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Ora Cogan is a BC-based musician first, jeweler second, with an environmentally conscious way and an affinity for creating. Ora is currently touring all over Europe, armed with tunes from her recent E.P., Crystallize, and a couple disposable cameras. On a down day she was so kind as to talk with us about her upcoming project, Fortresses–which she’ll be launching in Lisbon on June 4th–her creative process, and the common threads that tie her work together.

Photo by Luz Gallardo — Ora Cogan, photo by Luz Gallardo

Sad Mag: You’re no stranger to Vancouver. Where did we see you last? What have you been up to?

Ora Cogan: Vancouver is awesome! It will always be a home to me and I come pretty often to visit and work on creative projects, etc…

Since I’ve been gone… Well, I made some dear friends from Bella Bella and worked on a short documentary called No Tankers Territory about Heiltsuk Women’s perspectives on the Northern Gateway Pipeline and contributed some music to the sound track of a film called Northern Grease also dealing with tar sands and pipelines and all that insanity.

I also started making recycled silver jewelry under the name Heavy Meadow that helps to pay for all this music silliness.

With music, I’ve been working on a few projects other than Fortresses:

I’ve started playing with E.S.L.’s Joy Mullen. We’ll probably have some sort of band in the near future.

I recorded a new EP called “Crystallize” with Trish Klein from Hidden City Records at Otic Sound in Vancouver. It was a really wonderful experience. We got to work with Zach from Summering on drums, Caton (C.Diab) on bass and Chris Gerstrin among others. I’m really happy with how it turned out.

SM: What has drawn you towards this ethereal post-Americana style?

OC: I spent quite a lot of time listening to old blues like Geeshie Wiley, and Skip James as well as Mediterranean music like Marika Papagika and Rembetika… As far as aesthetics go, I’ve always been a bit of a dreamer… I like making music that sounds landscape-ish and romantic. I am also pretty nature obsessed, so I’ve written a lot of songs that are kind of about human drama, but also [about] a place I’ve had some kind of connection with.

SM: Was it always natural for you to be a performer?

OC: Haha… Hell no. I get so nervous. Sometimes the songs are so personal and it can be hard to get into being that vulnerable or I worry if it’s really valuable to other people, but I’m starting to finally see how similar we are and it’s easier to just connect thinking that way. Music is such a great way to find autonomy too and l love playing live shows even when it’s a bit scary. Improvising keeps things pretty real. I’ve also been using visual projections and experimenting with different approaches.

SM: From where do you derive your inspirations?

OC: Oh goodness…just the bizarre experiences you can have being alive on this strange little planet! I’m confused and fascinated all the time. People… especially people who are really true to themselves and each other.

I can dance in the kitchen to D’Angelo or Deerhoof or really whatever you throw at me. I’m in love with music and I have a few personal heroes for sure: Joni Mitchel, Irma Thomas, Billie Holiday, Karen Dalton, Bjork, Neil Young… If you’re talking about aspects of life… I write about love, about struggles, justice also about subtle feelings that are hard to communicate in any other way… The lyrics are usually a bit abstract and I wish I could be more articulate with the topics that I care about, but the lyrics come out vague, so I try to respect that.

SM: Could you describe what one could expect from Fortresses?

OC: Texture, beauty, and darkness. I want to play and feel free to try things with this project that I wouldn’t usually do as a folk singer… so it’s going to be an adventure. I’m using lots of layers of guitar, violin, harp, voice, etc., and then adding midi and synth drones/lines… It’s going to be very full and maybe even danceable at some point? We’ll see…

SM: What were your goals for Fortresses when the project was first conceived?

OC: To try something new, to have a bit more fun and to do something a bit bolder…

SM: Do you have a “creative process”?

OC: I write all the time, about anything, but a song always starts with a melody and it’s really not a very conscious thing… the lyrics just come from somewhere and then I step back and build around whatever comes up. It could start with something small when I’m messing around at sound-check or practicing… Sometimes I’ll start humming something when I’m walking or at work and just record it quickly, then come back to that idea later. The biggest trick for me is privacy and having a soft focus, not being too critical.

SM: Is there a common thread to the music that you make?

OC: I’m really up for trying anything but I come back to pretty, gentle and dark most of the time. Sometimes it’s angry or happy or whatever; I’d never want to be quarantined to a certain feeling or style forever, but there’s definitely a thread that keeps pulling me in that dark, gentle, introverted direction…

SM: What has been the most surprising thing about creating your art and then displaying it for the world to see?

OC: I’ve been really fortunate to get to connect with underground music communities all over Europe and North America. It’s been inspiring to see how much amazing art & music is out there and to meet so many kind and interesting people.

Take a first listen to Fortresses‘ “Winter” here, or check out the stunning music video (shot by Luz Gallardo) here:

This interview has been edited and condensed.

Within the emerging movement of community queer choirs, Cor Flammae has a distinct voice. There are many opportunities for queer people to sing together, but not many opportunities for audiences to listen to a professional queer ensemble perform queer content. Cor Flammae performs both modern and historical classical music with the aim of shifting the assumed perspective from a hetero-normative one to a queer one.

Sad Mag sat down with Missy Clarkson, who founded the ensemble with her wife Amelia Pitt-Brooke, and friend Madeline Hannan-Leith to talk about the choir, upcoming concerts, and re-queering the world of classical music.

Cor Flammae, Photo by belle ancell photography

Sad Mag: When and why did you start Cor Flammae?

Missy Clarkson: We came to the idea two years ago when we attended the Queer Arts Festival. There was a lesbian opera called “When the Sun Comes Out” by Leslie Uyeda. We are into classical music and opera subscribers. We didn’t know what was going to happen with lesbian opera. We didn’t necessarily have expectations. But it was amazing. It was sweeping and grand, poignant and lovely, and not too sad–sometimes queer work is very lament-y. Many of us are in ensembles in the city, and we wanted that for choir.

SM: It sounds like there was a niche that needed to be filled, and you found it.

MC: We were surprised with how much momentum it had. There are a lot of places for queer people to sing together in the city, but there aren’t a lot of places where an audience can experience classical music at a professional level with a queer ear.

SM: What can audiences expect from a performance?

MC: Last year, we introduced ourselves as quite secular. We chose secular works because there is baggage with queerness and organized religion. It can be an unsafe space for queer people. Because there is rich religious traditions to choral music–it was written to be performed in churches for the most part–it is an interesting genre for queer people to be exploring and doing professionally. This year, we didn’t want to miss out on having that conversation so we’re approaching the relationship between the sacred and the profane through a queer perspective in our performances. Queers have not necessarily felt welcome to choral music because of the religious traditions associated with it that have often labeled the queer body as profane, obscene, or unholy. We want to show our audience queer spirituality–all the composers we’re performing were/are queer and many were/are devout.

We’re producing two concerts. One of them is at the beautiful St. Andrew’s Wesley Church where we’re performing the music in the place for which it was written. Then we’re taking the same works and performing the next night in a social play space–a bath house essentially. It’s hat tipping the bathhouse tradition of queerness. Canada’s queer history started because of the bathhouse riots in Toronto. Where the United States had Stonewall in 1969, Canada had Operation Soap in 1981. Police officers raided bathhouses and arrested about three hundred queer men just for being queer. The public didn’t take well to that, and thousands of people took to the streets and marched the next day. It was first pride parade in Canada essentially. Cor Flammae is interested in how the listening experience changes when we perform choral music, historically deeply spiritual music, in the historically queer space of a sex club like Club 8×6.

SM: The audience gets to experience the music in a religiously charged space and a politically charged space.

MC: Totally. Obviously the acoustics are different in each space. And there’s going to be a dance party in the sex club after the performance so it’ll be a little different for that reason. [Laughs.]

SM: What are you most looking forward to about the upcoming set of concerts?

MC: Our outfits! They are a secret still.

SM: Don’t say any more about the outfits. It will be a teaser. Who has been your favourite historical composer to revive through Cor Flammae?

MC: There are so many composers that are hotly contested by scholars. [Franz] Schubert has been an interesting one for us because he was probably bisexual. He was hanging with lots of ladies, and probably hanging with lots of guys too. It’s a scandal to bring it up with any of the scholars. Really straight, traditional scholars are like, “No, not my Schubert.” We’ve also rediscovered Ethel Smyth, who was known for opera choruses. She was friends with [Johannes] Brahms, and she also had a complicated relationship with Virginia Woolf. She was loud, proud, a suffragette, and an out lesbian. She was rich so that made it easier for her to be all over. She had privilege that afforded her opportunity. She got to spread her works around, and make out with everybody. [Laughs.]

We also work with living queer composers. Classical music celebrates the past more often so new works don’t get traction. People want to hear things they have heard before. They want to hear Beethoven’s Ninth [Choral Symphony]. New music is less sellable. Cor Flammae can combine these two worlds. We can celebrate the past and connect it to the present.

SM: How does your experience in Cor Flammae compare to your experience in other ensembles?

MC: It’s illuminating. The first time we got together as an ensemble after our auditions was at our photo shoot. We had oranges and brandy and hung out for hours getting makeup and hair done. There was comfort and understanding immediately. That’s translated to this year. We had our photo shoot a few weeks ago, and we were all half-naked. I don’t get half-naked in front of just anybody. The queerness factor causes that comfort and connection, and that relates to the music as well. People have said, “Oh, I didn’t know this person was queer or that person was queer.” It’s not mentioned elsewhere. When we were researching [Gian Carlo] Menotti’s “The Unicorn, the Gorgon, and the Manticore” to perform last year, we found queerness wasn’t mentioned in the scholarship. There’s a unicorn in it so it’s pretty gay already, but it’s the story of a weird guy in a castle who dares to parade around with his unicorn. It was written in 1956. It’s a very queer narrative. Any research we did seemed like it was grasping at heteronormative straws when the guy is clearly gay. Doing Menotti has been illuminating. Benjamin Britton has been illuminating. The way I listen to music has changed so that’s what I want to give our audiences.

SM: What music are you listening to right now?

MC: Personally, I mostly listen to music I’m going to perform so I can get it in my ear. We always make a playlist for our singers because we have limited rehearsals. We have seventy-five minutes of music in our upcoming concerts, and to build it up to the level it needs to be at, we have to work hard. I have to stay pretty focused with what I listen to. If I need to clean my ears out though, it’s almost always Beyoncé.

SM: Do you have a comment you would offer to queer performers of classical music? Maybe people who don’t live in the city or don’t know about a queer ensemble.

MC: This has been so freeing for us. We’re trying to be as visible as possible because visibility is a powerful tool in helping other people feel less alone. I’ve sung in choirs that are probably 30 per cent queer but don’t identify as a queer choir. Because of the connection in Cor Flammae, we feel less alone. My wife grew up in a musical family–her father was a choral conductor and her mother sang in choirs, but the women were taught to sing this and the men were taught to sing that. A women would have to wear a muumuu, and she could not wear a suit when she was more comfortable in a suit. We want to be visible so that everyone feels invited, even if they are not here. We’re pretty prevalent online, and we hope that we’re reaching people.

SM: You spoke earlier about the instant comfort and understanding your ensemble felt when you got together for your first photo shoot–that says it all. How has Cor Flammae affected your own queerness?

MC: It’s helped me articulate my own queerness. I’ve always identified as a chorister. I call myself a queerister now. It’s actually a thirteenth-century word that used to mean chorister. I feel like I’m different things that don’t necessarily intersect, and this ensemble helped with the intersection.

Cor Flammae’s concert set FALLEN ANGELS: Sacred + Profane Works will be at St. Andrew’s Wesley Church on July 17th, 2015 at 8pm and Club 8×6 on July 18th, 2015. Tickets go on sale June 1st 2015 at 10am. For more information, visit Cor Flammae’s webiste or subscribe to their mailing list.

When I first laid eyes on the works that comprised Kate Duncan’s ADDRESS Assembly, I felt that I had walked into someone’s home. A very stylish someone. Certainly not my home or any I’ve been in before, but definitely some place I would like to live, or at the very least visit. It looked like something from Pinterest, which for those who may be confused, is the highest form of compliment I could offer. A collection of things so beautiful, you’ll want to remember them when you finally have a grown-up home to decorate and a budget that allows you to shop somewhere other than IKEA.

Mouth open and eyes wide, I resisted the urge to touch everything. Ceramics by Heydey Design were a highlight. Made to look as if woven from cloth or straw, they were so convincing that I felt obliged to touch them all and confirm that they really were made from porcelain. The Hendrik Lou blanket knit from wool and rope made me wish everybody else in the room would leave me to nap. The side table which doubled as a terrarium; the speckled Lissu Linen pillow cases; the thumbtack stools; the ring dishes–I wanted all of it, including the plants I know couldn’t ever actually keep alive.

The works complimented each other so well, one might have thought they were made to exist here in this sun filled space. Together these pieces, made by a collective of 15 makers and designers, brought outside in. So did the light, which flooded the room thanks to the Waterfall Building’s floor to (two-storey) ceiling windows. Wood. Leather. Clay. Wool. Glass. It was picture perfect, but approachable. All together or on their own, these were works I could see occupying spaces in which real people lived. And yet the rugs were so beautiful they forced me to wonder (a few times): are we supposed to take our shoes off?

ADDRESS is an assembly of designers/makers, deeply dedicated to their craft presenting expertise and exceptional work. The 12 day home and design show is part-gallery, part-pop-up shop, and part-showroom, curated and produced by Vancouver-based furniture designer/maker Kate Duncan. Located at the prestigious Waterfall Building, 1540 West 2nd Avenue, ADDRESS runs from May 20-31st 2015.

It was a move of passion––nearly instinctual. You were straddling me as we kissed on the couch and I stood up as you held on like a koala and slowly navigated us towards the bed; doing my best to avoid the coffee table, the chair and my clunky oversized bicycle on the way. I almost lost balance when I noticed a pair of my dirty underpants on the floor and casually tried to kick them out of sight.

Then came the sound. I squatted to lower you onto the bed and it was like a gunshot. A cannonball fired from a pirate ship oddly moored in my apartment. My pants had exploded from my scrotum to the soft patch of skin above my ass that acts as a foyer to the fleshy mound before it splits like an embryo into two hairy cheeks. I felt the breeze from the open patio door on my bottom. You held your composure as long as you could before crumbling into laughter. I didn’t think it was that funny. I really liked those pants.

The poetry scene in Vancouver is huge, and the amount of local talent staggering. On May 16 at the People’s Co-op Bookstore, poetry fans had the opportunity to experience some of the coast’s best poets with The Poetries: 5 West Coast Poets. The intimate night of readings featured work by Vancouver poets Jordan Abel, Jordan Scott and Chelene Knight, as well as Seattle poets Elizabeth J. Cohen and Deborah Woodard.

Jordan Abel kicked off the evening with a performance piece from his book Un/inhabited, a collection based off of passages from 91 Western Cowboy and Indian themed works. Abel selected words relating to the politics of land and ownership from these books to inspire his poems, paying particular attention to the terms “frontier” and “colony.” Rhythmic recordings of Abel’s voice intermixed throughout the performance, in sync at times, overlapping at others. The performance was humbling, with multiple voices resonating throughout Abel’s politically charged work. I’ve seen Jordan Abel perform before, but the way in which he hypnotizes his audience is always astounding.

Jordan Scott is another poet who reads his poetry with humbling beauty. Scott’s poetry plays with words and setting. He read from his most recent publication, Decomp, an “extended photo–essay and prose poem” written in collaboration with Stephen Collis. In contrast to Abel, Scott stood alone in front of the audience with his poetry on sheets of paper. But his poetry still read as performance; words bounced off the walls, forming vivid imagery in the mind to a rhythm like no other.

Chelene Knight, a graduate of SFU’s Writer’s Studio, was the third poet of the evening. Knight opened with a poem dedicated to a deceased friend and then moved on to read from her first book, Braided Skin. With a liquid voice, Knight read a selection of work focused on issues of race. She was expressive as she moved through her poetry with ease, reading also from her upcoming collection, Dear Current Occupant, which promises to be as exceptional as Braided Skin.

Next up was Elizabeth J. Cohen, the first Seattle poet to read. Using lyrical essay in poetic form, Cohen incorporated elements of biography and prose. Cohen is a magnetic performer; her poetry created an intimacy with the audience that was simply captivating.

Deborah Woodard, a Seattle-based translator and a poet, read last. Woodward uses erasure, a form of poetry that involves erasing words from existing texts, to create new works from borrowed words. Reading first from her own work, with poems such as “Maiden Flight” and “Gorilla Girl,” Woodard then moved on to a translated collection by Amelia Rosselli. Though originally written in Italian, the poems did not lose their eloquence when recited in English. Her vibrant performance was a strong finish to an incredible evening.

I meet with Vancouver-based artist, consultant and event planner Jamie Smith at her sunny Main Street studio above Gene cafe. Glancing out her window, I count six toques, two Hershel backpacks, and one beautiful, black fixed gear. Yep, I smile, turning back to my host, we’re definitely in Mount Pleasant.

People-watching aside, I’m here to interview Smith about ROVE, the community art walk she’s planning for May 22. From 6 – 10 pm this Friday, seven local galleries will open their doors to the public. Armed with ROVE maps—complete with instructions for finding the closest breweries, of course—ROVE-ers can gallery hop to their hearts’ content, mingling with artists, curators and other artsy folk. The best part? The entire event is 100% free.

SM: So tell me about ROVE. How did you get involved in the project?

JS: I made it up! It started when I went to Portland in the fall of last year. Every first Thursday of the month, they do an art night. There’s a map, and you walk around—it’s called the Pearl District—and it’s all really close together. That’s what I liked about it; it was going to galleries, but all in one area.

Some cities have these art walks every month. I think that’s a very exciting thing, because it becomes a part of people’s month; they have something to look forward to and they see a lot of different work. I thought that would be very cool for Vancouver.

At first, I was like, “Every first Thursday: ROVE!” but it’s so much work. So I’m doing as many as I can. They keep getting easier and easier, and hopefully, at the end, it will just keep going.

Rebecca Chaperon (on display at Gene Studios, 2412 Main Street)

SM: Can you tell me a little about the event? The venues look amazing.

JS: I’m definitely excited about the venues; they’re great. There are people in Mount Pleasant always doing openings, always doing things. But something like this—like ROVE—really brings it all together. Hopefully we get a lot of people out who normally wouldn’t come to just one art opening.

SM: How do you choose the venues?

JS: It’s kind of been developing over time. The first time I did it, I just went to people that I knew were doing things in the area and tried to find places around here. And then throughout this time, people have actually come to me, which has been really nice. I’ve started going to openings at BAF (Burrard Arts Foundation) and Field Contemporary, so I just approached them and said, “This is what I do.” This is the first time I’ll be working with some of these galleries, but I think it will go well.

SM: Is there an overarching theme to the evening?

JS: The way ROVE works is that these spaces are doing their own thing all the time, so when I say I’m going to do a ROVE, it’s what they’re displaying at that time. It’s actually kind of nice because Kafka’s and Make both have photography showing, Field and BAF are all painters, in here (Gene Studios) we’re all painters, and then there’s Lawrence Yuxweluptun and Graeme Berglund. Lawrence is one of the most famous painters in Canada—a First Nations artist—so it’s a real treat that they’re going to be around. Actually grunt is doing a show of First Nations art as well. So there’s actually some really lovely cross-overs, but that was just luck. I’m really excited about it.

SM: What are you most excited about for this upcoming ROVE?

JS: What’s really cool is this time around, is that if you’re roving around and you have your map, you can go into Brassneck or 33 Acres and get a drink special. And then there’s the after party at 10 pm at the Projection Room, above the Fox.

People just need to go on the website and pick where they want to start. I think you should start at Gene Studios (2414 Main Street), because it’s central.It is an unique experience to see artist’s studios where the work is actually made. The other locations are galleries which is a more traditional way of viewing artwork.

Steven Hubert (on display at Field Contemporary, 17 West Broadway)

SM: Do you have any other advice for first-time ROVE-ers?

JS: The event is from 6-10 pm, and you can definitely do it in that time. It’s fun if you start at the beginning, because then you have the full four hours. The breweries are going to get really busy, because it’s Friday night, so I’m encouraging people to actually get out here at 6 and start at Brassneck, even. Most locations are going to have some wine that you can buy. It’s seven galleries, so you can do it all in one night, and you shouldn’t be rushed. And it’s Friday night, which is fun!

SM: Why do you ROVE?

JS: What I like about ROVE are the conversations that happen, because instead of going to one show and seeing that work in one way, you’re going from location to location. It’s really interesting to have a comparative, where you can go and see photography and think, “Why did they take these photos?” and then you can go see a painter. They’re both artists, but why do they work so differently? I’ve heard lots of different things, like, “I really didn’t like that show,” and that’s good to hear, or “That was the best.” I think it’s interesting as artists that we can hear the feedback from people attending—especially from people who don’t always come out. The art scene, especially for opening nights, is a lot of the same people. I like ROVE because it’s a totally different crowd. You get a lot of different people who aren’t necessarily here because of art, but it can often become that. I’ve had people show up to [later] openings because they were there for the first time at ROVE, which is really amazing. We just want more people to come out.

SM: Will all the artists be attending on Friday?

JS: They should be. Definitely at the studios, and then the galleries have asked the artists to come. You’ll [also] meet the gallery owners and curators.

Mira Song (on display at Gene Studios 2412 Main Street)

SM: What do you look for when you view art yourself?

JS: When viewing art, I think it’s looking at it really open-mindedly and taking it for what it is. But when it’s buying art, it’s just, you see it, and then you just feel something, and that’s really exciting. And I don’t think it matters who it’s by or why it’s there. It’s just those feelings.

I think buying original art is a very important thing for humans. Especially locally, if it inspires you and it’s a special night, I always encourage people to actually—actually—buy it! Because these are the stories you tell people when they come over for dinner, not the ones about the Ikea print.

SM: So all the art will be for sale?

JS: Yeah, it will be, but ROVE is definitely a community event. The hope would be that people would have this experience and want to purchase something, do, because supporting the artists just keeps these things going. But it’s really just about coming out and enjoying. Sales definitely happen, but it’s not the focus.

SM: What would you like to see more of in Vancouver’s art scene?

JS: The galleries here are doing a great job, and they’re showing really quality work, but I’d like to see more events like this that bring people out. I’d like to see an enlivened art scene, not just for people who feel really comfortable in it and go every week. I would just hope that events like ROVE make this possible.

This interview has been edited and condensed.
ROVE takes place May 22 from 6-10 pm in Mount Pleasant. For more information, visit ROVE’s website.

When I found out I would be reviewing the new musical Miss Shakespeare, my thoughts went immediately to Virginia Woolf’s story “Shakespeare’s Sister” from A Room of One’s Own. Woolf imagines what it would have been like had Shakespeare had an equally talented sister named Judith who “was as adventurous, as imaginative, as agog to see the world as he was…Perhaps,” Woolf muses, Judith had “scribbled some pages up in an apple loft on the sly, but was careful to hide them or set fire to them.”

Tracey Power’s musical picks up right where Woolf left off over 84 years ago, though Power’s Judith finds a much happier ending than Woolf’s. Miss Shakespeare is the story of Shakespeare’s youngest daughter who refuses to play the part of the average housewife, choosing instead to travel to London, have affairs with men, and most importantly, write plays.

The Cast of Miss Shakespeare: Erin Moon, Tracey Power, Pippa Mackie, Amanda Lisman, Caroline Cave, Susinn McFarlen, Medina Hahn. Image Emily Cooper.

At first I was unsure of what new things the play would have to say about women’s roles in the creative world. After all, the play is set in Shakespeare’s time; beyond employing an all female cast it wasn’t immediately clear what road Power would take to speak to a modern audience. As the show went on however, it became increasingly obvious that even though Judith and her friends were dealing with a situation very much specific to their time, their fight for creative freedom is very much a relevant topic to modern women as well. At one point, Judith lashed out at her famous father, saying, “You write about us [women] like you know who we are.” My thoughts went immediately to the recent controversy surrounding Joss Whedon and his representation of women in his films; suddenly, I was grateful for playwright Tracey Power and the play’s other contributors and supporters.

There was much more to endear me to the play other than simply the novelty of seeing a whole troupe of female performers on stage. Miss Shakespeare is optimistic, charming, and most of all, fun, thanks to its exemplary cast.

Judith, played by Amanda Lisman, was perfectly endearing. I was won over early on by her performance of a song entirely about the fascinating powers of an actor’s ass, but Lisman was truly at her best when directing her witless companions.

Judith recruited what can only be described as a rag-tag group of misfits, including a pregnant woman, a bastard, and a married virgin. This is where the play really came together, transforming from a story about creative freedom of expression to one about female friendship and empowerment. The troupe’s renditions of the stories of Venus and Adonis and Pryamus and Thisbe rivaled those of Shakespeare’s own sorry group of players in A Midsummer Night’s Dream.

Characters Hannah Storley (Pippa Mackie) and Isabel Loxley (Tracey Power) provided big laughs with their wonderfully incompetent acting, while characters Margaret Moore (Erin Moon) and Katherine Rose (Medina Hanh) kept things grounded with a perfect balance of emotion and candour.

Caroline Cave & Amanda Lisman in Miss Shakespeare credit Emily Cooper

One of the most compelling parts of the story, though, was the relationship between Judith and her sister Susanna (Caroline Cave). Cave brought nuance, humour, and depth to her character. I loved the interplay between Judith and Susanna; my only wish is that I could have seen a bit more of it.

The songs were well written and kept the story from getting too preachy or sappy. The musical component achieved a perfect balance between being appropriately crass and beautiful, delivering laughs, yet still allowing for moments of sincerity.

The cast clearly didn’t need the help of any male actors, with Hahn, Mackie, and Moon each taking turns playing a single male character. Employing a rotating cast for this male character championed the importance of women and their relationships with each other in the play, rather than their relationships with men.That said, I loved Susinn McFarlen’s appearances as Shakespeare, which provided motivation for Judith’s character and delivered some well-received knocks at the Bard himself.

After seeing Miss Shakespeare, I was pleased to return the next night to see what the women could bring to their adaptation of Julius Caesar. Though the contrast between the two plays couldn’t be greater, the cast again proved themselves highly capable with their emotionally charged performance of J. Caesar.

Seeing the two plays back-to-back like this was made it feel as if Judith’s company of players from Miss Shakespeare had banded together once again to prove that female actors can not only carry a play, but make one.

I particularly appreciated the way the adaptation was handled, with all male pronouns switched to female equivalents. This change was simple and impactful, turning Caesar’s Rome into a matriarchy far more interesting than a traditional all-male power structure. Julius Caesar was an apt choice for a gender swap, allowing for a hard-hitting representation of female power in which women are freed from competing for male attention. The pronoun switch gave tired aphorisms from the original play, too often ungenerously interpreted, new meanings and depth.

As with Miss Shakespeare, the play was perfectly cast. Cave was especially notable in her role as Brutus; her scene with Portia (Erin Moon), was perhaps the most emotional and beautiful scene from either of the plays.

One detraction from J. Caesar‘s success, however, was the music. Considering that the songs from Miss Shakespeare had been some of the play’s highlights, I was dismayed to discover that most of the music for J. Caesar was electronic. The choice made sense thematically; the play required a grittier sound to match the tone of the play and the futuristic look of the costumes (those I did love – especially the matching knives that Brutus, Cassius, and Casca wore in their hair). The integration of a DJ into the performance—who remained visible in a loft-like area above the actors, lit by an ominous, red glow—was a brilliant choice; but while everything worked in theory, the execution was lacking. I was grateful for the moments of silence that allowed for intensity built off of emotion, rather than scenes in which the music was too aggressive for me to connect with what was happening. Actors’ voices were looped throughout the play, an element of the music I thought worked well; however, technical difficulties at the very end of the play drew me out of what was an otherwise rousing finish.

For fans of either Shakespeare or local theatre, both Miss Shakespeare and J. Caesar are not to be missed. Miss Shakespeare is perfect if you’re looking for laughs, while J. Caesar should please even the Shakespeare purists. The most rewarding option, of course, is to see both.

You can see Miss Shakespeare and J. Caesar at Performance Works until May 17 or at Kay Meek Centre from May 21-29. More info about the productions and other works by The Escape Artists can be found here.

Join Poetry Is Dead to celebrate five years of poetry and the launch of their 11th issue “Youth Culture.” Poets and performers will take on the subject of youth culture, from high school to Tiger Beat crushes.

Hosted by: Cynara Geissler & Daniel Zomparelli

Readings, Stand-Up and Performances by:
Dina Del Bucchia, Sara Bynoe, Kayla Czaga, Cass Keeley, Richard Kemick, Curtis LeBlanc, Poetry Is Dead’s Drag sister Shanda Leer, Geoff Nilson, Shannon Rayne, Mallory Tater, and Alicia Tobin.

When: Thursday, May 28, 2015 at 8:00 pm
Where: Historic Theatre at The Cultch
1895 Venables Street, Vancouver

Tickets: $22.00 (adult) / $19.00 (student)
Tickets available at tickets.thecultch.com or at The Cultch box office.

All tickets include a one-year subscription to Poetry Is Dead.

You probably know Roy Frank “RJ” Mitte as the guy who plays Walter White’s son on Breaking Bad. Like Walt Jr., RJ also has cerebral palsy, but to a lesser extent than his character. Now 22-years-old, RJ spends his time spreading awareness about his disability, speaking out against bullying, auditioning for new movies, and touring as a DJ. One gets the sense that he never sits still for long.

This weekend RJ is in Prince George performing a “Breaking Beats” show for Northern FanCon 2015. Sad Mag‘s Shannon Tien talked to him about “feeling” beats, taking risks, and being shy.

SM: Why are you going to Prince George?

RJ: I’m in Prince George for the Comicon there. It’s going to be good. I actually haven’t been to that part of Canada before so I’m excited. I have a lot of friends…one or two from Prince George, but I have a couple from that area.

SM: Do you like the out of doors?

RJ: I do. I like the woods. I’m from Louisiana. I grew up with the forest. Not forest like Prince George has, but forest to a degree. I’ve been to Canada quite a few times. The one thing I enjoy about coming up to Canada is the wilderness. It’s beautiful to look at. Yeah, I’m excited to come. My friend is going to be DJing with me, DJ Mia.

SM: So you were formerly an actor on Breaking Bad. What made you want to become a DJ?

RJ: I’m not really a DJ per se. It’s an opportunity for me to do this. I do so much different work. I’m always auditioning. I’m always doing one thing after another. I thought it would be nice for a bit of a change. I do a lot of talks and I speak at different universities. And one of the main topics I talk about is getting out of the realm of comfort. Not being afraid to do that. And [DJing] is definitely stepping out of the realm of comfort for me. But I’m lucky enough to have this opportunity to grow. I think the more you put yourself out there and take risks, the better off you’ll be in the future. It may not always work out, but at least you tried.

SM: How long have you been DJing?

RJ: I got into it when I was younger. I had some equipment and I’d play around with it, and play with Garage Band. But I had some of my equipment stolen and then I just kind of stopped. Then I was talking to one of my agents about it and they were like, “Why don’t you try it out?” [laughs] And I was like, “Maybe…” Then next thing I know they’re like, “Get up here. We’re doing this, like…Get ready.”

SM: So you didn’t have anyone teach you or anything?

RJ: No. Well I’ve been working with Mia, actually, for a couple of months now. And I know a lot of people in the industry. And I always watch people…but I have a hard time being proactive in front of people. [Laughing] So for the industry I’m in, I’m actually fairly shy. It’s just odd.

SM: So who inspires you in the industry right now, in terms of DJs or artists?

RJ: There’s a few that I know and hang out with and learn from. I mean there’s never just one. The advice is to never take inspiration from just one type of outlet. You have to see it all and you have to learn for yourself:. Trial and error. Always pushing forward and not allowing yourself to be vulnerable.

SM: So how do you come up with a set list? What’s your process?

RJ: I listen to a lot of music and keep listening to DJs. But I’m still working on my set list with Mia today…This will be my fifth show ever.

SM: Does your show contain any connections to Breaking Bad?

RJ: To a degree. I play some of the music from the show. It has a lot of noise and different beats so I try to mix it in as much as possible but not all the time do people catch them. This is something to me that I can just have fun with and hope people have a good time.

SM: How is your DJ career related to your anti-bullying and disability activism?

RJ: I haven’t really incorporated it yet. I’d like to learn more [about DJing] before I introduce those worlds together. I’ve still got a lot to learn, but I’m always pushing forward.

SM: What are some of the challenges involved in DJing with cerebral palsy? It’s a disability that affects hand-eye coordination and movement.

RJ: Nope, my CP doesn’t bother me at all with this. The thing that bothers me is I have a tendency to not hear certain sounds. I don’t always have the best hearing. So that’s been my challenge.

SM: So what are some tricks that you use to overcome that challenge?

RJ: I mean, you can feel the beat. You don’t have to hear it. Sometimes I’ll feel the beat instead. It doesn’t really bother me, but sometimes I just catch myself and I’m like “Oh, I can’t hear that beat,” because I can feel it.

SM: That’s so interesting! So your biggest challenge is being shy, then?

RJ: Yeah I definitely believe that. That’s something I’m definitely dealing with [laughing].

This interview has been edited and condensed. For more about RJ Mitte, follow him @RJMitte.

Do you remember being a sweaty kid, sitting around your basement with other sweaty kids watching WWF (Now WWE), trying out sleeper holds on each other until your parents forced you all home? No? Doesn’t matter. That nostalgia will hit you like an elbow drop to the gut when you attend Ring-A-Ding-Dong-Dandy. Comics Graham Clark and Ryan Beil host Ring-A-Ding-Dong-Dandy at the Little Mountain Gallery, just off of Main Street: a show that can only be described as a couple of grown-up kids joking over the weirdest wrestling clips pulled from the internet. After attending a few of these nights, Sad Mag caught up with the hosts to find out more about the event.

Sad Mag: If someone was to attend Ring-A-Ding-Dong-Dandy, what could they expect from the evening?

Ryan Beil: A collection of dynamite wrestling clips (curated by Graham Clark) projected on the medium screen with comedic comments sprinkled throughout.

Graham Clark: You can expect to laugh, first and foremost. You can also expect to learn at least one thing about wrestling. It’s Ryan and I providing a running commentary over classic wrestling clips. It’s a gas.

SM: When and why did you two start up this event?

RB: I don’t remember when but I remember why: because it made so much sense.

GC: We started the show a few years ago because both Ryan and I love wrestling. I kind of moved away from watching wrestling, and then when I started again, I realized how much I missed it. Also, after meeting some wrestlers, what stood out to me was how much the wrestling mirrored the comedy world: tough road gigs, little pay, and filled with people who can’t think of a better way to spend their time. The one difference is that these wrestlers live the road life but still have to be in shape. It’s insanity.

SM: Who is your favourite pro wrestler?

RB: Ultimate Warrior cause he’s the Ultimate. RIP.

GC: Oh man, this is a real Sophie’s choice. Hulk Hogan and Bret Hart brought me to wrestling, so they will always have a special place in my heart. As far as gimmicks go, Ravishing Rick Rude was my favourite. He would kiss a special lady he selected from the audience and then she would pass out. He also wore tights with his own face on them. As far as the best when it came to promos, I love me some Jake the Snake.

SM: In a wrestling match against each other, who would win?

RB: Graham. Cause he’d tickle. And he’s stronger.

GC: I would, because I would cheat. I would blind the ref then I would cheat.

Ring-A-Ding-Dong-Dandy is coming up on Wednesday, May 13, 8:30pm at Little Mountain Gallery (195 East 26th Ave). You can follow @_LittleMountain on Twitter to keep up with their events. Or you can catch Graham Clark at the Laugh Gallery, every Monday at Havana’s Theatre on Commercial Drive.

Sneak Peek // Ora Cogan Releases “Fortresses”

Interview // Cor Flammae’s Missy Clarkson

Review // Address Assembly Design Show

Portraits of Brief Encounters // Torn

Review // The Poetries: 5 West Coast Poets

ROVE // Free Mount Pleasant Art Walk

Theatre Review // Miss Shakespeare and J. Caesar

Poetry Is Dead 5 Year Anniversary!

Interview / RJ Mitte

Ring-A-Ding-Dong-Dandy / Q&A with Graham Clark and Ryan Beil