What’s better than epic mythology and comedy heroes on these cold #YEGwinter nights? Nothing. Nothing at all. We catch Cardiac Theatre’s KaldrSaga at the Almanac, and a riveting pairs figure-skating sketch at Girl Brain featuring—you guessed it—Baroness Carolyn Taylor.
Aaand we’re back! We ring in the new year with a rousing round of questions from Liz Nicholl’s annual Holiday Theatre Quiz, plus reviews of Malachite Theatre’s site-specific Macbeth and the quadruple-decker dance treat ReLoCate, presented by Mile Zero Dance. There’s much to look forward to in 2019, folks—get your pencils ready!
Check out Liz Nicholls’ 12thnight.ca Theatre Quiz here.
Paul and Fawnda take in the stunning final solo performance of 70-year-old dance legend Paul-André Fortier, and Andrew steps in to help ease the festive tension around family expectations in a review of Conni Massing’s Oh! Christmas Tree. Merry Christmas. Every. One.
We’ve been reminiscing a lot with the happenings in town lately, so this week we’re doing a special flashback to a couple of our favourite conversations on the annual holiday dance fuss, The Nutcracker. Remember that time in 2014 when Alberta Ballet invited us to do a walk-on in Act I? And in 2017 when we talked to a wee mouse and party kid? Sweet, sweet memories. Listen in.
This week we caught What A Young Wife Ought to Know, Theatre Network’s latest offering by Hannah Moscovitch, which explores the crux of coupledom and contraception in 1920s Ottawa. Then we sat in on the final presentations at the Arts Datathon, which brought a group of data experts together to mine and analyze information collected by arts and granting agencies in YEG. What did we learn about both? Essentially, context is everything.
Photo credit: Ryan Parker
Featuring Merran Carr-Wiggin & Cole Humeny
We split forces these past two weeks to catch Plastic Orchid Factory’s Digital Folk at Spazio Performativo and Good Women Dance Collective’s new full-length presentation of The Signal at their annual Convergence showcase. And, we begin our lament on the announcement that Vue Weekly, the city’s last bastion of dedicated print arts media, will cease production at the end of the month (sniffle). Get the kleenex, noses are running.
As promised, here’s a recipe for Mulled Wine, courtesy of The Spruce Eats. Stay warm, and enjoy! Also, note that there is some adult language in this episode.
Two highly hyped productions on the ‘cast this week: Marty Chan’s The Bone House gets a remount at the Varscona Hotel, and Ballet Edmonton debuts their first works with Wen Wei Wang. Did either meet our great expectations? Listen in to find out!
Lew Wetherell and Jason Hardwick in The Bone House. Photo by Ryan Parker Photography.
Fawnda gets back in the swing with the “twinly magic” of The Maggie Tree’s production of Blood: A Scientific Romance, before getting Paul all riled up about the new Arts & Heritage Plan proposed to city council by the Edmonton Arts Council this week. They have some thoughts. Many thoughts. And some recorder troubles. (Sorry about that.)
Photo by BB Collective, Gianna Vacirca and Jayce McKenzie in Blood: A Scientific Romance.
This week Paul and special guest host, Suzie Martin sit down to discuss Studio Theatre’s production of Lenin’s Embalmers by Vern Thiessen. Plus, we chat about the World Cafe discussion series being hosted by Citadel Theatre. Check it out!
Fawnda is away this week, leaving Paul and Andrew to hold down the fort. In this episode we look at the existential dread of knowing your pet will one day die in Ainsley Hillyard’s Jezebel at the Still Point. Then we’re joined by Lindsay Eales, co-artistc director of CRIPSiE, to discuss the Mad creation processes behind Mobilize — a big ‘ol show featuring six works by artists living with disabilities and/or mental health issues. Buckle up folks as we blast off into space and behind the scenes into a world built on the principles of consent, choice, and invitation.