When I walked into Bill Marchant’s Asheslast year at the Firehall I had never seen one of his plays. Had no idea what class of writer he was, only what class of human being (that class being ‘first’). When I walked out of that play I knew I had found a kindred theatrical spirit, who held many of the same ideals about this form of art as myself. Bill’s art is about bringing the dark parts of ourselves into the light for examination, it’s solidly Canadian and it demands to be discussed. It moves things.
So when he asked if I would lend a hand producing his latest premiere, I agreed without a moment’s hesitation. Gift of Screws lands on Vancouver October 6 at the Jericho Arts Centre, and it’s going to be something else, all right. Please have a look around the website, and if it holds any interest at all, I would be in your debt if you spread the word around a little.
I hope to see you there. It’s going to be the start of a hell of a lot of discussion…
There’s been a lot of fantastic conversation here on the internets of late concerning the visible lack of cultural diversity in the theatre of our fair city. Basically the question was raised of why the traffic of our stages doesn’t mirror the traffic in an average Skytrain car, and the back-and-forth on it has been the kind of dialogue that we theatre bloggers crave: here on The Next Stage, over at Jerry’s site (where the debate began), and in Plank Magazine, too.
But let’s take a a minute and have a closer look at our entrenched independent theatre scene. We’ve long had sub-cultural theatre companies here comprising a huge part of our available cultural diet. The Vancouver Asian-Canadian Theatre consistently puts on new plays that challenge stereotypes and discuss their community’s place in Vancouver. The Leaping Thespians have been bringing stories of Lesbian Vancouver to audiences since the early ’90s, and Screaming Weenie has been doing the same thing for gay men for years. Full Circle has been doing nothing but First-Nations theatre since 1992, ditto for Urban Ink since 2001. Theatre Terrific has been the voice of disabled artists for ages. Pacific Theatre has been a very successful Christian faith-based professional company since 1984. Théâtre la Seizième, our resident French language company, was founded in 1974. Hell, we’ve even got a company that produces solely for Sci-Fi and Horror geeks enthusiasts. (What’s up, Spectral Theatre!) Women’s theatre, more women’s theatre, youth theatre, kid’s theatre, we’ve got theatre for almost every imaginable segment of our population. One of our foremost theatre companies that’s been doing an amazing amount of work to draw international attention to our art here is the incomparable Neworld Theatre, whose mandate actually reads “[Neworld] creates, develops, produces and tours new plays that reflect multiple facets of Canada’s diverse populations”. You know? How many other cities have a list like this?
And then we’ve got South Asian Arts, whose Managing Director Gurpreet Sian contacted me today to ask for some help promoting their upcoming show, Aisha ‘n Ben, which opens this week at the Chan (ahem) Centre for Performing Arts out at UBC. While perhaps not the only South-Asian Theatre company in Vancouver, Sian says, they are the only ones trying to break into the mainstream market.
We discussed what The Next Stage could do to help the show out and agreed it was probably too late to shoot and post a video listing (the play runs from March 19 – 21) I said I’d be happy to post the video promo that they had already done. And so…
Whatever your opinion of our current theatrical state of affairs may be, here are a couple of self-evident facts: yes, the majority of Vancouver theatre was sprung from an academic, European model. But as we become more and more multicultural that multiculturalism is becoming increasingly – albeit slowly – mirrored on most all of the stages here. When we talk about the diversity of the stages of our city, we need to consider all of our stages, and all the companies facing the same challenges we all do to put a season of work up that they are passionate about sharing with us.
So don’t worry, we’ll have a Skytrain theatre scene here before you know it, and a truly reflective art scene all around. We’re diverse all right, and driven and growing, year after year. What I love about the companies that I mention here (and many, many more, to be sure) is that they represent their particular community within the larger community of the city, and the country, and the rest of the world.