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Sad Mag Issue Five! We still can’t believe it either! Bring out the champagne, caviar, where are my gold cups? KIDDING! We raise our chipped wine glass to you, Sad Mag readers! Without your continued support, we wouldn’t be able to do anything.

While we are up late getting the Historic Theater all ready, you may be losing sleep over the anticipation of our newest issue! Be the first to hold our biggest, boldest and beautifulest issue tomorrow evening! All attendees of Sad Mag Live will be able to smell the vegetable ink before subscribers and retail customers.

SAD MAG LIVE
Hosted by CBC Radio 3’s Lana Gay, SAD MAG LIVE features live, on-stage interviews with:

CAMERON REED (Director, Music Waste)
GRAEME BERGLUND (Founder and Creative Director, The Cheaper Show)
LIZZY KARP (Co-Founder, Rain City Chronicles)
DAVE DEVEAU (Managing Director, Zee Zee Theatre)

With performances by:

BARBARA ADLER
JASPER SLOAN YIP
SAMMY CHIEN (+ guests)
ISOLDE N. BARRON

Tickets Online or

at the Cultch

1895 Venables Street

Box Office 604-251-1363

We look forward to seeing you!

it
Issue Five coming out of the printer

It is a great day! Our magazines are coming and we are getting the final preperation for Sad Mag Live done! We are so excited to see all our friends and our Sad Family this weekend. And it is Thanksgiving! Double Life BONUS!
Check out what the internet has to say about it:

Vancouver is Awesome

Vancouver Observer

Only Magazine

We can’t wait til the curtains open! See you Saturday night!

Tickets online or the Cultch Box Office 1895 Venables Street at 604-251-1363.

Sad Mag Team

Luke Cyca and Devon Lougheed are a strange and wonderful combination. Individually, Cyca is a therapeutic protein molecule designer and electronics recycler and Lougheed is a doctoral candidate and comedian. Together, they are Beekeeper – an irreverent indie band breezing into Vancouver’s music scene.

Cyca, a prairie boy from Swift Current, Saskatchewan, began his musical career at home, singing with his father and sister. After a prototypical string of garage bands in high school, Cyca moved to Vancouver and bought a drum set. “I was in a band called The Kitchen, I played in a couple other projects, and I play with Piper Davis now. That brings us to Beekeeper,” says Cyca.

Lougheed followed a similar musical vein, always instilling his trademark cheekiness. While in his home province of Ontario, Lougheed was in Tomate Potate – a band known for their onstage martini consumption. “Fans started sending us martinis and it turned into this game of ‘How many martinis can these guys drink in a twenty minute period?’ Then one day the bassist, Nich, came up to me and said, ‘Just so you know, I don’t really like martinis,'” Lougheed smiles. “So that’s why I’ve got a bandmate now who likes martinis!”

Beekeeper melds high-energy beats with unconventional time signatures, appealing to both light-hearted listeners and music nerds. Lush earnest vocals are balanced with playful melodies. “It’s indie-rock made by reformed hard-core kids who are suckers for male/female harmonies and singalongs,” says Lougheed.

Cyca and Lougheed keep things interesting for themselves with constant experimentation. “Devon writes two new songs every week, so there’s no shortage of challenges,” Cyca explains. “An mp3 comes to my email box and it’s got the shittiest synth instruments playing drums – they’re not sequenced, just played live. I listen to it a few times, we jam on it and it changes a bit into a real song. And that’s how they’re made.”

The recording of Beekeeper’s first album, BE KEPT, was an adventure in itself. Recorded throughout Canada, from parties to bedrooms to studios, the resulting poshness of the tracks surprised the band. “We did everything wrong in terms of how you’re supposed to record,” says Cyca. “And then we dumped everything on Colin Stewart at Hive Studios,” laughs Lougheed. “He’s the godfather of the Beekeeper baby.”

Lougheed means this quite seriously. “Interviewing us about the album is like interviewing new parents about their first baby. I like everything about it! I even like when it poops!” Cyca nods in agreement, “Normally, after making an album, I’m totally sick of it, but this one I can actually listen to and enjoy still.”

BE KEPT follows the narrative of a man searching for something to keep. While Beekeeper’s core consists of Cyca and Lougheed, they often feature musical guests in their live performances and a variety of female vocalists, a violinist, and saxophone player were recruited to fill their sound on the album.

“I’m the most proud of Beekeeper,” says Lougheed. “My mom has been driving around with a copy and singing along, every once in a while she’ll call me and say things like, ‘What is this song about? I just like it so much! This is such a significant improvement!'”

Beekeeper’s album BE KEPT is available online and download cards will be available at SAD MAG LIVE this Saturday, October 9th!

Photographs by Tina Krueger-Kulic.


Last night Sad Mag attended the opening of Fair Enough: A Little Mountain Art Show. Showcasing the work of Little Mountain’s artists who live and work in the Mount Pleasant Community. The show is open this weekend for the Drift-Art on Main Street festival.

Fair Enough: A Little Mountain Art Show
Part of The Drift – Art on Main Street

September 28 – October 3, 2010

Drift Hours Saturday and Sunday 12-5pm

Artists:

Kathryn Best
Helen Eady
Dan Elstone
Kristina Fiedrich
Robert Fougere
Tanya Goerhing
Tina Krueger Kulic
Scott Lewis
Justin Longoz
Korey Moran
Marina Nazarova
Eric Thompson
Xiaoyu Zhang
Nicholas E. Zirk
Daniel Zomparelli

Made Possible by the Vancouver Foundation and
Mount Pleasant Community Centre Neighbourhood Grants Initiative

Magazine Friends (L to R) Daniel Zomparelli, Sean Condon, Leni T. Goggins and Deanne Beattie

Sad Mag was joined by friends from Poetry is Dead, Megaphone, and Lester’s Army at the Magazine Life Tent at this year’s Word on the Street festival. Thank you to everyone who came out to hear us talk about “How NOT to Publish a Magazine.” We had a great time hearing from the editors how—and why—they started their magazines.

Please support these visionary and hard-working publishers by subscribing or donating:

If life gives you lemons, put on a play that features a supposed encyclopedia saleswoman, a lonely bachelor and, of course, lemonade. Oh, and make sure the audience is hydrated (free-of-charge!) with cute little glasses of the refreshing citrus beverage before the show begins. Such is the prerogative of Relephant Theatre’s presentation of Stewart Lemoine’s short play, “The Exquisite Hour.”

Set in the early 1960s, wit, whimsy and a minor dose of nostalgia are stuffed into this hour-long two-hander, which provides the audience with a good many laughs and even a few rather tender moments.

Josue Laboucane is fantastically uptight and nerdy as the bachelor Zachary Teale, whose backyard the whole play takes place in. And Nevada Yates Robart plays the enthusiastic encyclopedia saleswoman, Mrs. Darimont, with such a balance poise and neuroses that we’re not surprised to discover more than we bargained for in her. A nod must be given to director Julie McIsaac as she provides a strong cohesiveness and momentum to the piece as a whole.

Lemoine’s words are so hilariously chalk full of pop-cultural and historical references, that we not only get swept up in the blur of plot and characterization, but we might also learn a thing or two about a Catholic Saint with a hallucinatory dedication to animals and nature or a European royal family who names all of their men Frederick and all their women Agnes.

Played out in real time, “The Exquisite Hour” is an hour of theatre that does great things with a certain proverbial sour citrus.

The Exquisite Hour
Part of the Vancouver International Fringe Festival
Carousel Theatre
Remaining Performances:
Saturday Sept 18, 7:45 pm

Sunday Sept 19, 4:00 pm

Update [September 20, 2010]:
“Dr. Horrible…” wins the National Pick of the Fringe and will be shown twice more!
Waterfront Theatre
Thursday Sept 23, 7:15 pm
Sunday Sept 26, 10:00 pm

Not being a theatre connoisseur, the first thing I judged about “Dr. Horrible’s Sing-Along Blog,” created by Joss Whedon of “Buffy the Vampire Slayer,” was the rowdy audience. I could imagine each theatre-goer brushing up on their Whedon, perhaps watching the Buffy musical, before excitedly making their way to the Firehall Arts Centre.

Relephant Theatre poured the satire on before the play even began, first performing a number about a cell phone game (the moral: please turn off your phones, audience). Another pre-play skit poked fun at racial stereotypes in verses about the lone Asian cast member going backstage to do math and play the violin.

And then, the play began. The tragicomedy was as absurd as a valley girl fighting vampires. Whedon’s voice, rife with irony and self-awareness (epitomized by Dr. Horrible’s classic line, “Wow, sarcasm – that’s original”) is undeniable throughout.

Dr. Horrible is a nerdy misfit who also happens to be a maniacal genius that cannot seem to reach his ultimate goal of induction into the “Evil League of Evil.” But as the action unfolds, he falls in love with Penny, an innocent philanthropist. Both roles are emphatically portrayed by Jon Lachlan Stewart and Christina Hardie, respectively. Their fervour is balanced by a third character – the cool, calm and self-involved Captain Hammer (played by Shane Snow) who wants Penny, and the glory, for himself.

All three actors knew how to deliver lines with perfect comedic timing, making the original dialogue sparkle. I walked away from “Dr. Horrible…” with the same feeling I had after watching “Buffy: The Musical” – let’s see it again. Right now.

Dr. Horrible’s Sing-Along Blog
Part of the Vancouver International Fringe Festival
Firehall Arts Centre
Remaining Performances:
Friday Sept 17, 7:00 pm

Friday Sept 17, 9:00 pm

Saturday Sept 18, 2:00 pm

Saturday Sept 18, 9:00 pm

Sunday Sept 19, 9:00 pm


The claustrophobia is palpable in the tiny Little Mountain Studios space off Main Street. One gets the sense that at the inevitably sold-out performances later in the run, the audience itself will experience panic attacks. But this is all part of the show with “Heptademic Redux,” a remount/reworking of one of last year’s Risky Nights showcases from a talented bunch of Studio 58 graduates.

In another “end-of-the-world-epidemic-lock-down” kind of piece, seven people from different walks of life find themselves locked in a nondescript room containing enough sustenance for twelve days, and a tiny bathroom. There is a sense of urgency in all of them, and their layered, interwoven text is beautifully frantic. To help indicate the passage of time, director Anthony E. Ingram (and previous director Rachel Peake) offer some of the most amazingly executed movement sequences you’ll find on a Vancouver stage.

The production is full of surprise gifts. In ensemble work of this nature, the structure can get predictable as we slowly get a glimpse into each character’s fantasy life. And though not all of their internal lives are as curious and intriguing as some, the ensemble itself is expertly used to fully inhabit these alternate worlds: Sean Oliver delivers an endearingly innocent dog, Andrea Yu is a knockout as a bird. Aaron Adams and Gui Fontanezzi also deliver strong work.

As the intensity of their surroundings increases, allegiances start to form among characters, and for this audience member, the stakes were palpable. The performers themselves are so committed (Raes Calvert in particular) and the action is occurring in such proximity to the audience, that there is no choice but to believe wholeheartedly in the danger of the piece. What a gift to an audience.

The writing is not without its expository scenes – mostly surrounding Lisa Goebel’s dog, and the distribution of material could be better balanced – we know that the character Mary has a grandfather somewhere, and that she works as a nurse, but Emily Rowed’s radiant performance makes us crave more story.

But these new writers are still finding their legs. So don’t let the premise fool you, this play sweats out originality and risk, and for anyone considering three years at Studio 58, there is no better showcase for the kind of talent you’ll find there.

Heptademic Redux
Part of the Vancouver International Fringe Festival
Little Mountain Studios
Remaining performances:
Friday Sept 17, 6:00 pm
Friday Sept 17, 8:00 pm
Saturday Sept 18, 6:00 pm
Saturday Sept 18, 8:00 pm
Sunday Sept 19, 6:00 pm
Sunday Sept 19, 8:00 pm

Sarah Ruhl gets off on quirk. The acclaimed American playwright behind “The Clean House” and “Melancholy Play” offers a bizarre and playful look at death and our dependency on cell phones with “Dead Man’s Cell Phone.”

This Equity Coop production is a rare treat at the Fringe -an expert group of professionals having some fun together. Sitting in a charming café, Jean (a note-perfect Eileen Barrett) discovers the man across from her (Stephen Aberle) has died. Furthermore, his cell phone will not stop ringing.

So what does she do? She answers it, thereby cementing a relationship between them. Jean then spends her time visiting various family members and acquaintances of the dead Gordon, creating alternate realities and happy endings for them, and going to tremendous lengths to do so.

The play goes from quirky, to silly, to downright ludicrous and back again, but through it all the production remains level – level and wonderful. The performances are exquisite: Suzanne Ristic soars as the scorned widow with a penchant for divulging sexual secrets, whereas Zena Daruwalla commands the stage with lipstick. Marion Eisman channels Christine Baranski as Gordon’s mother who invites Jean into their lives, for better or for worse. Aberle offers expert delivery of an exceptional monologue about the mundane nature of life. It’s so delicious, that its abrupt end is heartbreaking. If I could, I’d hand him a Jessie during curtain call.

In all its cutting and manic hilarity, the play explores the perceptions and assumptions people make of each other, and how technology can destroy and confuse those things. As the playful underdog Dwight, Ari Solomon asks “People say I love you on cell phones and where does it go?”

Director Kevin McNulty makes great use of what could be a cavernous space at Firehall, and together with set designer Pam Johnson, they’ve made the excessive scene changes and multitude of locations a real treat to watch unfold. In seeing so many professionals in a Fringe production, one can’t help but think of the devastating cuts our arts communities are coping with.

But that’s not to say that there’s anything wrong with producing in the Fringe. More than anything “Dead Man’s Cell Phone” feels like a love letter: to Vancouver theatre, to what the Fringe can be, and to a downright wonderful production.

Dead Man’s Cell Phone
Part of the Vancouver International Fringe Festival
Firehall Arts Centre
Remaining Performances:
Thursday Sep 16, 6:00 pm

Sunday Sep 19, 7:00 pm

Alice Nelson and Jacqueline Russell give themselves the daunting task of summarizing and lampooning the history of feminism in sixty minutes, all while holding an audience’s interest. Inspired by Ariel Levy’s book “Female Chauvinist Pigs: The Rise of Female Raunch Culture,” “Raunch” is a series of sketches interspersed with quotes from Levy and other formidable feminists.

“Raunch” delves into the current state of feminism and whether such phenomena as reality television, breast implants, and fitness stripping are empowering or if we have simply reverted back to a 19th century mindset. Is it choice or is it pressure, they ask.

Nelson and Russell are truly amazing performers and deftly handle their chosen subjects but it would have been interesting had there been less focus on mainstream targets such as Hooters and more on blurry topics such as burlesque. “Raunch” is at its strongest with its slapstick commentaries rather than its more obvious parodies.

The quotes, while informative and relevant, were somewhat overwhelming in length and quantity. Be warned if sitting at stage level – the screen can be difficult to see.

With “Raunch,” Nelson and Russell create an informative and engaging performance full of laughs – it just leaves you wanting more.

Raunch
Part of the Vancouver International Fringe Festival
False Creek Gym
Remaining performances:
Friday Sept 17, 8:15 pm
Saturday Sept 18, 11:50 am