I met with widely-acclaimed hypno-healer Debbie Papadakis. Why? My investigation to learn about the conscious mind and abolish creative blocks brought me to her. In the consultation, Debbie explained that the mind is broken into three different states: the conscious, the subconscious, and the unconscious.
I always thought that if I were faced with impossibly adverse circumstances that I would be a fighter right up until the bloody death. I would go out raging against the enemy until I was victorious or until I couldn't possibly fight another second. Last year I found out that who I thought I would be was exactly the person I was. I fought the enemy and I was victorious.
Recently I started a theatre company with my six best friends. Sounds like a really great way to ruin a bunch of relationships, doesn't it? But here's the kicker. It's actually really working. We are by no means perfect and are still in the thick of figuring out a process that works best for us. These are the things that I've learned so far on this weird little journey.
In light of recent announcements that the current government plans to sell off the CBC buildings across this land -- the very art of cultural commentary might not be long for this nation. As Harper slowly dismantles every political and cultural institution intrinsic to the Canadian way of life I wonder -- will the future Joni Mitchells, Leonard Cohens and Neil Youngs be left to fend for themselves?
Gilbert and Sullivan's campy, screwball-esque comedy production is a satirical romp set in "exotic Japan". With deliberately laughable character and place names, 'The Mikado' pokes fun at the British political system, setting their criticism of Queen and country in a distant locale to soften the impact of their pointed satire.
The director must give them life: make each character an individual, make the scenes sing so that the language comes not from the mouth of Shaw, but from the mouths of unique personalities, and make the arguments reflections of character rather than mere elements of Shaw's argument. That's where this Arts Club production really falls apart.
The Producers are there to make sure that all the needs of every part of the show are met. If our stage is the City of Toronto, the Producers are our City Councillors. These are the individuals, who are chosen by you to be your voice and ensure your needs are met. They vow to work tirelessly to give you the opportunity to do your very best on the City of Toronto stage.
The play itself is interesting enough, and the characters strong enough, to sustain our interest for more than two hours. It premiered in 1954 with Geraldine Page as Lizzie and received a Broadway revival in 1999 with Woody Harrelson as Starbuck. As an exercise for young actors, this production probably works well. As a coherent piece of drama, not so much.
The new Arts Club production "4000 Miles" is inoffensive, irrelevant, and trite. This much-produced American comedy from 2011 provides warm reassurance that familial love is good. Intended to warm the heart with warm humour, it inadvertently challenges us to care about the obnoxious protagonist. But a lack of story is the play's greatest weakness.
While some are horrified by the overtly sexual movies and TV shows consumed by today's youth, a PhD candidate at the University of Toronto's Dalla Lana School of Public Health has a slightly different stance. Shira Taylor, a doctoral candidate at the School's Division of Social and Behavioural Health Sciences, is taking to the stage to educate young adults about sex.
You will not be a normal person when you finish this. You may wake up from this in four years and be like "who is this person that I am now?" I'm always sort of on the verge of tears, I'm too busy to eat or shower, I can't not articulate every single word, I haven't worn real pants in years, I'm not as funny as I used to be, the list continues for literal days.
Audiences will also be treated to a live stage reading of David Auburn's play "Proof", featuring some of Vancouver's top actors, and afterwards get to learn about Auburn's experiences in the theatre, writing technique and approaches, influences, the road to writing a Pulitzer-award winning play, and much more, in an intimate moderated In Conversation.