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The Shipment forces us to confront our biases and think about race

The Shipment | SpeakEasy Theatre | Firehall Arts Centre | September 24 – October 5, 2019

So you think you know a lot about race? Well, this play may make you think again. The Shipment is a provocatively challenges notions of race, identity, privilege, and power in a way that only fully hits you once you leave the theatre.

Young Jean Lee’s subversive play takes stereotypes about black identity and turns them upside down. In the first section, Omari Newton’s stand-up comedy is a blunt, honest, and at times scathing commentary about white privilege, reverse racism, colour-blindness, and how to not walk on eggshells while still being culturally sensitive.

Cherish the moment and stay hopeful: Rent is just as relevant 20 years later

Rent | Broadway Across Canada | Queen Elizabeth Theatre | September 17 – 22, 2019

How do you measure a year? How do you measure a life? Rent’s message that our lives should be measured in love is just as powerful now as it was over twenty years ago when it premiered in 1996. Jonathan Larson’s re-imagining of Puccini’s La Bohème is full of rousing songs and unforgettable lyrics. From the opening notes of “Rent” and the line “How do you document real life when real life’s getting more like fiction each day?” to the iconic “Seasons of Love” and the triumphant finale, this production was a wonderful celebration of love, friendship, and hope prevailing over fear.

Dystopian Coriolanus looks stunning, fails to connect emotionally

Coriolanus | Bard on the Beach | Howard Family Stage in the Douglas Campbell Tent, Vanier Park | August 21 – September 21, 2019

Coriolanus is one of Shakespeare’s lesser-known and seldom-performed plays, so it’s no surprise that the first-ever production of this work at Bard on the Beach, directed by Bard regular Dean Paul Gibson, was highly-anticipated. Moya O’Connell stars as the ruthless fighter who is betrayed and exiled. Her confident, aggressive performance is the highlight, while the futuristic set and costumes make the production look stunning.

Coming to terms with the past and moving forward in Ensemble Theatre Company’s Summer Repertory Festival

Ensemble Theatre Company Summer Repertory Festival: The Drawer Boy, Born Yesterday, Superior Donuts | Jericho Arts Centre | July 12 – August 16, 2019

Superior Donuts

Of the three shows in this year’s festival, Superior Donuts stands out for both its sharp social commentary and strong performances. Tracy Letts’ 2008 play, which was adapted as a TV sitcom in 2017, includes plenty of laugh-out-loud moments along with many sobering, thought-provoking ones.

Arthur Przybyszewski (David Nykl) and Franco Wicks (Chris Francisque) are an odd couple working at Arthur’s family donut shop in Chicago. Arthur has been plodding along in the same rut for years until one day when Franco comes knocking looking for a job.

The power of the press meets high kicks in Newsies at TUTS

Newsies | Theatre Under the Stars | Malkin Bowl, Stanley Park | July 6 – August 17, 2019

A classic underdog story about the power of the press, this musical is full of rousing songs, unlikely triumphs, and a love story. Julie Tomaino’s choreography brings it all together in a high-energy frenzy of high kicks and higher jumps. The newsies take New York City by storm and stand up against the most powerful man in town, publisher Joseph Pulitzer.

Sophie Buddle headlines Yuk Yuk's

Sophie Buddle with Harris Anderson, Sam Tonning, and Ari Matti | Yuk Yuk’s Vancouver | June 28, 2019

With her recently-released comedy album, Lil Bit of Buddle, weekly Obsessed podcast, and stand-up gigs across the country, Sophie Buddle has been busy. Headlining Yuk Yuk’s Vancouver for the first time this June, the local comedian who has written for This Hour Has 22 Minutes had the room laughing about sexual fantasies, rape-front jobs, mermaids, and Christian horse camp. Her material is diverse, her delivery is confident, and her punchlines are unexpected and well-timed.

Ce qu’on attend de moi dares us to imagine alternate lives

Ce qu’on attend de moi | 2par4 and L'Homme Allumette | Théâtre la Seizième | Performance Works | May 21 – 25, 2019

A play with no actors and no script that has the audience watching from outside the walls of the theatre — it doesn’t get much more innovative than that. In Ce qu’on attend de moi, an audience member becomes the protagonist of an improvised journey to explore an alternate life they could have lead.

Contemporary dance from Canada, the United States and Italy at Chutzpah! 2019

Chutzpah! Festival | Various venues | October 24 – November 24, 2019

The Chutzpah Festival, now part of the fall arts calendar instead of being scheduled in March, is back with their characteristic offering of world class contemporary dance spread over a month from October 24 to November 24.

Manuel Liñán's precision and gender fluidity make Baile De Autor a stunning production

Baile De Autor | Manuel Liñán Company | Vancouver International Flamenco Festival | Vancouver Playhouse | September 14, 2019

Manuel Liñán is a stunning, innovative performer. With his powerful rhythms, smooth transitions, and gender fluidity, he was a joy to watch alongside guitarist Manuel Valencia and singer David Carpio.

Every scrape, stamp, click, and tap was clear and precise. Every movement infused with determination and passion. Coupled with the evocative guitar and vocals, Liñán’s choreography is divided into a series of scenes, each one with a different arrangement of light tubes in a pattern on the stage.

Digitally updated @giselle includes impressive technology and technique, lacks emotional connection

@giselle | Joshua Beamish/MOVETHECOMPANY | Vancouver Playhouse | September 5 – 7, 2019

Social media and other digital communication technologies are supposed to make it easier and more efficient for us to connect with each other — but often those technologies become barriers to real, meaningful human interaction. That was the main theme of Joshua Beamish’s reimagined Giselle that has been updated for our digital age. The point was made too strongly, however, to the extent that the technology being represented became a barrier to emotional connection between the dancers and the audience.