Brief Encounters: Strangers, Drugs and the DTES

Living where I do, I pass through Vancouver’s Downtown East Side (DTES) almost every day, either transferring buses on my way to work in the morning or passing through to Gastown on the bus for dinner or a show on the weekend. For anyone not familiar with the DTES, it is a place unlike any other in Vancouver (or Canada). This part of the city sees a high rate of drug addiction, mental illness, and homelessness. It is also alive, buzzing, colourful. In other parts of the city, it is the distressed and marginalized who become invisible to the world. In the DTES, it is me, with my lack of involvement with life and work in this area, who becomes invisible–an observer, and occasionally, a listener.

With the arrival of spring (and the warmer weather), I have had the opportunity to see and interact with more people in my brief journeys through their landscape. Some of these encounters have stuck with me, snapshots tacked on the mirror. I can’t condemn or judge. I have no solutions to offer. I can only tell.

ONE.

It is evening and TC and I are riding the bus. We have a reservation at Jule’s in celebration of my birthday. I’m sitting gingerly, careful not to wrinkle or dirty my dress. I’m playing with my necklace, a birthday gift. A man in his thirties makes his way towards the back of the bus (and us), swaying dangerously as the bus moves. He sits down across from us and makes a funny comment about his difficulty getting to his seat. TC and I laugh. The man begins a conversation with us. I assume he is drunk, but he has a nice smile and nice teeth. We are not at all bothered by him. The man tells TC that his “wife” (i.e. me) “has a good sense of humour.” TC agrees and I cover my left hand with my right so the man will not see that I have no ring and be embarrassed by his mistake.

The man tells us that he is going to Main St. to take drugs. He says he has a wife and three children. His wife does not know that he’s using crack–she doesn’t know he has ever been using drugs. He says, “I know it’s supposed to be bad to lie, but sometimes, you have to. To protect people. I know I’ll have to tell her sometime though.” I think to myself, this man is an addict, the way I would think, this man is a hippie, or this man is a Canucks fan. Just a marker for a stranger.

He tells us he has only been using drugs for two weeks. I’m surprised but I believe him (I imagine that long-term crack use would damage his very nice teeth). He has only been using for two weeks but already it has claimed his Friday evening and probably several days and evenings since. He is angry that he ever took crack in the first place, and blames a friend for getting him into it. But he gets off the bus at Main Street, and tells us he just wants to get back that feeling.

When I tell my co-worker this story, she asks if either TC or I attempted to convince this man not to use drugs that evening. I say no. We didn’t. He wished us a good night and we said thank you. And that’s all that happened.

TWO.

I am returning home from running errands at 2:00 p.m. I switch buses at Main and Hastings. To my left, I am joined by a Young Man who seems more like a boy–he could be my age at most but I’m not sure he’s even 20. He’s wearing a white undershirt and his skin is pocked and scarred. He is otherwise a good-looking young man, with a wiry build that suggests energy and activity, but today he is so tired he cannot lift his head from the hands resting in his lap.

To my right sits a man in a ponytail and clinical scrubs. He seems a little wired and very sociable. He remarks loudly to the fellow beside him that he was on his way home from work but has been called in to return to cover the rest of the day. He is asked what he does. The Man in Scrubs replies that he works at a methadone clinic.

At this the Young Man riding beside me raises his head. He turns and asks (over me) about which methadone clinic he should go to. He has a referral for one, but he’s not sure if it’s the one he should visit. The Man in Scrubs tells him kindly (and cheerfully) that it is best for him to go to the clinic he’s been referred to, that it’s close by, and not to worry, he will be taken care of there. The Young Man looks tired, and sad.

As the bus nears my stop and I leave my seat, I hear the Young Man tell the Man in Scrubs that he has relapsed today. The Man tells him not to beat himself up about it, it has happened, and to just keep going. I get off the bus and I wonder what the Young Man was like before he began a methadone program. I wonder about his energy (did he have more before, or less?). I wonder how old he is.

THREE.

It is 7:30 a.m. and I am waiting at Main and Hastings for the bus that will take me to work. I’m looking up periodically, always afraid that a bird will shit on me (crows constantly congregate on the electrical wires at Main and Hastings, and pigeons live under the awning of the Rickshaw Theatre; seagulls, of course, are everywhere). Two men near me have a small argument, and one of them walks away.

The other approaches me and says hello. He tells me that he wants me to see something and holds out a stub for a federal government cheque. He tells me to look at the amount. The cheque had been for $326.

He says, “I helped ten people buy dope yesterday because I had this [the cheque]. How much of that do you think I have left today?”

I say, I don’t know. I can feel my features making a sad face and I say, Is it gone?

The man holds up a toonie. “This is all I have left,” he says. And then, “I’m not telling you this because I’m asking for money. I just wanted to show somebody because I’m ashamed of myself. I needed someone to see what I did.”

I nod as my bus pulls up. He tells me to have a good day. I think I say, You too. I hope I say it.

———————————————————————————–

These stories are true, to the best of my memory. These stories all happened in the past three weeks. I’m sharing them not because I have anything to say about them, but because they made an impression on me, and because I want to.

I don’t know about drugs or addiction. I haven’t seen it in my immediate life. I hear and read good things about harm reduction and recovery programs available through places like Insite and the Union Gospel Mission in Vancouver. But I don’t know anything. Stories brushed against me, and I just wanted to tell them.

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Hive: The New Bees 2 (Get your buzz on May 24-26)

Are you in need of a great night of arts and culture, but can’t decide what to see? Do you wish you could have the opportunity to experience a variety of work from a variety of theatre companies, without having to leave the venue? Do you wish that instead of watching one two-hour show, you could watch ten-minute shows, have a drink at the bar, and then just keep watching more bite-sized pieces of theatre? If so, Hive: The New Bees 2, produced this year by Resounding Scream Theatre, may just be the show for you.

In 2009, Simon Fraser University BFA Theatre graduates Aliya Griffin, Gina Readman, Natalie Schneck, and Caroline Sniatynski organized and produced the original Hive: The New Bees as part of the 2009 Vancouver Fringe Festival. The mission behind the original New Bees was to showcase the work of recent Vancouver-based theatre graduates from SFU, UBC, and Studio 58. This year, Catherine Ballachey and Stephanie Henderson of Resounding Scream Theatre have taken up the mantle to produce Hive: The New Bees 2, showcasing the work of 12 emerging Vancouver theatre companies (many of which had participants in the original Hive: The New Bees).

For those of you who have never been to either Hive: The New Bees or to any of the three Hives produced by Vancouver’s professional companies in past years, you are in for a wild and fun night. You can stay as long as you like. You can see as much or as little as  you want to. If  you want to try to watch every single show, you can! If you want to watch one show again and again and again, you can! If you want to sit by one of the two bars and watch roving performances or our musical and comedic guests, or simply stare into your beer all night long, guess what? YOU CAN!

I’ve been to two of the professional Hives and I performed in Hive: The New Bees in 2009 (shameless plug alert: I am also performing next week, as part of the ad hoc company The Troika Collective). It’s always a fun night and I’ve always been able to walk away with at least one gem of artistic creation that really blew my mind (in addition to the other theatrical work I enjoyed).

The 12 emerging companies (and ad hoc companies) participating next week in Hive: The New Bees 2 are:

After each company is finished performing for the night, New Bees 2 will present after-show entertainment for those who like to party. For more information on the after-show acts, please visit the show’s event page.

Hive: The New Bees 2 runs May 24-26 at 8:00 pm at Chapel Arts (304 Dunlevy  Avenue). After-show events will run from 10:00 pm to midnight each night.

Tickets are available at the door or can be purchased online at Brown Paper Tickets. Tickets are $20 for the whole evening or $10 for the after-party.

Emerging theatre companies often suffer from a lack of exposure as much as a lack of funds. We’re here! We’re theatrical! Come on down and get to know us!

[MORE SHAMELESS PLUGGING: The piece I am performing in is called "Chernobyl: The Opera," directed by Aliya Griffin, with music for four voices, accordion, and cello composed and arranged by Elliot Vaughan. We're a talented bunch (if I do say so myself), and plus, you get to hear me sing!]

UPDATE MAY 25th: This just in! Colin Thomas of the Georgia Strait had good things to say about the pieces in New Bees 2 and about the Troika Collective as one of the particulars! Read all about it!

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It’s time to impart my 26-year-old wisdom

This past year I was in Lisbon! Wowee!

Birthdays seem to be favourite times for people to reflect on their lives, the year that has passed, and what, if anything, they have learned about themselves and their world. Given that I possess a long memory (so long, it seems, that I also remember things that didn’t happen), and an obsession with things past, I am no exception.

As I turn 26, and enter what I consider to be the last year I can truly refer to myself as being in my “mid-twenties”, I’ve been turning over the events of the past year in my mind. I’ve been examining them and trying to figure out what I did right, what I could have done better, and what had nothing to do with me at all. My 26th year was a good year, as years go. I was very busy, and was challenged to be braver and smarter than I usually think I am, but I was also very engaged, very supported by those around me, and very loved.

If there is one common theme to be found among the many little things I’ve learned in my 26th year, it is this: my own decisions govern a much larger portion of my life than I had originally thought (though obviously life still throws in events, obstacles, and lucky breaks all over the place).

On the one hand, this scares me. To be in the driver seat of my life is a big responsibility (and one, at the age of 26, I really can’t escape). On the other hand, on my birthday at least, it feels incredibly empowering, and exciting. Be gone, stupid things that bother me, it’s my world now!

ANYWAYS, I’m not getting any younger so let’s cut to the chase: now that I am a super wise 26-year-old and am no longer held back by my 25-year-old naivete (ha ha), the gift I will give to the world this year is a list of decisions that, before my 26th year, I never knew were really decisions at all:

1. My own limitations are my decision.

I learned this when I travelled across Portugal and Spain last October. I was very anxious about travelling by myself for a month. I expected to be overwhelmed. I expected that I would be subjecting myself to the cruelty of the universe and my inability to read directions on a map and I’d spend most of the trip having an awful time. But I was fine. Yeah, I got lost. Yeah, I wasted some time and money. Yeah, planning on the fly can get a bit stressful, especially with shoddy internet connections and foreign keyboards. But I saw the things I wanted to see and did the things I wanted to do (with a couple of exceptions). I knew where the boundaries of my comfort zone were, and I decided to step outside of them.

In Barcelona’s Sagrada Familia

I also tried to recognize where having limitations was beneficial, and in those cases, I decided to honour those limitations. For example, because I was travelling alone, I decided that my health was paramount. So I didn’t drink much, and I didn’t stay up too late (Barcelona is a pretty expensive place to just lie around and be hungover in). Sure, I missed out on some of the clubbing, but hey, I’ve spent the past six or so years in highly physical training of one kind or another. I am very aware of the limits of my physical stamina, and I decided to respect them by being good to my body while I was travelling. So did I miss out on things? Did I limit myself? Yes. But my limitations were my decision and the compromises I made were ones I can live with.

2. Falling in love is a decision.

I don’t think I so much fell in love this year as made a decision to step forward into it. There is a moment, in love, when you can decide to leave certain things unsaid, or undone. You can turn back, you can pull away. It might not be this way for everyone, or every time a person is in love, but this time, I decided. I decided to accept the potential for heartbreak. I decided to make space for a new past, one that included a person who had never been in my past before. I decided to make space in my imaginings of my future.

It is a big thing, to take on the potential for hurt, to include someone else in your wishes. I’m glad I didn’t tumble headlong into it, sight unseen, and just stick with it because it was too late to turn back. I’m glad I decided. It was worth the decision.

3. A family is a decision.

There’s a funny old saying that goes, “You can’t choose your relatives”, and biologically speaking, no, you can’t. Your parents will always be your parents, your siblings your siblings, and your children your children. But that’s beside the point.

My parents’ vegetable garden on the Prairie, July 2011

The family I will always want to have is a family that is close and supportive, whose memories of funny moments and happy times outnumber the memories of arguments or strife. I don’t ever want to have a family that dreads seeing each other on the holidays, or dreads telephoning each other, and fortunately for me it is unlikely that I ever will.

That said, it occurred to me this year that just because I will always have my family, that doesn’t mean that they can be taken for granted. The same attention I give to my romantic relationships (because there is the potential there to lose the other person if things don’t work out) can and should be paid to my relationships with my family. This means trying to watch my temper, trying to be helpful, and trying to be understanding of my family’s peccadilloes, (the way they are understanding of mine). My family has always been close to me, and we are funny and awesome. Now that I don’t get to see my family as often as I’d like, I want to make sure they will always remain close to me. Whether or not I put in the work to maintain strong supportive relationships with my family depends on me.

4. Being a nice person is not one decision, it is many many decisions.

I’ve always wanted to be a nice person. I presently want to be a nice person, and I’ll always want to be a nice person. But deciding to “be nice” is only the first decision of many. Being a nice person means making a decision every time I am faced with the opportunity to prioritize my comfort over the comfort of another. Sometimes it means deciding not to be snappy or rude to a stranger just because I’m having a bad day. Sometimes it means giving up something that I want, but don’t actually need as badly as someone else does. Sometimes it means inconveniencing myself a bit for the convenience of someone else.

Does my good side always win out? No, it definitely does not. I’m still a work in progress, and I’m okay with that (no one’s perfect). That said, do I think I am a nice person? Yes, for the most part I do, because instead of resting on my laurels and assuming I’m nice because I’m polite and don’t kick puppies, I recognize that being nice is a continuous process.

It’s not just about how good I feel when I do something nice (and I do feel good), it’s about deciding to make my coveted identity as a “nice person” an effortful and continuous state of being. Or, you know, an effortful and continuous struggle. Because as anyone who knows me well can probably tell you, I’m no saint. But at least I try.

So “Happy Birthday” to me.

I’m probably one of the luckiest ladies alive, considering the often-charmed circumstances in which I spent my 26 years. Now that I’m a little bit older, I hope I am indeed a little bit wiser (otherwise I just wasted a lot of everyone’s time imparting my wisdom) and I hope at this time next year I will be able to look back on continued growth, and more bitchin’ good times. I hope you will too.

Granada, October 2011

[Note: This year I had hoped to repeat my Five for Five Project in the weekend before my birthday, but unfortunately a personal matter took me out of the province. Instead, to express my gratitude for 26 years on this great planet I have donated $26 to the David Suzuki Foundation.]

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My “Exquisite Hour” with Relephant Theatre

Nevada Yates Robart and Josue Laboucane. Photo: Tim Matheson

Would you give me your hour?

That depends, you might say, will I enjoy it? Will I be glad I did? What will I get in return for my hour? When this hour is gone, what will happen to the hours that follow?

If the hour you give is the hour you spend watching Stewart Lemoine’s The Exquisite Hour, produced by Relephant Theatre Co-op and presented at the Revue Stage on Granville Island, then I may be so bold as to reply, yes, you will enjoy your hour, yes, you will be glad you gave it to see this play, and as for the hours that follow The Exquisite Hour, that’s for you to decide (but I imagine you will spend some of them dreaming of sunshine and letting a private smile play across your face).

Would you give me your hour?

This is the question the oddly forward Helen Darimont asks shy bachelor Zachary Teale after she intrudes on his evening ritual of a quiet glass of lemonade in his garden. Zachary’s hour is the favour he grants, and it is this hour, played in real time, that the audience is privy to.

On the surface, this dainty two-hander, set in 1962, seems it may be perilously close to saccharine–the colours are bright, the patterns are floral, and there is a “just-so” simplicity to the story that could quite potentially grate against the sensibilities of any confirmed cynic.

But to hell with the cynics, I say, this play is lovely. To fault a story for being sweet is like faulting someone for smiling–if the impulse behind the good cheer is genuine, you’re probably just jealous. To dwell on the sweetness of this play as a flaw is to see the lemonade glass as half empty (and to not even notice that there’s a shot of bourbon inside).

Nevada Yates Robart…doing…something. Photo: Tim Matheson

Bourbon indeed. The saving grace of The Exquisite Hour is that it is not all sunny yellow sweetness. Actors Nevada Yates Robart (Helen) and Josue Laboucane (Zachary) infuse the good-natured humour of Lemoine’s script with a total and hilarious commitment to playfulness. It will likely be the strangest and nicest hour-long conversation you will ever eavesdrop on and I know I wasn’t the only member of the audience to scream with laughter or shake my head as an incredibly awkward but incredibly funny moment unfolded in front of me.

In case you are wondering, The Exquisite Hour is not an avant garde play. It is not high-tech. It will not cover your world in shades of ethical grey or expose the dirty underbelly of society. Plays that do these things are often good plays, and you find yourself leaving the theatre unsettled and challenged. The Exquisite Hour does not do these things, and yet, The Exquisite Hour is a good play, one that will leave you bright-eyed and tickled (take that, cynics!).

The appeal of The Exquisite Hour lies in its balanced combination of sunny nostalgia and refreshing verbal and physical humour. It’s a warm summer evening–spent with your weird but lovely neighbours. The world’s alright, the lemonade’s cool, and it’s that little kick of something just a bit stronger that makes your hour truly, well, exquisite.

Quite happily, I gave my hour to Relephant Theatre and I don’t want it back. If you would like to do yourself the favour of spending your hour at the Revue Stage, The Exquisite Hour will be running until May 12, with both evening and matinee performances. Tickets can be purchased online through VancouverTix.com, or by calling 604-629-8849.

Disclosure: My ticket (and +1) for the opening night of The Exquisite Hour was provided by Relephant Theatre. I remain the sole author of my content.

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Sunshine Coast Adventures: Nifty at the Painted Boat

View from our patio at the Painted Boat

Sometimes, a lady just needs a holiday. And not just any old holiday, which often involves headaches and penny pinching and a hotel room overlooking a dumpster and crack deal. Sometimes, a lady just needs to vacation like a rich person.

Enter 604pulse.com, and their recent contest to win a free 2-night stay in a villa at the relaxing, beautiful, and oh-so-luxurious Painted Boat Resort on the Sunshine Coast. On a whim, I entered the contest back in February, never expecting to think about it again. Until I won. Wooohooo! Nifty got a rich-person vacation!

On Friday, the TC and I packed our rental car (obtained super-cheap by booking through hotwire.com and by buying our insurance through ICBC instead of through the rental company, FYI) and headed up the Sunshine Coast. With the sun beaming down and a compilation of 90s alternative hits rocking the stereo, we enjoyed a pretty but winding drive to Madeira Park. We accidentally passed our turn twice but in no time at all we were at our destination.

And what a destination it is. Every villa at the Painted Boat resort has a waterfront view. Because it was off-season, the resort was fairly quiet and I suspect this is the reason we were bumped up from the standard two-bedroom villa I had won to a two-bedroom villa that also had a loft (this place was twice the size of our decently spacious apartment). The master bedroom had a king-sized bed and overlooked the bay. Its en suite bathroom had a huge stone-tiled shower and a massive bathtub. There was a fireplace. A large patio with a barbecue. A beautiful kitchen with granite counter tops. There was even a washer and dryer in one of the closets (which came in handy on our first morning when I spilled milk down my sleeve).

Minions, build me this bathroom!

Minions, build me this bathroom!

Needless to say, I spent my weekend “star-fishing” the massive bed, taking more baths than I needed, and “ballet dancing” all over the beautiful expansive hardwood (which of course becomes “figure skating” when you are wearing socks). Obviously, whenever we were in our villa, TC and I wore the plushy robes provided by the Painted Boat (my assumption is that rich people don’t restrict themselves by wearing actual clothes any more than they have to, I wouldn’t).

Kayaking on the sea!

Kayaking on the sea!

Though on Friday night we kept matters frugal by cooking supper ourselves (excellent steaks barbecued on waterfront patio, courtesy of my TC) and relaxing under the stars in the resort’s hot tub, for our second day we decided to live it rich and take advantage of the resort and its activities. Late afternoon massages at the Spa (I had a salt scrub first) put us in a lovely mood for dinner at the Restaurant at the Painted Boat. It was a luxurious, spendy, delicious day.

My favourite activity was actually the cheapest one–before our fancy massages and dinner, TC and I rented a double kayak from the Painted Boat and spent two sunny hours paddling around the bay and various little inlets near Madeira Park. During these two hours, in addition to the regular seagulls, geese, and crows, we saw the following wildlife:

  • sea stars (purple, orange, and white)
  • a cormorant (we think)
  • a loon
  • a bald eagle
  • a blue heron
  • clams and sand dollars beneath the water
  • a crab being viciously killed and eaten by a crow
  • a SEAL splashing around and having a great old time (he didn’t let us get too close though).

Basically, this place is awesome. I don’t have much more to say, except that my weekend was awesome. Not only is the Painted Boat itself a beautiful and beautifully located resort, its proximity to the rest of the wonders on the Sunshine Coast meant that after checking out on Sunday, TC and I were able to take a very short drive to hike in the Skookumchuck Rapids Provincial Park and make it back to the Langdale ferry before 4:00 pm.

I miss you already.

Yeah…my weekend was awesome. Thank you so much to Robyn at 604Pulse and to Jennifer and Lori at the Painted Boat Resort for providing my TC and me with this amazing opportunity to live rich and relaxed for a glorious weekend on the Sunshine Coast. For all its being a 4 1/2 star resort, the Painted Boat retains a relaxed and outdoorsy atmosphere that was not at all stuffy or classist. My heart cries for the beautiful kitchen and the fabulously huge bathtub, but I am fully content and happy with my new memories of the unceasingly beautiful province of BC.

Disclosure: Not much to disclose, actually. Our stay at the Painted Boat was free because I won a random-draw contest held by 604Pulse.com. I do not believe any of the parties involved knew I was a blogger, and I certainly was not asked to blog about my visit.

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“Jason and the Argonauts” at Carousel Theatre (epic theatre for smart teens)

Every once in a while, I have the pleasure of reviewing a show presented by Carousel Theatre. Every once in a while, I also have the pleasure of guest-posting for my friend Raul Pacheco-Vega, of Hummingbird604.com.

Never before have I had the pleasure of doing both AT THE SAME TIME.

Well now I have.

The following is my review for Visible Fictions’ Jason and the Argonauts, being presented by Carousel Theatre until April 29th. To see my review in all its glory, please visit the actual post at Hummingbird604.com.

Heroes. Villains. A quest for destiny. Treachery. Sea monsters…Ken dolls?

Using only the contents of an old trunk and a wooden cart (designed with breathtaking cleverness by Robin Peoples), Scottish actors Tim Settle and Simon Donaldson of Glasgow’s Visible Fictions energetically retell the Greek myth of Jason and his quest for the Golden Fleece with intimacy, humour, and virtuosic performances. With shows at the Waterfront Theatre until April 29, Jason and the Argonauts marks the end of the 2011/2012 season of literary classics presented by Carousel Theatre.

Jason also marks one of Carousel Theatre’s first steps towards offering programming for older youth audiences and though younger children (age 7 and up) will still find much to enjoy, it is adolescents and teenagers (and their parents!) that will appreciate this ingenious retelling of the ancient story the most.

While at first your smarty pants youngster (or you) may be incredulous that the story of “like, 50 guys who are supposed to be on a boat with monsters and stuff, and you know, like, a beautiful princess” can be told effectively by only two actors (both men), the magic of Visible Fiction’s Jason and the Argonauts is not only found in the story itself, but in the way in which Settle and Donaldson are able to convey it using only their abilities as performers and the few props at their disposal (Ken dolls, paper boats, and sticks are used to great effect in this production). The gasps from the Saturday-night audience as the Argo appeared from seemingly nothing did not go unnoticed (or uncommented upon) by the actors. It is this back and forth between performers and audience, and this recognition of our intelligence and interest, which allows us to wholeheartedly root for the characters of “Andy” (Settle) and “Josh” (Donaldson) as they take on the telling of this epic quest for glory and justice.

Incredibly disciplined performers, Settle and Donaldson play the dramatic moments of the story as well as they do the comic ones, with real sorrow, tyranny, and danger all alive on the stage as Settle and Donaldson make switching from one character or scene to another look as easy as breathing. The show is charming, intelligent, and thoroughly entertaining.

Jason and the Argonauts is also a breath of fresh air from a continent whose tradition of theatre is centuries more well-established than our own, and therefore, whose expectations of their what their audiences will be able to engage with seem to be much greater. Precious few theatre companies (especially those who wish to be accessible to younger audiences) would be comfortable staging or presenting such a complicated two-hander, with worries that the constant switching between characters (and the lack of costume changes, etc. to indicate the switch) would make the show “too confusing” for audiences to follow. Visible Fictions trusted their actors to tell the story, and trusted their audience to follow it. Carousel Theatre has placed its trust in us and in its older youth audience as well, and guess what? We can follow Jason’s journey just fine.

In fact, due to Carousel’s practice of holding Q & A periods with the actors after every show (not just on a special “Q & A Night”), watching a more complex show like Jason and the Argonauts can also be incredibly instructive for those pre-teens and teens of yours who are interested in theatre. When I attended on Saturday, a large group of high school drama students were seated in the first two rows. I was impressed by their intelligent questions (see? We don’t need to “dumb down” great theatre!) and by Settler and Donaldson’s thorough replies about their training, rehearsal process, their lives as working actors, and the physical and psychological skills they employ to find and maintain so many different characters in one show.

It is wonderful to see a show that is both accessible and enjoyable AND assumes its audience to be sensitive and intelligent. I am excited that Carousel is pursuing programming for older youth audiences and hope to see more productions of the same caliber in their future seasons.

Jason and the Argonauts will be performed at the Waterfront Theatre until April 29, with school performances during the week and public performances Friday and Saturday evenings at 7:00 pm, with 2:00 pm Saturday matinees. Tickets can be purchased online through Carousel Theatre’s website, or by calling their box office at 604-685-6217.

Disclosure: My ticket to see Jason and the Argonauts was provided by Carousel Theatre. I maintain full control over my writing, and of course, Raul maintains full control over any content posted on Hummingbird604.com.

It was truly a pleasure to review this show, and a pleasure to be able to share it through Hummingbird604.com. I’ve thoroughly enjoyed attending and reviewing Carousel Theatre’s 2011/2012 season. Now that it’s over, I’d like to extend a big thank you to Raul for putting Jessie van Rijn (General Manager for Carousel) in touch with me in the first place, and Jessie for continuing to invite me back and being so lovely to deal with. I’ve had a fantastic season with YA theatre (and I don’t even have kids!).

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I Wanna Go Home–to High School

Lately I’ve been homesick–for high school.

I’m not one of those “summer of ’69, those were the best days of my life” types whose flower bloomed when they were seventeen and who’s been wilting ever since. High school was an emotionally messy, facially pimply, gossip and insecurity-ridden angst-filled existence. But it was also a period full of promise.

When I was in high school, I thought 25 was old. I thought I would have a career (in the theatah, of course!), a husband, and maybe even a kid by now (ha ha ha ha ha). I felt like the only thing separating me from my dreams was time and a university degree. I guess I assumed the rest would just arrive in due course as time went by. What I failed to understand then was that time does bring our futures into our lives, but that we don’t make that step from here to there without choices along the way, and sacrifices. The fulfillment of one dream may mean the compromise of another. You don’t just wake up one day and BANG! your future  arrives. You get to where you’re going through the decisions you make.

In high school, the only decision with long-term consequences I really had to make was where to go to university. It wasn’t much of a contest–I went to the U of A because I wanted to audition for their theatre program in the future and they gave me money (and even that wasn’t long term because I transferred after first year).  Other than that, I didn’t need to decide anything. Love? That wasn’t a decision. I just knew I had to be with so-and-so because he was The One (update from 2012: he wasn’t). Friends? I’ve had the same bestie since kindergarten. Career? I had a part-time job, it was okay and then I quit but that’s alright because my parents were feeding and housing me.

Done and done. All of the pesky decisions regarding survival and building a future out of the way, I had plenty of time to obsess over my clothes and go to parties and have crushes and heartbreaks and decide that no one understood what a sensitive intelligent soul I was (I just couldn’t wait for university where my brilliance would surely be discovered and celebrated).

My journey from high school has been a good one. For the most part, I’ve had a great time, with great people alongside me every step of the way. I’ve learned so much–about me, about the world, about all kinds of crazy things I never dreamed existed. I’ve travelled, I’ve been in and out of love, I’ve lost some things and found new ones and here I am, doing just fine, though definitely an adult for real now with some adult choices to make about my life’s direction.

Things are pretty good.

But when I was in high school, friendships didn’t need to be maintained–there were only 23 people in my graduating class so by Grade 12 we had put our junior high pettiness aside and become a family. We had each other, without even trying.

When I was in high school, no one I knew had died yet.

When I was in high school, our potential was unlimited because of our ignorance about the way the world worked.

When I was in high school, tomorrow was a dream so tonight was Party Time.

When I was in high school, we were all invincible and there were no choices that had lasting consequences one way or another (or so we thought).

If today was April 13, 2004, the ditches at home would still be full of run-off water and snow would still exist in front of the north sides of buildings.

I would be training for track and field.

My class would be studying Hamlet and we’d be dressing up in silly costumes to read the parts.

Most of the girls would have their dresses for graduation already hanging in their closets (mine was ivory–I still have it).

The 23 of us would be engaged in the easy comradery that comes of having known each other most of our lives and from knowing that we’d be graduating soon–we were all forging ahead together for one last push towards the Unknown. There is almost a patriotism that binds the graduating class of a small rural town to each other and to the community. Respect and pride would be felt in all facets of our lives.

We would all be together, on the verge of our dreams, before the pits and rocks would become visible. We’d be suspended in a beautiful moment of optimism.

We’ve all experienced loss since we’ve been in high school. When we talk to each other now, there’s a weight in our voices and on our shoulders that wasn’t there before. Some of these losses have been felt by all of us, and they pull us together across time and distance. Some of these losses have been private. We are becoming the adults that had sent us on our journeys and wished us so well, whose bright hopes for us masked their concerns about what we would face. We’re growing up–we haven’t been spared it.

If I could capture April 13, 2004 in a bottle, it would be the colour of milky yellow sunshine. It would smell like wet grass. It would sound like easy laughter and taste like a warm clandestine beer. And if I had my way, all 23 of us would be there to see this distillation and shake our heads at our silliness together. All of us.

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Invisible Suffering (and what we can do)

Van Gogh's Room at Arles

According to the Canadian Mental Health Association (CMHA), “approximately 1 out of 4 people know someone who died by suicide.”, which is a frighteningly high number of people confronted with shock and grief at the sudden loss of their friend or loved one. This post is an acknowledgment not only of the distress experienced by those who attempt or complete suicide, but also of the incredible loss experienced by those left behind.

I have been so fortunate in my life that I am able to say, and believe, that the world is a beautiful place and that life holds glorious things. But the sad truth of the matter is that the world is also full of pain, and for many people (more people than you’d think), the weight they have been forced to carry (by tragic events, an illness, etc.) is more than they can bear. Do not mistake this for weakness, selfishness, or ingratitude. This is simply suffering. Regardless of where it is found–in an old person, in a young person, beneath a tough exterior or behind a smile, it is suffering.

An important tenet of most (if not all) systems of ethics and morality is that people should, if possible, attempt to alleviate the suffering of others. This tenet does not extend only to those who are physically and financially suffering, but to those who may be suffering mental and/or emotional illness and distress as well. Unfortunately, unlike visible suffering such as physical illness or poverty, mental and emotional distress is often invisible–a secret pain closely guarded by the sufferer.

Unlike with visible suffering, there is no obvious solution—if we saw someone bleeding we would give them a Band-Aid. If a friend was ill we’d cook for them or offer to watch their kids for a while. But if someone is in mental or emotional pain, we seem to clam up, unsure of how to help, or if we should. If the sufferer doesn’t tell us they’re in pain, we often don’t even realize there is a problem in the first place.

When I say that it is our responsibility to try to alleviate suffering, I am not by any means condemning those who were not able to prevent the attempted or completed suicide of a friend or loved one. In any tragedy, several complicated factors are at play and seeking to lay blame with those who are left behind will only further stigmatize issues surrounding mental health and suicide.

So what can we do to help someone, especially if we don’t always know who is in need of our help? First and foremost, I believe we should remove once and for all the stigma surrounding suicide. In recent years, several brave families have decided not to hide the cause of their loved one’s death and have brought mental health and suicide into our consciousness (in the media, in our communities, etc.).  Suicide is not an attention-seeking dramatic act perpetrated only by “crazy” people.  It is a desperate act committed (and attempted) by human beings of various ages, lifestyles, backgrounds, and cultures. What these people have in common is that they are in pain. The more we acknowledge that this pain exists, the less we try to sweep it under the rug and pretend it doesn’t happen, the more likely it is that those experiencing this pain will share their troubles with someone and seek help and support. Knowledge is power, and the more we know about suicide and mental health, and about what those around us are going through, the more we can help each other or ourselves.

To that end, I have come across some links which may be helpful:

If you are concerned that someone you know may be considering suicide, the CMHA’s website has a very informative page on suicide prevention. According to the CMHA, “There is almost no risk that raising the topic with someone who is not considering suicide will prompt him/her to do it.” so even if you’re wrong about a person’s intentions, it can’t hurt to talk about your concerns and let them know that you care about what happens to them.

In addition to the information above, on their “Media Guidelines” page, the Canadian Association for Suicide Prevention (CASP) asks that the following information be included when someone (like me) is writing about suicide:

Warning Signs of Suicide

  • Suicide threats
  • Statements revealing a desire to die
  • Previous suicide attempts
  • Sudden changes in behaviour (withdrawal, apathy, moodiness)
  • Depression (crying, sleeplessness, loss of appetite, hopelessness)
  • Final arrangements (such as giving away personal possessions)

What to Do

  • Discuss it openly and frankly
  • Show interest and support
  • Get professional help
  • Call your local Crisis/Distress Line

If you are considering suicide, please know that help and support are available. To locate a crisis centre nearest you, please visit the “Find a Crisis Centre” page on the CASP website (suicideprevention.ca). To give you an idea of how important your life is, on CASP’s website there are 27 different organizations listing Crisis Lines in the province of BC alone. I urge you to reach out to one of these resources and/or a loved one.

Unfortunately, even with our best intentions, we cannot always prevent tragedy. For the survivors of suicide (i.e. those left behind), CASP provides information for those trying to cope with grief after a suicide. Their site also provides information and resources for helping you find Survivor Support. Like the crisis centres mentioned above, you can find these resources listed by province.

As with the suffering of those who attempt or complete suicide, it is important to remember that the survivors of suicide are suffering as well. If your friend or loved one has become a suicide survivor, the most important thing you can do is listen, without judgement, without “solutions”, and without pushing them to talk.

I wrote this post with the purpose of supporting an environment where anyone, no matter what their reason or background, will feel safe reaching out and seeking help for what they are going through. Sometimes this means seeking professional help and there is nothing shameful about this. Yes, the world may be full of a lot of pain but it is also full of people who want to help lighten the load, and professionals who have the tools to do so.

I am aware that Mental Health Week is in about a month’s time (May 7-13) but this post couldn’t wait–every week is the right week to try to alleviate any suffering you find, whether the suffering is your own or that of a friend.

Disclaimer – This post is technically an opinion piece, a result of my desire to minimize harm using the tools I have available to me (which include this blog). The information I have provided appeared on either the Canadian Mental Health Association or the Canadian Association for Suicide Prevention’s website at the time of posting. I am not a mental health professional, and the content of this post is not a substitute for the assistance of a mental health professional.

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Conceptual Art I Like (on Srikanth Reddy’s “Voyager”)

Cover of the Voyager Golden Record, on board the Voyager spacecrafts.

I must admit that before this spring, if you had asked me if I liked conceptual art, my answer would have been an unequivocal no. Signing a urinal, calling it “Fountain” and selling it for lots and lots of money seems to me to smack more of douchebaggery than of genuine creative passion. Oh I know conceptual art is about process, and process can be interesting. I know it’s often meant to be intellectual, not emotive, and the intellectual can be interesting.

But a bunch of scenesters making whatever crap it comes into their heads to make/write, giving it some smart or artsy-sounding title, claiming it’s about “the suffering of the existential spirit in a post-apocalyptic Nietzsche world” or some such B.S. and then labelling it “conceptual” as a way to weasel out and seem clever when someone points out that it’s just a huge piece of crap that took neither talent nor brains to create is NOT the kind of culture I tend to enjoy.

I’m not saying that I need the art I engage with to be accessible. I don’t. But I need to be able to see intention on the part of the creator, a real question or form being tackled. If the artist hasn’t invested time, talent, or brains in a piece of work, as an audience member (or reader), I don’t feel the need to invest even an iota of my time and my brainpower trying to respond to something that was never a sincere question in the first place. To those that smile smugly and say I just don’t “understand” their work, let me say that I can usually tell the difference between something that has energy and genuine engagement invested in it (even if it’s not my taste), and something that’s just a pile of trash thrown together. Let me also suggest that you stop being an asshole and make an actual effort next time.

Luckily for me, I have been exposed to two pieces of conceptual poetry this semester that have really knocked my socks off and shown me that the conceptual can be effortful. The first was Inger Christensen’s alphabet, a complicated alphabet poem that grows according to the Fibonacci sequence. The second is Srikanth Reddy’s Voyager, and if you ever want to read a really intentioned, committed, and effortful piece of conceptual literature with a concept that’ll blow your hair back, this is the book for you.

To summarize the awesomeness:

Unless they’ve studied history or politics, people in my generation may not know much about Kurt Waldheim, former Secretary-General of the UN (1972-1981). I certainly didn’t before this semester. To bring you up to speed, Waldheim was Secretary-General when the Voyager spacecrafts were launched into deep space in 1977. It is his voice which speaks for humanity on the Voyager Golden Record, a copy of which is aboard both spacecrafts.

All of this would be well and good, (you know, the UN Secretary-General representing the planet, etc.) if it weren’t for the slightly unsettling fact that Waldheim has been accused of being a Nazi war criminal and though he apparently “didn’t know” about the routine execution of civilian prisoners close to where he was stationed, and “didn’t know” about the rounding up of Jews to be sent to Auschwitz, it does make one uncomfortable to think of his voice as being representative of the entire human race.

This “disappearance” from memory of major and obvious wrongs has since been called “Waldheim’s disease”, in reference to Kurt Waldheim’s convenient ability to not remember or know anything about the horrible atrocities which surrounded him during his time as an SS officer.

What does Kurt Waldheim and “Waldheim’s Disease” have to do with conceptual art and Srikanth Reddy’s Voyager, you ask? Well, Waldheim wrote an English-language memoir called In the Eye of the Storm and when Reddy sat down to write his political book-poem Voyager in response to “Waldheim’s Disease” he did so not by writing words from his head but by taking a chapter of Waldheim’s memoir and then crossing out most of it, leaving the words that comprise Voyager behind. Reddy did not use any words that were not in this chapter, and did not change the order that the words appeared in the book (he actually did this three times to the same chapter, making the three “Books” that comprise the poem).

This is what blows my hair back: Reddy wrote an entire book in response to a man’s erasure of history by erasing that man’s memoir. Reddy’s concept is his message. Reddy’s voice is within the voice of his subject (it doesn’t get much more “engaged” than that). He doesn’t tell us how erasure and disappearance changes that which is revealed. He shows us. Is your mind blown yet? Mine is.

The best part is that Reddy doesn’t rest on the laurels of his amazing process (which can be viewed at tiny.cc/voyagermethod). The incredibly intelligent and disciplined commitment to his concept aside, Voyager is just a damn good poem. In Book Three, a hell-dwelling Minister keeps a zoo of political leaders, harpoons one, and eats the man’s skin raw, “which he insisted/ was the best way/ to eat a respected/ former Congressman.” Keep in mind that all of these words do exist, in this order, in Waldheim’s memoir, and it is only the erasure of words by Reddy that leaves these lines behind. KA-BLAM.

"Voyager", published by the University of California Press

THIS is a concept I can get behind. This is art whose point is its concept (a very clever one, I might add) but because the work was sincerely tackled by the artist, who took the time to truly empathize with his subject (so much so that the poem blurs the lines between the poet as a separate voice commenting on Waldheim and Waldheim as a voice of the poet himself), the book becomes so much more than concept. This book is not even a condemnation of a former Nazi officer. It is a thorough and passionate engagement with a political figure and with what is shown and hidden in history.

Like a lot of conceptual art, Voyager will make you feel small. But you will not feel small in the face of inaccessibility and a sense of douchebaggery. You will feel small in the face of an overwhelming feat of creation and literature. This is the kind of small you want to feel when you experience any art, conceptual or otherwise.

Read it. Engage. Blow your mind.

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I’m good at something. Now what?

Scene de Cirque by Marc Chagall

When I was in high school, I read an essay in English class about a girl who wanted to grow up and play with Lego. When told that “playing with Lego” wasn’t a career like being a doctor or a teacher or a lawyer, the girl was undaunted. She went to university, eventually completing a master’s degree in architecture (incidentally, her final project model was built with Lego), and somehow or other she landed a job with the Lego company developing the new Lego sets. Now her office is filled with every Lego piece she could ever need (with people on call to provide her with additional pieces if required) and she makes her money playing with Lego all day long. The moral of the story for all of us high school students preparing to go out into the world and seek our fortunes was “Make your vocation your vacation!”

I guess this means that we’re supposed to find that thing we’re really good at doing, our calling, so to speak, and make pursuing it as fun and awesome (and lucrative) as possible. Appealing, but easier said than done.

The fact of the matter is that many people, like me, are decently good at several things but aren’t necessarily geniuses in any one thing. Our vocation is not obvious, and the means to turn whatever our calling is into our livelihood (i.e. into money we can LIVE on) are vaguer still.

It has now been almost three years since I finished my BFA in Theatre Performance, and finally it has begun to become abundantly clear to me why I have not jumped at every performance opportunity (for the most part unpaid) that has come my way since. At first, of course, I said I couldn’t possibly get time off work to audition or rehearse, and then, of course, I couldn’t quit my job because I had over $20 000 in student loans to pay off and then, of course, I moved into Vancouver from Burnaby and rent was simply too high to allow me to give up my job and then, of course, I got hired on a continuing contract WITH BENEFITS (and you’d be a fool to give those up), and then, of course, I was travelling, and then, of course, and then and then and then.

The result of all of these “and thens” is that I am not an actor right now. And you know what? I think I’m not supposed to be, at least not as my vocation. Obviously there are many actors in this city who aren’t acting all the time, but they are trying– they are getting flexible jobs that allow them to fit in rehearsal schedules, they are auditioning, they are continuing to train through workshops and intensives, they are performing in every damn thing they can perform in, and when they aren’t performing, they are itching to fulfill the artist within by getting back onstage, sinking their teeth into a role, and performing the hell out of something.

These people are actors. These people are not me. Firstly, I am either too lazy or too cheap (or maybe both?) to find a more flexible (i.e. less secure and well-paying) job, audition, pay for workshops (which are pricey!), etc. Secondly, and more importantly, when I have gone through static, less artistic periods of my life, it wasn’t performing that I itched for. It was creating.

Although I’ve always loved performing, and when I do perform I will always try my damndest and have lots of fun, I’m not itching to be Blanche DuBois, or Electra, or Lady Macbeth (well, maybe Lady M because WHO WOULDN’T?). I’m not really itching to be any character, or any thing. I’m itching to be the one to call amazing things into being.

Being an actor seemed to be a natural choice for me because I always loved to play pretend. But was it being somebody else that I enjoyed, or was it the creation of these other versions of my childhood self (their world, their powers, their adventures) that I loved? I think somehow I’ve always wanted to be all the characters, I’ve always wanted to make their whole world. I want to manifest what exists in my imagination and try to communicate it through language. I want to tell stories. I want to plant images in people’s heads. And I don’t just want artistic fulfillment, I want intellectual fulfillment. I want to write.

And that is why I do. That’s why I blog. That’s why I loved co-creating Troika! last year with my friends. That’s why I’ve got a bunch of (mostly crappy) unfinished work languishing in notebooks and, more recently, on my computer. That’s why I agreed to adapt a Greek tragedy for some theatrical friends of mine. That’s why I went back to school to study English literature and am currently studying writing poetry. THIS is what I’m not too cheap or too lazy to do. THIS is what I’m itching for.

And you know what? I’m decently good at it. I’m not being vain. I’m just owning up to what is becoming more and more obviously my vocation. Funnily enough, it’s in poetry that it has been suggested that I pursue graduate studies. Apparently, I’m decently good at it. At poetry. Huh.

I know I’m no genius poet. I’m not Inger Christensen, whose alphabet (brilliantly translated by Susanna Nied), a 70+ page poem based on the Fibonacci sequence, is the most elegantly constructed piece of literature I have ever beheld (and all this intense mathematical form without sacrificing contact and image at all!). I’m not Franis Ponge, whose obsession (and faculty with) describing the thingness of things has been intriguing and inspiring to me this semester. But I’m decently good at writing poetry. I feel good about it. Writing poetry is, to me, a delicious act.

I found something I’m good at! Yay!

Now what?

The last time I checked, being a poet was not a…lucrative…career choice, and unlike acting, there is no way to “make it big”. Studying poetry at the graduate level would be incredibly artistically and intellectually fulfilling. It would also financially impoverish me (and let’s not forget I want to continue to study other creative writing forms too! $$$!).

I am at the point in my life where I have realized that I can’t live my “double life” forever: the life of a responsible full-time administrative assistant combined with the life of the unpaid creative. Though I’m delighted that I’ve found a vocation (and delighted that I have a job that allows me to live comfortably for now), there’s no vacation in working at work and then going home and working on my creative pursuits. It’s taking its toll on me, and when I’m older and have kids and a mortgage and backyard chickens or what-not I simply won’t be able to do it all.

I’m also at a point where I realize that to go any further into any kind of career (except within my admin job, I guess), I need to further my education through either graduate studies or professional certification. While on the one hand I am worried that it would be irresponsible to spend money and time on an education that will not advance my career and earning opportunities (like a graduate degree in poetry), I am even more uncomfortable with the idea of spending time and money obtaining certification or a graduate degree in something that will not make me happy, especially when it’s not really the thing I’m really meant to be doing anyways.

So what to do? I’m not sure. At the moment, I’m grateful that I can make my life work for me. I’m grateful that I’m beginning to understand what my goals are. I’m grateful for my job and for all the amazing things that I’m learning in my classes. I’m grateful for my theatre degree–without it I would not have cultivated the work ethic and artistic questioning necessary to be as creative as I want to be. Hopefully I’ll find my way. We can’t all play with the proverbial Lego all our lives, but I’ll build my magical cities for as long as I can. I’m meant to.

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