It’s our hottest #HotTake ever as we jump in our chariot (Fawnda’s Kia) to flee Friday’s Chinook Series offerings, which included the coldhearts’ raunchy musical Unrepentant Necrophile, and extraordinary old-school clowning with Cirque du Soleil alumnus Maximine. It’s a car-ride to remember, folks.
Pipelines, patriarchs, and Pinafore, oh my! We see the timely re-mount of Matthew MacKenzie’s Bears, which spun through town last week with Punctuate! Theatre before heading on a cross-province tour. Then, the father/son relationship went under the magnifying glass (to illuminate the miniatures) in Tetsuro Shigematsu’s Empire of the Son at the Citadel. And it’s baby’s first opera: guest host Colleen Feehan gives us a crash course on Edmonton Opera‘s HMS Pinafore.
Paul and Fawnda and Laura saw ALL the things this week: We swilled vodka at Catalyst Theatre‘s presentation of Onegin, and caught Kill Your Television‘s all-male cast in Shakespeare’s R&J. Our eyes watered under the blinding lights of Shaping Sound, and finally we got caught up in the yarns of Rebecca Sadowski’s The Sash Maker (and learned a bit of weaving, too). Did anything pass the Bechdel Test? You may be surprised. Listen to find out!
Anita Sarkeesian presents her talk “The Real World of Online harassment” as part of the Edmonton Public Library’s Forward Thinking Speakers Series on January 24 at the Chateau Lacombe you can get you tickets here. And you can listen to an interview with Sarkeesian on The Well-Endowed Podcast here.
And don’t forget that the Alberta Women Entrepreneurs invites you to attend Learning Day on February 20, in Edmonton. Registration is only $129, and Listeners get 10% if you use the promo code “Podcast” at checkout.
Paul and Fawnda start the new year with some serious theatre in the Tony-award winning, Pulitzer Prize-nominated The Humans at the Citadel. We also spent the holiday cold snap shuttered in with dance docs and podcasts. Join us as we drag our asses into 2018, kicking and spinning our heels.
As the lights go down on 2017 and the final pile of Canada150 presentations, we review Reckoning, a response by Article 11—Tara Beagan and Andy Moro’s Indigenous Activist Arts company–that offers three different narratives on themes of reconciliation. Plus your “What To Watch For” list for 2018. Happy new year from all of use at IDGI, folks!
Fawnda faces her fears and interviews two wonderful young performers from Alberta Ballet’s The Nutcracker (thanks Liam and Zara!). Plus, a rundown of festive activities happening throughout YEG in the coming weeks. Happy holidays, from the team at IDGI. Go see some shows!
Big news this week, folks: IDGI is now part of the Alberta Podcast Network, powered by ATB! We saw (and ate) Justine Chambers’ Family Dinner, caught some clowning and dead cats in Over Her Dead Body, and topped off the week with Indigenous dancers Lunacee and Creeasian accompanying A Tribe Called Red‘s set at the Starlite Room. Ahhhhmen!
We’re going down—way down—to Hadestown, folks. Destined for Broadway after the Citadel hosts its Canadian stage debut, Hadestown is a new musical based on the eponymous album by folk superstar Anais Mitchell, developed for stage by director Rachel Chavkin. We caught some dance, too. Thoughts on Good Women Dance Collective‘s annual showcase, Convergence, come in after (wait for it) Hadestown spoilers. Join us the road to hell—it’s warmer than YEG for sure.
Fawnda did all the things last week. She saw Shay Kuebler’s Radical System Art company create a lighting spectacle inTelemetry, and later found herself on the other side of the fourth wall as part of Mile Zero Dance‘s SubArctic Improv ensemble–performing mere inches away from Brian Webb. She tells Paul about all the joy and terror therein. Happy Halloween, everyone.