The Handmaid's Tale - Royal Winnipeg Ballet

The Royal Winnipeg Ballet company have developed a reputation for exciting contemporary story ballets in recent years, so it was truly exciting to learn that the company had paired with NYC choreographer Lila York to interpret Margaret Atwood's dystopian novel The Handmaid's Tale. From its very start, the piece set a highly theatrical tone, beginning with the stage opened in plain view, and  a stark set which simultaneously evoked the prison in Chicago and the brothel in Miss Saigon. Many steps were taken to give a feeling of being watched, including follow spots situated on the stage, and the very opening sequence in which Offred is stolen away from her family as they sat in the lower part of the stalls.

York's choreography clearly evoked the many complicated relationships, from the rigid and painful movements of the handmaids, to the sweeping jumps of the resistance, to the most uneasy feeling of voyeurism we felt as we watched Offred, the Colonel and his Wife dance a sickening pas de trois in which his wife used Offred as an extension of her own body. There are countless images from throughout the piece which called up similar feelings.

The company looked good throughout, although much of the corps work could have been cleaner. In particular, Yayoi Ban was fantastic as the headmistress of the handmaids, and Elisabeth Lamont's feature as the pregnant handmaid was stunning. Amanda Green had a spunky charm as Offred, but was out shone by the fabulous Sophia Lee dancing opposite her.

I look forward to this piece becoming a part of the company's regular repetoire.

The Crackwalker by Judith Thompson - Sweet and Salty Collective

This new Winnipeg theatre company burst out of the gates with their premiere production of Judith Thompson's The Crackwalker. Helmed by Debbie Patterson, the cast led the audience through an up close and personal interaction with people normally at an arm's distance from polite middle class company. Thompson's play, which focuses on a mentally challenged prostitute and her boyfriend, along with her abused friend and her abusive boyfriend lays out in plain view that which many of us wish to pretend does not occur; people of base needs making poor choices, all of which get infinitely more complex when a baby is introduced into the mix. Stylistically, the production took many risks which paid off; situated in the basement of a legion in what is generally considered a seedy neighbourhood, the first encounter with the characters is actually outside at a bus stop where the first scene takes place. The audience are then led in and downstairs, giving the feeling that they have truly stepped outside their own world and down into the underbelly. From there, in casual seating, the action takes place around the room, and many bar scenes make the audience feel that they are right there in the middle of things. This immersive quality was highly effective in initially creating a sense of comaraderie, then shocking us as the play transpires into judgement of the characters' actions, immediately followed by a realization of the prejudices which feed those thoughts.

The ensemble, led by Spenser Payne in the leading role, were superb.

If you missed this, you may have missed the best thing to step out on a stage (or orangey brown cacrpet) in Winnipeg this year.

Maple Route by Jeremy Scarth Bowkett - Theatre Incarnate @ PTE Colin Jackson Studio

Theatre Incarnate are known for edgy, sometimes quirky, and often controversial productions, so it may seem strange that the company have worked with local playwright Jeremy Scarth Bowkett to develop a 3 act epic about a moment in Canadian History. The company's departure is our gain, as we get the opportunity to see a shocking and truthful glimpse of the life soldiers lead when they return to civillian live. Under the measured and specific direction of Christopher Sobczak, the play and performers catapult through this challenging time. Things appear normal at first as we see Cam and Alexa in what are clearly the early stages of their re-united marriage, however we quickly see that Cam is a boiling pot with the lid rattling, waiting to burst. Just like that pot, Cam bubbles and eventually explodes, his confusion and rage at what he experienced in the former Yugoslavia rendering him unrecognizable to his wife. With a text this filled with angst, there is the potential for over-doing it, however every moment of Karl Thordarson's portrayal of Cam is truthful. Toby Hughes as Cam's reservist buddy Dean offers a believable lovable hoser, bringing much needed release of tension with his comic timing, and Theresa Thompson's Alexa is a believable troubled but loving army wife.

3 acts may seem long, but the production does not feel that way; rather it feels as if we in the audience are sitting on a runaway railway car, careening toward a mountainside as the play progresses.

This notwithstanding, the script could continue to be developed; some scenes felt they could be trimmed just slightly to achieve an even more explosive effect. Additionally the voice of Alexa wasn't quite as clearly developed as the other two characters, which under less steady direction could be clunky.

That said, this is a production that you need to see. An important story, well told, and pieced together artfully by a fantastic company. Go see this play!

Flood Contro by Marilyn Anne Campbelll - FemFest 2013

FemFest prides itself on presenting new work by Canadian Female artists each year, and Marilyn Anne Campbell is definitely a playwright I am grateful to FemFest for bringing our attention to.

This is a smart and funny script, with lovely dark undertones, which focuses on Gina and Ray, two adults who meet on a bridge with the common intention of killing themselves. As the play unfolds, we identify with the hilarious neuroses of each of these characters, whether it is Ray's fear of turning 40 without having kissed a girl, or Gina's obsession with the location of coasters and ensuring things are completed. Hope McIntyre's direction brings a lovely ebb and flow to the text, matching the many pieces of river imagery, meandering smoothly in and out of the conversations with a strong sense of truth. And the performances by Elena Anciro and Grant Burr bring an enjoyable life to the story.

My only quibble is that I would like more! Coming in at 37 minutes, I only just started to feel I got to know them, and the wrap up in the final minutes felt quite quick.

http://sarasvati.ca/fem-fest-showsflood-control/ 

Vacant Circumstances: this and something else - Dong Kyoon Nam @ Aceartinc

Dong Kyoon Nam's solo show at the Ace Art gallery is a collection of 5 installations, each of which uses common household items in a provocative way, calling attention to our reliance on objects and the frightening control they can have on our lives.

The most striking pieces for me were Event Horizon and Just Once.

Event Horizon consists of clock timers and fluorescent light fixtures mounted on a long wall, and a short bit of the perpindicular wall adjacent to it. The lights glow down on the wall, reminiscent of hip nightclub lighting, but as you approach the installation, the incessant ticking of the clock timers grows louder and louder, to a point where it is overwhelming. It immediately called awareness to our obsession with time; i caught my thoughts wandering in that direction, and had to remind myself i wasn't in a hurry. What is even more interesting is that upon hearing the ticking, even walking to other parts of the gallery where I had previously stood unaware of the sound, the sound resonated (whether actually or just in my head I couldn't say).

Just Once is created of two tall fans, clicked on and facing toward one another, wrapped in white extension cords. I could not help but think of the fans as two lovers, facing one another, trapped in embrace. The human quality of these two fans pushing at one another non-stop triggered thoughts of the constant barrage of sound and intensity we often throw at our loved ones, without pause to listen and take them in.

This is an excellent show, and it is free - so I highly recommend you check it out!

www.aceart.org

Impel Theatre present The First Time at MEME 2013 (Winnipeg)

I've been crafting this experiment for some time now, aiming to air some questions for myself, and for people experiencing dance music and theatre . . .
What happens when we take two independent experiences - a piece of theatre, and a music performance - and let them lose at the same time? How are you impacted as an observer? What do you notice? How does this in tandem experience change your understanding of each individual piece in a way that you may not have viewed them when separate?

The First Time is an audio installation designed to be experienced in tandem with a live DJ set performed by John Norman - Friday will be the premiere of this experience, beginning at 7:30pm.

If you're around and interested, the audio file can be downloaded for free at memetic.ca/thefirsttime - simply download the file, select a meeting place, and turn up at 7:30pm. There will be a girl in a purple dress who will lead you to the Cube, where John will be playing.

If Friday evening doesn't work, that's ok too - the installation can be experienced at any time during the festival - and will create a different experience for you! Just begin at a meeting point, and slowly walk yourself toward the cube stage.

If you do participate, please share your thoughts here, by tweeting me @impeltheatre or using hashtag #memeFirstTime and #meme2013

Huge gratitude to the MEME festival for allowing this experiment to see the light, and to my volunteer devisers and performers on the project!






Created by artistic director Kendra Jones (www.impeltheatre.blogspot.com)

The First Time will take you on a journey immersed in the festival’s main stage atmosphere which will amplify your aural
experience of the event and your surroundings. In a festival dedicated to live
performances of recorded sounds, come enjoy two forms of recorded sound at once,
and share in a further amplified experience of these two art forms in tandem with one
another. Downloadable for you to experience at any point through the festival, the piece
is best experienced corresponding with a DJ set by Winnipeg’s techno-maven, John
Norman (Hype Muzik, UNT! Records).

Download link:

http://soundcloud.com/khemlab_johnnorman/kendra-jones-john-norman-music/s-QejNs

Instructions:

Step 1

Download the audio file to your phone, mp3 player, or some other portable audio
device

Step 2

Make your way to one of the meeting points shown here for 7:30pm on Friday
August 16th:
Meeting Point 1 – In the small triangle park across from the Burton Cummings
(Walker) Theatre – 364 Smith Street

View Larger Map
Meeting Point 2 – In front of MTC John Hirsch (Mainstage) Theatre – 174 Market Avenue

View Larger Map

Step 3

Wait for the girl. She will be wearing a purple dress.

Step 4

Put your headphones in. Press play at 7:30pm. This is best experienced on your
own, so resist the temptation to take them out at any point, or to chat with others. Let
the experience envelop you.

Step 5

Listen.

Step 6

Follow the girl. She will lead you to the Cube stage to enjoy the festival.

Step 7

Notice. Keep listening.

Step 8

The full experience is about 40 minutes long, and will then leave you the remainder
of John Norman’s set to enjoy the site and music. And don’t forget to stick around for
more great acts through the evening!

Questions? Email kendra@impelartists.com or tweet @impeltheatre – and don’t
forget to share your thoughts using hashtag #memeFirstTime and #meme2013

100 Masters @ WAG (until September)

I was simultaneously overjoyed, and disappointed with this exhibition. On one hand, it was very exciting to see the pieces, curated from galleries across North America, showcasing major and influential Canadian artists alongside the world's masters. The innovation of someone like Emily Carr  stood out like a beacon, and the piece by Wanda Koop was oustanding, pulling focus in the room.

At the same time, and perhaps only because I have been lucky enough to see the famous works by many of the international painters, I was left feeling disappointed in the selection for those artists. I actually said aloud "why would they choose that Gainsborough", and although the Monet was lovely, it paled in comparison to some of his more infamous work. Granted the VanGogh was every bit the energy-filled frenetic canvas that his work is, and the Matisse was outstanding.

In a way it almost felt as if the less exciting works were selected to help the Canadian artists stand out more. Disappointing, because the Carr, Koop, and Thompson would have shone regardless.

I suppose that my overall assessment is that if you haven't been lucky enough to visit the world's major galleries, then this will be a fantastic exhibition, providing an excellent opportunity to see many masters and learn more about Canadian artists in the context of the world scene. If you have, then you may not find it as engaging.

Busy Theatrical Week Coming...

So, before I rant (in a separate post) about the de-valuation of art through commodification of it, I want to share a couple events in the coming week.

First, my project for the past few weeks has been to direct for the Manitoba Association of Playwrights Highschool Playwriting Competition (sponsored by Scirocco Drama). This annual event provides the opportunity for 5 young playwrights - often first time writers - to have their short plays developed with a dramaturg and director, and be presented on the stage at MTC Warehouse. This year I am directing a new play by Beatrice Tuano called Intoxicated. The piece delves into the impact of loss on a young life through the eyes of two characters - the boyfriend who dies in a car accident, and his girlfriend who is left behind. I've been blessed to work with three lovely actors - Eric Rae, Ruth Rietze, and Kaeleigh Ayre. 

Tickets info here: https://www.facebook.com/events/167647053399174/?ref=ts&fref=ts

Performances are Thursday and Friday evenings - and audiences get to vote for their favourite play!


Second...my dear friends over at Theatre Incarnate have been re-working a piece they shared in the Fringe 
Festival a couple years ago called Master Orloff and Madame Clodile's Freakshow Beautifique. Using buffon 
techniques, circus freaks, and live music, the original production was highly enjoyable, and I can't wait to see what the
re-work brings to light! 

Saturday and Sunday evening they'll be hosting workshop performances, followed by a Q&A session for further development
of the piece. Info here: https://www.facebook.com/events/484180224984318/?ref=ts&fref=ts

Wine & Words - Fundraiser for Theatre By The River

So, there is this snappy little theatre company in Winnipeg called Theatre By The River. It was formed by some awesome folks whom I was in undergrad with at the brilliant University of Winnipeg Theatre Department (seemingly ages ago...).

They are having a fundraiser! For only $20 you can have wine and listen to actors read brand new play excerpts. This year, I am honoured to be one of the writers whose work is featured in this year's event, as a piece of my new play in development Trying will be read.

Please come out if you can to support art, local theatre, and wine.

Live Experience, Recorded Medium

I've been giving a lot of thought recently to the experience of recorded media within a live theatrical performance. How does our interaction with the recorded media shape and colour our experience of the live performance in front of us? I'm sure everyone has been in an audience when a poorly mastered sound cue took them "out" of the world of the play, reminding them of the reality of their situation seated and observing a real and live, truthful fiction. In such instances, the recorded medium which is intended to add "reality" to the scene serves exactly the opposite purpose reminding the audience of the falsity of the performance, the pretense and conventions, the audience's choice to "buy in".

Of course, there are times when particularly well-designed sound can add significantly to the experience. Most notably in my memory was the sound design for Rupert Goold's Decade (Headlong, London UK, 2011) wherein beautifully spaced siren sounds across multiple speakers in the space created an effect of ambulances surrounding the building, heigtening the potential as an audience member to be coerced in to the world of the play. These instances add colour to the theatrical experience, and for audiences seeking something like the "reality" of movies and television, offer a shade of this.

Other art forms use recording; dance, most obviously, but also music. The work of Steve Reich has for years dabbled in the inclusion of recorded media within live performance; in the case of Reich's work, he pushes at the edge of our understanding of live performance. The recording is being played live, and also manipulated (at times by Reich himself) so what makes this any less live? Going further, modern DJ culture, even when sold as a "live" performance is still at its core a living performance of recorded media. The sounds pre-exist, unlike the cellist or drummer who creates the sound live, pushing it into the ether in that very moment. But is one necessarily better than the other? The DJ is still manipulating that recorded sound in a way that is unlike any previous manipulation; the risk factors at play mean that like the violinist who could play a squeaky note, the DJ could not mix the sounds together in a pleasurable way, could not match the beats together, etc.

All of this thought leads me to my current project; alongside my husband (DJ and Producer John Norman) I will be creating a piece of audio theatre which will correspond with a live DJ performance of his. Each of us will be working with our sounds, the materials pre-recorded. Then, the audience will be invited to experience them live from their recorded state. Furthering the experiment, we will question what occurs when the two live experiences of recorded media are experienced together; audience members will be able to listen to the play in their personal mobile devices with headphones, while around them hearing the DJ set. Our key questions are: how do these two experiences function independently, and in tandem with one another? Is there a new sort of experience this opens up to the audience members? Is either performance impacted by the correlation with the other?

More on the project soon....keep some time open in mid-August to come check it out.

This Is War by Hannah Moscovitch @ Prairie Theatre Exchange

Toronto playwright Hannah Moscovitch's new work, This Is War, explores a seemingly regular operation of a group of Canadian soldiers in Afghanistan and the resulting inquiry. Moscovitch plays with time and place, splicing back and forth from the inquiry (in the present) to the actual events and memories of it (in the past), showing us the same scene but from multiple characters' lead in. This flipping of perspective, triangulating at the truth, is mirrored in the set design with its angles and low ceiling which stretches out over the audience.

This has a unique effect, challenging us in the audience to look past the surface response for what lies beneath in the fog of war. Reflecting, I do wish this had gone a little further; what if the truth we see from each perspective differs slightly? What more does this tell us about memory and trauma?

That aside, the production itself wasn't as strong as I'd have liked it to be. The performances were adequate, however none of the performers really shone. Nearly all felt stiff in their roles although the physical work by Ian Lake as Private Jonny Henderson is notable, shifting effortlessly between his able bodied past and his injured present.

On the whole, I wanted the piece to deal with the characters in a more balanced way; it came off as Tanya's story, whereas it should have been all of their story, their collective memory which pieces together a semblance of the truth. It wasn't quite muddy enough to truly evoke the feelings of confusion relating to such a moment in time.

Despite all this, I do feel it is worth seeing, even if only as a sparking point for further thought on the issue, the white elephant in every living room in Canada that is rarely discussed; our soldiers and their role in a war where Canada's role is questionable at best.

Janet Cardiff - Forty Part Motet @ WAG (to 28 April 2013)

You can hear the voices from the next room in the gallery, and are drawn in by the sound. Normally an avid reader of the gallery cards explaining the piece and its creator, I pushed past this, around the corner to the darkened room. A perimeter of speakers in an oval shape greeted me, with a group of benches in the centre. People sat, eyes closed, absorbing the sound, or moved through the space. My 8 year old daughter wanted to explore, so we circled the room, sometimes following the sound, and sometimes felt we were causing the sound to occur.

What was really remarkable was precisely what Cardiff desired the experience to be, the sensation of climbing inside sound. I've sung in a circle before, and even listened in a circle to others singing, however the sensation caused here felt different somehow. Perhaps it was just that - the sensory deprivation of a darkened room with no other objects, no colours. Looking at photographs, there have been versions of this in beautifully ornate churches, or more livened rooms, which I'm sure created another slightly unique experience.

I strongly recommend taking this in - the piece will be at the WAG until 28 April under regular admission.

For more info, check here: http://wag.ca/art/exhibitions/current-exhibitions/display,exhibition/125/janet-cardiff-forty-part-motet

Follies - Dry Cold Productions for SondheimFest 2013

Apologies, as this post is late-coming.

Dry Cold have made their name in Winnipeg for producing challenging and mature musical theatre (Read: mainly Sondheim) so when the festival was announced it was no surprise that they would opt to mount yet another production of his work. This time, the selection was for Follies - Sondheim's postcard to the glory days of New York Theatre. The show itself is not, in my opinion, Sondheim's strongest work. The piece comes through as a revue, mimicing the type of show a true follies would have been, however at the same time aims to give storyline, showing what occurs when two couples are back together with one another once again, and interested in the wrong partner. The music in Follies is memorable and challenging. Despite the play itself lacking in drive, the songs serve their purpose well. Significant pieces include Broadway Baby and Losing my Mind.

Dry Cold have assembled in this cast some of the serious heavy-hitters in Winnipeg's musical theatre elite. Donna Fletcher, Brenda Gorlick, and Carson Nattras sparkle, demonstrating their ability to commit serious emotion within a song. Patricia Hunter's cheeky rendition of Broadway Baby is the kind of "selling a song" that I only wish more performers were capable of. However unfortunately the strength of the production falls on the acting chops of the cast, and as a whole, becomes stilted. The feeing of cohesiveness one expects from a full length production is missing. Additionally, the pieces of the 2nd act which function as fantasy for the 4 lead characters were tough to distinguish from the style of the rest of the production, so this more clever piece of Sondheim's writing was lost.

Overall it was a master class in performance from some, but as a full production did not hang together the way I would want it to.

The Day After

Months of writing, then rehearsing, and finally performing...now over. The first run of my new play, Dear Mama, has come to an end.

It has been an absolutely fabulous, terrifying, exhilirating and rewarding experience. I knew going in that it would be risky to create a piece of theatre so close to myself. On top of that, opting to perform it myself placed me in a position even more vulnerable as an artist. Any failure really could be pinned to me. How thrilling!

What has been truly amazing is the response the little show has received. Each performance was followed by a talkback, each of which had its own flavour and was filled with thought provoking discussion. What can we do for little girls to help avoid them becoming hyper-sexualized? What is it that drives parents to push their children to perform? And is it possible for your child's skill to be developed and nurtured in a way that pushes them, but still lets them be a child? Just some of the amazing points of debate that arose.

What has been even beyond my wildest expectations has been the way the piece is continuing to resonate with people days after the fact. CBC reviewer Joff Schmidt offered his praise (http://www.cbc.ca/manitoba/scene/theatre/2013/01/19/sondheimfest-review ) and many other audience members have written me or blogged about the show and how it has them thinking. It is extremely humbling to know that at least some bit of what I'd hoped to achieve artistically - pushing audiences out of their comfort zone, and forcing them to think - has succeeded. 

None of this would have been possible without the support of our creative team - Megan Andres, my fabulous director and dramaturg, along with Leah Borchert and John Norman.

Below are some production photos by Leif Norman taken at the dress rehearsal for the original production. More are available here: http://www.leifnorman.net/dear-mama-impel-theatre-jan-16-2013/

Dear Mama - 17-20 January

Can I just say how strange it is to move from the academic world back to a world where you need to promote your show?

Anyway, please see below for details. Come to the show!

Impel Theatre proudly present Dear Mama, a new one-act play in response to Sondheim, Gypsy, lost childhood, and stage mothers around the world.

"Not everyone is capable of being loved, Ruby. They are too selfish. They aren't willing to give themselves to the people who want to love them."

Inspired by Sondheim's lyrics in Gypsy, this new piece delves into the mind and body of a girl obsessed with fame, beauty and attention. Words have the power to build you up or tear you down. "Beautiful. I'm beautiful. Look, Mama, I'm beautiful." Mama will be proud.

No wheelchair access | Capacity 35 | 40 mins
Warning: Language, mature themes

Each performance will be followed by a 30-minute Q & A session with the creative team.

Written and Performed by Kendra Jones
Direction and Dramaturgy by Megan Andres
Stage Managed by Leah Borchert

Thursday 17 January - 8:00pm
Friday 18 January - 8:00pm
Saturday 19 January - 8:00pm
Sunday 20 January - 2:00pm

This production is part of the Royal Manitoba Theatre Centre's SondheimFest - 2013 Master Playwright Festival

**To Reserve Tickets**
email: kendra@impelartists.com

>or<

call: 204.475.8747

Note that seating is limited to 35 per performance.

Looking Backward to Impel us Forward

I thought now would be an appropriate time to review what has been utterly amazing year personally and artistically. A brief walk through the year's events mentally caused me to pause in wonder at just how much one can accomplish in as short a time as a year.

January - In the throes of the MA, I also took on projects outside the course. Performed with the hit You Me Bum Bum Train in the West End, an immersive theatre project which challenged my own conceptions of audience participation - something I had heretofore loathed - edging me toward a desire to unsettle the audience's cocooned experience of theatre.

February - ceaseless creation ensued, and I was busy writing my first play along with directing and interpreting the work of Jean Genet. Explorations in rehearsal for both impelled me to risk at a greater level in my creative endeavors.

March - a whirlwind, I directed a scene in response to Genet, and performed in 4 others for fellow students on the MA. Had a workshop performance of my own piece of writing Trying, a new sort of out-of-body experience, even more unnerving than directing. Created a performance art installation Autel which showed at RADA to great success. And finally, if that wasn't enough, co-directed Ludus Daniellis in full medieval Latin at King's College, London.

April & May - Dove into research and preparation for my dissertation, as well as rehearsals for the other pieces I was contributing to. Presented my work at a conference of art historians, sharing my creative response to The Duchess of Malfi called Forc'd To Woo.

June - performed in a piece of promenade one-on-one theatre called How We Met, written by colleagues at RADA Eleanor Massie and Holly Bragg. This piece fed into ideas I had already been having for pieces to create at home, and will crop up again in some work commissioned for 2013.

July - Performed and created my own dissertation piece No More Prayers, and also performed for two others - Nil by Mouth by Holly Sharp and Between Sand and Stars by Dena Rysdam-Miller. I have performed and created work under pressure many times in the past, however nothing was comparable to the intensity of this period, absurd attention to detail and aggressive pursuit of clarity in my artistic vision.

August - With the performances completed, I dove into the writing of my final dissertation paper - a 10,000 word artistic statement and critique of my performed work. The process for writing this was arduous, but rewarding overall, as I found it extremely useful to dig through my own creation and defend it in such a rigorous fashion.

September - Directed 4 staged readings for FemFest 2012, having returned to Winnipeg. Had a fabulous re-immersion to the Winnipeg theatre community, also beginning new contracts teaching at Prairie Theatre Exchange School.

October - my performance installation from earlier in the year at RADA, Autel, was selected to be part of a group installation at the Gas Station Arts Centre, running to the first week of January 2013. This was an amazing experience, the first time I had participated in a show in a non-performance based way.

November - finalizing the script for my latest play Dear Mama (which premieres on 17 January 2013) I began developmental work with my director Megan Andres to finalize the script. Also had the opportunity to re-ignite work on a show from 2011 Dionysus is Getting Impatient, which I was part of creating with I was part of creating with Theatre Incarnate.

December - as the best christmas present possible, learned mid-month that I have officially graduated RADA and the University of London with  Distinction. If this weren't enough, I had the fabulous opportunity to be part of a reading for Winnipeg's Theatre By the River for their annual holiday fundraiser.

And now for 2013, onward and upward! Dear Mama opens in mid-January, after which I expect to dive into a few other projects not yet mentioned here. I am eternally grateful for the year I have had, and look heartily forward to further opportunity in 2013!

My Winnipeg: There's No Place Like Home @ PlugIn Gallery

This was my first visit to PlugIn since their move to downtown, part of the University of Winnipeg buildings. Exhibition aside, the space itself is very exciting. Comprised of a cluster of oddly shaped rooms in part of the triangle shaped building, you get to weave from one room to the next as if exploring, each nook and cranny filled with installations, quotes, and light.

The first part of the My Winnipeg Project, There's No Place Like Home, focussed on the myths relating to this city. Those funny things about Winnipeg that to an outsider seem absurd; toboggan races turned awry, maps highlighting childhood homes, greasy spoons, and mythical beasts of the prairie. Some of the pieces (for me) failed to engage, however this may be due to the overwhelming enjoyment I got from the toboggan video, and the mythical map. Unfortunately, due to the layout in the furthermost room, I wasn't able to see who the artist was for each individual piece, which is unfortunate.

I look forward to checking out further installments of the My Winnipeg Project through the winter months.

Winnipeg Now @ WAG - to 30 December 2012

An exciting exhibition which showcases local artists of the younger generation who have been stirring things up not only in the Canadian Art scene, but internationally, Winnipeg Now at the WAG reminded me of all the reasons I am proud to say I am from this frigid and isolated island in the prairie. The imagination, curiosity and daring exhibited in these pieces is outstanding. Each piece I encountered while moving through the exhibition struck me differently, however the resounding commonality among them was the ability I feel each would have to find itself included in a major gallery of modern art, such as the Tate Modern or Hayward Gallery.

Some individual pieces stood out for me specifically.

Sarah Anne Johnson's (title unknown) made me want to sit underneath its stratosphere for hours. My eye danced around the sculpture as it loomed over my head, colours bursting.

Michael Dudeck's pieces from his Baculum Cosmology call into play ideas of liveness, nature, and human relationship to this; the body mummified but with pipes and cables emerging from its form was haunting, and called to mind similar ideas in Damien Hirst's work, challenging our perceived supremacy over nature and science, and ultimately our mortality. I am saddened that I missed his live performance with the pieces, and only hope I can catch this in the future.

Finally, Shawna Dempsey and Lorri Millian's Bedtime Stories for the End of the World intrigued, due to the idea of a comfortable, relaxing space in which pre-recorded stories are heard. Similar to my own work (Autel) this pushes us to see storytelling as art, and to truly audit what we are taking in, even in seemingly everyday scenarios.

I strongly recommend taking this exhibition in, for a sense of the intelligent and sophisticated work being created by fellow Winnipeg artists.

Photo: Michael Dudeck Religion project

Review - Duet for a Schizophrenic - Little Theatre of the Gray Goose & Adhere and Deny @ Ace Art

An interesting and strange little play, Duet for a Schizophrenic is Chris Johnson's foray into double and triple worlds. A place where people pretend to be people pretending to be other people, and popuulate the dream you dream i dream you dream i dream. How's that for a mouthful?

The quick and clever word play as He (Graham Ashmore) and She (Erin McGrath) weave between various characters was very enjoyable, and began the piece at a nice pace. There were times, particularly in the second act, where the pace needed some variation - I was urging with my mind for things to delve a bit deeper at this point. The piece really hit its stride, however, in a scene with the actors, preparing for a play within a play (within a play....and more). The beautiful timing of this bit made me wish the whole play was like this.

Each act was interspersed with musical interludes of He and She singing their feelings to one another. This I had some trouble with, as the lyrics weren't always comprehensible over the loud (but excellent) band. These bits also made use of large marionettes of the two actors, which were very fun.

Some clever references to Pirandello, for those who are very familiar with his work were great, however I worry that some of the truly clever humour would have been lost without this background. In a way, I wonder whether the piece would have been enjoyable to an audience not steeped in theatrical history and information.

Girls! Girls! Girls! - A fundraiser for the Gas Station Arts Centre

I learned this week that Autel, a performance installation I created while at RADA has been selected for an exhibition in Winnipeg! The Exhibition will open at the Gas Station Arts Centre on  21 October, coinciding with the Gala event Girls! Girls! Girls! - a cabaret evening showcasing female performers. The exhibition will run for a further 3 weeks in the lobby gallery of the Arts Centre. 

Autel is an exciting piece for me - it is among my first explorations into the relationship between live experience and recorded audio, aiming to merge the two making the audience aware of the way they are experiencing art as they are experiencing it. It uses recorded audio to guide the viewer to relate to the text, and also to the other works of art and individuals around them. The piece was inspired by and created from play texts written by Jean Genet, and theoretical texts by Antonin Artaud. 

I am extremely grateful to the organizers for selecting my piece for this year's exhibition, and look forward to seeing the other pieces, as well as the cabaret performance on the 21st. I will post information on tickets for the Gala as it becomes available. The Exhibition is free to view during opening hours at the Gas Station Arts Centre.