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.
We catch Bangalore’s Attakkalari Dance Company as part of the BWDC’s season, and the final full day of Play The Fool—with particular interest in their conversation on consent in interactive performance. News bits include the recent Senate appointments and RAM’s big opening day.
Special thanks to our new patrons: Fraser, Karen, Liz, and Alexis!
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Programs runneth over our desk—and we still are trying to cobble together what everyone is up to. BUT, that wouldn’t stop us from attempting to record our Season Preview! Long weekend stuttering, mispronunciations, and doggy barge-ins abound. Enjoy.
Also, check out the new listings calendar that EAC started up here.
And please consider signing up to become a Patron. We’ve enjoyed conversing about stage stuff for four years now, and we’re hoping you can help us out with things like domain costs, editing software, and—let’s be honest—coffee.
The 2018 Edmonton International Fringe Festival is upon us! And that means artists and audiences alike are eagerly awaiting the reviews to come out. On this episode of I Don’t Get It, our ever-silent producer Andrew steps in front of the microphone to chat with Fawnda and Paul about everything you ever wanted to know about Fringe reviews. From the controversial use of star reviews to who has the right to review shows, this episode opens the hood to look at the criticism engine that can make or break an artist’s Fringe run. Happy Fringing everyone!
The 2018/19 theatre season is fast approaching. Do you have a show or season info you’d like us to include in our listings? Email the details to us at IDGIdance@gmail.com.
We survived! Paul and Fawnda took an eventful a road trip to the Badlands Amphitheatre to catch Mercury Opera and Opera Classica Nuova’s co-production of CARMEN—complete with roasted street corn, bright prairie skies, and an unmatchable backdrop for Bizet’s masterpiece. It was a wild ride, and we recorded some observations on the trip home.
If you have a show—or even a whole season—to share with us, please send the details to firstname.lastname@example.org. We’ll do our best to include a comprehensive listing of performances in YEG during our next season.
It may be summer, but YEG stages are never empty. Paul and Fawnda escape the storms to take in Teatro la Quindicina‘s The Importance of Being Earnest, and Tiny Bear Jaws‘ Miss Katelyn’s Grade Threes Prepare for the Inevitable. We also notice that VUE Weekly has pulled the free event listings section from its print edition, and we have some thoughts—possibly even feelings—on that.
It’s a peanut butter and jam-slammed episode of #yegarts news, Sterlings chatter, classical Kathak in KHOJ, and a very special drop-in by Trent Wilkie from The Undad to talk about Concrete Theatre‘s Sprouts Festival and theatre for kidlets. Also Fawnda attempts to describe seeing Angels in America in one measly minute. Listen to her fail!
The sound booth gets a little snug this week as we’re joined by Karen Unland and Elizabeth Spencer (from That’s a Thing?! podcast) to chat about the Citadel Young Company‘s Bat Boy: The Musical. Then Paul gives us his take on David Byrne‘s visit to the Jubilee Auditorium. Happy listening!
This week we catch Alberta Ballet’s All Of Us (ie: The Tragically Hip portrait ballet) in all its post-apocalyptic, dread-headed glory. Does it do Downie justice? Do we win the war? Is it even ballet? We try to answer these questions in the post-show parkade. Do we succeed? You tell us!