IndigE-girl Comedy presents the warm up show for the Vancouver showcase with Brenda Prince, Raven John, Nyla Carpentier, and Laura Lewis. This is your chance to get a sneak peak at the comedians performing at the Fox Cabaret on Dec 8th, 2022. This practice show highlights Vancouver’s local Indigenous female comedians first presentation. Come and enjoy the laughter with us.

Tickets

By donation! Reserve your spot through Slice of Life

The post IndigE-girl: Auntie Round Up appeared first on Rumble.

IndigE-girl Comedy is excited to show case Vancouver’s Indigenous comedians in It’s Beginning To Look a lot Like Aunties. The lineup of local Indigenous content creators, artists and comedians will lighten you heart with humorous stories. Hosted by Savannah Erasmus, and featuring Nicole Etitiq, our spectacular lineup will light up your holiday season by bringing our community together to do what we do best, laugh.

It’s Beginning To Look a lot Like Aunties brings a hilarious cast of female and Two-Spirited Indigenous comedians to the stage in the Fox Cabaret on Thursday, December 8th, 2022. Don’t miss out. Please note the Fox is a 19+ venue.

Use Promo code SAV5 to get $5 off live stream ticket purchase.

More info about the show and other IndigE-girl Comedy events at miskoway.com/vancouver

Tickets

$20 Live Performance -or- $20 Live Stream Tickets available, both through eventbrite.

The post IndigE-girl: It’s Beginning To Look A Lot Like Aunties appeared first on Rumble.

Note: Due to a technical error on the recording date the intended projection design in the evenings performance is not fully represented.

About the Show

In Szepty/Whispers, a neurodivergent artist probes their family’s silence around mental health, sifting through traces of the past. As they grapple with the risks and possibilities of disclosure, they question how culture, migration, and trauma shape generational perspectives on disability. Through fragments of personal narrative, documentary material, and multimedia design, Szepty/Whispers attempts to connect across silence – to find kinship without a shared language.

‍Szepty/Whispers experiments with a creative approach to accessibility, embedding audio description into the performer’s lines and captions into the projection design. The writer/performer is neurodivergent, mad, chronically ill, and non-binary. The creative team includes intersectional Deaf, disabled, mad, and neurodivergent artists. The project strives to centre our realities, bringing our communities together, while recognizing our diverse and sometimes contrasting needs.

Inspired by artistic groups like Sins Invalid (a queer and BIPOC disabled collective), we recognize how solidarity is essential and all liberation movements are connected.

90 minutes, no intermission.

Image credit: Christian Yves Jones

Tickets

All tickets $25, including all service fees. Click here to purchase.

If a $25 is not realistic for you, please feel free to use code Szepty15 for a $15 pricing option.

If you experience financial barriers but still wish to access this piece, we want to have you there! Please send a note to Libby Willoughby (she/her) via email at libby@pitheatre.com and we will be happy to set a ticket aside for you.

Accessibility Practices

Visual Story

View the Progress Lab 1422 visual story here, as a word doc or a PDF. This guide will help answer questions such as accessing the venue by bus, where to park, and how to navigate the Progress Lab building.

Pre-Show Audio Description

This description lasts approximately 6 minutes, and is intended to increase access for blind and partially sighted audience members. Although anyone is welcome to listen!

• ‍an Audience Access Coordinator will be present at every show
• ASL interpreted performance on December 3, with a dedicated interpreter available pre and post show
• pre-show audio guide for blind & partially sighted communities
• visual story for the venue & show
• detailed content & sensory warnings
• audio description embedded into the performer’s lines
• captions embedded into the show’s projection design
• audiences will be free to move, make noise, leave, and return during the show
• separate quiet space
• flexible & wheelchair accessible seating
• gender neutral & wheelchair accessible washrooms
• COVID-19 safety practices such as masking are highly encouraged in the space to help protect vulnerable audience members, hand sanitizer will be available all around the venue, and high touch points will be frequently sanitized by staff
• We ask that audience members avoid wearing scented products, to make the space accessible for people with chemical sensitivities and allergies. You can find more info about fragrance-free access here
• online video version of the show for audiences to experience at home, release date TBD (will be announced on social media, via email, and on Rumble and Pi’s website)

The post Szepty/Whispers – Watch Now appeared first on Rumble.

On Wednesday, November 2 at 6pm, join Rumble and Massy Books and Progress Lab 1422 for the launch of Frequently Asked White Questions by Ajay Parasram and Alex Khasnabish.

Inviting tired-out racialized friends and well-intentioned allies for an evening of humour and compassion with author Ajay Parasram. In conversation with Rumble’s Jivesh Parasram, the two discuss about how race structures our everyday and the frequently asked questions around these lived experiences.

Venue Accessibility & Covid Protocol

This event will be held outdoors at Progress Lab 1422 at 1422 William Street, Vancouver. There will be ample standing room and chairs are available for those who want them. There are no stairs. All-gender and wheelchair accessible washrooms are inside on the main level. Masks are encouraged to continue keeping our communities safe.

About the Publication

Are you a white person with questions about how race affects different situations, but you feel awkward, shy, or afraid to ask the people of colour in your life? Are you a racialized person who is tired of answering the same questions over and over? This book is for you: a basic guide for people learning about racial privilege. In Frequently Asked White Questions, Alex Khasnabish and Ajay Parasram answer ten of the most common questions asked of them by people seeking to understand how race structures our every day. Drawing from their lived experiences as well as live sessions of their monthly YouTube series Safe Space for White Questions, the authors offer concise, accessible answers to questions such as, “Is it possible to be racist against white people?” or “Shouldn’t everyone be treated equally?” With humour and compassion, this book offers relatable advice and a practical entry point into conversations about race.

The post Book Launch: Frequently Asked White Questions appeared first on Rumble.

Harvest Moon. It’s the union of cosmic and earthly – heavenly bodies and mother earth – times for traditions honouring the dark and bidding farewell to the sun; the cull, the bounty – the end and the beginning. 

This New Creation night will showcase 3 new works in a cabaret format, breaking in between each performance. Amidst the breaks the audience will have the opportunity to enjoy the evening with complimentary food, games, and more. 

Doors will open at 7:00pm. Show up early to enjoy the festivities. Performances start at 7:30pm.

Purchase your tickets here.

Featuring 

Feelings by Lolu Oyedele & Dushun Wylson

A show about connections, those we are fated to have, those we wish we could cling to, and those we sorely miss. These connections are explored through dance, music, multimedia art and a special extra fl-AI-vor. Audiences are welcomed into an internal world through a shared harvest themed performance, where they, along with the artists, explore themes of love, strife and communication. Within this liminal world they are invited to play, and perhaps discover something about themselves along the way.

And So The Siren Sings by Kelsi James

“When the siren calls, you will think you are ready. You will have done everything you could. And still – you will throw yourself against your bindings. You will scream. You will curse her, and damn her, and claw desperately towards the death so sweetly sung. And I? Ah. I will be with her, fingers caressing her face like moonlight.”

Kelsi James’ And So The Siren Sings is an interrogation of asexuality, of mermaid mythology, and of why we hypersexualize the siren to the point of villification. Using music and poetry, Kelsi invites you to come a little closer, to undo your bindings, and to learn what the siren sings….

Tiempo Muerto by Miguel Maravilla & Jen Yakamovich

“Tiempo Muerto” is the dead season for landless farmers and peasants in the Philippines. The long, barren months without rain, without work, without harvest. 

This performance is a non-chronological dialogue between the voices and stories of landless tillers throughout the history of the countryside of the Philippines, threaded together entirely by song and sound collage. A drum kit, a guitar, a synth, one or two or ten or a million voices, 500 years of anti-colonial and anti-imperialist resistance, revolutionary folk songs, and science fiction, which culminate into a calling, a pursuit for liberation.

Is This Anything by Barbara Adler

A fast-paced monologue that questions – literally – what I’ve made in the past season. Starting from a small collection of crochet ruffles, I run through my real CV wins for the year, which include cleaning a studio, putting lotion on my horse’s nose scabs, and walking up a steep hill many times. You’ll learn about hyperbolic crochet, how to format an accomplishment statement, and hear my top tips for complicating the boundaries between leisure and employment, through near constant work.

Covid Safety

This event will take place indoors, at Progress Lab 1422. Masks are encouraged but not required. Please be aware of distancing, hand-washing/sanitizing, and the varying personal comfort levels of others around you. Please stay home if you have symptoms of COVID, or have been in contact with others who have contracted COVID. Thank you for helping us keep events live, in-person, and safe.

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D-Lab 2022
Collective Dreaming: Designer-Director Collaboration
Co-Facilitated by Joanna Yu and Anita Rochon
September 6-10  2022
Progress Lab 1422 | What Lab

Rumble is pleased to accept submissions for “D-Lab 2022: Collective Dreaming (Designer-Director Collaboration)”, a Masterclass intensive co-led by Joanna Yu & Anita Rochon.

The Lab is a five-day intensive that will take place September 6 – 12 2022 at both Progress Lab 1422, and What Lab, in East Vancouver.

We are seeking submissions from Designers, Directors, and Dramaturges, and people somewhere in between – to engage in collegial knowledge exchange and practical collaborative explorations at both Progress Lab 1422, and What Lab, two east Vancouver development and creation spaces.

About Our Masterclass Leaders:

Anita Rochon, She | Her (Vancouver, BC)

Anita Rochon is a performance director primarily focused on the creation of new work. Since 2006, she’s been the Artistic Director of The Chop with Emelia Symington Fedy. The Chop has produced numerous new works and tours nationally and internationally.

Anita freelance directs in a range of styles from classical texts to documentary work to relational installations to contemporary dance. She collaborates with some of the country’s exceptional companies including Theatre Replacement, Electric Company Theatre, Bard on the Beach, Théâtre la Seizième, The Shaw Festival, Belfry Theatre, Vertigo Theatre, Globe Theatre and The Belfry Theatre.

She mentors and directs at Studio 58 and the National Theatre School of Canada, and is an alum of both institutions. She was awarded the Ray Michal Prize for an Outstanding Body of Work by a New Director, the Siminovitch Protégé prize (awarded by Kim Collier) and a Mayor’s Arts Award (awarded by Donna Spencer).

Joanna Yu, She | Her (Stratford, Ontario)

Joanna is a set and costume designer born in Hong Kong and raised in Thornhill, Ontario. Over the past fourteen years, Joanna has designed over 100 productions for large and small theatres across Canada.

Design credits include collaborations with: Stratford Festival, Shaw Festival, Young People’s Theatre, Tarragon, Canadian Stage, Royal Manitoba Theatre Centre, Citadel Theatre, Factory Theatre, Obsidian, Cahoots, fu-Gen, The Blyth Festival, Musical Stage Co., Theatre Passé Muraille, Buddies in Bad Times, Why Not Theatre, Nightwood, Project: Humanity, The Grand, Neptune Theatre, Theatre New Brunswick,

Mirvish, Lemon Tree Productions, Signal Theatre, Luminato. Joanna is the 2019 recipient of the Virginia and Mrytle Cooper award for Costume design and the 2017 recipient of the Pauline McGibbon Award.

Joanna currently sits on the Board of Directors for the Associated Designers of Canada (ADC659) and is currently working towards a Diploma in HR Management.

www.joannayudesign.com

Ideal participants may include those who:

• are interested in the collaboration between Theatrical Direction and Theatrical Design in storytelling.
• are Directors, Designers, Dramaturges either new or novice in their craft, or senior artists seeking to expand their knowledge of collaborative processes.
• are multi-disciplinary artists coming to theatre and performance from another practice.
• habitually think in Image.
• struggle to think in
• have been away from a regular artistic practice or are looking to reinvigorate their current practice.

*A note on the term “professional”: This need not necessarily mean full-time work, nor does it require affiliation with any professional association (e.g. CAEA, UDA, ACTRA, ADC). By “professional experience” we mean time spent outside of a training institution in which an artist is actively practicing and showcasing their craft/tradition within their means.

P.S. We know COVID-19 shut down the sector recently, so if you have any hesitation with if you have “enough credits” or any other such qualifications please contact jiv@rumble.org (but you’re most likely welcome to apply.)

PROGRAM DETAILS

Masterclass sessions

September 6 – 12 – 10am-6pm

Workshop location

Progress Lab 1422

1422 William Street

Vancouver, BC V5L 2P7

Unceded Coast Salish Territories

What Lab
202-1814 Pandora dr.

Vancouver, BC V5L 1M5

Cost of Participation: $300 + GST = $315.00

A small bursary is available for those who demonstrate financial need. Please see the submission/bursary application requirements.

Submission Requirements:

• A recent CV
• An artist statement (max. 1 page)
  • Tell us about your current practice and interests
• Statement of Intent (max. 1 page)
  • Tell us why you want to take this workshop and how your current practice and interests would align / challenge this process.
• Portfolio
  • If you’re the type of artist that maintains a portfolio, feel free to send us a few samples or direct us to a website. (1-5 Images / 2-5 minutes audio/visual)

Bursary Application Requirements:

One paragraph describing how a small bursary would help reduce barriers to attendance.

Please note: You do not have to prove anything here, anyone identifying financial need is assumed to be acting truthfully. Bursaries are limited and will be awarded based on demonstrated need.

Additional info:

• The cohort will be limited to a maximum of 10 participants.
• Participants will have access to creation space at Progress Lab 1422, and What Lab after workshop hours subject to availability.
• We strongly encourage submissions from artists who self-identify as members of under-represented communities or with a lived experience of marginalization broadly speaking.

DEADLINE FOR SUBMISSIONS: July 22 | 11:59 PM PST

Please e-mail your submissions to jiv@rumble.org with the subject line: “DLAB 2022 application”.

ABOUT RUMBLE
Rumble creates, presents, and produces contemporary performance. Working in a decentralized collective model, Rumble is committed to prioritizing projects and initiatives that utilize art to expand collective imagination, collaboration, and build a deeper understanding of relationality and community.

Guiding Values

Curiosity: Maintain an active and open approach to people, thought, expression, ideas, and world views.

Courage: Have courage to destabilize norms, encourage risk, engage in grey areas, respond to need, and to operate irrespective of precedent.

Reciprocity: Respect and trust in our collaborations and relationships built on equitably fostering mutual benefit.

For more information, contact: jiv@rumble.org | www.rumble.org

The post CALL FOR SUBMISSION: D-Lab 2023: Collective Dreaming appeared first on Rumble.

Ephemera / (ɪˈfɛmərə) /noun plural -eras or -erae (-əˌriː)/
a class of collectable items not originally intended to last for more than a short time, such as tickets, posters, postcards, or labels.

Choose up to three ephemeral items to contribute. These items can be ANYTHING from ANY timeline! If that sounds too open ended, we have come up with a suggestion for the prompt lovers:

“How do we make art tangible?”

These items will become a part of the SFU Special Collections and Rare books archive. Examples of previous item submissions include post-it notes, handbills, small props, folded costumes, etc. As a group, we’ll organize, structure, catalogue, and preserve detritus of past performances, and through the process will celebrate our shared memories and our history.

This event is all ages. There will be free food for everyone, with Johnny’s Pops for dessert.

The post Ephemera 5 appeared first on Rumble.

After the performance, space will be made and the audience will be invited to create music with the performers and artists as a way to continue the conversation and practice of creating things within and alongside our surrounding communities. This moment and show, along with all of the time spent with the other contributing artists in the past, will be an ongoing dialogue and series of songs to create, repurpose, and find new ways to engage through our joy and solace in creative expression.

Tickets on sale now, click here to purchase.

About the Artists

Miguel Maravilla

Miguel Maravilla is a first-generation Filipino immigrant, essayist, self-taught artist, musician, sound engineer, and activist born in Manila, Philippines, and currently residing on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh nations.

As a self-taught musician, artist, and essayist, Miguel continues to interweave his text and cultural analysis into more immediate and community-oriented forms of media, through collaborative film, song-making, performance, and mixed-media installation.

He has been involved in the creation and development of performance art pieces such as “LAKBAY” (2021) with Joshua Ongcol as co-creator and sound artist, “Untrue Stories Live” (2021-2022) with Rumble Theatre as Musical Director, “PANAWAGAN” (2021) with Shooting Gallery Performance Series as filmmaker and sound artist, and more. Miguel was also an artist in residence at the Baldwin House in April 2022, courtesy of the Shadbolt Art Gallery and the City of Burnaby.

Franco Maravilla

Surrey-based artist, producer, multi-instrumentalist, and sample creator Franco is always pursuing and reinventing the present moment with music across many different genres.

Born in Manila and raised in Surrey, he spent three years in Los Angeles to hone his skills as a producer, to provide his repertoire the most nuance and refinement achievable. Having contributed to a wide variety of bands, artist groups, and collectives over the years, Franco accumulated a kind of fluency in his musical vocabulary throughout his career and experiences.

Inspired by My Chemical Romance, PARTYNEXTDOOR, and John Mayer, he always centers his music through unique vocalizations and sensible, familiar, yet refreshing songwriting.

CHERRY BLU

Sebastian, also known as Cherry Blu, creates sonic landscapes that are feel-provoking. His creative pursuits began at a very young age. Cherry began piano lessons in his adolescence under his aunt’s guidance, which refined his ear and opened the door to writing music, before he got his hands on a MIDI keyboard and recording software.

Cherry Blu has been sharpening his tools for the last 6 years to a point where his production, mixing, & recordings have evolved into a familiar, yet futuristic sound that is vibrant, abrasive, & lush. 

Some notable artists that have made an impact on him are Miguel Maravilla, Spaghetti Wes, & mwah mwah.

Cyrus Jordan

Cyrus Jordan is a musician, artist, and producer, specializing in creating good vibes and atmosphere. With a few years studying Jazz bass at Concordia University, and gigging in multiple projects around montreal and Vancouver, Cyrus has an eclectic sound that radiates through whichever project he is a part of.

Justin Tecson

Justin Cameron Tecson (also known as “JT”), is a Filipino-Canadian record producer, mix engineer and songwriter from Vancouver, BC Canada. Justin had an early introduction to playing music, starting with violin at the age of 3. He continued to study piano and guitar soon after at the age of 7 and producing since the age of 13. Since then, Justin has been involved with many projects throughout the city, most notably working as the main producer for DACEY. Drawing inspiration from various artists such as Dijon, Feist, The Smiths, Sade and Pharrell, Justin incorporates the different elements of each into his productions. Sampling and having live instruments are an important part of his works, often taking influence from the soul sound of the 60s/70s, and new wave synths of the 80s.

The post Genuine Happiness appeared first on Rumble.

What if we could create our ideal society? What would it look like? Is it even possible? How would thinkers, dreamers, realists, pessimists, optimists, children, activists, politicians, economists, answer? Would they recreate the same system we live within or dream of newer ones?

New Societies draws together the forms of a strategic game night and an advancing theatrical narrative, shaped by the audience’s choices. Players are placed in groups to compete against or collaborate with each other in order to build their ideal society. Guests are seated at tables up to 6 players and compete against or collaborate with each other in order to build their ideal society. As players socialize, and form community they choose to build their societies however they wish but each decision made will influence how all the other guests can play. They must be careful, because as their choices shape the direction of their society, there are seven other societies also creating an ever growing and responsive political landscape. Filled with humour and levity, New Societies is a playful challenge to reflect on how we operate as inheritors of our current social structures, while giving players the opportunity to be the catalysts in crafting a better one. 

“I was completely blown away by the experience.”

-Denis, audience member

Details

Players are situated in up to eight groups in the performance space. Each group is a newly formed society populated with up to six players and guided by a performer who facilitates the gameplay, interaction, and narrative. The whole room is observed by a single facilitator who provides updates to gameplay, informs all players about news in other parts of the world, and manages communication across groups. Players are guided through a narrative that’s co-created between the performers, gameplay, and the choices they themselves make. As they learn how to play, the rules are soon at the mercy of how players will follow, break, or change them. 

“The conceptualization and staging were brilliant … From joy to fear, anxiety and bonding. It was truly a remarkable and unique experience … I’ve never experienced that level of interaction in a performance before … I’ve never seen the audience being so intrinsically integral to the show in a seamless experiential level.”

-Alessandra Santos, PhD UBC Professor

Access
A limited number of wheelchair spaces may be booked in advance of the performance date, subject to availability. Due to the live, interactive and unpredictable nature of this production, it is unfortunately not possible to caption or audio described performances. If you have any access requirements or require specific information about the production, please contact the Box Office and we will endeavour to assist with your booking.

The running time is approximately 2 hours and 15 minutes, without an intermission.
Recommended for ages 10+
Tickets on sale now, click here to purchase.

About the Artists

Re:Current Theatre is an award-winning company creating performance that reimagines gathering. We are a deeply human collective engaged in questions that spark connection between strangers. We create one of a kind experiences that redefine what we think of as theatre. At times our work will be on a stage, though it’ll just as often take place in unconventional settings, on gameboards, in studios and over dinner tables. We use a multiplicity of materials and methods that tease the senses to create an intimate space of unpredictable wonder.  Founded in 2014, Re:Current Theatre is a Vancouver/Toronto-based theatre company. We have adapted classical texts, reimagined scripted contemporary performance, written multi-media plays, created gamified interactive theatrical experiences and intimate encounters for one audience at a time, provided accessible development workshops, and continued to develop genre-bending work. We have presented our work at festivals locally and nationally. We presented the Canadian Premiere of ‘The Smile Off Your Face’ by Ontroerend Goed, which won the SummerWorks Award for Best Production, received outstanding production recognitions from local press, and was featured on several “Best of the Year” lists. Re:Current Theatre is a member of the HIVE Performance Collective, which supported the presentation of a dozen new contemporary micro-performances at the Magnetic North Theatre Festival, and continues to work with the collective to support emerging performance practices on the west coast. We have been a company in residence at hub14, Impulse theatre, and are grateful for the development support of our projects from Canada Council for the Arts, BC Arts Council, The Theatre Centre, Theatre Passe Muraille, Suitcase in Point, and Cabaret Company.

 Director/Concept/Co-Creator

Brian Postalian (Բրայն Փոսթալյան) is an arts administrator, educator, and creator born and raised in Toronto/Tkaronto by way of Armenia, Ireland, Wales, and the Czech Republic. Brian is the founding Artistic Director of Re:Current Theatre, which is dedicated to creating work that reimagines gathering. Together with his company, he produced the sold-out SummerWorks hit The Smile Off Your Face and most recently the digital tour of New Societies from Upintheair Theatre’s eVolver Festival to Kingston’s Kick & Push Festival and into Crow’s Theatre’s main season programming. His work co-creating Access Me with the Boys in Chairs collective was recently published by Playwrights Canada Press as part of Interdependent Magic: Disability Performance in Canada in Spring 2022. Brian is a sessional instructor within the School of Performance at X University and has been a guest lecturer at the University of Toronto and Simon Fraser University. He completed a Master of Fine Arts at Simon Fraser University’s School for the Contemporary Arts in Theatre Game Design and Interdisciplinary Performance Studies. In his spare time, he likes to visit used book stores, revisit childhood video games, ride his bicycle, play with his dog Amie, and is learning how to draw and play the Armenian duduk. Brian currently lives on the unceded Coast Salish territory of the Squamish, Tsleil-Waututh and Musqueam Nations. www.brianpostalian.com

Performers/Co-creators

Amanda Sum is a performer and creator dancing between music and theatre. Amanda is Theatre Replacement’s current COLLIDER Artist in Residence, developing her “pop-up book performance”, New Age Attitudes: Live in Concert. A full production of this piece will be presented at PushOFF 2023. Recent theatre projects include Double Happiness: Detour This Way (Nancy Tam & Robyn Jacob), do you want what i have got? a craigslist cantata (The Cultch), 3 seasons of the East Van Panto (Theatre Replacement), and Chicken Girl (rice&beans). Amanda’s jazz influenced indie-pop music has been played on CBC Radio, and last year, she played at the TD Vancouver International Jazz Festival with her Asian girl band. She wrote and arranged her debut full-length album, which will be released later this year. Amanda’s music has brought her to be featured in the Vancouver Sun, booooooom.com, Fluevog and Vancouver Magazine. Amanda directed and choreographed a dance short film, Wide Stance Dance, for the Festival of Recorded Movement, and has lent a choreographic eye to her debut music video, Groupthink (2020, directed by Mayumi Yoshida), as well as the first music video off her album, Different Than Before. www.amandasum.com

Montserrat Videla (b. Mexico City) immigrated with her Colombian family to Canada in 2005. As an actor and creator, she works across a wide variety of performance forms, including text-based theatre, dance/physical theatre, performance art, devised creation, television, and film. Her collaborations have taken place in both English and Spanish. Nationally, she has participated in several film and performance festivals across Canada, including Why Not Theatre’s RISER Project, SummerWorks, Kick & Push, rEvolver, In the Soil, and PuSh. Internationally, she has been an artist in residence at GlogauAIR Berlin, is collaborating on a new work with animators and designers based in Colombia, and coming up, she’s working with GbA on a new multimedia performance at the Centre for Collaborative Arts and Media at Yale University. She is a graduate from SFU’s School for the Contemporary Arts and is currently living on the unceded territories of the Coast Salish people/Vancouver. montserratvidela.com

Howard Dai is a Taiwanese actor and theatre artist whose work has been seen across Canada. Howard makes works that engage the audience as active participants through technology, curiosity, and play. His performances and creations have existed in theatre, films, public spaces, Zoom screens, Google Sheets, automated phone calls, interactive websites, and virtual reality. He was the 2022 digital-artist-in-residence with PuSh Festival (Vancouver, Canada) and Royal Court Theatre (London, UK), working on his new play 菠蘿麵包Pineapple Bun that explores nostalgia and diasporic guilt, supported by rice & beans theatre. Recent co-creation/performance credits include: Passenger Seat (Library Performance Co.); 蝦仔 Little Shrimp (Carousel Theatre); Collider (Single Thread Theatre); and New Societies (re:current theatre). Howard is being mentored by Charles Douglas in movement and performance capture throughout 2022 with the generous support of the Canada Council for the Arts. Howard works on the unceded land belonging to the xʷməθkʷəy̓əm, Skxwú7mesh, and səl̓ilwətaɁɬ Nations. He is currently an Associate Artist with rice & beans theatre, and is a graduate of SFU’s School for the Contemporary Arts.  www.howarddai.com

Meagan Woods is a choreographer, performer, writer, and costume designer who is passionate about collaborative, interdisciplinary work. Originally from the states, Meagan has presented a wide range of original dance/theatre works in venues across the North East, including Ailey Citgroup Theater, Dixon Place, NJPAC, and the Historic Loew’s Theatre. Meagan co-founded the largest annual modern dance festival in New Jersey, Your Move, for which she was granted the Dance NJ Jeté Award (and featured on an episode of Cake Boss). She is a designer for Co.ERASGA Dance, a teaching artist with Girl Be Heard, and a collaborator with Nancy Cohen for an installation/performance about coral reefs. Meagan holds an MFA in Interdisciplinary Studies from Simon Fraser University, a BFA in Dance from Rutgers University, and has guest lectured at both universities and at the New School. She recently spoke on the TEDx stage about reimagining forms of progress through the reversal processes of sewing: https://www.youtube.com/watch?v=NnaWLnwoiWo&t=13s

Oscillating between joy and grief, comfort and pain, familiarity and foreignness is Pascal Reiners. Pascal exists – creates, works, rents, struggles, plays – on the unceded and occupied territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaʔɬ (Tsleil-Waututh) Nations. Pascal’s multidisciplinary practice builds its foundation from imagination, collaboration, and the experimentation of a variety of performance and theatrical forms. He holds a BFA in Theatre Performance and a Minor in Political Science from Simon Fraser University.

Alexa Fraser is a theatre performer, director and designer who creates and lives on the unceded and occupied territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaʔɬ (Tsleil-Waututh) Nations colonially known as “Vancouver, British Columbia”. They are co-founder of theatrecorps, a design based contemporary theatre company with Matthew Winter. Alexa is a self-identified plus sized and queer performer and proud member, performer and producer within Vancouver’s burlesque and cabaret scenes. They are a graduate of Simon Fraser’s SCA, holding a BFA in Theatre Performance and Directing. They are artistic director and founder of Juicy Jems, an all fat and plus sized cabaret. Recent performance work includes: Capitalism Works For Me (PuSh Festival 2022), Are You Watching? (Eve Middleton- Meyer, 2021), New Societies (e-Volver and Kick & Push Festivals, 2020, SFU SCA 2019), Richmond Maritime Festival (2020), The Democratic Set (Back to Back Theatre, PuSh Festival 2020), Lilli Marlene, a solo performance (Judith Fair Festival and Ignite Youth Festival, both 2019) Devil’s 3Some (PuSh Youth Assembly, 2018), Objects of Desire (Too Queer, A Bi-Cabaret, 2017) These Violent Delights (Cole Lewis, SummerWorks Festival, 2017).

Alexa’s other interests reside in “Vancouver” cabaret and sex work history and sitting by the Salish Sea/Fraser River in their former neighborhood in “Richmond, B.C”.

Hannah Meyers (b.1998) is a performer, director, creator and pandemic graduate (SFU BFA Hon. Theatre Performance 2020) Born and raised on treaty 6 territory in Edmonton, AB and currently living on the unceded Coast Salish territory of the Musqueam, Squamish and Tsleil Waututh Nations. She is the General Manager of Tara Cheyenne Performance and co-founder of Lo-fi Spectacle Club; a nascent performing arts collective as idealistic as they come. With LFS Club, Hannah is currently developing The Pippa Bacca Parable (working title) and medicine cabinet, a book of photos, prose, the profane and the profound. Recent work includes Ordinary Orchestra, NTS Art Apart, Passenger Seat, The Library Performance Co, The Albertine Workout, Simon Fraser University, New Societies (online), Re:Current Theatre.

Sena Yurika Çağla is an actor, deviser, writer and a theatre maker currently residing on the traditional, ancestral, and unceded territories of Squamish (Skxwú7mesh), Musqueam (xwməθkwəy̓əm), and Tsleil-Waututh (səli̓ lwətaɁɬ) Nations. She graduated from Simon Fraser University with a BA in Theatre Performance. As a Japanese-Turkish artist, her work focuses on creating connections between cultures while embracing differences. Currently Sena is focused on exploring the effects of cultural differences between romantic relationships and how oppression takes part in it with Tarragon Theatre’s Young Playwrights Unit-Extended Cohort 2021. Past performances on these themes include: ‘Heart of the Scarecrow’ inspired by Corazón del espantapájaros (Audain Gallery) and her one woman performance ‘I Oppress’ in 9 Lives/(Le) Chat in a Box. 

Evan Medd is a dramaturg, producer, performer, climate activist, and puppeteer based in Calgary, Vancouver, and Prince Edward Island. His practice primarily focuses on dramaturgical strategizing of process design, community engaged art that intersects with environmental dialogues, and collaborative new play development and production with the Alberta-based Major Matt Mason Collective, for whom he is both Co-Artistic Producer and Resident Dramaturg. Evan spends his summers working in PEI on a piece called The River Clyde Pageant, a community integrated outdoor spectacle that celebrates a social ecology while drawing attention to the impact of climate change on PEI’s waterways and ecosystems. Evan has spearheaded a new initiative called Dreaming Climate Consciousness, a collaborative process where participants work together to imagine eco-conscious futures through the lens of speculative/science fiction. He has also been performing in and developing a piece called DOT, most recently presented as a work-in-progress during Calgary’s Festival of Animated Objects. A graduate of SFU’s Theatre Performance program, Evan is passionate about utilizing creative practice as a means to stimulate imaginations while interrogating and examining the tensions that define our world. 

 Sound Designer/Co-Creator

Stefan Andrei Nazarevich (b. 1996) is an artist based in Vancouver, Canada: the unceded, traditional territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaɬ (Tsleil-Waututh) Nations. His compositions, performances, and installations utilize meticulous, architectural music production. Stefan’s work turns the emergent artifacts of failing technology into aesthetic sonic objects, inspired by retro sci-fi, anime, and the glitches in the Matrix.

Under the alias SAN, Stefan released his debut EP Haven, in July 2019. Along with Shion Skye Carter, he is one half of the duo olive theory, whose debut work reach-close (2019) features an interactive, sculptural, amplified piano wire installation, performed with plucking, violin bows, and the scraping of shaved heads. His work has been presented at events such as Vancouver International Dance Festival (2019), Vines Art Festival (2020), and the Darmstadt International Summer Course (2018, Germany). 

A frequent interdisciplinary collaborator, Stefan has been commissioned to compose for numerous dance artists, including Noam Gagnon (Vision Impure), Josh Beamish (MOVE The Company), Wen Wei Wang, Ralph Escamillan (FakeKnot), and Anya Saugstad.

Stage Manager/Co-Creator

Nico Dicecco is a stage manager, videographer and technical director based in Vancouver, BC on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and səl̓ílwətaʔɬ (Tsleil-Waututh) Nations. He has SM’d for The Sea (Slamming Door Collective), Dissection of a Mixed Heritage Woman (Nyla Carpentier), The Best Christmas Pageant Ever and Dancing Lessons (Naked Goddess Productions). Nico is also the co-founder of Booklight Media, a videography company whose recent work includes the upcoming feature-length film In Camera, a digital adaptation of Sartre’s No Exit. Upcoming projects include stage managing Benovelence with Ruby Slippers and doing video design for Greenthumb’s Derwent is Different.

Scenographer/Co-Creator

Christian Ching is an emerging producer, lighting designer, and scenographer with an interest in design and biological systems. He is a graduate of Simon Fraser University (2021) with a double degree in Theatre Production and Design and in the Biological Sciences. Originally from the Philippines, he is currently based in the unceded Coast Salish territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaɬ (Tsleil-Waututh) nations (also known as Vancouver) and works in theatre, dance, and interdisciplinary work. His practice aims to revolve around collaboration and the consideration of ecological aspects of design. In his free time, he likes to run RPGs, draw, and make music.

Recent projects include producing Palimpsest (Stone’s Throw Productions), production management for Nowheresville:A Staged Reading (Pacific Theatre) scenography for New Societies (Re:Current Theatre), assistant technical direction for the HIVE Performance Collective, set design for Clue (UBCMedPlay) and lighting design for Mary’s Wedding (Stone’s Throw Productions).

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Creators

Panthea Vatandoost
Panthea is an Iranian actor, producer, and creator for film and theatre. Panthea is the founder and Managing Artistic Director of Medusa Theatre Society, a non-profit organization dedicated to supporting and producing works that engage with the immigrant and refugee community, with a focus on MENAT voices. Panthea has the honor of serving as treasurer on the board of The Only Animal Theatre Company as well as co-chair on the UBCP/ACTRA BIPOC Committee.
Most recently she wrote and performed ‘قرار / Date Night’ – an experimental piece – as a part of Rumble Theatre’s Lupercalia. You can catch her on the Annex stage in Blackout Arts Society’s original production of Echoes from Far Away Cities.

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