms on the bottom, making them ideal for secondary suites.” Credit Wikipedia

It was tough staging it in that space, but I was stubborn! I knew that I wanted to experiment with that location the first time we put it up, just because there’s so much gravitas with this particular story in that space which is, in other regards, so infamously humble and common. We had three rows of bleachers built into the room and squeezed in 25 people, crammed in shoulder-to-shoulder, to watch this show that was entirely lit by practical lighting, and had all the sound coming out of the television set. It wasn’t glamorous, but it really forced you into the world of the characters, and audiences really responded to it.

I’m twice as excited now because we get to bring that experience into the Lab. We’re playing with the audience’s seating arrangement, we’re playing with projection, and we’re playing with some of that good ol’ 80s technology to really make it as much of an experience as it was in the house. It’s fun re-imagining it in this space – it feels like a whole new production. I have been approaching it creatively not in a way in which I’m trying to get the Lab to become that living room, but rather respecting the Lab for what it offers, and discovering how these feelings translate in this new space, for a larger audience.

Is there anything else you would like to share about the production?

I am really struck by how much this show strikes a personal chord with so many audiences – Sikh, South Asian, Vietnamese, Vancouver residents, and those who fit into none of the above, have all said they found a story in this story that resonated with their own personal experience – and I love that. Experience and empathy lies at the heart of much my work, and A Vancouver Guldasta is no exception, so I really want to invite folks into this intimate space to spend time with this family. Certainly a unique family – but still one that’s perhaps not so far-from-home.


A Vancouver Guldasta runs Oct 2-21 at the Vancity Culture Lab. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363.

Staff Picks #3: don’t miss these highly recommended shows!

Don’t miss these highly recommended shows!

Jamie King, Box Office Attendant, recommends Kamloopa, Sept 25-Oct 6, 2018 AND New Cackle Sisters: Kitchen Chicken, April 2-6, 2019

Jamie King, Box Office Staff, couldn’t pick just one show from our 2018/19 Season!

Kamloopa – This is a brand new show from Kim Harvey who is one of the coolest people on the planet. Not only does it have some incredible Indigenous women onstage, but there is “no crying and no dying”. These women are badass, hilarious and in for an awesome adventure story . Beside writing and directing, Kim is facilitating the most incredible process in the rehearsal room, in talks with the community; this is more than a show – it’s medicine. I cannot wait to see it.

New Cackle Sisters: Kitchen Chicken – I think I cried out with joy when I saw we were bringing l’orchestre d’hommes-orchestres back this season. Think of performance art meets incredible Appalachian bluegrass, meets weirdly funny and sometimes erotic performers. After two amazing shows featuring Tom Waits & Kurt Weill’s music, I am PUMPED they are focusing on female voices and getting weird with some chicken.


Andrew McCaw, Production Manager, recommends A Brief History of Human Extinction, Oct 10-20, 2018

Andrew McCaw, Production Manager

 

 

Some of the artists involved in A Brief History of Human Extinction worked on the show in our studio earlier this summer. It was fascinating to see artists from very different disciplines develop a language to work with each other. The term “Puppeturgy” was jokingly coined. I am excited to see how it all comes together.


Cindy Reid, Managing Director, recommends Testosterone, Oct 2-13, 2018

Cindy Reid, Managing Director, a big fan of nudity!

 

 

 

I am really looking forward to Testosterone. I am interested in personal stories of transformation, and it looks like it’s going to be an interesting ride! Plus, nudity and strong language—should be a good night out!


Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363 | Save 20% with our Choose 5 subscription package or 25% with our Choose 8 subscription package! This year we also have a Choose 3 package—see three different shows for as little as $65!

GUEST POST: Kim Senklip Harvey, Protocols for the Indigenous Artistic Ceremony Kamloopa

GUEST POST: Kim Senklip Harvey, Protocols for the Indigenous Artistic Ceremony Kamloopa


This is a repost of Kim Senklip Harvey’s blog post, used with permission. The original can be found at www.kimsenklipharvey.com/blog.


It’s day 1 of the Kamloopa portion of the Indigenous artistic ceremony we’re creating and the power and energy is ancestrally kinetic. We’re going to spend the next 2 days honouring and presencing ourselves to arrive and get in tune. I did some deep work at the end of last week, disconnecting from tech and reconnecting to Indigenous values of love, respect and listening and I’m absolutely going to be embedding that practice into all of my artistic creation journeys.

The creation of the Indigenous ceremony Kamloopa has been a big learning curve for a lot of people including myself. Approaching this with producing partners that are Canadian colonial institution

Kim Senklip Harvey, Fire Igniter, Writer/Director for Kamloopa

We are focusing Kamloopa around the 7 Grandmother teachings of wisdom, love, respect, truth, courage, honesty and humility. In all of our creation work we’re reflecting back on how our engagements intersect with these 7 teachings and with the following Smoke Signal we strongly ask that as you engage the ceremony centring those values as well.  s with primarily Settler producers has evoked teachings of humility, understanding and knowledge. I do want to take a moment to honour the producing partners and all their staff for their courage in journeying into the dark with me until we all can arrive at the fire together. Limelet.

Please click here to read the official Smoke Signal that speaks to the protocol for this ceremony. One protocol states that Settlers do no write formal critiques of the ceremony, this request comes from a number of places that I really look forward to speaking about at the Community of Practices (COP) in Vancouver on On Monday, Sept 24, 6-7:30 pm at the Cultch. Dates to be confirmed in Kamloops at WCT and Saskatoon.

I will touch briefly on the main rationale but I hope that the community can respect that myself and the Fire Creation team are headed into a very intense portion of our journey. So I hope we can respond in a way that doesn’t put the labour of explaining settler oppression of Indigenous peoples onto Indigenous peoples participating in creating artistic ceremony. I was once taught that I should be mindful of what I ask of others, contextually in this moment with Indigenous peoples because those questions, that time is time away from us participating in spiritual practice.

So here goes:

First, Indigenous protocol. Period. End of story.

Hahaha but seriously like, we’re stating it’s Indigenous artistic ceremony protocol, that should be enough and that alone should be respected. I’ve had the fortune and privilege of participating in ceremony and in the Indigenous paradigm, questioning that would be extremely disrespectful. It makes me cringe thinking about questioning a knowledge holder of a longhouse or sweat or any ceremony. #Shudder #Barf

For Indigenous sovereignty to occur I understand that Settlers need to understand Indigeneity but I will say this, I have a PHD in Whiteness. I’ve been studying Settler Eurocentricity my entire life, I live under Settler oppression all of the time, so I’ve put my time in doing the work, research, lived experiences and detailed studies of why I’m positioned in society where I am.

So I offer everyone to do a inventory of where their level of understanding is with regards to Indigenous world views, ceremony, historical and pre-colonial paradigms of thoughts and everything beyond. Then I offer, you consider how you make your requests from Indigenous peoples or make potentially oppressive comments towards Indigenous peoples who continue to live under siege of Settler and white supremacy.

After that inventory, I would make another offer that as a Settler, take time, significant time, to listen and listen and listen and experience and experience and experience and before you speak and that maybe you use your Settler power that currently is wielded against us to actually hold space for Indigenous peoples to engage and be given voice instead of you taking more space.

If you feel the need to speak or be given voice before, above and or louder than Indigenous peoples about the ceremony then you are actively continuing to use your Settler power to silence, take space and harm Indigenous peoples and I think you’ve missed the invitation, the offer, the opportunity here.

Settlers have oppressively positioned themselves in this theatrical context to have some presumed kind of academic and or artistic “authority” over Indigenous peoples. Historically and contemporarily that might be permissible protocol in Canadian theatre – but this is not that. This is Indigenous artistic ceremony, so I offer for you to take an inventory again, of why you think you have been given authority, permission or be entitled to speak, critique or position yourselves over Indigenous Matriarchs creating Indigenous artistic ceremony.

Kaitlyn Yott as Mikaya in Kamloopa (Sept 25 – Oct 6); Photo Credit: Emily Cooper

We’re not looking for comparative analysis with Canadian Theatre and we’re not seeking comparative experiential analysis with Canadian Theatre that has told Indigenous stories. We are inviting you to come and bear witness and participate in Indigenous artistic ceremony, to learn what that means and not assert Settler power aggressively over us. At the top of the Kamloopa ceremony we will share with you how to bear witness and we hope you can embody the values of respect, humility, courage, wisdom, trust, love and honesty as we journey through this together in our co-existence.

With all of that being said and with great excitement we’d like to make this our official invitation for Indigenous people’s who see themselves in the work to speak about the show: Mom’s, Sisters, Aunty’s, academics, community members, cuzzins and friends come hang out with us! We’re having talkbacks and talking circles specifically for Indigenous voices to be presenced and celebrated so please check out the websites for more details. We really would love to hear form the Indigenous community. DM us, grab us before or after the ceremony, tweet us, lets meet for tea, walks and chats.

This story, this ceremony is for our Indigenous peoples, it is to give voice and illuminate the power of Indigenous women. It is about our unwielded power and unsuppressed Settler suppremacy for the entire journey of the artistic ceremony. That is the power we are reclaiming over our storytelling ceremony with Kamloopa.

With respect, in love and deep hope we can be vulnerable together to live courageously, we look forward to seeing you in the Long Lodge.

Kim.


For more information about Kamloopa, and to be a part of the conversation, follow along the Kamloopa journey on Kim Senklip Harvey’s blog; learn about, the brave women who’ve agreed to bring this ceremony to life,” and read about how Kim is including Indigenous women in all aspects of the process, in Equity in Action: Access to the Fire.

“We’re looking for Indigenous women from all aspects of our community, I want our Grandmas, our teachers, our friends, Aunties—the women who are sometimes not seen or not appreciated enough. Kamloopa is about presenting Indigenous women throughout the entire process and this aspect is super important to me.”


Kamloopa runs Sept 25-Oct 6, at the Historic Theatre. Book tickets online or by phone by calling The Cultch Box Office at 604.251.1363.

Staff Picks #2: 2018/19 Season shows that we don’t want you to miss!

2018/19 Season shows that we don’t want you to miss!

The second blog post in a summer series featuring some of the 2018/19 shows that our staff just cant wait for! Read the first post here!


Lee Newman, Assistant to Head Front of House Manager / Volunteer Coordinator. Still photo from Parlour Panther music video by Grace Gadston at Jaunty Media

Lee Newman, Assistant to Head Front of House Manager/ Volunteer Coordinator, Dakh Daughters, Jan 15- 19, 2019

I am so excited for Dakh Daughters, starting January 15th at The York Theatre, part of the Femme Series. They bring this thrilling and captivating power to their performance that I LOVE. I am fascinated by how modern musicians perform, because these days the performance component is often much more than just people with their instruments. The Dakh Daughters use theatrical elements with their bodies, their voices, their instruments, their costumes, and the lighting, all in a uniquely bold and gritty style to create an unforgettable performance! And this I just got from the youtube clip on The Cultch’s website! I cannot WAIT for the live version.


Natalie Schneck, Development Associate. Photo by Tiana He

Natalie Schneck, Development Associate, This Duet We’ve Already Done (so many times), Nov 27 – Dec 1, 2018

I am excited for This Duet We’ve Already Done (so many times). For me, Frédérick Gravel’s work always feels like a sexy rock show with sophisticated themes woven throughout. I often sense a tension between power/persona and vulnerability. Both Frédérick and Brianna are charismatic performers and I am curious to see the energy that’s created when they work together.

 

 

 


Meghan Robinson, Rentals Sales Manager. Photo by Tiana He

Meghan Robinson, Rentals Sales Manager, NASSIM, May 7 – 19, 2019

I can’t begin to describe how excited I am to have Nassim Soleimanpour at The Cultch. His production “White Rabbit, Red Rabbit” was one of the most powerful pieces of theatre I have ever seen. It established my passion and adoration for the theatre. I have faith that “Nassim” will have a similar affect. I have no doubt that it will both connect audiences, and blow them away, from the moment the script is taken out of its envelope.

 

 


Leslie Dos Remedios, Sales Associate. Photo by Tiana He

Leslie Dos Remedios, Sales Associate, The Ones We Leave Behind, Oct 24- Nov 3, 2018

I’m excited to see The Ones We Leave Behind. It’s been so rewarding seeing VACT, Loretta and the entire creative team develop this show for over a year. It’s also great to have an ensemble show from VACT on The Cultch stage – we get to be a place where underrepresented voices have a platform to tell our stories.

 

 

 


Single tickets go on sale July 16, but you can purchase a subscription today to save! Save 20% with our Choose 5 subscription package or 25% with our Choose 8 subscription package! This season, the more you see, the more save. You’ll enjoy an exciting roster of artists and programs, from the best seats in the house.