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T H E AT R E DANCE M U LT I M E D I A MUSIC FILM

JAN 17 - FEB 3 2019


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PuSh International Performing Arts Festival

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A LW AY S T H E S M A R T C H O I C E

Vancouver City Centre 180 W Georgia St, Vancouver, BC | V6B 4P4 | Tel: 604 681 2211

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To take advantage of this exclusive offer, book online using promo code ‘PUSH’ or call 1 800 SANDMAN and ask for the ‘Friends of PuSh Festival’ rate. sandmanhotels.com | 1 800 SANDMAN (726 3626)


Banff Centre is creating space for Indigenous voices.

Indigenous Arts at Banff Centre is supported by:


TABLE OF CONTENTS Government Welcome Messages . . . . . . . . . . . . . . . . . . . . 6

Copper Promises - Hinemihi Haka . . . . . . . . . . . . . . . . . . . . . . . . 40

Festival Partners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

ZVIZDAL (Chernobyl - so far so close) . . . . . . . . . . . . . . . . . . . . 41

PuSh Welcome Messages . . . . . . . . . . . . . . . . . . . . . . . . . 14

Pancho Villa From a Safe Distance . . . . . . . . . . . . . . . . . . . . . . . 42

15 Years of the PuSh Festival . . . . . . . . . . . . . . . . . . . . . . . 16

L’Homme de Hus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Fragile Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

FESTIVAL PERFORMANCES . . . . . . . . . . . . . . . . . . . . . 18

Triple Threat (followed by Closing Night Party) . . . . . . . . . . . . 45

Word Sound Have Powah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Kimmortal & Immigrant Lessons (Opening Night Party) . . 21

PUSH FILM SERIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Corazón del espantapájaros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

The Children are Watching Us . . . . . . . . . . . . . . . . . . . . . . 47

Attractor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Pripyat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Ringo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

A Scanner Darkly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Asking For It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Adrienne Truscott’s A One-Trick Pony . . . . . . . . . . . . . . . . . . . . . 25

PUSH ASSEMBLY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

100 Keyboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Ideas Series: Critical Ideas . . . . . . . . . . . . . . . . . . . . . . . . 50

Marginal Consort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Ideas Series: Artist Talks . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Loop, Lull . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Industry Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

PALMYRA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Prince Hamlet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Artists-in-Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Race Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Youth Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

salt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Accessible PuSh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Kids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Patrons Circle Donors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Suddenly Slaughter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Staff, Board, Thank You’s . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Bicycle Thieves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Festival Schedule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Muted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Venue List & Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

This is the Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Passes & Tickets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Kiinalik: These Sharp Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

ACKNOWLEDGEMENT The PuSh Festival acknowledges that it operates on the ancestral and unceded territories of the Coast Salish peoples of the xʷməθkʷəy̓əm (Musqueam), Skwxw.7mesh (Squamish), and Səl̓ílwətaɬ (Tsleil-Waututh) nations. We acknowledge that we are settlers here who have a responsibility to listen, learn and unlearn on a continual basis.

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WELCOME

As Premier of the Province of British Columbia, I’m pleased to congratulate PuSh International Performing Arts Festival on its 15th anniversary and welcome everyone attending. Each year, the PuSh Festival attracts audiences and artists from across the province and around the world, encouraging partnerships across borders as well as art disciplines.

The PuSh Festival is highly regarded worldwide for its outstanding selection of innovative and groundbreaking presentations. PuSh not only features performances by renowned local, national and international artists, but also offers participants unique business, networking and professional development opportunities led by prominent industry representatives from around the world.

I commend the staff, volunteers, and supporters of the 2019 festival for their commitment to captivate audiences with an exhilarating spectrum of shows, all while carrying on the legacy started 15 years ago. Please accept my thanks for your remarkable contributions toward creating a vibrant BC.

International festivals like PuSh shine a global spotlight on our province’s vibrant arts and culture sector, contributing to its growth and strength. Our government is happy to be supporting the festival again this year with funding that assists their operations and international business development.

I wish you all the best for a fantastic festival season.

Congratulations to the PuSh International Performing Arts Festival Society for its many years of success. And thank you also to the many volunteers and sponsors whose involvement and support make this festival possible each year.

Hon. John Horgan

Enjoy the festival!

PREMIER, PROVINCE OF BRITISH COLUMBIA

Sincerely,

Hon. Lisa Beare MINISTER OF TOURISM, ARTS AND CULTURE

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Welcome to the 15th annual PuSh International Performing Arts Festival. For three weeks every January, PuSh brings together talented artists from around the city, across Canada and beyond in a celebration of highly original performing arts. The diversity of artists and performances featured at this event is a perfect reflection of our country’s rich cultural mosaic. Our government believes in the power of the arts to engage and unite Canadians of all backgrounds. That is why we are proud to support this festival. As Minister of Canadian Heritage and Multiculturalism, I would like to congratulate the organizers, volunteers and artists for creating such an enduring performing arts celebration. Enjoy the performances!

I am pleased to extend my warmest greetings to everyone attending the 2019 PuSh International Performing Arts Festival in Vancouver. This event gives audiences a wonderful opportunity to enjoy live performances in dance, music, theatre and multimedia. For the past fifteen years, the festival has opened its doors to both local and international artists to produce a vibrant, dynamic experience for all. I would like to commend the organizers of the PuSh International Performing Arts Festival for your hard work and dedication. Your ongoing support has helped to make this annual event a success. Please accept my best wishes for a memorable and enjoyable festival. Sincerely,

Hon. Pablo Rodriguez MINISTER OF CANADIAN HERITAGE AND MULTICULTURALISM

Rt. Hon. Justin Trudeau PRIME MINISTER OF CANADA

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PRESENTED BY

2 OPERAS

FAUST LA CENERENTOLA

And nine days of fairytales and fables, operas, concerts, community and family events, and more

TICKETS ON SALE NOW! vancouveropera.ca 604 683 0222

April 27 — May 5, 2019

ARTWORK

ART DIRECTOR: ANNIE MACK | ILLUSTRATOR: OLA VOLO | PHOTOGRAPHER: KK LAW | MODEL: ANNAPURNA | HAIR AND MAKEUP: BECCA RANDLE

VOF PRODUCTION PATRON MARTHA LOU HENLEY, C.M

WITH CONTINUING SUPPORT FROM


2019VANCOUVER INTERNATIONAL DANCEFESTIVAL MARCH 2019

Featuring: 10 Gates Dancing · Dairakudakan· Harbour Dance Centre ITP Jeanette Kotowich · Kelly McInnes · Leslie Telford · Manuel Roque · Olivia C. Davies Raven Spirit Dance · Vision Impure · V’ni Dansi · Tjimur Dance Theatre

A month of World-Class Dance Performances, Free Events, Classes & Workshops, and More

Info & Box Office:

VIDF.CA 604.662.4966

Venues include the Roundhouse, Vancouver Playhouse, KW Studios and Woodward’s Atrium

Tjimur Dance Theatre photo by Maria Falconer


PARTNERS Support and contributions from our corporate, foundation, government and funding partners, as well as our presentation partners, make it possible for us to bring the boundary-pushing programming that defines PuSh to Vancouver each year.

PREMIER PARTNERS

PRESENTING PARTNERS

FOUNDATION PARTNER

Black

GOVERNMENT PARTNERS CMYK

Pantone

DOWNTOWN VENUE PARTNER

TELECOM PARTNER

BEER PARTNERS

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HOTEL PARTNER

CATERING PARTNER

WEB PARTNER

SURVEY PARTNER

WINE PARTNER


PREMIER BROADCAST PARTNER

DIGITAL MEDIA PARTNER

PROMOTIONAL PARTNERS

BEHIND THE SCENES

®

Christie Lites

FOREIGN AGENCIES

British Council

Gearforce

Consulate General of France in Vancouver

Granville Island Cultural Society

Consulate General of Italy – Vancouver

Helijet

Japan Foundation

John Fluevog Shoes

Ministry of Culture, Taiwan

McMedia Audiovisual

Taiwan Academy

Vancity

PRESENTATION PARTNERS

RUSSIAN HALL

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SAT 16 FEB 2019 8PM

SAT 16 MAR 2019 8PM

SAT 27 APR 2019 8PM


18/19

Opera Season

Verdi

LA TRAVIATA

February 14, 16, 20, 22, 24 / 2019

Kálmán

COUNTESS MARITZA April 25, 27, May 3, 5 / 2019

Coming from out of town? We recommend our host hotel. Ask for the Opera rate! 1-800-663-5891

All performances at the Royal Theatre 805 Broughton St., Victoria, BC

Call today! 250.385.0222 / 250.386.6121 / www.pov.bc.ca SEASON SPONSOR:

GREAT SEATS AS LOW AS

$27

PUBLIC FUNDING:

Oct 27, 2018 to Feb 3, 2019 THE GIFTS OF FRINGE SPEAKER SERIES DECEMBER 9 | FILM SCREENING JANUARY 12 | PANEL CONVERSATION Dana Claxton, Naufus Ramírez-Figueroa, Jeneen Frei Njootli, Skeena Reece and Olivia Michiko Gagnon JANUARY 22 | LECTURE Philip J. Deloria For more information, visit vanartgallery.bc.ca/speakerseries

Dana Claxton: Fringing the Cube is organized by the Vancouver Art Gallery and curated by Grant Arnold, Audain Curator of British Columbia Art Visionary Partners for Photography Exhibitions: Miles, Maureen and Larry Lunn Major support provided by: Cathy Zuo Supporting Sponsor: Dana Claxton, Fringed, 2015, documentation from performance rehearsal at the Metropolitan Museum of Art, New York, Photo: Pauline Petit


WELCOME FROM PUSH

PHOTO: SARAH RACE

PHOTO: SARAH RACE

Thank you for joining us. Fifteen years ago PuSh entered the world as a bold idea. It launched as a three-show series that drew 2,500 people to 21 performances at 3 venues throughout Vancouver. Now, as we roll into our 15th anniversary Festival, PuSh has welcomed more than 300,000 people to 366 productions from 30 countries. In September, some PuSh staff attended Portland’s amazing TBA Festival. For those travelling under the PuSh banner for the first time, it was enlightening to enter a world where PuSh needed no explanation. Not only was the name known, it was well understood and very highly regarded. Even for staff, it can be easy to underestimate the reputation the Festival has earned internationally. PuSh has an incredibly strong international brand. It’s the reason why we welcome 100+ visitors each year to the PuSh Assembly—a meeting place where artists and producers from around the world gather to share ideas, challenges and field notes from the places and contexts where they make performance. PuSh is like a great meal—it nourishes, it’s an experience best shared with others, and the best thing about it is the conversation it inspires. We are incredibly grateful to everyone who has crossed the line with us, trusting that we would bring them back safely, with a new experience under their belt and a new perspective to consider.

Performance matters because the choice to attend a live performance is an exercise of our civic imagination. Providing space for gathering—and for the sometimes exhilarating, sometimes difficult conversations about the issues of our time—this is the role of the festival in civil society. The works in this year’s festival are what I would call “heartbalm”, a way for us to practice empathy and celebrate the bright side of humanity. Ultimately, they are testament to the power of storytelling and the value of allowing space and time for wonder, reflection and contemplation. PuSh is deeply devoted to this approach—appealing to the heart and the mind, and changing the way we feel and think about the world around us. This is why I am very proud of the programming we have on offer for 2019. This program marks the final festival guided by the hand of PuSh’s co-founder, Norman Armour, and the sixth shaped by our collaboration together as a curatorial team. Through the works we’ve chosen, I’m reminded that we’re a part of something bigger, a part of re-defining who ‘we’ are and what ‘us’ means. This is a potent idea given that PuSh itself is in a moment of transition, considering what PuSh means now on the brink of an exciting future.

Whether you’ve been with us since the beginning, or you’re flipping through this guide for the first time—this festival is for you. Thank you for your curiosity, your openness, your support and your presence. We hope we give you something to talk about.

What happens after the performance, after the festival ends? What happens after we have been moved? And, what is the choice you will make when standing at the threshold of change? We each have a role to play, and the power to make an impact together.

Roxanne Duncan

Joyce Rosario

INTERIM EXECUTIVE DIRECTOR

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The moment that precedes a beginning—the inkling we’re about to enter an extraordinary world where transformation is possible, that’s one of the things I love most about performance. The creation of a temporary community—people from across the city and around the world coming together, that’s one of the things I love most about festivals.

INTERIM ARTISTIC DIRECTOR


DEAR NORMAN As we prepare for our first ever PuSh Festival without you at the helm, it’s hard not to wonder what it must have felt like at the very beginning. It’s January 2003. Another rainy day in Vancouver. In a few months, the first camera phone will hit shelves, and iTunes will launch its online music store. You don’t know it yet, but the San Antonio Spurs are about to unseat the LA Lakers after a three-year streak as NBA champions. Welcome to the 15th PuSh International Performing Arts Festival. We are thrilled to have you join us in supporting the best in performing arts from Vancouver and around the world.

You and Katrina Dunn are about to launch a big idea, opening the first presentation of what will become the PuSh Festival. You don’t know it yet, but you’re about to change everything.

We are very proud to carry on the legacy of those who dreamt and nurtured this Festival 15 years ago, and are particularly gratified to continue this work with those shaping and expanding the Festival at this very exciting time.

It seems impossible to have imagined, fifteen years ago, what the PuSh Festival would become today. Like other innovations of the day, this big idea will catch hold, and forever alter the course of the performing arts landscape in Vancouver. Your dogged commitment to elevating the horizon for artists and audiences in this city has had a lasting impact—not only for Vancouver, but for Canada.

This is a dynamic moment for PuSh as we present to you the first Festival without Norman Armour at the helm. Norman, together with Katrina Dunn, launched the festival in 2003 with a big idea – to expand the horizons of Vancouver artists and audiences with work that is visionary, genre-bending, multi-disciplined, startling, and original, from Canada and around the world. No small ambition! For 14 years Norman’s vision led the Festival and he worked every day to put this vision into action. On his watch, the Festival grew an international reputation. He leaves big shoes to fill for the next leader. Immense appreciation to Roxanne Duncan and Joyce Rosario, who have stepped into executive and artistic leadership positions this year and have continued to champion PuSh’s values and ideals with board, staff, and all of the Festival’s dedicated supporters through a period of exciting change. On behalf of the entire board, we sincerely thank you for your participation as audience members and your contributions as artists. Please enjoy the 15th anniversary season of the PuSh International Performing Arts Festival!

Under your leadership, PuSh has carved out a place for itself on the international stage. We have become a mainstay in the circuit of international festivals presenting the very best in performance from around the world. Each year tens of thousands of people will choose to leave the comfort of their home and join one another in the shared experience of live performance. You may not know it yet, but your work at PuSh has changed the lives of a great many people. You’ve given us so much. You’ve taught us so much. You’ve changed so much. We’re grateful to have this opportunity to thank you, to celebrate your contributions to this Festival and to Vancouver. We encourage everyone who experiences a performance this year to join us in doing the same. We wish you all the very best in your next endeavours— you’ve set yourself a high bar! From your colleagues, your friends, your mentees, and your biggest fans - THANK YOU.

Mira Oreck and Jessica Bouchard BOARD PRESIDENTS

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The Birds, Burnt Norton, Fuse—Deborah Dunn / Trial & Eros • Sign Language: A Physical Conversation—Denise Clarke • K.—Kaleidoskop Theatre • A Suicide-Site Guide to the City— Mammalian Diving Reflex 2

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Dances for a Small Stage IX—MovEnt • Crime and Punishment—Neworld Theatre • FRANK—Nigel Charnock • Company • The Black Rider: The Casting of the Magic Bullets—November Theatre • Final Viewing—Radix Theatre • Say Nothing— Ridiculusmus • The Bacchae - an electronic opera—Screaming Weenie Productions • The Empty Orchestra—Theatre Replacement • The Trigger—Touchstone Theatre 2

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Absence & Presence—Andrew Dawson • The Perfectionist—Boca del Lupo • Studies in Motion: The Hauntings of Eadweard Muybridge—Electric Company Theatre • Dreams—Eye of Newt • Six Miniature Tragedies—Jean-Paul Wenzel • Nunavut—Kronos Quartet featuring Tanya Tagaq • Compilation—Lynda Gaudreau / Compagnie De Brune • Dances for a Small Stage XII— MovEnt • Sisters, Such Devoted Sisters—Out of Joint • 5 AM (5 HEURES DE MATIN)—Pigeons International • Famous Puppet Death Scenes— The Old Trout Puppet Workshop • Tempting Providence—Theatre Newfoundland Labrador • Sexual Practices of the Japanese—Theatre Replacement • Thom Pain (based on nothing)— Theatre Conspiracy

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Quizoola!—Forced Entertainment • Exquisite Pain—Forced Entertainment • Sonata for Violin and Turntables—Daniel Bernard Roumain with DJ Scientific • Brutalis—Karine Ponties / Dame de Pic • Revisited—2b theatre company • Projections — CABINET: Interdisciplinary Collaborations • Scarface—Eddie Ladd • La Belle et la bête (Beauty and the Beast)—Eye of Newt • an oak tree—News From Nowhere Theatre / Tim Crouch • my arm—News From Nowhere Theatre / Tim Crouch • ATTACK #15—L’Action Terroriste Socialement Acceptable • BIOBOXES: Artifacting Human Experience—Theatre Replacement • Famous Puppet Death Scenes— The Old Trout Puppet Workshop • this riot life and Field Study—Veda Hille • Skydive—Realwheels • Howie le Rookie—Théâtre de la Manufacture • Rage—Green Thumb Theatre • Aalst—Victoria • Killing Caesar—Rubicon Collective • Symphony at the Roundhouse: All the World’s a Stage— Vancouver Symphony Orchestra • Dances for a Small Stage 15—MovEnt • Beggars Would Ride— Wild Excursions Performance • Occupation 1: The Molecules / Michael Vincent—Western Front • Copper Thunderbird—urban ink productions / National Arts Centre • dog eat dog—The Only Animal 2

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The Black Rider: The Casting of the Magic Bullets—November Theatre • Frankenstein— Catalyst Theatre • Old Goriot—Western Gold

Theatre / Theatre at UBC • The Four Horsemen Project—Volcano • The Misfit—South Asian Arts / Pull ‘it Out Theatre • 46 Circus Acts in 45 Minutes—Circa • Dual Eclipse: Orchestras of Two Worlds—Turning Point Ensemble / Gamelan Gita Asmara • The Space Between—Circa • Août-un repas à la campagne—Théâtre de la Manufacture / Théâtre la Seizième • Hey Girl!— Socìetas Raffaello Sanzio • No Holds Bar— South Asian Arts • fever: Shakespeare Sonnets in Voice, Dance and Music—Nigel Charnock / Michael Riessler / Virus String Quartet • My Name Is Rachel Corrie—Neworld Theatre / Teesri Duniya Theatre • My Dad, My Dog—Boca del Lupo • Haircuts by Children–Mammalian Diving Reflex • The General—Eye of Newt • small metal objects—Back to Back Theatre • Clark and I Somewhere in Connecticut—Rumble Theatre / Theatre Replacement • Instructions for Modern Living—Duncan Sarkies / Nic McGowan • Palace Grand—Electric Company Theatre • Glow— Chunky Move • Dances for a Small Stage 18— MovEnt • Faun Fables—Western Front Society

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Billy Twinkle, Requiem for a Golden Boy—Ronnie Burkett Theatre of Marionettes • Siren—Ray Lee • Skydive—Realwheels • Five Days in March— chelfitsch Theatre Company • while going to a condition • Accumulated Layout—S20 / Hiroaki Umeda • Dances for a Small Stage 20—MovEnt • Don McGlashan • The Awkward Stage • DJ Betti Forde • Twenty-Minute Musicals—Veda Hille & Geoff Berner • the beige • Robin Holcomb and Peggy Lee • Into the Dark Unknown: The Hope Chest—Holcombe Waller • Hooliganship • Vincat • Trampoline Hall • The Amazing and Impermeable Cromoli Brothers Present: HELLO VANCOUVER! • Gunshae • Monopoly! Tesla, Edison, Microsoft, Wal-Mart and the War for Tomorrow • Conspiracy Playlist—DJ Buffalo Tim • Twenty-Minute Musicals—Juana Molina & Nick Krgovich • Parenthetical Girls • Every Time I See your Picture I Cry—Daniel Barrow • Hank Pine and Lily Fawn • Invisible Atom—2b theatre • Woodpigeon • The Pascale Picard Band • ENGLAND—news from nowhere • Transmission of the Invisible—Tribal Crackling Wind • 13 Most Beautiful… Songs for Andy Warhol’s Screentests—Dean Wareham and Britta Phillips • The Invisible—Infrarouge • Steve Reich’s Drumming—Music on Main • That Night Follows Day—Theatre Replacement • Nanay: A testimonial play—Urban Crawl / Neworld Theatre / Philippine Women Centre of BC • Assembly— Radix Theatre • Live from a Bush of Ghosts— Theatre Conspiracy • nikamon ohci askiy (song land for/from/of the)— Cheryl L’Hirondelle • The Children’s Choice Awards starring The Jury from Surrey—Mammalian Diving Reflex • Bang on a Can All-Stars—Bang on a Can • The Be(A)st of Taylor Mac—Taylor Mac.

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The Show Must Go On—Jérôme Bel • Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe—Catalyst Theatre • Jerk— Gisèle Vienne / Dennis Cooper / Jonathan Capdevielle • White Cabin—Akhe Theatre •

The Edward Curtis Project—Marie Clements / Rita Leistner • Sō Percussion plays Steve Reich and David Lang—Sō Percussion • The Passion Project—Reid Farrington • Poetics: a ballet brut—Nature Theatre of Oklahoma • Clark and I Somewhere in Connecticut—Rumble Theatre / Theatre Replacement • The Passion of Joan of Arc—Eye of Newt • Best Before (working title)— Helgard Haug and Stefan Kaegi, Rimini Protokoll • Sonic Genome—Anthony Braxton • China— William Yang • KAMP—Hotel Modern 2

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La Marea (The Tide)—Mariano Pensotti • Iqaluit— Berlin • Circa—Circa • In the Solitude of Cotton Fields—Radoslaw Rychcik / Stefan Zeromski Theatre • Floating—Hugh Hughes / Hoipolloi • Podplays - The Quartet—Neworld Theatre / PTC • 100% Vancouver—Theatre Replacement / SFU Woodward’s • Terminal City Soundscape—Music on Main • City of Dreams—Peter Reder • Dances for a Small Stage 23—MovEnt • Bonanza— Berlin • Sound Machine—Company Drift • Hard Core Logo: Live—November Theatre / Theatre Network / Touchstone Theatre • Peter Panties— Neworld Theatre / Leaky Heaven Circus • Rouge—Julie Andrée T. • Datamatics [Ver. 2.0]— Ryoji Ikeda • 46 Circus Acts in 45 Minutes—Circa • Gloria’s Cause—Dayna Hanson • Close at Hand—Nervous System System • Inventions & Mysteries—Bro Gilbert • The British Columbians • Happy Birthday Teenage City—Veda Hille and Special Guests • Weekend Leisure Karaoke • Trampoline Hall • The Meal—Rick Maddocks and The Lost Gospel Ensemble • Portraits in Motion— Volker Gerling • Meatdraw • Fine Mist • Dayna Hanson & Friends • Good Gets Better & Looking for Love in the Hall of Mirrors—Daniel Barrow

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The Wooden Lightbox—Alex Mackenzie / loscil • After Trio A • Beginning—Andrea Božić • The Solo + Ensemble—Andrew Cross • Do You Want What I Have Got? A Craiglist Cantata—Bill Richardson & Veda Hille • Hot Pepper, Air Conditioner, and the Farewell Speech—chelfitsch • Trunk— Craning Neck Theatre • My Mind is Like an Open Meadow—Hand2MouthTheatre • Eat the Street—Mammalian Diving Reflex • El Pasado Es Un Animal Grotesco (The Past is a Grotesque Animal)—Mariano Pensotti • Dances for a Small Stage 25—MovEnt • Eve Egoyan Plays Simple Lines of Enquiry—Music on Main • Almighty Voice and His Wife—Native Earth Performing Arts • Fyodor Dostoyevsky’s The Idiot—Neworld Theatre / Vancouver Moving Theatre • Soledad Barrio and Noche Flamenca—Noche Flamenca • Guided Tour—Peter Reder • Looking for a Missing Employee—Rabih Mroué • The Pixelated Revolution—Rabih Mroué • Comparison is Violence: The Ziggy Stardust Meets Tiny Tim Songbook—Taylor Mac • Amarillo—Teatro Linea de Sombra • Best Play/Worst Play—The Chop Theatre • No.2—Toa Fraser • Turning Point Ensemble: Colourful World—Turning Point Ensemble • Your Brother. Remember?—Zachary Oberzan • Beat Nation Live • Don McGlashan • Making Art Noises hosted by Ryan Beil and Charles Demers • Mary Margaret O’Hara & Peggy Lee: Beautiful Tool • Trampoline Hall


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Ride the Cyclone—Atomic Vaudeville • Qualia— Bachelor of Performing Arts Program • Encore— Ballet BC • Photog: An Imaginary Look at the Uncompromising Life of Thomas Smith—Boca del Lupo • King Lear—Contemporary Legend Theatre • Winnipeg Babysitter—Daniel Barrow • David Carr: Truth and Lies in Life and Art—David Carr • The God that Comes: With Hawksley Workman– Hawksley Workman / 2b Theatre • Haptic + Holistic Strata—Hiroaki Umeda / S20 • Stood— Jan Derbyshire • Cédric Andrieux—Jérôme Bel • The Edge Project: Good to Go—Lord Byng, Cariboo Hill + North Delta Secondary Schools • Sometimes I Think, I Can See You—Mariano Pensotti • Ana Sokolovic’s Svadba/Wedding— Music on Main • Reich + Rite with Pianist Vicky Chow—Music on Main • The Strange Undoing of Prudencia Hart—National Theatre of Scotland • Still Standing You—Pieter Ampe • Guilherme Garrido/Campo • Do You See What I Mean?— Project in situ • The Road Forward—red diva projects • Testament—She She Pop and Their Fathers • Human Library—Stop the Violence • I, Malvolio—Tim Crouch • Cinema Musica—Turning Point Ensemble • Look Mummy, I’m Dancing— Vanessa Van Durme • A Crack in Everything—zoe | juniper • Herald Nix, Proud Animal & Twin River • Northern Soul —Victoria Melody • 30 Cecil Street —Dan Canham • A Western —Action Hero • Ryeberg Live • Sad Sack, By Night 2

0

1

4

Inheritor Album—605 Collective • The Quiet Volume—Ant Hampton & Tim Etchells • António Zambujo • Have I No Mouth—Brokentalkers • Huff—Cardinal / Kantor Productions • Coastal Sounds—Coastal Sound Youth Choir with Woodpigeon • Danse Lhasa Danse—Coup de coeur francophone / PPS Danse • A Presence of Monster—Dirty Laundry Creations / Bachelor of Performing Arts Program • Tetsuo: The Iron Man—Eye of Newt Ensemble • Gob Squad’s Kitchen—Gob Squad Arts Collective • Super Night Shot—Gob Squad Arts Collective • Usually Beauty Fails—Groupd’artgravelartgroup • Night—Human Cargo • Gender Failure—Ivan Coyote & Rae Spoon • An Evening with Krar Collective—Krar Collective • Mixtape: Gabriel Kahane & Timo Andres—Music on Main • Swan Song (For Cats)—Norma • One—Orange Noyée • L.A. Party/An Evening with William Shatner Asterisk—Phil Soltanoff • Seeds—Porte Parole • The Pixelated Revolution—Rabih Mroué • Ryeberg Live—Ryeberg Curated Video • Human Library—Stop the Violence / Zee Zee Theatre • Nanook of the North—Tanya Tagaq • Duets for One—Theatre Conspiracy • Myth & Infrastructure—Theatre Conspiracy / Miwa Matreyek—Miwa Matreyek • The Dragonfly of Chicoutimi—Théâtre PÀP • FUSE—Vancouver Art Gallery • A Brimful of Asha—Why Not Theatre • Tucked & Plucked: Vancouver’s Drag Herstory Live Onstage—Zee Zee Theatre 2

0

1

5

FUSE—Vancouver Art Gallery • Human Library — Stop the Violence/Zee Zee Theatre • Sea Sick— Alanna Mitchell • The Fish Eyes Triology: Fish Eyes / Boys with Cars / Let Me Borrow That Top— Anita Majumdar • The Christeene Machine—

Christeene • Char Bagh: Mandeep Sethi, Nisha Sembi, Rupi Kaur—Digital Handloom • Fare Thee Well!—Dries Verhoeven • Hour of the Wolf— Eye of Newt Ensemble / Sissel Vera Pettersen • Steppenwolf—Fight with a Stick • 1999 / The Hole in the Coffin—Gérald Kurdian / Nick Jaina • Only a Free Individual Can Create Society— Grace Schwindt • Eatingthegame—Hong Kong Exile • Iva Bittová • Tomboy Survival Guide— Ivan Coyote • Dark Matter—Kate McIntosh • Las Cafeteras • Séquence 8—Les 7 doigts de la main • It’s Going to get Worse and Worse and Worse, my Friend—Lisbeth Gruwez / Voetvolk • Phantasmagoria: Circus of Dreams—Loose Leaf Collective • Cinema Imaginaire—Lotte van den Berg • So Blue—Louise Lecavalier • Time Machine—MACHiNENOiSY • Cineastas— Mariano Pensotti • The Road Forward—red diva projects with Visceral Visions • Bullet Catch— Rob Drummond in association with The Arches • 7 Important Things—STO Union • Le Cargo— Studios Kabako • Sun Belt: Cabalcor—Sun Belt • Le Grand Continental—Sylvain Émard Danse • Sonic Elder—The Chop Theatre • The Adventures of Alvin Sputnik—Tim Watts 2

0

1

6

Inked and Murmur—Aakash Odedra Company • L’Immédiat—Association Immédiat • Le Temps Scellé—Compagnie Nacera Belaza • Vu— Compagnie Sacékripa • A Living Documentary— Cynthia Hopkins • Eternal—Daniel Fish • El Topo—Eye of Newt Ensemble & Guests • Fond of Tigers • Anthropologies Imaginaires— Gabriel Dharmoo • Harold Budd • Jack Charles V. The Crown—ILBIJERRI Theatre Company • Declarations—Jordan Tannahill & Guests • Boom—Kidoons & WYRD Productions • Relative Collider—Liz Santoro/Le principe d’incertitude • Decoder 2017—Mallory Catlett / Restless NYC • Huff—Native Earth Performing Arts • Leftovers— Neworld Theatre • The Society of the Spectacle— Paul D. Miller a.k.a DJ Spooky & Guests • Songs of Resilience—Queer Songbook Orchestra • Riding on a Cloud—Rabih Mroué • Intimacy—Ranters Theatre • Roomful of Teeth • Human Library— Stop the Violence / Zee Zee Theatre • Let’s Not Beat Each Other to Death—The Accidental Mechanics Group • Miss Understood—the frank theatre company • Monumental—The Holy Body Tattoo / Godspeed You! Black Emperor • Century Song—Volcano Theatre 2

0

1

7

FOLK-S, will you still love me tomorrow?— Alessandro Sciarroni • Revenge of the Popinjay— AnimalParts • Dirtsong—Black Arm Band • Things a Person is Supposed to Wonder—Bridget Moser • Concord Floral—Brubacher / Spooner / Tannahill • Mess—Caroline Horton & Co. / China Plate • Point Blank Poets—Dean Atta, Sabrina Mahfouz, Holly McNish, Bridget Minamore, Deanna Rodger, and Chimene Suleyman • Oil Pressure Vibrator—Geumhyung Jeong • Visitors From Far Away to the State Machine—Hong Kong Exile • Sweat Baby Sweat—Jan Martens • Dynasty Handbag—Jibz Cameron • Lido Pimienta • Garden of Earthly Delights—Mere Phantoms • Every Brilliant Thing—Paines Plough / Pentabus Theatre Company • Wallflower—Quarantine • Mouthpiece—Quote Unquote Collective •

Sculptress: The Music of Nicole Lizée—Standing Wave Ensemble • Human Library—Stop The Violence • Town Choir—Theatre Replacement • As I Lay Dying—Theatre Smith-Gilmour • Macbeth—Third World Bunfight • By Heart— Tiago Rodrigues / Teatro Nacional D. Maria II • Backstage in Biscuit Land—Touretteshero • Zappa Meets Varèse & Oswald: The Present Day Composer Refuses to Die—Turning Point Ensemble • The City and The City—Upintheair Theatre / The Only Animal • Four Thousand Holes—Vicky Chow / Ben Reimer • Portraits in Motion—Volker Gerling/Aurora Nova 2

0

1

8

Daughter—Adam Lazarus / Quiptake & Pandemic Theatre • Lookout—Andy Field • Spokaoke— Annie Dorsen • Birdman: Live—Antonio Sánchez • Meeting—Antony Hamilton & Alisdair Mcindoe • Blind Cinema—Britt Hatzius • Torrey Pines— Clyde Petersen • Cris Derksen Trio—Cris Derksen • Pour—Daina Ashbee • Dickie Beau: Unplugged—Dickie Beau • Dublin Oldschool— Emmet Kirwan • Songs of Insurrection—Frederic Rzewski & Daan Vandewalle • Some Hope for the Bastards—Frédérick Gravel • Foxconn Frequency (No.3): For Three Visibly Chinese Performers—Hong Kong Exile • The Eternal Tides—Legend Lin Dance Theatre • RPM Records: Live in Vancouver—Mob Bounce, Snotty Nose Rez Kids, DJ Kookum, Ziibiwan • MDLSX— Motus • King Arthur’s Night—Neworld Theatre • Inside Out—Neworld Theatre • Piece for Person and Ghetto Blaster—Nicola Gunn • The Events— Pi Theatre • Hinkypunk—Ralph Escimillan / Fakeknot • Reassembled, Slightly Askew— Shannon Yee • Endings—Tamara Saulwick • It’s Dark Outside—The Last Great Hunt • I’m Not Here—THEATREClub • Radio Rewrite: The Music of Jonny Greenwood, Steve Reich, Oliver Messiaen, & Christopher Butterfield—Turning Point Ensemble • Joseph Keckler 2

0

1

9

Ringo—Tetsuya Umeda • Attractor—Dancenorth Australia • 100 KEYBOARDS (Moiré Resonance by Interference Frequency)—ASUNA • Marginal Consort • Loop, Lull—Company 605 • PALMYRA— Bertrand Lesca and Nasi Voutsas • Prince Hamlet—Why Not Theatre • salt.—Selina Thompson • Race Cards—Selina Thompson • Kids—Kuan-Hsiang Liu • Suddenly Slaughter— The Biting School • Bicycle Thieves—Joelysa Pankanea • Muted—Monica Germino • This is the Point—Ahuri Theatre • Kiinalik: These Sharp Tools—Buddies in Bad Times Theatre • Copper Promises - Hinemihi Haka—Victoria Hunt • ZVIZDAL [Chernobyl - so far so close]—BERLIN • L’Homme de Hus—Camille Boitel • Pancho Villa From a Safe Distance—Graham Reynolds / Shawn Sides / Lagartijas Tiradas al Sol • Fragile Forms— MACHiNENOiSY • Corazón del espantapájaros (Heart of the Scarecrow)—Naufus RamirezFigeroa • Adrienne Truscott’s A One-Trick Pony (Or Andy Kaufman is the Feminist Performance Artist and I’m a Comedian)—Adrienne Truscott • Word Sound Have Powah—D’BI • Adrienne Truscott’s Asking For It: A One-Lady Rape About Comedy Starring Her Pussy and Little Else—Adrienne Truscott • Kimmortal & Immigrant Lessons • Triple Threat—Lucy McCormick


2019

18


PHOTO: FROM ATTRACTOR BY GREGORY LORENZUTTI

The PuSh Festival is a curated program of groundbreaking work in the live performing arts from across the country and around the globe. This year’s program features 26 critically acclaimed works from different artistic disciplines, with inspiration drawn from the sacred to the profane. We are proud to present these works at venues across Vancouver. Club PuSh is our platform for the Festival’s most edgy and experimental work. In this latest iteration, Club PuSh will be located in multiple spaces around the city and home to our Opening and Closing Night parties, in celebration of PuSh’s 15th anniversary. Live performance is an antidote for human disconnection. In these times, where the need for empathy has never been more urgent, the 2019 PuSh program is here for you.

19


Join us to Celebrate the Opening of the 15th Anniversary PuSh Festival! We’ll kick-off the evening at The Beaumont Studios with a performance by D’BI that will get your blood flowing and your hands up. We’ll follow up with an Opening Night Party for the ages, featuring djs, dancing and pop-up performances by Vancouver’s Kimmortal & Immigrant Lessons.

WORD SOUND HAVE POWAH

D’BI (JAMAICA/CANADA/UK)

D’BI combines early Jamaican dub with dancehall reggae, as well as Afrobeat, punk and performance art. That’s a thick blend of styles, and we haven’t even gotten to the hip-hop yet… Recited over guitar, backing tracks or both, this new dub poetry bridges musical traditions from folk to funk and beyond with the wider art world; as D’BI performs, the feel is of cultures converging with the force of a tidal wave. It’s solo musical poetry, simply put, and with it the artist seeks to transform our concepts of normality. Intersectionality is the keyword, musically and otherwise—the discourse is political, and it’s powerful enough to move your heart and change your mind. ABOUT THE ARTIST

The daughter of Anita Stewart—a pioneer of dub poetry—D’BI is a playwright-performer, director and scholar. She has toured the globe numerous times as a performance artist and been awarded numerous honours, including the YWCA Woman of Distinction Award. An arts educator and the author of seven books, she is a true leader in many fields. PERFORMER D’BI

JAN 17 8P M TH E BEAUMON T STUDIOS 19+

$25 75 mins, no intermission

“[O]ne of those human dynamos that leave the rest of us with jaw hanging in rapt amazement… Every poem-song is an education in a world that is still being born.”—VINCENT TINGUELY

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 20

FEB

1 2 3


OPENING NIGHT PARTY!

Kimmortal has a voice that needs to be heard.” —EXCLAIM.CA PHOTO: IRIS CHIA

KIMMORTAL & IMMIGRANT LESSONS

PHOTO: PATTERN NATION

PERFORMING SELECTIONS FROM

X MARKS THE MOVEMENT

Queer Filipinx artist Kimmortal and art-fashion-dance collective Immigrant Lessons combine their respective media in selections from X Marks the Movement, a story-based show that plays with the concept of map-making in order to reframe narratives of home and diaspora. This exciting new collaboration incorporates theatre and dance—directed by Kevin Fraser and Alyssa Amarshi—with songs written and produced by Kimmortal, in a collective act of resistance. The story explores what it means for its characters to be in relationship with each other as diasporic artists of colour on unceded Indigenous land. Militant and musically ingratiating, this is a performance designed to move the crowd and change the conversation. SUPPORTED BY

CHAR LORO OF SHAPE SHIFTER STUDIO CHIMERIK 似不像 RUMBLE THEATRE

ABOUT THE ARTISTS

Based in Vancouver and known primarily as an emcee, Kimmortal has brought her creative stylings to SXSW and Ottawa’s National Arts Centre, among other places, and opened for artists such as Shad and Saul Williams. Immigrant Lessons, an art-dance-fashion collective made up of seven dancers and directed by Kevin Fraser and Alyssa Amarshi, combine their original work to advocate for marginalized communities—always working with a For Us, By Us ethic.

IMMIGRANT LESSONS PERFORMERS Kevin Fraser, Alyssa Amarshi, Sharon Lee, Jason Bempong, Sophia Gamboa, Marisa Gold, Joshua Ongcol KIMMORTAL PERFORMER Kim Villagante ANIMATION Jay Castro, Kim Villagante

JA N 17

DOOR S 9 :3 0 P M

PER FOR MA N CE S T H R O U G H O U T T H E E VE N I N G

T H E B EAUMON T STUDIOS 19+

FREE

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

FEB

1 2 3 21


By… emphasizing the constructed nature of cultural, religious, and historical signifiers, Ramírez-Figueroa also underscores the subjective nature of historical narrative in general, salvaging previously marginalized perspectives that present alternatives to the West’s otherwise all-pervasive influence.”—GUGGENHEIM MUSEUM

CORAZÓN DEL ESPANTAPÁJAROS

(HEART OF THE SCARECROW)

NAUFUS RAMÍREZ-FIGUEROA

(GUATEMALA)

PRESENTED WITH

SFU GALLERIES

Here PuSh co-presents a multifaceted work that explores history, theatre and the ethics of representation. Visual and performance artist Naufus Ramírez-Figueroa has created an exhibition at SFU Galleries’ Audain Gallery, which will form the set for an intensely physical live presentation staged over four nights. The project is inspired by Guatemalan Hugo Carrillo’s 1962 play El corazón del espantapájaros (The Scarecrow’s Heart), a work that has a prominent place in recent Guatemalan history thanks to a 1975 staging by university students which led to a severe act of censorship during the country’s civil war. Working with a contemporary interpretation of the play by Guatemalan poet Wingston González, Ramírez-Figueroa explores the “scarecrow” and the “heart” in terms of their beauty and their power. His work serves as a meditation on the endurance of art; the role it can play in times of unrest; the political power of education; and the long-term effects of censorship on bodies, geography and culture. The physical presentation stresses duration, ritual and gesture in its near-soundless engagement with the masks, costumes and props on display. In an act that brings the project back to its historical roots, students of SFU’s School for the Contemporary Arts will stage two additional performances inspired by Carillo, Gonzalez and Ramírez-Figueroa’s work. ABOUT THE ARTIST

Naufus Ramírez-Figueroa has presented solo exhibitions at New Museum, New York; CAPC musée d’art contemporain de Bordeaux; DAAD Galerie, Berlin; and Gasworks, London. He holds a BFA from Vancouver’s Emily Carr University and an MFA from the School of the Art Institute of Chicago. He lives and works in Berlin and Guatemala City.

SUPPORTED BY

Arts Council

SFU Galleries, Canada Council for the Arts, BC

OPEN I NG R ECEPTION

Jan 16, 7–9pm NAUFUS RAM Í R EZ-FIGUEROA PER FOR MANCES

Jan 16–18, 7pm Jan 19, 2pm 60 minutes. PLEASE NOTE: This work is presented as one performance over four sessions STUDENTS OF SFU SCHOOL FOR TH E CONTEM PORARY ARTS PER FOR MANCES

Jan 24–25, 7pm E XH I BITION

Jan 17–March 9: Tue, Wed, Sat 12–5pm; Thu, Fri 12–8pm JAN 16– 18 7P M JAN 19 2 P M S FU GALLER I ES ’ AUDAI N GALLERY

FREE

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 22

FEB

1 2 3


ATTRACTOR

DANCENORTH AUSTRALIA (AUSTRALIA) This supremely rousing show begins with two musicians and eight dancers onstage. Indonesian duo Senyawa plays operatic, heavy metal-inflected music spiced with ritual and folk idioms from their native country. Choreographers Lucy Guerin and Gideon Obarzanek work with Dancenorth Australia and the band to create one wild experience: as the music builds in power, the dancers increase their abandon and pre-selected members of the audience join in. By the climax of the show, they’re all moving in an atavistic frenzy. The artists call their creation a “secular ritual,” and that’s a perfect way to describe the driving rhythms, ecstatic movement and immersion in the moment that characterize it. There’s an infectious power to Attractor—it leads the audience toward commitment and surrender without imposing dogma of any kind. Spanning cultures and fostering unity, the performance offers the gifts of beautiful art and extreme catharsis.

Watching this work is an electric experience…” —THE AGE ABOUT THE ARTISTS

The much-lauded choreographers Lucy Guerin and Gideon Obarzanek hail from Australia, but their innovative work has toured the world. Compatriots Dancenorth Australia have performed in over 35 venues, in and out of Australia. Since 2010, Senyawa has released 12 recordings, and they have moved audiences from Asia to Europe.

DIRECTORS, CHOREOGRAPHERS Gideon Obarzanek, Lucy Guerin PERFORMERS Kyle Page, Jenni Large, Ashley McLellan, Georgia Rudd, Mason Kelly, Samantha Hines, Jack Ziesing, Josh Mu, Felix Sampson MUSICIANS Senyawa (Rully Shabara & Wukir Suryadi) PRODUCER Dancenorth Australia ARTISTIC DIRECTOR Kyle Page LIGHTING DESIGNER Ben Bosco Shaw AUDIO SYSTEM DESIGNER Nick Roux AUDIO ENGINEER Andres Salcedo Sanchez REHEARSAL DIRECTOR Amber Haines COSTUME DESIGNER Harriet Oxley COMMISSIONED BY Arts Centre Melbourne for Asia TOPA through the KMATS Endowment Fund, the Playking Foundation and the Australia-ASEAN Council of the Department of Foreign Affairs and Trade ASSISTED BY Australian Government’s Major Festivals Initiative in association with the Confederation of Australian International Arts Festivals Inc., Brisbane Festival, Arts Centre Melbourne, WOMADelaide, Australian Government through the Department of Communication and the Arts’ Catalyst–Australian Arts and Culture Fund, Australia Council for the Arts DANCENORTH AUSTRALIA SUPPORTED BY Queensland Government through Arts Queensland ASSISTED BY Australian Government through the Australia Council LUCY GUERIN INC SUPPORTED BY Victorian Government through Creative Victoria ASSISTED BY Australian Government through the Arts Council

JA N 18– 19 8P M VA NCO UVER P LAYHOUS E

From $39. Eligible on the PuSh Pass with $12 surcharge 60 mins, no intermission INTRODUCTION AVAILABLE SUPPORTED BY

CDM2 LIGHTWORKS

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

FEB

1 2 3 23


The wildly inventive Tetsuya Umeda uses tin cans, dry ice, bowls, hot plates and more to create an experience so beguiling and unique as to redefine those very objects. The rhythm of dripping water, melodic air vibrato, mechanical groans and much more make up his music; pulsing electric light and wall projection by most unconventional means make up some of his visuals. What looks like an elaborate science project onstage is actually a system for generating wonders. Umeda’s way with objects is rooted in science and low-level technology; what’s amazing, and in fact quite funny, about his work is the rejection of traditional purpose. As far as this show is concerned, water is for percussion and visual distortion, pipes are wind instruments and megaphones are for guttural utterances. You could call it a magic show—except that the devices are laid bare. Seeing is believing, and this show must be seen to be believed.

RINGO

TETSUYA UMEDA (JAPAN) PERFORMER Tetsuya Umeda MANAGER

Yuki Tanaka

JA N 18 7 P M PER FO R MAN CE WOR KS

$39

ABOUT THE ARTIST

Resourceful and ceaselessly inventive, Japanese artist Tetsuya Umeda has for years been creating installations and performances by repurposing objects and deploying them to highly eccentric ends. Often operating outside of the gallery environment, he has collaborated with artists in various mediums, including music and theatre.

45 mins, no intermission

SUPPORTED BY

PHOTO: ALEX DAVIES

Tetsuya Umeda’s installations are as much about the sounds, as they are about the arrangement of everyday items he uses. Umeda’s main work is the object’s performance, which he helps orchestrate, but is never in control of.” —THE JAPAN TIMES

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 24

FEB

1 2 3


ASKING FOR IT

(A ONE-LADY RAPE ABOUT COMEDY STARRING HER PUSSY AND LITTLE ELSE) ADRIENNE TRUSCOTT (USA) Feisty, funny and very nearly naked, Adrienne Truscott stirs it up in this inventive, outrageous show about… rape. Stand-up comedy, dance, imagery and one very special whistle make up a show that elicits gasps, laughs and—make no mistake—some serious reflection on sexual politics, female agency and the ethics of humour.

When women seem to be gaining and losing ground on a daily basis, Truscott again gives us the insight of a woman who has been taking notes all along.”—BUST MAGAZINE ABOUT THE ARTIST

A supremely gifted comedian, performance artist and choreographer, Adrienne Truscott has made a splash in Edinburgh, Dublin and all across the USA, where Asking for It is included in some college curricula. She has also guest-taught at Bard College, Sarah Lawrence College and other institutions.

Boozing it up as she performs, Truscott nonetheless remains clearheaded enough to examine the intersection of sexual assault and comedy. Headshots of various comedians and politicians sit on tables—male malefactors lined up for a caustic takedown. The topics and targets are varied: from rape whistles to rapper Rick Ross, polka dots to pussy puppets, this woman aims her satirical arsenal far and wide—and hits every time. In this moment of increasing feminist expression, Asking for It lands with special force; bold, bracing and subversive, it’s comedy with a lethal edge. JAN 18 XY 19+

8P M

$25 70 mins, no intermission

ADRIENNE TRUSCOTT’S A ONE-TRICK PONY

INTRODUCTION AVAILABLE

(OR ANDY KAUFMAN IS A FEMINIST PERFORMANCE ARTIST AND I’M A COMEDIAN) ADRIENNE TRUSCOTT (USA)

This show is about Truscott’s suspicion, following the runaway success of her previous piece, that anything she makes may disappoint. Through the lens of ‘failure’ comedy icon Andy Kaufman, Truscott mounts the critical feedback loop and rides it, hard. The show is spirited, ribald and funny as hell! Can she hold a crowd in the palm of her hand with whatever material she chooses—even self-abasement?

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

JAN 18 XY 19+

9 :3 0 P M

FREE 60 mins, no intermission INTRODUCTION AVAILABLE

FEB

1 2 3 25


100 KEYBOARDS

ASUNA (JAPAN)

In this captivating performance, sound artist ASUNA takes battery-powered, analogue keyboards and uses them to create waves of overlapping notes: the Moiré effect of superimposed patterns, here used musically. The instruments are placed in the performance space in concentric circles, each with a stick pressing down on a single key to sustain its sound. As each electronic note joins the others, the effect is choral—unceasing voices in a fluid mass of beautiful noise. How it all sounds varies depending on where you are, but everyone will feel the music slowly build to a climax. The experience of seeing minimalism grow into its opposite one single note at a time is sublime; the layers of complexity increase with every added note, and every moment is a change. In this performance, one stands before a wave of sounds that builds and builds without ever crashing.

JAN 19 4P M, 8P M R US S IAN HALL

$25 90 mins, no intermission INTRODUCTION AVAILABLE

ABOUT THE ARTIST

He began as a prodigy musician in the late 90s, and ASUNA has since gone on to become a major force in the world of experimental electronic music. From albums to installations to site-specific works, his prolific output is changing the face of his genre, both in Japan and in the global community. The substance of Japanese performance artist ASUNA’s work exists in both the material and the ephemeral.” –MUSIC.COM.AU

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 26

FEB

1 2 3


These four musicians come with enough instruments for an orchestra; some are acoustic, some are electronic, and quite a few are of the artists’ own invention. For three hours they make ambient, heavily manipulated music, far apart and fully independent of each other. It’s a sonic adventure, with the audience as liberated as the performers. Listeners are free to sit, lie down or move around as they see fit—in fact, changes in position are encouraged, because different positions in the space can bring radically different experiences. From their first show in 1997 until quite recently, Marginal Consort performed only once a year; for them, lack of rehearsal equals freedom from constraint. Few artists are as resistant to definition as these ones; boundaries and categories mean nothing to them, and when they play, it’s as totally liberated musicians. This evening is, quite literally, a once in a lifetime experience: the music has never been played before and it will never be played again.

ABOUT THE ARTISTS

In 1997, Kazuo Imai founded Marginal Consort with the late Yasushi Ozawa and current members Tomonao Koshikawa, Kei Shii and Masami Tada in their native Japan. All former students of experimental musician Takehisa Kosugi, these players have assimilated many influences and disciplines into their practice, including performance art, science and photography. PERFORMERS Kazuo Imai, Masami Tada, Kei Shii, Tomonao Koshikawa MANAGER Keiko Higuchi

JA N 20 2PM PER FO R M A NCE WO R KS

$39 180 mins, no intermission

SUPPORTED BY

INTRODUCTION AVAILABLE

MARGINAL CONSORT

(JAPAN)

[The music of Marginal Consort] raises important questions about the whole project of improvisation: the relationships between the musicians and the definition of musicality.” – THE JAPAN TIMES

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

FEB

1 2 3 27


“[O]ne of Vancouver’s most dynamic and exciting contemporary dance ensembles.” —MY VANCITY

LOOP, LULL

COMPANY 605 (CANADA) PRESENTED WITH

THE DANCE CENTRE This hypnotic work begins with five dancers, each trapped in their own loop of motion and gesture. They change their movement in response to each other, while manipulating the space around them through control of the lighting and electronic sound score. Gradually the performers merge, attempting increasingly complex feats, and with these interactions come new rules, new restrictions, new compromises... By the time the dancers are moving as CREATORS, DIRECTORS Lisa Gelley, Josh Martin, in collaboration a group, their multiple obligations—to the lighting, to the with performers PERFORMERS Laura Avery, Francesca Frewer, sound loops and to each other—are so demanding that Bynh Ho, Jessica Wilkie, Sophia Wolfe DRAMATURG Maiko Yamamoto, Anita Rochon LIGHTING DESIGN CONSULTANT James they’re working at the brink of impossibility. Proudfoot SOUND DESIGNER Matthew Tomkinson TECHNICAL In this performance, all is laid bare for the spectator: the audience witnessing a process without an endpoint, sharing the space and energy with the performers. This sense of transparency and community is essential to the meaning of Loop, Lull, which hides behind no narrative except bodies and movement in constant negotiation. It’s about people coping with change together, and all the beauty, vulnerability and risk that entails.

DIRECTOR Jonathan Kim TECHNICAL SUPPORT Jessica Han SUPPORTED BY Canada Council for the Arts, Province of British Columbia through the British Columbia Arts Council, BC Gaming, City of Vancouver

JA N 2 1– 2 2 , 2 8– 2 9 7P M SCOTIABAN K DAN CE CEN TR E

$37 POST-SHOW TALKBACK: JAN 22

75 mins, no intermission PHOTO: DAVID COOPER

ABOUT THE ARTISTS

Vancouver-based Company 605 is dedicated to forging new ground in dance. Fusing contemporary and urban approaches to the art form, the group stresses collaboration; rigorous physicality; and, above all, the exploration of movement and ideas in balance. They have toured over 30 cities across Canada and made waves in Europe, Central America, Australia and the US.

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 28

FEB

1 2 3


“[A] brilliant piece… You start by laughing and by the end you watch appalled and fascinated.” —THE GUARDIAN

PALMYRA

BERTRAND LESCA AND NASI VOUTSAS (FRANCE/UK)

In this prizewinning piece, the set is almost bare and broken crockery is the main prop; PALMYRA may seem slight at first glance, but it’s about as rich in implication as one could ask for. The situation can be described bluntly and simply: two men are onstage, and one of them has a plate while the other does not. From this, conflict emerges that ranges from the comical to the brutal. The audience is drawn into the work in surprising and provocative ways... Named after a Syrian city that has changed hands several times during the current fighting, this show slowly builds to the level of violence, creating and sustaining moral ambiguity along the way. What emerges is a meditation on revenge, world politics and the positions from which we judge them. The small-scale war onstage grows large in the mind; very rarely does one see so much communicated with so few resources. In its humour, its aggression and its pathos, this is a stunning work. PERFORMERS Bertrand Lesca, Nasi Voutsas DRAMATURG Louise Stephens LIGHTING DESIGNER Jo Palmer SUPPORT BY Croquis_ BCN, Bristol Ferment, MAYK, Tobacco Factory Theatres, Nuffield Southampton Theatres, Ovalhouse, HOME, National Lottery through Arts Council England

JA N 2 2 – 24 7 PM P E R FOR M A NCE WO R KS

$39 POST-SHOW TALKBACK: JAN 23

65 mins, no intermission LIVE DESCRIPTION ON JAN 24

JAN

ABOUT THE ARTISTS

Bertrand Lesca and Nasi Voutsas (France/ UK) are the creators of EUROHOUSE (2016), PALMYRA (2017) and ONE (2019), a trilogy of work on contemporary political issues. The two have been working together since 2015; they are also Associate Artists of MAYK (Bristol) and International Associates of Farnham Maltings. SUPPORTED BY

caravan new english performance

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PRINCE HAMLET

WHY NOT THEATRE

(CANADA)

PRESENTED WITH

UBC THEATRE AND FILM Shakespeare’s classic gets the update it needs in Ravi Jain’s wildly inventive, radically inclusive production. The Prince of Denmark is mourning the death of his father and lamenting the remarriage of his mother, Gertrude, to his uncle Claudius. Then a ghost appears and sets in motion a series of events that will culminate in tragedy … Few works of literature have as much to say about what it means to be human as Hamlet. Jain and Why Not Theatre take a play with wide implications and widen them further, drawing more of humanity into the fold and challenging historical ownership of the story. Prince Hamlet breaks through the old restrictions on gender, race and ability, allowing Shakespeare’s work to be told, seen and heard in bold new ways. The production is bilingual, with integrated English and American Sign Language, making it uniquely accessible to both hearing and deaf WRITER William Shakespeare DIRECTOR Ravi Jain ADAPTED BY Ravi Jain audiences. Produced in defiance of traditional norms, PERFORMERS Dawn Jani Birley, Miriam Fernandes, Barbara Gordon, Jeff Ho, Christine Horne, Hannah Miller, Rick Roberts, Khadijah Robertsthis is a show that asks who gets to own the dominant Abdullah, Karen Robinson SET AND COSTUME DESIGNER Lorenzo Savoini narratives in our culture and answers, triumphantly: LIGHTING DESIGNER André du Toit SOUND DESIGNER Thomas Ryder Payne STAGE MANAGER Neha Ross ASSISTANT STAGE MANAGER Tamara Protic everyone. ABOUT THE ARTISTS

Why Not Theatre is a Toronto-based company with an ethic of inclusion, a strong sense of community and a mandate to challenge the status quo. Exploring difference, promoting diversity and reimagining performance for a wider community, the group stands strong in the Canadian theatre scene.

PRODUCTION MANAGER, TECHNICAL DIRECTOR MANAGER Kevin Matthew Wong SUPPORTED BY

Arts, Ontario Arts Council, TD Bank Group

JA N 23–2 6 7:3 0 P M JA N 26–2 7 1:3 0 P M F R EDER IC WOOD TH EATR E

$39 POST-SHOW TALKBACK: JAN 24

165 mins, with intermission RELAXED PERFORMANCE ON JAN 27 ALL PERFORMANCES CONTAIN ASL INTEGRATED THROUGHOUT

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Andrew Pye COMPANY Canada Council for the


PHOTO: BROWNEN SHARP

31


“Why do people assume that racism will just passively die out if we wait long enough?” That’s number 307 of 1,000 questions that Selina Thompson has composed and put on cards; in this installation, visitors will enter the site and read as many of them as they wish. They are instructed to answer one card and copy one to take away with them.

RACE CARDS

SELINA THOMPSON (UK)

PHOTO: MA

NUEL VASON

As an art concept, Race Cards is ingenious in its simplicity; as an exercise, it’s powerfully generative; as political discourse, it’s at once direct and open-ended, confrontational and generous, demanding and liberating. Thompson gives us the freedom to choose and the obligation to think—two of the defining elements of any decent society. In this work, we are asked to face our own beliefs, or own hopes, our own prejudices—all in an atmosphere of calm and contemplation. This work is, quite literally, thought-provoking; it’s also deeply moving.

SUPPORTED BY

ARTIST Selina Thompson DESIGNER Bethany Wells PRODUCER Emma Beverley PRODUCTION MANAGER Louise Gregory SUPPORTED BY Buzzcut, Forest Fringe, Fierce FWD COMMISSIONED BY Camden People’s Theatre, Leeds Library Room 700

ROUNDHOUSE COMMUNITY ARTS & RECREATION CENTRE

JAN 2 3 – FEB 2 E XH I BITION OP EN 12 P M– 8P M ROUN DHOUS E COM MUN ITY ARTS & R ECR EATION CEN TR E

FREE ACCESSIBLE TO PEOPLE WHO ARE DEAF OR HARD OF HEARING VOLUNTEERS ARE AVAILABLE TO SUPPORT

JAN

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The Transatlantic Slave Triangle connected Africa with Europe and the Americas; it was the transport route for innocent masses stolen in the name of racism and greed. Some of us look away from this tragic history, while others have the courage to face it headon. Among the brave is Selina Thompson, and in this gripping performance she recounts her journey along one stretch of the route by cargo ship. Speaking directly to the audience, she holds forth on the past, both recent and distant; on confinement, both physical and mental; on the ways in which people forget and the choice they can make to remember… Combining ritual, ceremony and oratory to powerful effect, Thompson’s work is as social as it is theatrical: she works to generate discussion about the ways we might heal and change. For all its communal power, though, salt. is an intensely personal work. It offers us large-scale history through the prism of one disquieted soul. ABOUT THE ARTIST

A powerful new presence in British culture, artist, writer and performer Selina Thompson has roused audiences around the world with her creations. Intimate, political and often participatory, her works seek to generate emotion, contemplation and conversation in equal measure.

SALT.

SELINA THOMPSON (UK) WRITER, PERFORMER Selina Thompson DIRECTOR Dawn Walton DESIGNER Katherina Radeva LIGHTING DESIGNER Cassie Mitchell RELIGHTS Louise Gregory SOUND DESIGNER Sleepdogs Collective DRAMATURGICAL SUPPORT Maddy Costa, Season Butler & Bryony Kimmings PRODUCER Emma Beverley PRODUCTION MANAGER Louise Gregory PHOTOGRAPHER, DOCUMENTER Richard Davenport COMMISSIONED BY Yorkshire Festival, Theatre Bristol and MAYK SUPPORTED BY Arts Council England and 200 kind and generous supporters who donated towards the voyage across the Atlantic.

JA N 24–26 8PM R O U N DHO U SE COM MUN ITY ARTS & R ECR EAT I O N CENTR E

$39 POST-SHOW TALKBACK: JAN 25

60 mins, no intermission INTRODUCTION AVAILABLE CAPTIONS ON JAN 26

Some shows feel as if they need to be made: that they serve a deeper purpose for the maker. [This is] one such show.”—THE STAGE SUPPORTED BY

ROUNDHOUSE COMMUNITY ARTS & RECREATION CENTRE

PHOTO: RICHARD DAVENPORT

JAN

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KIDS

LIU KUAN-HSIANG (TAIWAN) PRESENTED WITH

THE DANCE CENTRE

CHOREOGRAPHER Liu Kuan-Hsiang PERFORMERS Liu KuanHsiang, Yu Wan-Lun, Huang Yu-Yuan MUSIC AND SOUND Liu Kuan-Hsiang TECH AND LIGHTING OPERATOR Lai Ke-Chu SOUND AND SURTITLES Su Ting-Ruei INTERNATIONAL TOUR Wen Huang SUPPORTED BY Ministry of Culture, Taiwan

JA N 24 – 26 8 P M S COT IA B A N K DA NC E C E NTR E

$37 POST-SHOW TALKBACK: JAN 25

50 mins, no intermission

Liu Kuan-Hsiang goes for broke in this ecstatic tribute to his late mother; the dancer and choreographer clearly has a lot to get off his chest, and his catharsis is our reward. Having recorded conversations he had with his mom during her final days, Liu plays them, subtitled in English, for the audience; along with the dialogue come the movements of three incredibly agile dancers (Yu Wan-Lun, Huang Yu-Yuan and Liu himself). One moment they’re locked together in positions of the greatest difficulty; the next, they’re jumping and thrashing, acting with the exuberance that comes from the deepest emotional release. Kids is a work of utter fearlessness. Liu dives headfirst into territory that many artists wouldn’t dare touch; the audience is privileged to his most intimate, primal feelings and experiences. From the sentimental to the scatological, the artist makes the private public in a demonstration of strength, courage and the deepest love. ABOUT THE ARTIST

IN TAIWANESE WITH ENGLISH SURTITLES INTRODUCTION BY ARTIST AVAILABLE SUPPORTED BY

TAIWANfest

JAN

Descended from a blind fortune teller, a jazz musician, a photographer and—clearly—one wonderful mother, among other folk, Liu Kuan-Hsiang has taken his inherited blessings and applied them to the utmost. This native Taiwanese artist has created and performed autobiographical, radically innovative dance works in Beijing, Singapore and Denmark, as well as his home country.

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“Local siblings Aryo and Arash Khakpour have been… pushing the bounds of performance in physically extreme ways.” —THE GEORGIA STRAIGHT

From PuSh Artists-in-Residence The Biting School comes this take on a major work of Iranian theatre. Abbas Nalbandian’s 1971 Suddenly, This God Lover Died in the Love of God, This God Slain Died by the Sword of God was too radical for acceptance in its home country; bringing it to Vancouver is an act of resurrection. The text is centred on a communal house in one of Tehran’s poor areas, and it’s a trenchant examination of greed, envy and animus.

SUDDENLY SLAUGHTER

THE BITING SCHOOL (CANADA)

Here the play is staged in a corridor, with action occurring at both ends—at times, audiences must choose where to look. There are scenes in which the work is interpreted through physicality and gesture, and others that are more conventionally theatrical; the creators also employ an original soundscape and lighting design. With Suddenly Slaughter, they honour Nalbandian’s radical ethic by altering his vision; this wildly creative adaptation is not an act of violation but one of tribute. ABOUT THE ARTIST

Rendering the abstract in physical terms, The Biting School creates works of major visceral power. Its members are brothers Arash and Aryo Khakpour, and their work emerges from collaboration with friends and colleagues. The company has staged its work across the Lower Mainland and made waves in the national arts scene; Vancouver audiences can expect more wild invention from them in the near future. The Biting School are PuSh’s 2019 Artists -in-Residence. For details, see p58 WITH SUPPORT FROM

JAN 2 5 –2 6 8PM JAN 2 6 2PM R U S S I AN HA LL

MULTIPLIER FUND

CREATORS Arash and Aryo Khakpour PERFORMERS Ashley Aron, Elissa Hanson, Billy Marchenski, Victor Mariano, Zahra Shahab LIGHTING DESIGNER Jonathan Kim COSTUME DESIGNER Elika Mojtabaei MUSICIAN, SOUND DESIGNER Roxanne Nesbitt DRAMATURG David McIntosh STAGE MANAGER Zoe Bellis TRANSLATED BY Aryo Khakpour TRANSLATION DRAMATURG DD Kugler PHOTOGRAPHER Angel Lynne VIDEOGRAPHER Chris Randle LIGHTING AND PROJECTION DESIGNER DURING RESEARCH PHASE Parjad Sharifi SUPPORTED BY Canada Council for the Arts, The Dance Centre Dance Lab

IN HONOUR OF

NORMAN ARMOUR

$25 POST-SHOW TALKBACK: JAN 26 2PM

75 mins, no intermission

JAN

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MULTIPLIER FUND

WITH SUPPORT FROM

Pankanea’s music is deceptively, stealthily simple; its repetitions become haunting; its big deep chords sink into you.” —THE GEORGIA STRAIGHT

IN HONOUR OF

NORMAN ARMOUR

BICYCLE THIEVES

JOELYSA PANKANEA (CANADA) Composer and musical director Joelysa Pankanea guides a group of six musicians and four actors as they provide live musical and voice accompaniment to the landmark neorealist film Bicycle Thieves. The project is a special commission from PuSh to Pankanea; when asked to choose a film to pay this special kind of tribute to, she chose Vittorio De Sica’s masterpiece, which tells the story of an impoverished man, his son and their search for a stolen bicycle amid the chaos of post-WWII Rome. The score and voice work add vibrancy and a greater sense of urgency to De Sica’s black-and-white images, making his work all the more affecting. The film is projected with no sound. Onstage, the four actors—Marco Soriano, Stefano Guilianetti, Susan Bertoia, and Sal Sortino—provide live voiceovers in Italian while Mark Haney (bass), Martin Fisk (percussion), Molly MacKinnon (violin), Marina Hasselberg (cello), Emily Jane King (piano, keyboard) and Michael Simpsonelli (mandolin, guitar, percussion) bring Pankanea’s haunting score to life. Prepare to be moved and enthralled. ABOUT THE ARTIST

Joelysa Pankanea first gained recognition with her score for the critically acclaimed Vancouver production Crime and Punishment, presented by PuSh in 2004. Her work as a composer, musical director, sound designer and percussionist has taken her into the worlds of theatre, film and animation, where she has garnered multiple awards and nominations. SUPPORTED BY

IL CENTRO ITALIAN CULTURAL CENTRE

COMPOSER Joelysa Pankanea BASS Mark Haney CELLO Marina Hasselberg VIOLIN Molly MacKinnon MARIMBA/PERCUSSION Martin Fisk MANDOLIN/GUITAR/PERCUSSION Michael Simpsonelli PIANO/ KEYBOARD Emily Jane King ACTORS Marco Soriano, Susan Bertoia, Stefano Guilianetti, Sal Sortino SCRIPT TRANSLATION Michal Bartosiak ASSISTANT TO THE COMPOSER Evan Rein COMMISSIONED BY PuSh Festival

JAN 2 6 7P M JAN 2 7 2 P M P ER FOR MAN CE WOR KS

$39 90 mins, no intermission IN ITALIAN WITH ENGLISH SURTITLES THIS FILM IS RATED PG

Catch the PuSh FILM SERIES screening of Vittorio De Sica’s The Children Are Watching Us on Jan 20 at 3pm. Details on p47

JAN

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“Whether she was playing the violin, electric violin, adapted violin, whispering, talking, or singing, Germino conveyed her passion with tour de force virtuosity and burning vulnerability.” —STRINGS MAGAZINE

MUTED

MONICA GERMINO (USA/NL) PRESENTED WITH

MUSIC ON MAIN

When noted violinist Monica Germino got the shattering news that she may have to stop performing in order to protect her hearing, composer Michael Gordon would have none of it. “I’m going to write you a piece so soft,” he said, “that I don’t care if no one can hear it.” In short order, after collaborating with fellow composers Julia Wolfe, David Lang and the legendary Louis Andriessen, this glorious work “for violin, voice, whisperviolin, frame violin, a multitude of mutes, and light” emerged. In an intimate space, Germino appears. Utilizing a number of acoustic instruments as well as her voice, she transports the audience to the very thresholds of audibility. Mixing intensely theatrical moments, sung texts from 1920s “Archy and Mehitabel” newspaper columns and expressive lighting and design by Floriaan Ganzevoort, this is a performance that is hypnotizing and transcendent by turns. ABOUT THE ARTIST

Amsterdam-based, American-Dutch violinist Monica Germino is on the cutting edge of new music. She co-founded the international ensemble ELECTRA and now serves as its artistic advisor, and she has collaborated with such  composers as John Cage, Heiner Goebbels and György Ligeti. Germino plays an assortment of violins, including a Joannes Baptista Ceruti and a custom-made Violectra.

VIOLINIST Monica Germino COMPOSERS Louis Andriessen, Michael Gordon, David Lang, Julia Wolfe STAGE DESIGN, LIGHTING Floriaan Ganzevoort SUPPORTED BY Dutch Performing Arts, Consulate of the Netherlands, New York, USA, Elise Mathilde Foundation, Performing Arts Fund NL CO-COMMISSIONED BY De Doelen Rotterdam EXECUTIVE PRODUCERS New York Philharmonic Orchestra, Oranjewoud Festival, Music on Main, Huddersfield Contemporary Music Festival

JA N 2 8 8PM JA N 2 9 - 3 0 7 PM , 9PM AN N E X

$39 45 mins, no intermission INTRODUCTION AVAILABLE

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This “play about love, sex, and disability” runs the gamut from joyous celebration to unflinching drama as it paints a collective portrait of real-life individuals whose lives have been touched by cerebral palsy. Dan and Christina are parents searching for a way in which their non-verbal son, Bruno, can share his voice. Tony, a non-verbal adult, and Liz, his long-time romantic partner, grapple with the judgments that society makes about their love and sexuality. Questions of representation, the nature of companionship, whether people of different abilities can ever connect on equal terms—all are explored here.

PRESENTED WITH

THE CULTCH

Directed by Karin Randoja, this Dora Award-winning production incorporates high- and lowtech augmented communication aids (devices used by non-verbal people to express themselves) as well as projected live video feeds to create a heightened naturalistic style. Anchored by outstanding performances, This is the Point is an eye-opening and occasionally disturbing but ultimately life-affirming experience.

ABOUT THE ARTISTS

Ahuri Theatre creates live performances that place cultures, languages and ideas in a space where they can be celebrated, challenged and transformed. They redefine their creative methods to include everyone in the room regardless of language, culture or ability. The collective is led by Haruna Kondo in Japan and Dan Watson in Canada. WRITERS Tony Diamanti, Dan Watson, Christina Serra, Karin Randoja, Liz MacDougall DIRECTOR Karin Randoja PERFORMERS Tony Diamanti, Liz MacDougall, Christina Serra, Dan Watson PROJECTION DESIGNER Melissa Joakim SET AND COSTUME DESIGNER Sonja Rainey LIGHTING DESIGNER Andre duToit SOUND DESIGNER Tim Lindsay PRODUCTION STAGE MANAGER Pip Bradford ORIGINAL SET AND COSTUME DESIGNER Jenna McCutchen SOUND DESIGNER Miquelon Rodriguez PRODUCTION STAGE MANAGER Alexa Polenz DEVELOPED IN RESIDENCY AT The Theatre Centre ORIGINALLY CO-PRODUCED BY Ahuri Theatre, The Theatre Centre SUPPORTED BY Toronto Arts Council, Ontario Arts Council, Canada Council for the Arts, BMO Financial DEVELOPED IN PART BY Collaborations, an initiative of Canada’s National Arts Centre English Theatre

JAN 2 9– FEB 2 8P M FEB 2 2 P M, 8P M H ISTOR IC TH EATR E , TH E CULTCH

from $24 POST-SHOW TALKBACK: JAN 30

70 mins, no intermission CONTENT NOTE

Includes scenes depicting physical and sexual violence. VOCALEYE LIVE DESCRIPTION ON FEB 2, 2PM ASL-INTERPRETATION ON FEB 2, 2PM PHOTO: DAHLIA KATZ

THIS IS THE POINT

ALL PERFORMANCES ARE RELAXED

AHURI THEATRE (CANADA)

“Tough and courageous… There’s plenty of pleasure to be derived from the mix of scenes, monologues, clips from home movies and live interactions— and simply watching bodies not regularly seen on a stage perform.” —THE GLOBE AND MAIL

JAN

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[A]stonishing and almost frightening in its transgressive power…” —NOW

KIINALIK: THESE SHARP TOOLS

BUDDIES IN BAD TIMES THEATRE (CANADA)

PRESENTED WITH

TOUCHSTONE THEATRE

A concert, a conversation and a multimedia performance all in one, Kiinalik: These Sharp Tools is the meeting point for two people—Inuk artist Laakkuluk Williamson Bathory and queer theatre-maker Evalyn Parry—and two places: Canada’s North and South. After having met on an Arctic expedition from Iqaluit to Greenland, Williamson Bathory and Parry now share a stage; these two powerful singers and storytellers, aided by music and video projection, give voice and body to the histories, culture and climate we’ve inherited, and ask how we reckon with “these sharp tools.”

WRITERS, PERFORMERS Evalyn Parry and Laakkuluk Williamson Bathory CREATORS Evalyn Parry, Laakkuluk Williamson Bathory, Erin Brubacher and Elysha Poirier with Cris Derksen DIRECTOR Erin Brubacher LIVE VIDEO Elysha Poirier ORIGINAL COMPOSITION AND LIVE MUSIC Cris Derksen and Evalyn Parry SOUND Aleda Deroche LIGHTING DESIGN Rebecca Picherack SET DESIGN Kaitlin Hickey CREATED IN Buddies Residency Program DEVELOPMENT SUPPORT BY Theatre Passe Muraille’s BUZZ new play development program, Qaggiavuut, Canada Council for the Arts, Toronto Alliance for the Performing Arts TRIP program ORIGINALLY CO-PRODUCED BY Buddies in Bad Times Theatre with Theatre Passe Muraille TOURING SUPPORTED BY Canada Council for the Arts, Ontario Arts Council, Kingfisher Foundation, Bulmash-Siegel Fund

JA N 3 0 –F E B 2 7 PM FEB 2 2PM P E R FOR M A NC E W O R KS

$39 POST-SHOW TALKBACK: JAN 31

In the Inuktitut language, when a knife is dull, it is said to “have no face”. The word “kiinalik” translates to mean the knife is sharp—or, “it has a face.” Embodying the stories of their heritage, Parry and Williamson Bathory put a face to the colonial histories, power structures and changing climate that lie between them, producing an unforgettable encounter in the process. ABOUT THE ARTISTS

Award-winning writer, performer, director and songwriter Evalyn Parry is the Artistic Director of Buddies in Bad Times Theatre, the world’s longest-running and largest queer theatre company. Laakkuluk Williamson Bathory, the first Artistic Director of Inuit Theatre at Qaggiavuut, is an artist and performer of uaajeerneq—Greenlandic mask dancing—as well as a musician, drum-dancer, storyteller and actor.

95 mins, no intermission INTRODUCTION AVAILABLE ASL-INTERPRETATION ON JAN 31 RELAXED PERFORMANCE ON FEB 1

JAN

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There is no single word to address the depth and complexities of Victoria Hunt’s work… [It] reverberates with personal narrative [and] political tensions.” —AUSTRALIAN STAGE

COPPER PROMISES - HINEMIHI HAKA

VICTORIA HUNT (NEW ZEALAND / AUSTRALIA) PRESENTED WITH

THE DANCE CENTRE

CREATOR, DANCER, CHOREOGRAPHER Victoria VIDEO DESIGNER Boris Bagattini LIGHTING DESIGNERS Boris Bagattini, Clytie Smith PRODUCTION MANAGER Clytie Smith SOUND DESIGNER, COMPOSER James Brown SOUND BY Horomona Horo, Densil Cabrera, Bob Scott COSTUME DESIGNER Annemaree Dalziel INSTALLATION DESIGNER Hedge KIA WHAKAMANAWA Charles Koroneho MOVEMENT CONSULTANT Tess de Quincey PRODUCER Fenn Gordon for Tandem SUPPORTED BY The

Hunt

Solo dance artist Victoria Hunt uses movement, sound and image to tell a story. The themes are heritage, tradition and reclamation; the subject is Hinemihi, a ceremonial meeting house that once stood in their native land Aotearoa/New Zealand. Paying tribute to their foremother, the sacred structure that was taken to England following a volcanic eruption in 1886, they merge narrative with gesture. The result is a polemical work of beauty. Visual projection and effects, powerfully evocative sound, beautifully suggestive dancing and Hunt’s use of their native language immerse us in their heart while still leaving room for contemplation. The Māori language holds within it a truth that is communicated without the audience’s literal understanding. At times Hunt fractures themself, both visually and otherwise, but what emerges in the end is a unified work of art—powerful, persuasive and utterly unique.

Australian government through Australia Council for the Arts, its arts funding and advisory body; auspiced by Performance Space ORIGINALLY PRODUCED with funding support from the Australian Government through the Australia Council, its arts funding and advisory body; NSW Government through Arts NSW, Critical Path and Performance Space. DEVELOPED WITH assistance from: Performance Space; Department of Performance Studies (University of Sydney); Creative Practice Lab (UNSW); Queen Street Studio; Artful Management and Ausdance NSW.

JA N 31– FEB 2 8P M SCOTIABAN K DAN CE CEN TR E

$37 POST-SHOW TALKBACK: FEB 1

55 mins, no intermission INTRODUCTION AVAILABLE

ABOUT THE ARTIST

A trained photographer, a BodyWeather practitioner and a proud Māori, Victoria Hunt works in the realms of dance, cinema, photography, choreography, performance art and education. Their work, both collaborative and solo, has garnered them commissions and acclaim at the international level. See Victoria Hunt at the free PuSh Assembly talk Ethics + Consent, details on p51 JAN

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Slowly and sensitively, a remarkable portrait is created, offering no simple answers to the questions that arise, even the central one of why Pétro and Nadia choose to stay. ‘This is how it is,’ they say, and in that moment it seems that theirs is not a choice after all, but a necessity.”—HELEN MEANY, IRISH TIMES

ZVIZDAL

(CHERNOBYL – SO FAR SO CLOSE)

BERLIN (BELGIUM)

Members of the Antwerp-based art collective BERLIN, together with journalist Cathy Blisson, spent five years filming Nadia and Pétro Opanassovitch Lubenoc, an elderly couple living deep within the irradiated Chernobyl exclusion zone in a place called Zvizdal. Alone, isolated—the nearest shop is 20 kilometres away—and convinced that they have grown immune to the radiation, the couple refuses to leave, despite the entreaties of officials, friends and family…

ABOUT THE ARTIST

PuSh alumni BERLIN has been going strong since 2003, when it was founded by Bart Baele, Yves Degryse and Caroline Rochlitz. Using documentary and interdisciplinary work methods, BERLIN engages different media for each project. ZVIZDAL is the latest work in a series called “Holocene (the geological era),” which focuses on specific locations.

This deeply affecting documentary-installation inserts live shots of three miniature models of Nadia and Pétro’s homestead, while examining the couple’s lives in detail. The intimacy here is astonishing and very moving; it is clear that the artists and the couple formed a deep bond during their time together. What emerges in the work is a portrait of loneliness, survival, poverty, hope and unconditional love. SUPPORTED BY

ROUNDHOUSE COMMUNITY ARTS & RECREATION CENTRE

Catch the PuSh FILM SERIES screening of Pripyat on Jan 27 at 3pm. Details on p47

WITH Nadia & Pétro Opanassovitch Lubenoc CONCEPT BY Bart Baele, Yves Degryse, Cathy Blisson SCENOGRAPHY Manu Siebens, Ina Peeters, BERLIN INTERVIEWERS Yves Degryse, Cathy Blisson CAMERA, EDITING Bart Baele, Geert De Vleesschauwer SOUND RECORDERS Toon Meuris, Bas de Caluwé, Manu Siebens, Karel Verstreken INTERPRETER Olga Mitronina SOUNDTRACK, MIXING Peter Van Laerhoven SET CONSTRUCTION Manu Siebens, Klaartje Vermeulen, Dirk Stevens, Kasper Siebens, Kopspel, Rex Tee [stagiair] MECHANICS Joris Festjens, Dirk Lauwers SCALE MODEL Ina Peeters, with the help of Puck Vonk, Rosa Fens en Thomas Dreezen GRAPHICS Jelle Verryckt WEBSITE Stijn Bonjean COMMUNICATION, PRODUCTION Laura Fierens BUSINESS MANAGER Kurt Lannoye ADMINISTRATIVE SUPPORT Jane Seynaeve CO-PRODUCERS Het Zuidelijk Toneel, PACT Zollverein, Dublin Theatre Festival, le CENTQUATRE, Kunstenfestivaldesarts, Brighton Festival, BIT Teatergarasjen-House on Fire, Künstlerhaus Mousonturm Frankfurt am Main, Theaterfestival Boulevard, Onassis Cultural Centre, BERLIN is associated artist to le CENTQUATRE IN COLLABORATION WITH deSingel SUPPORTED BY Flemish Government THANKS TO Wim Bervoets, Brice Maire, Lux Lumen, Els De Bodt, Pascal Rueff, Morgan Touzé, Christophe Ruetsch, Isabelle Grynberg, Nadine Malfait, Natalie Schrauwen, Katleen Treier, Piet Menu, Anthe & Ama Oda Baele, Remi & Ilias Degryse

JA N 31–F EB 2 8PM F EB 1–2 4PM R O U N DHO U SE CO M M U N ITY ARTS & R ECR EATION CEN TR E

$39 POST-SHOW TALKBACK: JAN 31

75 mins, no intermission IN RUSSIAN WITH ENGLISH SURTITLES INTRODUCTION AVAILABLE

JAN

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“Sonically traverses both Mexican and American perspectives to reveal intersections and conflicts, and create a borderless dialogue about the shared histories of Mexico and the United States.” —FILM MUSIC DAILY

PANCHO VILLA FROM A SAFE DISTANCE

GRAHAM REYNOLDS (USA) & LAGARTIJAS TIRADAS AL SOL (MEXICO)

This bilingual, cross-border, cross-genre opera about the enigmatic general, legendary bandit and hero of the Mexican Revolution presents a non-linear collage of scenes from, or inspired by, his life. Six musicians—playing keyboards, drums, violin, cello, electric guitar and bass/ tuba—accompany two singers, who in turn are aided by both pre-recorded and live video images, frequently overlaid. Originally commissioned by Ballroom Marfa, this award-winning project brings together an impressive array of artistic collaborators from both sides of the Rio Grande, including Austin-based composer Graham Reynolds and librettists Lagartijas Tiradas al Sol of Mexico City. Melding an avant-garde aesthetic with political overtones and a blend of Tejano and Mexican music, the piece provides a timely focus on the relationships and overlaps between the communities of Mexico and the US, as well as the borderlands in between. ABOUT THE ARTISTS

Composer, bandleader and improviser Graham Reynolds creates, performs and records music for film, theatre, dance, rock clubs and concert halls. Mexico City-based artist collective Lagartijas Tiradas Al Sol work with the aim of erasing borders. Director Shawn Sides is a founder and a co-producing Artistic Director of Rude Mechs theatre group in Austin, Texas. Catch the PuSh FILM SERIES screening of Richard Linklater’s A Scanner Darkly, details on p47, preceeded by a talk with Graham Reynolds and Joelysa Pankanea (Bicycle Thieves, p36) in conversation about composition for film and theatre, details on p53

COMPOSER Graham Reynolds LIBRETTO Lagartijas Tiradas al Sol (Luisa Pardo & Gabino Rodríguez) DIRECTOR Shawn Sides MEZZO-SOPRANO Liz Cass TENOR Paul Sanchez DRUMS Jeremy Bruch VIOLIN Alexis Buffum CELLO Henna Chou BASS, TUBA Utah Hamrick GUITAR Adrian Quesada KEYBOARDS Graham Reynolds EL TIGRE Miguel Santiago Santos MUSIC REMIXING AND CONSULTATION Toy Selectah ADDITIONAL LYRICS Carrie Fountain LIGHTING AND SCENIC DESIGNER Brian Scott COSTUME DESIGNER Christine Crook VIDEO DESIGNER Robert S. Fischer SOUND ENGINEER Gory Smelley PRODUCTION AND STAGE MANAGER Dallas Tate PRODUCER David Lobel TRANSLATIONS Tomás Morín ADDITIONAL TRANSLATIONS Antonio Ruiz-Camacho INITIAL TRANSLATION ASSISTANCE David Rios, Michi Runyon, David Lobel DRAMATURG, DIALECT COACH, ADDITIONAL TRANSLATIONS Luis Armando Ordaz Gutiérrez DRAMATURG Mallory Catlett VIDEOGRAPHY Lagartijas Tiradas al Sol VIDEO PHOTOGRAPHY Fernando Pardo VIDEO EDITOR Jeremy Bruch PHOTO EDITOR Buzz Moran TRIPTYCH GRAPHIC DESIGN Noel Waggener MUSIC CONSULTATION Alex E. Chavez MUSIC RESEARCH AND CONSULTATION Luis Urías Hermosillo ORIGINALLY COMMISSIONED BY Ballroom Marfa CO-COMMISSIONED BY Fusebox Festival ADDITIONAL SUPPORT PROVIDED BY National Performance Network, Golden Hornet FUNDED BY USArtists International, a program of MidAtlantic Arts Foundation in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation

JA N 31 8P M T H E VOGUE

from $39. Eligible on the PuSh Pass with a $12 surcharge. 75 mins, no intermission ENGLISH SURTITLES FOR SPANISH, SPANISH SURTITLES FOR ENGLISH

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 42

FEB

1 2 3


L’HOMME DE HUS

CAMILLE BOITEL (FRANCE)

An adventure for performer and audience alike, Camille Boitel’s raucous embodiment of the title character in this amazingly physical performance piece will have you laughing out loud one minute and staring in wonder the next. The premise is simple: Boitel wants to set up a table and chair, so he can face his audience. But in his skewed universe, nothing is simple. Everything—and we mean everything—goes horribly awry, as the acrobatic Boitel does existential battle with an ever-increasing number of sawhorses determined to defeat him. After starting as a funambulist in the circus, Boitel created the unforgettable character of L’Homme de Hus in 2002 as a man out-of-synch with himself who has a penchant for “disastrous and disastered” humour. His circus philosophy—“the insubordination of continuity, jubilation of imbalance, falling in love with vertigo…”—is an apt summary of the powerful, funny and poetic aspects of this amazing show.

ABOUT THE ARTIST

Camille Boitel is an acrobat, dancer, actor and musician. A street performer at the age of 12, he also received training at the prestigious Académie Fratellini; he is determined to leave his imprint on circus art. L’Homme de Hus marks Boitel’s return to PuSh, following the presentation of L’Immédiat in 2016.

What is the starting point of clowning, where does it end? Is one necessarily a clown when making people laugh?” —CULTURE MAGAZINE

SUPPORTED BY

SHOW BY Camille Boitel ORIGINAL IDEA Bénédicte Le Lamer, Camille Boitel LIGHTING Camille Boitel with the help of Laure Couturier FEATURING Camille Boitel, Silvère Boitel, Vincent Beaume, Guillaume Beguinot SPECIAL GUEST (CANADA TOUR) Kenzo Bernard CO-PRODUCERS 2015/16 Tandem Douai – Arras, L’Estive Scène Nationale de Foix et de l’Ariège 
CO-PRODUCERS 2003 Théâtre de la Cité Internationale, L’entre-sort de Furies, Espace Périphérique, Cie Isis, l’Usine, La Cascade (APIAC), CIRCA, Système Friche Théâtre FUNDED BY Ministère de la Culture et de la Communication, DRAC Ile de France, Ville de Paris AGREEMENT of artistic and cultural permanency with Ile-de-France Region

F E B 1 –2 8P M VA NCOU V E R P L AY HO U SE

from $39. Eligible on the PuSh Pass with a $12 surcharge. 60 mins, no intermission ACCESSIBLE TO PEOPLE WHO ARE DEAF AND HARD OF HEARING

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

FEB

1 2 3 43


“[A]lways adventurous and ever-experimenting...” —PETER DICKINSON, PERFORMANCE, PLACE, AND POLITICS

FRAGILE FORMS

MACHiNENOiSY (CANADA) PRESENTED WITH

ANVIL CENTRE

Inspired by world-renowned Finnish theorist and architect Juhani Pallasmaa’s writings on architecture and the sensing body, MACHiNENOiSY’s most ambitious work to date is a site-specific, 360-degree contemporary dance performance tailored specifically for New Westminster’s iconic Anvil Centre. This adventurous piece brings together architecture; sound, visual and lighting design; and a team of extraordinary dancers from both Canada and Finland—all to stunning effect. Audience members accompany the artists as the performance moves between various locations throughout the Centre. As the piece unfolds, it evolves into an interplay between the architecture and one’s embodied perception of it. The sensorial, social and political aspects of the space intermingle to redefine the performers, the audience and the place itself. The result is a revelatory dance experience—immersive, radical and utterly unique.

ABOUT THE ARTISTS

MACHiNENOiSY is a dance company that transcends traditional notions of the art form. Artistic Directors Delia Brett and Daelik bring their shared interest in theatre, art and postmodernism to bear on all of their work, which has been presented throughout Canada as well as in Germany, Austria, Belgium, France, Greece and the US. The group performed their piece Time Machine at PuSh 2015. CHOREOGRAPHERS, DIRECTORS Delia Brett and Daelik STAGE MANAGER Kanon Hewitt SOUND ARTIST Nancy Tam VISUAL ARTIST, DESIGNER Natalie Purschwitz ARCHITECTURAL COLLABORATORS Peeroj Thakre and Henning Knoetzele ARCHITECT, AUTHOR CONSULTANT Juhani Pallasmaa STAGE MANAGER, TECHNICAL DIRECTOR Paula Viitanen SUPPORTED BY City of Vancouver, Canada Council for the Arts COPRESENTED WITH Jessica Schneider, Programmer, Anvil Theatre IN KIND SUPPORT Anvil Centre

FEB 2 – 7 6 :3 0 P M, 8P M AN VI L CEN TR E

$25 Not available on the PuSh Pass. 60 mins, no intermission NOTE: Following artists through the Anvil Centre, including up stairs, is part of this performance and as such it is not wheelchair accessible

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 44

FEB

1 2 3


Immediately following Triple Threat we’ll be celebrating the final night of the Festival at XY. Come raise a glass and celebrate 15 years of PuSh! FEB 2 XY

10 P M 19+

FREE

TRIPLE THREAT LUCY McCORMICK (UK)

Get ready for a radical take on the New Testament… Post-Popular Prodigy Lucy McCormick presents a trash-punk morality play made for the modern world. Lucy plays all the main roles in this subversive spin on the life of Jesus, which covers everything from the Immaculate Conception to the Resurrection, and she’s assisted by her Girl Squad dancers. Together, they work through the story using power ballads, dance routines and performance art. With Triple Threat, Lucy attempts to reconnect with her own conscience by framing this most sacred of tales through her own modern-day reference points. Absurd, enthusiastic, transgressive and hilarious, this is revisionism at its best. ABOUT THE ARTIST

The multitalented British artist Lucy McCormick makes nightclub installations, cabaret interventions and theatre shows all with a strong feminist slant and an emphasis on the absurd.

SUPPORTED BY

CREATOR Lucy McCormick DIRECTOR Ursula Martinez PERFORMERS Lucy McCormick, Sam Kennedy, Ted Rogers PRODUCER Karl Taylor COMMISSIONED BY hÅb and Contact for Works Ahead SUPPORT FROM

Soho Theatre, The Marlborough Theatre & Cambridge Junction and funding from Arts Council England.

F EB 2 XY 19+

9P M

$25 60 mins, no intermission CONTENT NOTE

Includes strobe lights and self-penetration. PHOTO: THE OTHER RICHARD

“McCormick launches an all-out attack on your assumptions about femininity, pop culture and the Christian story… fantastically entertaining.” —BRIAN LOGAN, THE GUARDIAN

JAN

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

FEB

1 2 3 45


PUSH FILM SERIES

PRESENTED WITH

VANCOUVER INTERNATIONAL FILM FESTIVAL

To round out your PuSh Festival experience, we offer a selection of films inspired by, and intended to be paired with, performances and artists in the 2019 PuSh program. Here, in our partnership with VIFF, the darkened cinema matches the darkened theatre in illuminating and surprising ways.

$13 Not eligible on the PuSh Pass $2 VIFF annual membership required

46


THE CHILDREN ARE WATCHING US

(VITTORIO DE SICA, 1944, ITALY) 85 MIN.

Paired with Joelysa Pankanea’s Bicycle Thieves, p36.

Five years before Bicycle Thieves, director De Sica and screenwriter Cesare Zavattini collaborated for the first time (along with three other writers) on this heartbreaking tale of a family breakup witnessed through the eyes of a child. Shot in 1942 under the fascist regime, the film broke with the pieties of the time by acknowledging the tensions that can tear apart a marriage. As Zavattini remarked, the film marked “the most important stage in my evolution as a filmmaker… and as a human being. Through the character of the child, we felt for the first time a human being… all my previous characters felt like puppets.” JA N 20 3PM VA NCI T Y T H EAT R E

PRIPYAT

(NIKOLAUS GEYRHALTER, 1999, AUSTRIA) 100 MIN.

A haunting, monochromatic vision of life in the not-entirely-abandoned radioactive “Workers’ City” of Pripyat more than a decade after the Chernobyl nuclear disaster of 1986, Nikolaus Geyrhalter’s film is akin to a documentary version of Andrei Tarkovsky’s Stalker: a potent, patient meditation on a post-apocalyptic city which is gradually being reclaimed by nature and the handful of hold-outs who refuse to give up the ghost. Using long, still takes and interviews with four of the residents, Geyrhalter constructs a movie that is both concrete and abstract. “A non-fiction horror story… fascinating and deeply troubling.” —VARIETY JA N 27 3 P M VA N C IT Y T H E ATR E

Paired with BERLIN’s ZVIZDAL, p41.

A SCANNER DARKLY

(RICHARD LINKLATER, 2006, USA) 100 MIN.

Composer Graham Reynolds has worked with director Richard Linklater on four feature films, including Before Midnight, Bernie and Last Flag Flying. But their first collaboration was on this weirdly funny, inescapably prophetic Rotoscope-animated adaptation of Philip K. Dick’s novel about alternate realities, drugs, paranoia and the surveillance state. Keanu Reeves, Robert Downey, Jr. and Winona Ryder can still be detected underneath the movie’s digitally scrambled rendering of suburban stoner simulacra. Paired with Graham Reynolds’ Pancho Villa From a Safe Distance, p42. Preceding the film, join Graham Reynolds with Joelysa Pankanea (Bicycle Thieves, p36) in conversation about composition for film and theatre, details on p53.

“The brilliance of A Scanner Darkly is how it suggests, without bombast or fanfare, the ways in which the real world has come to resemble the dark world of comic books.” —LA TIMES FEB 3 3 P M (TALK , FR EE) 4:3 0 P M (FI LM) VAN CITY TH EATR E 47


www.bcnu.org

A MESSAGE FROM

CHRISTINE SORENSEN AND BC's NURSES British Columbians recognize the vital work of our 48,000 professional nurses. Today and every day, let's commit to safe workplaces, for nurses and all workers.

President, BC Nurses’ Union

PuSh Festival 5-875x2-475.indd 1

9/20/2018 9:44:13 AM

The Polygon Gallery is a new waterfront landmark on Vancouver’s North Shore, which offers a one-of-a-kind space to encounter contemporary visual art with a focus on photography. 2019 exhibitions thepolygon.ca The Polygon Gallery Located next to Lonsdale Quay Market

BUY NOW

JAN 31–FEB 24

Arts Club Theatre Company and Crow’s Theatre present

playing at stanley industrial alliance stage

The Castleton Massive Production Created by Torquil Campbell & Chris Abraham In collaboration with Julian Brown

“Vivid...funny...frightening” —National Post torquil campbell. photos by dahlia katz

COMMUNITY PARTNER | 2018–19 SEASON

granville island stage

goldcorp stage at the bmo theatre centre


ILBIJERRI THEATRE COMPANY (AUSTRALIA) BLOOD ON THE DANCE FLOOR

)

“RESOUNDS WITH THE PULSE OF LIFE.” THE SYDNEY MORNING HERALD

FEBRUARY 6–9, 2019

SFU GOLDCORP CENTRE FOR THE ARTS

TICKETS & INFO: DANCEHOUSE.CA

WARNING: ADULT CONCEPTS (SEXUAL & DRUG REFERENCES), COARSE LANGUAGE,LOUD MUSIC

Save 10% on tickets with promo code PUSH2019 Code valid until February 2, 2019 SEASON PARTNERS JACOB BOEHME

|

DORINE BL AISE, PHOTO

DanceHouse / PuSh halfpage horizontal 5.875 x 5.085” / CMYK / 20 September 2018 Keith > Rare Design Group: 604 505 4100

Choreographies of Assembly

176

edited by Alana Gerecke and Laura Levin

Critical analysis Innovative coverage Current trends Available in print and online ctr.utpjournals.press

Choreographies of Assembly

LAYWRIGHTSCANADA.COM

canadian theatre review

PRESS

$15.00

fall 2018

FORTHCOMING ISSUE THEMES CTR 177 Winter 2019 Radical Hospitality

CTR 178 Spring 2019 Theatre and Gaming

CTR 179 Summer 2019 Canadians Abroad


The PuSh Assembly is where we gather to share ideas and perspectives around the performing arts. The PuSh Assembly aims to foster community, reflect upon industry trends and stimulate dialogue among local and international practitioners and patrons. An open invitation to arts aficionados and industry insiders alike, the PuSh Assembly is divided into two separate series: Ideas Series and Industry Series. Hosted by Interim Artistic Director Joyce Rosario.

ASSEMBLY ASSEMBLY /

PHOTO: BRIAN WHAR

IDEAS SERIES

Ideas Series events are designed for all audience members who seek a deeper engagement with artists and the work they create. Ideas Series events are open to the public. FREE • No registration required

CRITICAL IDEAS PRESENTED WITH

SFU’S INSTITUTE FOR PERFORMANCE STUDIES

SUPPORTED BY

SFU FACULTY OF COMMUNICATIONS, ART AND TECHNOLOGY & SFU WOODWARD’S CULTURAL PROGRAMS

Critical Ideas is a three part series in partnership with Simon Fraser University’s Institute for Performance Studies that brings together artists, critics, scholars and audiences to discuss formal, social and ideological issues affecting performance practice and reception today. Panels are moderated by Peter Dickinson and are free and open to the public.

(1) SOUND + SPACE Join curator and sound artist Aki Onda for a talk on contemporary Japanese sound art, as exemplified by three distinct artists in PuSh’s 2019 program: ASUNA, Marginal Consort and Tetsuya Umeda. Their work combines the use of unconventional and self-made instruments with analogue equipment, so the visual arrangement of the objects itself become a “score.” Combined with the individual architecture and acoustics of the site, sound transforms and creates space, guiding the flow and development of the performance itself. SPEAKERS Aki Onda, followed by conversation with Kazuo Imai (Marginal Consort) + additional invited guests MODERATOR Peter Dickinson, Director, SFU’s Institute for Performance Studies

JA N 18 2 :3 0 P M– 4P M DJAVAD MOWAFAGH IAN WOR LD ART CEN TR E AT SF U ’S GOLDCOR P CEN TR E FOR TH E ARTS

50


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PHOTO: KATE HOLMES

(2) ARTS + ACCESS

(3) ETHICS + CONSENT

As an ongoing Festival thematic concern, we ask: How is accessibility changing the way we create, curate and experience art? What do we have to gain when we re-frame our perception of disability from one of limitation to one of possibilities? For this edition of the conversation, we centre the experience of d/Deaf artists and practitioners, asking how intersectionality can be used as a tool to build bridges and address the system of inclusion.

Performance-based practice involves relationships between people, whether amongst artists and practitioners creating and producing the work itself, or between artists and audiences. How do we reconcile with structures of power that shape these relationships? For this panel, we discuss the ethics of consent and care in performance and curatorial practice, reflecting on current social, political and geographic contexts.

Dawn Jani Birley, Performer, and Ravi Jain, Director (Prince Hamlet); Denise Read (ASLSQ Entertainment) + additional invited guests MODERATOR Peter Dickinson, Director, SFU’s Institute for Performance Studies SPEAKERS

JA N 2 5 2 :3 0 P M –4 P M DJAVA D MOWA FAG H I AN W O R LD A RT CENT R E AT S F U ’ S G O L D COR P C E NTR E FO R T H E A RTS ASL-INTERPRETATION PROVIDED

SPEAKERS Laakkuluk Williamson Bathory and Evalyn Parry, performers (Kiinalik: These Sharp Tools); Lee Su-Feh (Artistic Director, battery opera); and Victoria Hunt, choreographer/ performer (Copper Promises: Hinemihi Haka) GUEST MODERATOR Reneltta Arluk, Director of Indigenous Arts, Banff Centre for Arts and Creativity

F EB 1 10 :3 0 AM-12 P M DJAVAD MOWAFAGH IAN CI N EMA AT SF U ’S GOLDCOR P CEN TR E FOR TH E ARTS

51


ASSEMBLY /

IDEAS SERIES

ARTIST TALKS

PHOTO: KAT REYNOLDS

BREATHING ROOM ROUNDTABLE PRESENTED WITH

OR GALLERY

An afternoon of brief presentations and a roundtable conversation to think alongside the work of Or Gallery’s 2019 artist-in-residence and PuSh Festival visiting artist Ligia Lewis. Addressing the theorists and texts that inform Lewis’s performance practice, four speakers have been invited to discuss their ideas on the performing body as a simultaneously abstracted and connective site. Lewis is a Berlin-based performer and choreographer. Engaging with affect, empathy and the sensate, her choreography considers the social implications of the body while evoking its potentiality. In 2017, Lewis was awarded a Bessie for Outstanding Production for her work minor matter and the Prix Jardin d’Europe for Sorrow Swag. Joshua Chambers-Letson, Associate Professor, Performance Studies, Northwestern University; Laura U. Marks, Professor, School for the Contemporary Arts, Simon Fraser University; Fred Moten, Professor, Department of Performance Studies, Tisch School of the Arts, NYU; and Tina Post, Provost’s Postdoctoral Fellow, Department of English, University of Chicago. MODERATED BY Phanuel Antwi, Assistant Professor, Department of English Language and Literatures, UBC. PARTICIPANTS

FEB 2 2 P M –4 : 3 0 P M OR GA L LERY

52

PHOTO: EMA PETERS

DANCE, ARCHITECTURE AND PUBLIC SPACE PRESENTED WITH

ANVIL CENTRE AND MACHiNENOiSY

“When you enter a space, the space enters you” — JUHANI PALLASMAA

In this roundtable on dance, architecture and public space, a panel of speakers—from urban planners to architects, designers, choreographers and scenographers—respond to world renowned Finnish architecture theorist Juhani Pallasmaa, his writing on the senses and architecture, and MACHiNENOiSY’s embodied realisation of these ideas in Fragile Forms. How do we understand the space around us with our bodies? How can we touch with our eyes? How do dance and architecture meet each other in a field of multisensory experience? Fragile Forms is an international exchange between Canada and Finland. As well as being supported by the Canada Council, Anvil Centre and City of Vancouver, it has been supported with a 3-week residency at Annantalo Arts Centre in Helsinki, Finland. It includes two Finnish dance artists and was inspired by conversations with Finnish Architect Juhani Pallasmaa. JA N 3 0 7P M– 8 :3 0 P M A NV I L CEN TR E TH EATR E

FREE, registration encouraged


PHOTO: SARAH RACE

PHOTO: KATE MURRAY

PHOTO: JOELYSA PANKANEA

IN CONVERSATION: GRAHAM REYNOLDS AND JOELYSA PANKANEA PRESENTED WITH

VANCOUVER INTERNATIONAL FILM FESTIVAL

Composer Graham Reynolds has worked with director Richard Linklater on four feature films, including Before Midnight, Bernie and Last Flag Flying. But their first collaboration was on this weirdly funny but inescapably prophetic Rotoscope-animated adaptation of Philip K Dick’s novel about alternate realities, drugs, paranoia and the surveillance state. Keanu Reeves, Robert Downey Jr. and Winona Ryder can still be detected underneath the movie’s digitally scrambled vision of suburban stoner simulacra. Since exploding onto the Vancouver theatre scene with her score for the critically acclaimed Crime and Punishment (Neworld, VMT, PuSh), composer Joelysa Pankanea’s music has been celebrated in theatres across Canada. As a composer, musical director, sound designer and percussionist, her versatility has taken her into the worlds of theatre, film, and animation and garnered her multiple awards and nominations. Joelysa is a freelance composer, and the resident composer for ARC in Toronto. FACILITATED BY Mark Haney

FEB 3 3P M - 4 P M VAN C IT Y T H E ATR E

CURATORIAL PRACTICE: PUBLICATIONS LAUNCH PRESENTED WITH

VANCOUVER PUBLIC LIBRARY

Join us for the Vancouver launch of two new publications contributing to the discourse and scholarship of curatorial practice in the performing arts: Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice (Berghahn Books) and Essays from Configurations in Montréal: Performance Curation and Communities of Colour (booklet published by Concordia University, and Slippage: Performance / Culture / Technology). SPEAKERS Jane Gabriels, Ph.D., Executive Director, Made in BC - Dance on Tour, and Visiting Scholar, SFU Institute for Performance Studies, 2018-19; Mariane Bourcheix-Laporte, artist/curator, PhD candidate SFU School of Communications; Peter Dickinson, Director, SFU’s Institute for Performance Studies; Joyce Rosario, Interim Artistic Director, PuSh Festival MODERATOR Sadira Rodrigues, independent scholar/Faculty, Emily Carr University PRODUCED IN PARTNERSHIP WITH

Made in BC - Dance on Tour

WITH SUPPORT FROM Canada Council for the Arts

JA N 29 5P M– 7P M MO NTALBAN O FAM I LY TH EATR E VA NCOUVER P UBLIC LI BRARY

Registration required at pushfestival.ca/assembly. This talk precedes the screening of A Scanner Darkly, details on p47 53


ASSEMBLY /

INDUSTRY SERIES

Industry Series events are geared to performing arts industry professionals and practitioners whether they are artists, producers or presenters; emerging, mid-career or established. Industry Series events can be accessed with a PuSh Industry Pass or Industry Pack. Details on p76 PUSH INDUSTRY PASS $236

PUSH INDUSTRY PACK $60

MORNING BRIEFING PRESENTED WITH

SFU FACULTY OF COMMUNICATION, ART AND TECHNOLOGY

The essential session to get up to speed with the PuSh Assembly Industry Series. Meet our international delegations and visiting artists gathered for the final week of the Festival. JA N 30 1 0 : 3 0 AM –1 2 P M R O O M 4 39 0 SF U ’ S G O L D COR P C E NTR E FO R T H E A RTS

KEYNOTE: DAWN JANI BIRLEY

KNOWLEDGE IS POWER, BUT SIGN LANGUAGE IS MY SUPERPOWER… For a long while, society has been promoting the idea of embracing diversity, being inclusive and respecting different needs; however, as a Deaf person whose native tongue is sign language, I face many different challenges and obstacles—both in my everyday life and as an an actor. One of my biggest ordeals was studying physical theatre in London; it was a Goliath I had to overcome on a daily basis, and I survived by using intersectionality as a tool. This experience became my motivation for using art as a platform to push for positive change. Prince Hamlet is one of several works I’ve undertaken with the aim of bringing together the worlds of signers and non-signers. —DAWN JANI BIRLEY

Toronto Theatre Critics Award Winner for Best Actress in a Play 2017 for her role as Horatio in Prince Hamlet (p30) with Why Not Theatre and Canadian Cultural Society of the Deaf Person of the Year 2017, Dawn Jani Birley is a versatile actor spanning more than ten years of professional experience in theatre and film. Her passion is to show that Deaf and hearing folks can work together on the frontlines of bringing positive change to today’s world. JA N 30 1:3 0 P M– 2 :3 0 P M DJAVA D MOWAFAGH IAN CI N EMA AT SF U ’S GOLDCOR P CEN TR E FOR TH E ARTS ASL-INTERPRETATION PROVIDED

54


PHOTO: SARAH RACE

PITCH SESSION

AN AWKWARD CONVERSATION

Eight selected applicants give a 10-minute pitch of their new and upcoming projects to an audience of producers, artistic directors, festival curators, presenters and programmers.

An Awkward and Embarrassing Conversation About Difference is a performance/workshop based on the idea of radical transparency. Sarah Garton Stanley is the Associate Artistic Director of Canada’s National Arts Centre English Theatre and Marcus Youssef is one of Canada’s leading contemporary playwrights. During a modular performance Marcus and Sarah employ a series of rules they have devised to encourage honest debate about incendiary subject matter. They use these to interrogate each other publicly and rigorously about their own struggles in relationship to issues of power, privilege and difference. They then offer delegates who are interested a guided series of exercises to question and experiment with these rules.

CO-CURATORS Fay Nass (Artistic Director, the frank theatre company), Jiv Parasram (Artistic Director, Rumble Theatre)

JAN 30 3P M –5 P M DJAVA D M OWAFAG H I AN C I N EM A AT S F U’ S G O L D COR P C E NTR E FO R T H E A RTS

ROUNDTABLE: FIELD NOTES Field Notes is an Industry Series platform for sharing current trends, inspirations and notes from the field; a space for lively conversation and collegial debate. Choose from concurrent roundtable conversations based on provocations proposed by PuSh’s curatorial team, industry delegates and visiting artists. JAN 31 1 0 : 3 0 AM –1 2 P M TH E PO ST AT 75 0

PUSHOFF MIXER PushOFF, produced by Theatre Replacement in partnership with Company 605, is an independent, curated platform of tour-ready projects and works in development by Canadian artists, taking place Jan 31 and Feb 1. Join producers and artists for an informal mixer. Full PushOFF details at theatrereplacement.org/ pushoff.

PERFORMED & FACILITATED BY

Youssef

Sarah Garton Stanley and Marcus

DEVELOPED AND PRODUCED BY Neworld Theatre DEVELOP-

MENT SUPPORTED BY Farnham Maltings

F EB 2 PART 1: 1 1AM– 12 :3 0 P M, PART 2 : 1:3 0 P M– 3 P M R U SSI AN HALL

INDUSTRY BRUNCH On the last day of the Festival, join fellow PuSh Assembly Industry participants for a farewell brunch. Light brunch buffet provided. F EB 3 1 1AM– 2 P M T H E POST AT 750

JAN 31 5P M –6 P M R USSIA N H A L L

55


GLOBAL DANCE CONNECTIONS SERIES

SIMON MAYER (Austria)

SONS OF SISSY April 4-6

DAVIDA MONK (Canada)

ASHES FOR BEAUTY

With you at work

Credit: Simon Mayer/Arne Hauge

May 23-25

TheDanceCentre.ca MEDIA SPONSOR

engaging contemporary art

WORKSHOPS

Each year PuSh invites select visiting performers to provide workshops relevant to their practice. These Workshops range from being open to all, with no experience required, to masterclasses with pre-requisites.

CANADA COUNCIL INFORMATION SESSION Join the Canada Council for the Arts for an information session designed for artists working across artistic fields of practice. You will have the opportunity to learn about the new programs at the Canada Council and understand how applications are assessed. JA N 2 8 1P M– 4P M R OUN DHOUS E COM MUN ITY CEN TR E

FREE, registration required Register at pushfestival.ca/workshops

surrey.ca /artgallery

FOR UP-TO-DATE INFORMATION ON OTHER WORKSHOPS:

pushfestival.ca/workshops


The Artist-in-Residence program invites artists to be a part of the PuSh Festival in meaningful ways beyond presenting a finished work. PuSh has a deep interest in initiatives that help further the aspirations of our creative colleagues. In this instance, it’s an opportunity to expand their practice and research, and to engage with kindred spirits locally, nationally and internationally. Over the years, we have had various iterations of an artist-in-residence program. Most recently, we invited Hong Kong Exile to be artists-in-residence for a two-year term. One element of the residency was supporting the presentation of their work, culminating with the premiere of Foxconn Frequency no. 3 at the 2018 Festival. Other activities were developed through ongoing conversation, listening to their needs and desires, and finding ways of responding in the context of a festival. Interim Artistic Director Joyce Rosario describes 2019 Artists-In-Residence The Biting School as “... part of a generation of young artists in Vancouver exploring new territory in performance, very much informed by their position in the diaspora within the Canadian arts landscape. I am inspired by their approach and methodologies for translating and re-situating the source material for Suddenly Slaughter, offering a fresh perspective for intersectional and intercultural ways of working. I’m especially taken by their articulation of care, of each other and their collaborators, balanced with a rigorous and daring exploration of aesthetics and form —the values engendered are aligned with what we look to support at PuSh.”

THE BITING SCHOOL

Knowledge is a shared resource and is reciprocal—whether through PuSh providing strategic advice and connecting to an international network of peers, or through The Biting School providing new perspectives and connecting the Festival to emerging trends.

MULTIPLIER FUND

WITH SUPPORT FROM

IN HONOUR OF

NORMAN ARMOUR

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2019 ARTISTS-IN-RESIDENCE


PuSh brings an external lens to the city. The Festival introduced me to the possibilities of merging art forms. It was inspiring to have been a part of something that centers marginalized folks, where the focus is on the art.” – MATTHEW MOIR, 2018 PUSH YOUTH ACADEMY PARTICIPANT

YOUTH PROGRAM

The PuSh Youth Program connects young people and emerging artists (ages 16-24) to the rich world of the performing arts by making it accessible, engaging and entertaining... Visit pushfestival.ca/youth for details, or contact Youth Program Coordinator Natalie Tin Yin Gan at youth@pushfestival.ca. PHOTO: TIM MATHESON

PHOTO: SARAH RACE

PHOTO: TIM MATHESON

FOR THE YOUNG EMERGING ARTISTS

FOR THE PERFORMING ARTS CURIOUS

YOUTH ASSEMBLY

$20 YOUTH FOUR-SHOW PASS

SUPPORTED BY

Dive into the shows with your Four-Show Youth Pass, which allows you to book into four performances of your choice for only $20. Book online to guarantee yourself a ticket to your top Festival picks, or take a risk on something new. There’s never been a better—or cheaper—way to sample the PuSh Festival!

SFU FACULTY OF COMMUNICATION, ART & TECHNOLOGY & SFU WOODWARD’S

The Youth Assembly is a one-day FREE performing arts conference just for young people. Whether you’re curious or passionate about pursuing careers in the performing arts, you can explore various areas of interest through workshops, presentations, and conversation. This is your chance to share ideas, network and build community with fellow emerging arts professionals. JA N 1 9 1 1AM –5 P M DJAVA D MOWA FAG H I AN W O R LD A RT CENT R E SF U WO O DWA R D ’ S

FREE; pre-registration required. Lunch provided!

Terms and conditions apply, see p77

$5 YOUTH RUSH TICKETS If you can’t commit to a Youth Four-Show Pass, you can take your chances at the door. Line up at the venue up to one hour before showtime to buy very limited $5 rush tickets. Terms and conditions apply, see p77

YOUTH ACADEMY The PuSh Youth Academy is a unique opportunity for a small group of arts lovers to experience, examine, and engage in the professional performing arts community. Like a book club for performance, the Academy meets on a bi-weekly basis leading up to and during the PuSh Festival to attend shows and participate in workshops and discussions. FREE; applications for 2020 will open in September 2019

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SUPPORTED BY

ACCESSIBLE

For any PuSh performance or event where ASL interpretation will be provided, or where an introduction for the Deaf or Hard of Hearing might make it accessible, PuSh publishes vlogs in ASL describing those shows on pushfestival.ca/access.

Relaxed Performances are adapted to welcome patrons who might benefit from a more relaxed theatre. Visual stories are created to describe the show and the venue for people who wish to prepare for their experience.

PHOTO: ARTS CLUB

Specially trained volunteers are available to assist blind and partially sighted patrons, and others who require assistance, to attend shows. These volunteers can meet patrons at nearby public transit stops and guide them to and from venues. Requests can be made at access@pushfestival.ca.

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For patrons who are blind or have low vision, live audio description is available at select performances. This specialized service describes the visual elements of a live show in real time.


Providing transformative performing arts experiences to as broad an audience as possible is a core value of the PuSh Festival. We seek to remove physical, social and financial barriers wherever possible to ensure everyone has an opportunity to experience the performing arts. Continually updated information for specific initiatives is available at pushfestival.ca/access Visit us online, or contact Accessible PuSh Coordinator Anika Vervecken at access@pushfestival.ca, for more information or to make arrangements.

RELAXED PERFORMANCES Select performances are adapted to welcome patrons who might benefit from a more relaxed theatre environment, including—but not limited to—people on the autism spectrum and people with sensory and communication disorders or learning disabilities. There is a relaxed attitude towards noise and movement made by the audience, and adaptations are made to light and sound effects. Visual stories can be downloaded at pushfestival.ca/access

AMERICAN SIGN LANGUAGE INTERPRETATION At certain performances, professional interpreters provide live ASL translation for patrons who are Deaf or hard of hearing. ASL interpretation can be requested for non-performance events, such as the ASSEMBLY/IDEAS SERIES. Subject to interpretor availability.

SURTITLES & CAPTIONS Performances that use spoken languages other than English may have surtitles [ST]. This can make the show accessible to Deaf and hard of hearing patrons, especially when offered in combination with a performance introduction (see below).

SUPPORT PERSONS Support persons who accompany patrons with an Access 2 card, are members of VocalEye, or the Canucks Autism Network, are eligible to receive a complimentary ticket to attend a show. These tickets need to be booked in advance by contacting our box office or the accessibility coordinator.

GETTING TO THE VENUE Specially trained PuSh & VocalEye volunteers are available to assist patrons to reach performance venues. Volunteers will arrange to meet patrons at a public transit stop near the venue, then guide them to and from venue.

VOCALEYE LIVE DESCRIPTION For patrons who are blind or have low vision, live audio description is available at select performances. This specialized service describes the visual elements of a live show in real-time.

PERFORMANCE INTRODUCTIONS Some performances are accessible without ASL-interpretation or live description, with an introduction. These introductions are written by or with the artists to provide any information to support audience members who are Deaf, hard of hearing, blind or live with vision loss.

ACCESSIBILITY VENUE AUDITS Detailed audits are conducted for all Festival venues, providing technical specifications about a range of accessibility considerations. Venue audits can be found at pushfestival.ca/access

COMMUNITY TICKETING The PuSh Festival works with partner social services organizations and community groups to distribute complimentary or reduced-price tickets to people who may experience barriers to attend the Festival.

Introductions can be downloaded at pushfestival.ca/access

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JOIN THE PATRONS CIRCLE “Hurry up! You don’t want to miss this opportunity to make a difference in your own life and in the lives of artists and audience members. PuSh matters.” - DEENA CHOCHINOV & ERIC POSEN, ADVOCATE-LEVEL DONORS

Join an extraordinary group of donors by making a donation to the PuSh Festival. To donate today, or learn more about how your donations help PuSh, visit pushfestival.ca/donate.

Donors who have given for at least 10 consecutive years Donors who have given for at least 5 consecutive years Donors who give on a monthly basis

THANK YOU PATRONS CIRCLE DONORS VISIONARY ($15,000+) Roberta Lando Beiser

SUSTAINING ($5,000-$14,999) Pang-Liang Chang • Anndraya Luui • The McGrane - Pearson Endowment Fund, held at the Vancouver Foundation • Carol Newell • The R & J Stern Family Foundation • PRODUCER ($2,500-$4,999) Leanne Averbach

• Sandra Garossino • Harry Gray • Ross McMillan • Tracy Proke & David Vogt CURATOR ($1,000-$2,499) Norman Armour

• Jane Brindley & Ross Paul • Peter Dickinson & Richard Cavell • Prem Gill • Kathryn & Stan Hamilton • Michael Heeney & Hilary Meredith • Jane Heyman • Sudha Krishna • Susan Loadman & Kent Gallie • Harvey Loen & Lois Binder • Winkie & Alan Macdougall • Paula Martin • Alexandra Montgomery & Howard Jang • Laura Moore • Glenn Mori • Gwyn Roberts • Rodger So • Susan & Bruce Stout • Paul & Joan Whitney • Fei Wong • Max Wyman ADVOCATE ($500-$999) Evan & Ingrid Alderson • Lorna Brown

• Deena Chochinov & Eric Posen • Dana Cromie & Greg Brown • Marna Disbrow • Chris Dobrzanski • W. Kevin & Cheryl Drynan • Marie-Claire Dy • Elsie & Audrey Jang Fund, held at the Vancouver Foundation • Cheryl Geisler & Mark Stein • Margo Harper • Paul Hecht & Sarah Elkins • Christopher Hunt • Tevia Jeffries • Georgia Johnson • DD Kugler • Peter Ladner • Judy Lindsay • Kathleen MacDonald • Susin Nielsen • Mira Oreck • Rod Pearce • Cory Philley • Bryan Searle • Lainé Slater • Burke Taylor • Barb Whiteman • Eric Wilson • Winkchop Productions Inc. • Gillian Wood SUPPORTER ($150-$499) Anonymous (3) • Roger Aballini • Elizabeth Abel • Jim Anhorn

• Robert Armour • Trevor Battye • Douglas Bellamy • Hannah Bellamy • Blair MacLean • Veronique Boulanger • Claudia Buckley • Naomi Campbell • Katharine Carol • Charles Gauthier • Garry Chmara • Christine Rondeau • Lynn Copeland • Josh Coward • Simon & Kathleen Cowell • Kathleen Cunningham • Emma Luna Davis • Charmaine de Silva • Elvy Del Bianco • Lucie Desrochers • W B Dow • Jason Dubois • Tony DuMoulin • Roxanne Duncan • • Sybil Faigin • Alex Ferguson • Kathleen Kathy Evans Flaherty • Jane Flick & Robert Heidbreder • Carole & Martin Gerson • Anne Giardini • Kara Gibbs • Edward & Marianne Gibson • Eugene Gorodetsky • Linda Gorrie • Peter Herrndorf, OC • Roger Holdstock • Jane Hope • Rosemary Hopkinson • Heather Hyde • Liesl Jauk • David (DK) Kerr • Mila Lane • David Lee • Jocelyn & Fiona Macdougall • Genny MacLean • Ken Manning • Laurel March • Stephanie Mayor • Dr. Paula Meyler • Neil Scott • Ardis Nelson • Alice Niwinski • Anne Olsen • Nora Osborne • Bobbi Parker • David Parkes • Iain Pennington • France Perras • Brenda Peterson • Andrew Petter & Maureen Maloney • Josephine Ridge • Sylvia Roberts • Donna Rosa • Joyce Rosario • Tory Ross & Keith Martin Gordey • Shaundehl Runka • Mary Schendlinger • Minna Schendlinger • Niki Sharma • Kathryn Shaw • Karen Smith • Matthew So • Joel Solomon • Alistair Stewart • Kristin Stockley • Linnea Strom • Bonnie Sun • Roy Surette • Tara & Jim Travis • Stepan Vdovine • Mauro Vescera • Christianne Wilhelmson & John Webber • Deborah Williams • Stephen Williams • Mary Catherine Williams • Thomas Woods • Cornelia Wyngaarden • Mirna Zagar

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FRIEND ($20-$149) Anonymous (15) • Michelle Allin

MULTIPLIER FUND

• Roya Amirsoleymani • Gretchen Bartlett • Ilze Bebris • Dr. Frantisek & Lynn Beck • David Beneteau • Sydney Bernard • Kathryn Best • Sue Biely • Judith Bosire • Jessica Bouchard • Joel Bronstein • David Brown • Don & Donna Celle • Joseph Chan • Yok Leng Chang • Emma Chang • Jane Cherry • Michael Clague • Paula Clancy • Louise Clark • Barbara Cole • Coree Tull • Alexander Daughtry • Jacqueline Day • Geoffrey Deacon • David Rehorick • Dave Deveau • Michael Dobbin • Jess Dobkin • Frances Dobrzanski • Mary Doherty • Nicole Ebert • Rob Ellaway • Wesley Enoch • Charlotte Ensminger • Adele Finney • Lily Fong • Rachel Forbes • Maia Fota-Gibb • Jonathan Fowlie • Jo Fox • Keren Freed • Jane Gabriels • Vallejo Gantner • Caleigh Garland • Amanda Gibbs • Shayna Goldberg • Pamela Goossen • Melissa Guillergan • Sean Guist • Stephanie Han • liisa hannus • Stephanie Hardman • Suzanne Hawkes • Stephen Heatley • Steven Hill • Jackie Hoffart • Heather Hoiness • Miranda Huron & Rob Friedman • Leslie Hurtig • Selwyn Jacob • Seona Johnston • Jessie Johnston • Marianne Johnstone • Vivian Kan • Chad Kerychuk • Bonnie Klein • Nancy Knickerbocker • Melanie Kuxdorf & Zac Rothman • Shona Lam • Trey Le • Monique Leger • MarieFrance Leroi • Edna Leyland • Milton Lim • Lord Graham Lim •

IN HONOUR OF

NORMAN ARMOUR

Merle Lister • Kendra Loewen • Leanne Lunghamer • Bonnie MacKenzie • Geraldine Maclear • Marni MacLeod • Kenji Maeda • Rhonda Mailey • Lydia Marston-Blaauw • Jaspal Marwah • Ian Mass • Verena & David Matheson • Tim Matheson • Karen Matthews • Ann McDonell • Kathy McLaughlin • Kerry McPhedran • Geoff Meggs & Jan O’Brien • Sandra Moe • Kevin Mooney • Mount Pleasant Massage Therapy • Kathleen Mullen • Emily Neumann • Carol Newson • Kala O Riordain • Ellie O’Day • Paul O’Doherty • Carol Oreck • Alain Paré • Barbara Parkin • David Pay • Leslie Hall Pinder • Jocelyn Pitsch • Alexandra Rudis • Joy Russell • Bénédicte Schoepflin • George Scott • Evann Siebens • Jim & Donna Simpson • Pierre Soucy • Carol Srigley • Mike Stack • Maria Stanborough • Lys Stevens • Ellen Stradiotti-Gould • Liisa Tella • Ronnie Tessler • Nicci Theroux • Camilla Tibbs • Cinzia Toniolo • Jodie Tonita • Court Touwslager • Teresa Vandertuin • Marie Villeneuve • Jessica Wadsworth • P. Taylor Webb • David Webb • Susan Webster • Shauna Wilton • Janelle Wong-Moon • Kathryn & Jim Woodward • Meredith & Ron Woodward • Monika Wroz

Founder and former Artistic & Executive Director Norman Armour is our inspiration for the Multiplier Fund. This fund was Norman’s final gift to the PuSh Festival, so we can continue to support artistic development at the 2019 PuSh Festival and beyond. Norman always describes PuSh’s impact on artists and artistic practice as having a multiplier effect: the return on investment is greater than the investment itself, benefiting artists, audiences and Vancouver’s cultural life in surprising and unexpected ways. Thank you to everyone who made a gift to the Multiplier Fund. Raising these funds helps us do so much more for artistic residencies, commissions of new work and international artistic exchanges.

GIFTS IN MEMORY Ann Daskal in memory of Simon Garber • Robert Gardiner in memory of James Pollard • Dr Evelyn J Harden in memory of John Wood • Beata

And thank you to Norman for being a tireless advocate and passionate champion for the arts. Quite simply, you are an inspiration to artists, arts-lovers and philanthropists alike. Thank you.

Jablonska in memory of Pepper Malone • Laurie Robson in memory of Barbara Shields

This list represents donors from September 1, 2017 to October 12, 2018. If we missed your name because of our print deadline, please know we appreciate you!

PHOTO: COMPANY 605 BY DAVID COOPE

GIFTS IN HONOUR Douglas Armour in honour of Sascha Armour • Bob & Gloria Dickinson • Pamela Dickinson in honour of Peter Dickinson & Richard Cavell in honour of Peter Dickinson & Richard Cavell • Rob Dickinson in honour of Peter Dickinson & Richard Cavell • Ann Eastman in honour of Shirley Eastman • Andrea Fecko in honour of Dani Fecko • Adam Harnest in honour of Craig Kulyk • Evelyn Hecht in honour of Paul Hecht • Claire Immega in honour of Georgia Hunt • Lionel Johnston & Jane Heyman in honour of Jessie Johnston • Risa Levine in honour of Mira Oreck & Stepan Vdovine • James Long in honour of Nora Pontin • Kaye Matheny-Krishna in honour of Margo Harper & Mira Oreck • Harvey Meller & Jenn Griffin in honour of Bernice Meller • Lynn Mockler in honour of Peter Loeffler • Vincent Murphy in honour of Katrina Dunn, Kim Renders & Mitzi Hauser • Keesha Rosario in honour of Dorothy Lewis Paul • Hilda Shilliday in honour of Hannah Bellamy

Anonymous (2) • Roya Amirsoleymani • Leanne Averbach • Trevor & Kathy Battye • Roberta Lando Beiser • Hannah Bellamy • Sue Biely • Shawn & Jessica Bouchard • Jane Brindley & Ross Paul • Naomi Campbell • Garry Chmara • Kathleen Flaherty • Jane Flick & Robert Heidbreder • Edward & Marianne Gibson • Kathy & Stan Hamilton • Michael Heeney & Hilary Meredith • Jane Heyman • Roger Holdstock • Jessie Johnston • DD Kugler • Peter Ladner • David Lee • Risa Levine • Harvey Loen & Lois Binder • Genny MacLean • Laurel March • Paula Martin • The McGrane - Pearson Endowment Fund, held at the Vancouver Foundation • Ross McMillan • Geoff Meggs & Jan O’Brien • Laura Moore • Kathleen Mullen • Ellie O’Day • Mira Oreck • Andrew Petter & Maureen Maloney • Cory Philley • Sylvia Roberts • Tory Ross & Keith Martin Gordey • Hilda Shilliday • Susan & Bruce Stout • Roy Surette • Jodie Tonita • Court Touwslager • Paul & Joan Whitney • Fei Wong • Janelle Wong-Moon • Mirna Zagar 63


STAFF & BOARD STAFF

PUBLICISTS

Murray Paterson Marketing Group

INTERIM EXECUTIVE DIRECTOR

Roxanne Duncan

GRAPHIC DESIGNER

Steve Chow

INTERIM ARTISTIC DIRECTOR

Joyce Rosario

GUIDE AD SALES

Clevers Media

COMMUNICATIONS DIRECTOR

Jackie Hoffart

GUIDE COPYWRITERS

Mike Archibald Jack Vermee

AUDIENCE SERVICES MANAGER

Janelle Wong-Moon

DISTRIBUTION COORDINATOR

INDIVIDUAL GIVING OFFICER

Heather Gunn

Hannah Bellamy CORPORATE AND FOUNDATION GIVING OFFICER

Nicole Ebert OPERATIONS COORDINATOR

BOOKKEEPER

Leila Toledo

Meredith Burney

DIGITAL COMMUNICATIONS COORDINATOR

Maya Donkers

WEBSITE DESIGNER & DEVELOPER

Denim & Steel

AUDIENCE SERVICES COORDINATOR

BOX OFFICE STAFF

Peter Quin-Conroy

Benjamin Anton Denice Jagic Michelle Lui Genevieve MacKay James Narvey Melissa Oei Kaen Valoise

AUDIENCE SERVICES ASSOCIATE

Madelyn Osborne PRODUCTION MANAGER

David (DK) Kerr HEAD TECHNICAL DIRECTOR

Jeremy Baxter PRODUCER

FOUNDING ARTISTIC & EXECUTIVE DIRECTOR

Norman Armour

THANK YOU In addition to the special thanks that the staff extends to their loved ones for their unwavering support, the PuSh Festival gratefully acknowledges the following people for their time, energy and advice: Ian Barbour & Darren Heroux; City of Vancouver Civic Theatres: Sandra Gajic, Peter Kendall, Miles Muir; Stanley Hamilton; Laura Moore; The Post at 750 and liisa hannus; Cicely Blain; Spektrix; Lalainia Butler; Linnea Strom; Maia Fota-Gibb; Tom Charity; Arts Factory; Geodis; Driving Force; Smith Sound; Denise Read; Harbour West & Tara Parry; Outgoing Board Members: Michael Heeney, Jessie Johnston, Niki Sharma, Rodger So, Christianne Wilhelmson

Katie Roberts

BOARD OF DIRECTORS

IN MEMORIAM

CLUB PUSH PRODUCER & CURATOR

PRESIDENTS

In loving memory, the 2019 PuSh Festival is dedicated to the friends, artists and colleagues whom we have lost this past year:

Jessica Bouchard Mira Oreck

Cameron Mackenzie ACCESSIBLE PUSH COORDINATOR

Anika Vervecken

VICE PRESIDENT

Paul Hecht

YOUTH PROGRAM COORDINATOR

Natalie Tin Yin Gan

SECRETARY

Tory Ross

YOUTH ASSEMBLY FACILITATOR

Jesse Del Fierro

TREASURER

Glenn Mori

ARTIST SERVICES MANAGER

Melanie Lemaire ARTIST HOSPITALITY ASSISTANT

Jenny Lee Craig EVENT COORDINATOR

Sparta Humphreys VOLUNTEER COORDINATOR

Dannielle Rutledge VENUE TECHNICAL DIRECTORS

Robert Wilson Eduardo Ottoni PRODUCTION ASSISTANTS

Luc Corbeil Lauren Palidwor

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FESTIVAL PHOTOGRAPHERS

Tim Matheson Sarah Race

PUSH FESTIVAL FOUNDERS Norman Armour Katrina Dunn

Judith Bosire Deena Chochinov Prem Gill Harry Gray Tevia Jeffries Jennifer Johnstone Sudha Krishna Paula Martin Stephanie Mayor Cory Philley Peter ter Weeme Ross McMillan (ex-officio)

Perry Giguere Gord Mantle Peter McCulloch Kevin Mooney Ken Pickering Julie Poskitt Bryan Searle


THANKS TO OUR VOLUNTEERS

To the hundreds of PuSh volunteers who help us each year: Your effort and enthusiasm is integral to the success of PuSh. We see your faces across the Festival, distributing program guides, driving artists to and from the airport, scanning tickets, ushering, stuffing envelopes at the office and so much more. For your gift of time, we are grateful. We celebrate your generosity and thank you!

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KAUMAKAIWA KANAKA’OLE

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ALSARAH & THE NUBATONES

MOKOOMBA

SUN. JAN. 27, 2019 @ 8 PM Ranges from baritone chant to Hawaiian falsetto singing

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ARTS UMBRELLA DANCE COMPANY Artistic Director: Artemis Gordon, L.I.S.T.D.

SEASON FINALE

BE MOVED MAY 23–25, 2019 VANCOUVER PLAYHOUSE Tickets available at artsumbrella.com/seasonfinale


JAN 17

JAN 28

7:00PM Corazón del espantapájaros (22) 8:00PM Word Sound have Powah (20)

AUDAIN GALLERY

THE BEAUMONT STUDIOS

9:30PM OPENING PARTY (w/ KIMMORTAL

+ IMMIGRANT LESSONS) (21)

7:00PM Loop, Lull (28)

JAN 18 SFU’S GOLDCORP CENTRE

7:00PM Corazón del espantapájaros (22)

AUDAIN GALLERY

7:00PM Ringo (24)

PERFORMANCE WORKS

8:00PM Attractor (23)

VANCOUVER PLAYHOUSE

8:00PM Asking For It (25)

XY

9:30PM Adrienne Truscott’s A One-Trick Pony (25)

XY

11:00AM Youth Assembly (59)

SFU’S GOLDCORP CENTRE

2:00PM Corazón del espantapájaros (22)

AUDAIN GALLERY

4:00PM 100 Keyboards (26)

RUSSIAN HALL

8:00PM Attractor (23) VANCOUVER PLAYHOUSE 8:00PM 100 Keyboards (26)

RUSSIAN HALL

7:00PM Loop, Lull (28)

CENTRAL LIBRARY

SCOTIABANK DANCE CENTRE

7:00PM Muted (37)

ANNEX

8:00PM This is the Point (38) THE CULTCH HISTORIC 9:00PM Muted (37)

ANNEX

JAN 30 SFU’S GOLDCORP CENTRE

1:30PM KEYNOTE: Dawn Jani Birley (54)

SFU’S GOLDCORP CENTRE

3:00PM INDUSTRY: Pitch Session (54)

SFU’S GOLDCORP CENTRE

7:00PM IDEAS: Dance Architecture & Public Space (52)

2:00PM Marginal Consort (27) PERFORMANCE WORKS 3:00PM FILM: The Children are Watching Us (47) VANCITY THEATRE

PERFORMANCE WORKS

7:00PM Muted (37)

ANNEX

8:00PM This is the Point (38) THE CULTCH HISTORIC ANNEX

JAN 31 10:30AM INDUSTRY: Roundtable Field Notes (55)

THE POST

5:00PM INDUSTRY: PuShOFF Mixer (55)

JAN 21 7:00PM Loop, Lull (28)

SCOTIABANK DANCE CENTRE

ANVIL

7:00PM Kiinalik: These Sharp Tools (39)

9:00PM Muted (37)

JAN 20

ANNEX

JAN 29 5:00PM IDEAS: Publications Launch (52)

10:30AM INDUSTRY: Morning Briefing (54)

JAN 19

ROUNDHOUSE

SCOTIABANK DANCE CENTRE

8:00PM Muted (37)

T HE BEAUMONT STUDIOS

2:30PM IDEAS: Sound + Space (50)

1:00PM Canada Council Information Session (56)

7:00PM Kiinalik: These Sharp Tools (39) 8:00PM Copper Promises (40)

RUSSIAN HALL P ERFORMANCE WORKS

SCOTIABANK DANCE CENTRE

JAN 22

8:00PM Pancho Villa From a Safe Distance (42)

7:00PM Loop, Lull (28)

SCOTIABANK DANCE CENTRE

8:00PM This is the Point (38) THE CULTCH HISTORIC

7:00PM PALMYRA (29)

PERFORMANCE WORKS

8:00PM ZVIZDAL (Chernobyl - so far so close) (41) ROUNDHOUSE

JAN 23

FEB 1

7:00PM PALMYRA (29)

PERFORMANCE WORKS

7:30PM Prince Hamlet (30)

FREDERIC WOOD THEATRE

JAN 24 7:00PM PALMYRA (29)

7:30PM Prince Hamlet (30) 8:00PM Kids (34)

AUDAIN GALLERY PERFORMANCE WORKS

FREDERIC WOOD THEATRE SCOTIABANK DANCE CENTRE

8:00PM salt. (33)

ROUNDHOUSE

SFU’S GOLDCORP CENTRE

4:00PM ZVIZDAL (Chernobyl - so far so close) (41) 8:00PM Copper Promises (40)

2:30PM IDEAS: Arts + Access (51)

SFU’S GOLDCORP CENTRE

7:00PM Corazón del espantapájaros (22) 7:30PM Prince Hamlet (30) 8:00PM Kids (34)

AUDAIN GALLERY

FREDERIC WOOD THEATRE SCOTIABANK DANCE CENTRE

8:00PM salt. (33)

8:00PM Suddenly Slaughter (35)

ROUNDHOUSE RUSSIAN HALL

JAN 26

SCOTIABANK DANCE CENTRE

8:00PM L’Homme de Hus (43)

VANCOUVER PLAYHOUSE

8:00PM This is the Point (38) THE CULTCH HISTORIC 8:00PM ZVIZDAL (Chernobyl - so far so close) (41)

Prince Hamlet (30)

FREDERIC WOOD THEATRE

RUSSIAN HALL

7:00PM Bicycle Thieves (36) 7:30PM Prince Hamlet (30) 8:00PM Kids (34)

P ERFORMANCE WORKS

2:00PM Kiinalik: These Sharp Tools (39) 2:00PM This is the Point (38) 6:30PM Fragile Forms (44)

ANVIL

7:00PM Kiinalik: These Sharp Tools (39) PERFORMANCE WORKS 8:00PM Copper Promises (40)

SCOTIABANK DANCE CENTRE

8:00PM L’Homme de Hus (43)

ANVIL

VANCOUVER PLAYHOUSE

8:00PM This is the Point (38) THE CULTCH HISTORIC 8:00PM ZVIZDAL (Chernobyl - so far so close) (41)

ROUNDHOUSE XY

10:00PM Closing Party (45)

XY

RUSSIAN HALL

FEB 3 11:00AM INDUSTRY: Industry Brunch (55)

THE POST

3:00PM IDEAS: Reynolds /Pankanea (53)

VANCITY THEATRE

FREDERIC WOOD THEATRE

4:30PM FILM: A Scanner Darkly (47)

VANCITY THEATRE

P ERFORMANCE WORKS

6:30PM Fragile Forms (44)

ANVIL

VANCITY THEATRE

8:00PM Fragile Forms (44)

ANVIL

JAN 27

ONGOING EXHIBITIONS/INSTALLATIONS Corazón del espantapájaros (22)

THE CULTCH HISTORIC

4:00PM ZVIZDAL (Chernobyl - so far so close) (41) ROUNDHOUSE

SCOTIABANK DANCE CENTRE ROUNDHOUSE

OR GALLERY

PERFORMANCE WORKS

9:00PM Triple Threat (45)

8:00PM Suddenly Slaughter (35)

2:00PM Bicycle Thieves (36)

RUSSIAN HALL

2:00PM IDEAS: Breathing Room Roundtable (52)

FREDERIC WOOD THEATRE

8:00PM salt. (33)

1:30PM Prince Hamlet (30)

ROUNDHOUSE

FEB 2

8:00PM Fragile Forms (44)

2:00PM Suddenly Slaughter (35)

ROUNDHOUSE

PERFORMANCE WORKS

11:00AM INDUSTRY: An Awkward Conversation (55)

JAN 25

3:00PM FILM: Pripyat (47)

10:30AM IDEAS: Ethics + Consent (51) 7:00PM Kiinalik: These Sharp Tools (39)

7:00PM Corazón del espantapájaros (22)

1:30PM

THE VOGUE

see show pages for open hours

AUDAIN GALLERY

Race Cards (32) (from Jan 23-Feb2)

ROUNDHOUSE 69


THU

17

FRI

SAT

18

19

7PM

2PM

ATTRACTOR (23) 17

8PM

8PM

RINGO (24) 8

7PM

ASKING FOR IT (25) 19

8PM

WORD SOUND HAVE POWAH (20) 4 OPENING PARTY + KIMMORTAL & IMMIGRANT LESSONS (21) 4 CORAZÓN DEL ESPANTAPÁJAROS (22) 3

A. TRUSCOTT’S A ONE-TRICK PONY (25) 19

SUN

20

MON

TUE

21

22

7PM

7PM *

WED

23

8PM 9:30PM 7PM

9:30PM

100 KEYBOARDS (26) 11

4PM / 8PM

MARGINAL CONSORT (27) 8

2PM

THE CHILDREN ARE WATCHING US (47) 15

3PM

LOOP, LULL (28) 12 PALMYRA (29) 8

7PM

7PM * 7:30PM ^

PRINCE HAMLET (30) 6 RACE CARDS (32) 10

12PM-8PM

SALT. (33) 10 KIDS (34) 12 SUDDENLY SLAUGHTER (35) 11 BICYCLE THIEVES (36) 8 PRIPYAT (47) 15 MUTED (37) 1 THIS IS THE POINT (38) 5 KIINALIK: THESE SHARP TOOLS (39) 8 COPPER PROMISES - HINEMIHI HAKA (40) 12 ZVIZDAL (41) 10 PANCHO VILLA FROM A SAFE DISTANCE (42) 18 L’HOMME DE HUS (43) 17 FRAGILE FORMS (44) 2 TRIPLE THREAT(45) 19 CLOSING NIGHT PARTY (45) 19 A SCANNER DARKLY (47) 15 CRITICAL IDEAS SERIES (50-51) 14

2:30PM4PM

BREATHING ROOM ROUNDTABLE (52) 7 DANCE, ARCHITECTURE & PUBLIC SPACE (52) 2 REYNOLDS/ PANKANEA (53) 15 PUBLICATIONS LAUNCH (53) 16 MORNING BRIEFING (54) 13 KEYNOTE: DAWN JANI BIRLEY (54) 14 PITCH SESSION (55) 14 ROUNDTABLE: FIELD NOTES (55) 9 AN AWKWARD CONVERSATION (55) 11 INDUSTRY BRUNCH (55) 9 YOUTH ASSEMBLY (59) 14

11AM-5PM

PUSH PERFORMANCE

CLUB PUSH


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PUSH ASSEMBLY: IDEAS & INDUSTRY SERIES

PUSH FILM SERIES


The Annex

(not shown)

Anvil Centre Audain Gallery The Beaumont Studios The Cultch

Historic Theatre

823 Seymour Street 777 Columbia Street New Westminster

149 W. Hastings Street 316 W. 5th Avenue 1895 Venables Street

University of Britsh Columbia

6354 Crescent Road

(not shown)

Frederic Wood Theatre 555 Hamilton Street 1218 Cartwright Street

Or Gallery Performance Works 750 Hamilton Street 181 Roundhouse Mews

The Post at 750 Roundhouse Community Arts & Recreation Centre 600 Campbell Avenue

PA CI FI

1181 Seymour Street

149 W. Hastings Street

149 W. Hastings Street

677 Davie Street

Russian Hall Scotiabank Dance Centre

Djavad Mowafaghian World Art Centre

SFU’s Goldcorp Centre for the Arts

Djavad Mowafaghian Cinema

SFU’s Goldcorp Centre for the Arts Vancity Theatre

350 W. Georgia Street 600 Hamilton Street

Montalbano Family Theatre

Vancouver Central Library

Vancouver Playhouse

918 Granville Street 1216 Bute

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Vogue Theatre XY

CAMPBELL

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summer music vancouver COMING JULY 2019 SUMMERMUSICVANCOUVER.COM

"...extraordinary

music...."

"....world class artists..." "....inspiring "Prepare to be

venues..."

ENTERTAINED."  - The Vancouver Sun


Find out why high school students should consider degrees in Communication, Art and Design.

bit.ly / fcat-vfw


Metro Arts Xperience M e t r o Va n c o u v e r ’s o n l i n e arts & culture event guide

Find great performances, inspiring exhibitions and explore new neighbourhoods.

www.maxguide.org


PUSH PASSES & TICKETS FOUR-SHOW & SIX-SHOW PUSH PASSES PuSh Passes are the best and simplest way to experience the PuSh Festival! Enjoy savings: Save up to 25% off single ticket prices. Enjoy flexibility: Use your Pass to see different shows, or book multiple tickets to the same show so you can bring friends. Enjoy convenience: Book your shows online any time of day.

• Buy your Four-Show, Six-Show, Youth or Industry Pass at pushfestival.ca.

$119 $176

• Book your shows well in advance; tickets allotted for Passholders are limited.

FOUR-SHOW PASS SIX-SHOW PASS

YOUTH PASS & RUSH TICKETS If you’re 16 to 24 years old, we’ve got a deal for you! For the price of $20, a Youth Four-Show Pass allows you to book online and guarantees you a seat in the theatre. Or you can line up for very limited $5 Youth Rush Tickets, one hour before showtime. YOUTH FOUR-SHOW PASS YOUTH RUSH TICKETS

$20 $5

INDUSTRY PASS & PACK Looking to attend the events of the PuSh Assembly Industry Series (p54)? Purchase an Industry Pass to access all of the Industry Series, plus attend shows with the Six-Show Pass included. The Industry Pack provides full access to the PuSh Assembly Industry Series, without the Six-Show Pass. INDUSTRY PASS INDUSTRY PACK

$236 $60

LOOKING TO BUY A PASS FOR SOMEONE ELSE? NEW THIS YEAR: PuSh Passes must be purchased in the patron’s

name only and are non-transferable. To purchase a PuSh Pass as a gift or in someone else’s name, contact Audience Services directly at tickets@pushfestival.ca or 604.449.6000.

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HOW TO USE YOUR PASS

• Log in to your online PuSh account to book your desired shows.

• If a desired show or performance date is not available, check back online or contact PuSh Festival Audience Services, as availability might change. Or book a different available show and take a PuSh plunge! • If you need to cancel your bookings, or would like to exchange them for another eligible and available performance, contact PuSh Festival Audience Services, by email or phone, at least 72 hours before showtime. A $2.25 fee per ticket re-booked will apply. • Certain premium, reserved-seating shows require a surcharge; Attractor, L’ Homme de Hus, Pancho Villa From a Safe Distance. Even with the surcharge, you still enjoy the best price and flexibility over single tickets! Surcharges do not apply to the Youth Pass. • Films screening as part of the FILM SERIES are not available to be booked on a Pass; The Children Are Watching Us, Pripyat, A Scanner Darkly. • Fragile Forms is not available on the PuSh Pass. • For select performances, tickets may be emailed to you in advance; please present your tickets at the venue. Otherwise, on show night, present your PuSh Pass and valid photo ID at the venue box office in order to pick up your ticket. • Arrive early to avoid lineups and get your seats (most shows are general admission).


SINGLE TICKETS

HOW TO BUY

If you can’t commit to a PuSh Pass, then single tickets are your best bet! Some shows have very limited capacities, so the earlier you buy, the likelier you are to get exactly what you’re after.

pushfestival.ca

ONLINE

PUSH FESTIVAL AUDIENCES SERVICES

Some shows may be free but still require you to book a ticket. 604.449.6000 Follow the instructions on the show pages at pushfestival.ca. Some single tickets are sold through different partner box office outlets. Our website will direct you to the right place, but you can always contact PuSh Festival Audience Services—from there we’ll redirect you to the right place.

To celebrate PuSh’s 15th Anniversary, for 15 days (from Nov. 15–Nov. 30 only), a limited amount of tickets to every PuSh show will be available for $15 each. This incentive is designed to welcome folks for whom ticket prices have traditionally been a barrier. Ticket quantities are limited; you may purchase a maximum of two tickets to a maximum of two performances at this price (that’s four tickets total, at two separate performances). These tickets may not be combined with any other offer or pass and do not apply to the PuSh FILM SERIES (those tickets are already $13).

To take advantage of this offer, simply enter the promocode PuSh15JoinUs at checkout at pushfestival.ca (Offer expires Nov. 30, 2018, at 11:59pm)

GROUP TICKETS Share the PuSh Festival with a group of friends, colleagues or clients! Parties of 10 or more save up to 30% off single ticket prices to select shows. For corporate bookings, contact Nicole Ebert: nicole@pushfestival.ca For all other groups, contact Anika Vervecken: access@pushfestival.ca

TOLL-FREE IN NORTH AMERICA

1.866.608.8284 IN-PERSON

110–750 Hamilton Street, Vancouver Mon–Fri, 12PM–6PM (until Dec 21) Mon–Sat, 12PM–6PM (Jan 2–Feb 2) Closed Dec 22–Jan 1

HAVE QUESTIONS? Visit our Frequently Asked Questions page online, or contact PuSh Festival Audience Services. Helpful hint—Email is the fastest way to communicate with us: tickets@pushfestival.ca!

PUSH PASS TERMS & CONDITIONS: Limited quantities. Passes are non-refundable and non-transferable. Tickets allotted to Passholders for each performance are limited, so book early—at least 72 hours before showtime. Select shows require a surcharge, payable at the time of booking. Select shows are not available to be booked on a Pass. Tickets booked on a Pass can be exchanged for another eligible and available performance with a $2.25 fee per ticket. Passholders must always be present, and show valid photo ID, at the venue box office in order to pick up tickets. Full terms and conditions at pushfestival.ca. INDUSTRY PASS & PACK TERMS & CONDITIONS: Limited quantities. Industry Passes and Industry Packs are non-refundable and non-transferable. Tickets allotted to Industry Passholders for each performance are limited, so book early—at least 72 hours before showtime. Select shows require a surcharge, payable at the time of booking. Select shows are not available to be booked. Tickets booked on an Industry Pass can be exchanged for another eligible and available performance with a $2.25 fee per ticket. Passholders must always be present, and show valid photo ID, at the venue box office in order to pick up tickets. Full terms and conditions at pushfestival.ca. YOUTH PASS & RUSH TICKET TERMS & CONDITIONS: Limited quantities. Limit one per person. Youth Passes are non-refundable and non-transferable. Tickets allotted to Youth Passholders for each performance are very limited, so book early—at least 72 hours before showtime. Select shows are not available to be booked on a Pass. Limit one ticket per show. Tickets booked on a Youth Pass can be exchanged for another eligible and available performance with a $2.25 fee per ticket. Passholders must always be present, and show valid proof-of-age photo ID, at the venue box office in order to pick up tickets. Youth Rush Tickets are non-refundable and non-transferable. Tickets are very limited and subject to availability. Valid proof-of-age photo ID must be presented at the venue box office in order to purchase; limit one ticket per show. Full terms and conditions at pushfestival.ca. SINGLE TICKET TERMS & CONDITIONS: Tickets are non-refundable and non-transferable. Prices are subject to change. Additional service charges and telephone order fees may apply to the advertised price. Valid photo ID must be presented by the original purchaser at the venue box office in order to pick up tickets. Full terms and conditions at pushfestival.ca.

ACCESSIBILITY Find out more about the accessibility initiatives of the Accessible PuSh program on p60 If you have specific seating needs, let us know; our Audience Services staff are here to support you.

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We’re the Hospital Employees’ Union On the front lines and behind the scenes, our members are working for your care.  heu.org \ @HospEmpUnion  /hospitalemployeesunion  @heu_in_bc

Tired of the same old Holiday Party? Give Your Clients and Staff a PuSh Looking for the perfect gift to leave your clients and staff impressed, deeply moved and transformed in the post-holiday season… Why not bring them to a PuSh performance? Contact nicole@pushfestival.ca for more details on group rates


CONTEMPORARY COMEDY

YOGA PLAY By Dipika Guha WHERE COMMERCE, SPIRITUALITY, AND COMEDY MEET February 7 – 16, 2019 MainStage

PROVOCATIVE DRAMA

GROSS MISCONDUCT By Meghan Gardiner WHEN JUSTICE AND MORALS COLLIDE, WHERE IS THE LINE? March 14 – 23, 2019 Studio B

INSPIRATIONAL DRAMA

GLORY

By Tracey Power A WOMAN’S PLACE IS ON HOME ICE April 4 – 13, 2019 MainStage

Secure your seats—Tickets from $29!

GATEWAYTHEATRE.COM   GatewayThtr 604.270.1812 Christine Quintana, Chirag Naik & Ian Butcher. Photos: David Cooper. Morgan Yamada & Arielle Rombough. Photo: Erin Wallace.


PuSh International Performing Arts Festival Society 110–750 Hamilton Street Vancouver, BC V6B 2R5 CANADA info@pushfestival.ca 604.605.8284 TOLL FREE 1.866.608.8284 EMAIL

PHONE

PuSh International Performing Arts Festival Society is a not-for-profit charitable organization: 82954 9948 RR0001

SALT. ORIGINAL PHOTO: RICHARD DAVENPORT

Profile for PuSh International Performing Arts Festival

2019 PuSh International Performing Arts Festival Guide  

January 17–February 3, 2019

2019 PuSh International Performing Arts Festival Guide  

January 17–February 3, 2019

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