Theatre Terrific’s “BEING Animal” is a profoundly human experience

Theatre Terrific’s BEING Animal is currently running at the Vancouver Fringe. The final three performances are this Friday (6:00 p.m.), Saturday (2:00 p.m.) and Sunday (2:00 p.m.).

beinganimal_fringeimage

“Humans are tuned for relationship. The eyes, the skin, the tongue, ears and nostril–all are gates where our body receives the nourishment of otherness.”

David Abrams

Inspired by the work of author David Abrams and created by Theatre Terrific’s ensemble (under the directorship of Susanna Uchatius and James Coomber), BEING Animal uses music, mask work, puppetry, and physical stage choreography to explore and help forge our connections to our natural world, and each other.

Theatre Terrific’s inclusive casting and creation practices provide professional theatre opportunities for performers with drive and talent, regardless of physical or cognitive (dis)ability; their resulting productions dissolve prejudices about ability and art, while reaffirming the inherent dignity of the human spirit. But BEING Animal is so much more than a great mandate. It’s a beautiful and immersive theatrical experience. The audience sits along the boardwalk behind Performance Works, the stage is a grove of trees, and the backdrop is a peekaboo view of the sea and the city. The matinee performance I attended was quite windy, but that only added to the other-worldliness of the show, allowing me to feel both a part of the city and outside of it at the same time, both immersed in nature and participating in the distinctly urban experience that is an afternoon at the theatre. With its sparse use of text and reliance on stage picture, physical choreography, and musical cues to move the show forward, watching Being ANIMAL is akin to watching contemporary dance–lulled by James Coomber’s ethereal score, I simply allowed the event to unfold before my eyes, startled from my reverie now and then as a new image or moment settled into recognition.

One of my favourite aspects of this show is its use of masks–I’ve always loved mask work and I find that masks both remove barriers to an audience’s relation with a character, but also accentuate what is particular or idiosyncratic about a performer’s body, turning what some may see as a performance liabilities into unique physical gifts. In masks, individuality is erased, but humanity is accentuated.

As much as BEING Animal uses ideas of “the natural world” thematically, at its core it is startlingly human. It’s not about having an open mind, but about having an open heart–recognizing our shared frailty, our longing for communion (whether with nature or with each other), and our strength.

Photo: Chantele Fry

Photo: Chantele Fry

[I don’t want to give too much of the show away but during one specific section both my companion and I were moved to tears–not because the play was sad but simply because the moment we were watching was so beautiful. That’s something I don’t get to say a lot.]

BEING Animal plays at the Vancouver Fringe, in the Sculpture Grove behind Performance Works, from Friday to Sunday (see Fringe website or top of post for performance times). Tickets are $14 (must be accompanied by $5 Fringe membership or valid pass) and can be purchased online at VancouverFringe.com.

Disclosure: I attended last Sunday’s performance of BEING Animal courtesy of Theatre Terrific.

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Theatre Terrific presents “I Love Mondays” April 17 – 26

One of the downsides of living in an artistically-active city like Vancouver is that there is so much out there, it can often take me a while to explore theatre companies whose work I haven’t experienced before. I am therefore delighted to have finally fulfilled a theatrical goal of mine to check out Theatre Terrific, Western Canada’s oldest inclusive theatre company. From their website:

Theatre Terrific pioneers inclusive opportunities for artists of all abilities to develop performance skills and collaborate in the production of theatrical works. […]

Vision

Supporting artists of all abilities in the rigorous creation of provocative theatre.

Mandate

Theatre Terrific brings together artists who would normally never work together. Our diverse ensembles include professional and emerging artists with or without developmental, physical, or mental health issues, gender or language challenges.

Good art is often art that examines and challenges our assumptions about the world we live in and the people with whom we share our time on this planet. Issues surrounding race, gender, sexuality, ability, and mental illness are often explored onstage, and yet, the theatre world remains structurally exclusionary in many ways (as a basic example, I was lucky to audition for and be accepted into one of the few theatre programs I knew of that didn’t have set intake numbers based on gender–many schools will only accept a set number of men and women each year, despite the often much higher numbers of women auditioning). Many performance spaces are not fully accessible, and ones that have an accessible front of house often don’t have that same level of accessibility in their backstage areas. Performers are expected to meet certain expectations of physical and vocal ability, and it’s rare to see disability onstage unless the disability is written into the script as a particular aspect of a character, and even then, the character is more often portrayed by an actor who doesn’t have a disability than by one who does.

All this is to say that for a company like Theatre Terrific to have been operating in Vancouver for 30 years is fantastic, and it’s important, for artists and audience members of all backgrounds and abilities, that their work continue to be supported, seen, and enjoyed.

Jonah Killoran and Darlene Brookes. Photo: Alanna Milany

Jonah Killoran and Darlene Brookes. Photo: Alanna Milaney

Theatre Terrific’s current professional production is I Love Mondays, adapted by director Susanna Uchatius from the script by Pamela Boyd and playing at Studio 1398 on Granville Island. I was delighted to receive an invitation to attend their opening night.

Both in form and in theme, I Love Mondays is a quiet play, a story of two isolated people finding in each other the friendship and support they need to pursue their “best dreams”.  While Darlene Brookes (who plays Peggy, a divorcee and visual artist) is a well-known Vancouver performer, her co-star Jonah Killoran (who plays George, the developmentally challenged man Peggy is hired to work with), is an actor with cognitive differences whose experiences and path in the theatre are likely much different from those of most actors. Staging a play with an inclusive cast is certainly a challenge, and one that does require letting go of some of the performance conventions we’re used to.

At first, it may feel that watching I Love Mondays requires a little bit of patience. The pace is a little slower than the clippy, rapid-fire exchanges we tend to associate with a “tight” show. The important thing is that the actors are fully present and the dramatic intentions are all in place in every line, even if some actors need to take a little more time in their delivery than others. I quickly settled into the rhythm of the show and allowed it to take me on its quiet, and ultimately quite rewarding, journey.

What struck me the most about the way in which Theatre Terrific has staged I Love Mondays is the incredible gentleness displayed between the characters in the play and between the actors on stage. It is rare, very rare, I think, to sit in the theatre and see that the performers care for one another, and are taking care of one another in various small ways throughout the evening. As I watched I allowed my preconceptions to fall away, and I realized that just as some of the characters onstage were being limited because of their differences, I had been limiting some of the actors in my mind, and when they emerged, butterfly-like, beyond the boundaries of the limitations I had unconsciously imposed on them, I was both delighted and a little embarrassed of myself. What I mean to say is this: what is happening between the characters onstage is also happening between the actors, and between the actors and the audience. The characters who gain our respect as people in a story are also actors who deserve our respect as performers onstage, whatever their path into the theatre has been.

Theatre Terrific has been pushing beyond its own boundaries in this first-ever production from a scripted play (previous professional productions were collaborative creations), and the result is a unique and gentle story, told in a unique and gentle way. I urge you to challenge your assumptions of what theatre can be–art, and its creation, belong to everyone.

I Love Mondays will be playing at Studio 1398 (1398 Cartwright St., Granville Island) until April 26. Tickets can be purchased online at Brown Paper Tickets.

Disclosure: I attended the opening night performance of I Love Mondays courtesy of Theatre Terrific. I was not asked for a review.