Tim Crouch as Malvolio in his one-man show, I, Malvolio.

“You there, with the white shirt, smug look on your face, arms crossed, come down here,” quips Malvolio, pointing in my direction. Finding myself suddenly on stage, I gripped tightly onto a chair as I readied myself to help Malvolio, played by Tim Crouch, meet his demise.

I, Malvolio, directed by Karl James and A Smith, is a romp through Shakespeare’s Twelfth Night told from the perspective of Malvolio, the misunderstood butler. Drawing the audience in through hilarious interaction and improvisation, Crouch allows us to enter Malvolio’s stream of consciousness.

Throughout the play, Crouch watches the audience carefully and is not afraid to call members out based on their posture, movements or dress. He gets the audience to laugh while examining their own actions. By drawing attention to how petty or insecure people can be, the play’s dark humour gets spectators to pause and consider their own day to day actions and motives. As the star of this one-man show, Crouch commands the audience’s attention while convincing, without coercing, them to participate in their seats and on stage. This was how I ended up a part of the play, if only for a few short minutes.

Before I could think twice about leaving my seat, myself and another audience member found ourselves on stage, with Malvoilio standing on a chair, head in a noose. Surprisingly, given these props, Crouch made me feel at ease by carrying on with the show as if nothing was different.

Showcasing the humour and “INSANITY!” (as Crouch put it) in Shakespeare’s classic, Crouch finds a way to dance along the line between theatre and stand-up comedy. His acting achieves the perfect sweet spot between comedy and pain by taking the humourous elements of a Shakespearian comedy and infusing them with a bit of darkness. With the audience experiencing laughter, deep thought, and at times, discomfort in just 60 minutes, this play will leave you hanging on for Malvolio’s revenge.

I, Malvolio proves that Shakespeare’s work is still relevant today. Forcing the audience to reflect on themselves during the play, I, Malvolio is about what drives us as humans. Crouch’s demeanor on stage could not be described as gentle or understanding, but it is this manner that allows the audience to be introspective about their own lives.

I, Malvolio is on as a part of PuSh Fes­ti­val until February 10. Playing at the Cultch’s Historic Theatre (1895 Venable St), more infor­ma­tion and ticket details can be found online.

Collin Ankerson

Counterpoint, an online video series that showcases Vancouver musicians, launched this week with much hoopla and a little hullaballoo.

Counterpoint provides an new perspective on Vancouver musicians by featuring them outside of the group or band with which they are generally associated. Counterpoint invites all musicians to participate their series, regardless of age, genre, or the popularity of their instrument or genre.     

The man behind Counterpoint’s concept, its mic, and the bass guitar, Collin Ankerson, joins Sad Mag’s Vancouver Notables lineup in order to answer a few questions about his experiences as a musician and as a part of Vancouver’s music scene.

 

Sad Mag: Who are you?
Collin Ankerson: I’m a musician interested in deepening my understanding of musical language by playing with and talking to as many local musicians as possible.

SM: How did you get involved in the music scene in Vancouver?
CA: I came to Vancouver equipped with my bass, which, combined with living on campus at UBC, led to a lot of opportunities to ‘jam.’  Making friends that way led to performing regularly with a few groups. I picked up a gig on craigslist once that actually turned into a really great jazz group and even led to us playing the Vancouver JazzFest.

SM: What was the first musical performance that you felt proud of?
CA: Probably the open mic at a Borders books in Oviedo, Florida.  I went down there by myself when I was a senior in high school and played solo bass. It was the first time I had ever attempted a solo performance, and the beginning of a lot of the ideas and techniques that are a major part of my playing today.

SM: What do you think the music scene in Vancouver is lacking?
CA: The Vancouver music scene is lacking a good relationship between promoters/venues and performers. A lot of venues are unwilling to give smaller, local bands any guaranteed pay, so they essentially free themselves of any responsibility for providing quality entertainment. The venue wants music, but they don’t want to pay for it, nor do they want to curate it by actually listening to demos. That’s something I can’t understand. Why wouldn’t one of these venues want to put in the work to become the spot for quality local music?

SM: Favourite Vancouver musician(s)?
CA: I want to say Dominic Chan who is a jazz guitarist with a really original sound, but I have lost touch with him and I think he may have left the city. So, I’ll say Jesse Cahill, a local drummer that performs regularly at the Cellar with Cory Weeds. He has a cool jazz/funk fusion style, and a quality that’s hard to accurately describe, but what I might call vitality.

SM: Favourite musical genre?
CA: This is nearly impossible to answer, but I will say that I feel most informed by Classical and Funk/Blues. Being an electric bass player, it’s hard not to love funk, and I grew up listening to funk and blues by virtue of my dad’s record collection. When I began studying music theory, I fell in love with classical, and find that it heavily influences my performing and composing.

SM: Best Vancouver venue/night for seeing said genre?
CA: Unfortunately, there isn’t a huge funk scene in Vancouver right now, but the Biltmore has brought in some great bands recently, including Charles Bradley and Antibalas.

Collin improvises with Young Pacific's Devin Miller in an upcoming episode of Counterpoint

SM: Where are you as you answer these questions?
CA: In my house, frantically drafting emails to send to anyone in the city that I think may be interested in Counterpoint.

SM: Last album you listened to?
CA: Taj Mahal – Recycling the blues & Other related stuff

SM: What are you most excited about right now?
CA: I’m excited to get the Counterpoint website up and running. I hope that the people of Vancouver will be interested, and that I can continue talking with all of the talented musicians this city has to offer.

Mieke Matzke of She She Pop and her father, Manfred Matzke

Bringing new meaning to the term “daddy issues,” She She Pop explores William Shakespeare’s King Lear in a modern way in Testament.

On stage with their actual fathers, three members of this Berlin-based performance collective explore the trials and tribulations, not only of the child-parent relationship, but the struggle of power that can occur as one generation steps down and the other steps in. One lonesome performer, sans father, then explores the idea of an absent parent.

Delving into issues that are seldom spoken about, let alone performed on stage, Testament is not for the thin-skinned. Melding funny, raw, and frank scenes, She She Pop doesn’t hold back in terms of familial stresses, much like the intensity of Shakespeare’s original work.

Bringing up issues that you probably only discuss with your closest relatives in hushed whispers in the kitchen after Christmas dinner, the most powerful scenes in Testament explore disappointment, love, the act of caring for a loved one, and more importantly, forgiveness. These blunt scenes will make you laugh, think, and cry.

Poignant comments about life, success, love, and giving are made light while maintaining and edge of sincerity confirming the realness, and rawness, of emotions that came up during the rehearsal process for these performers and their kin.

Mixing contemporary music with projections, a German version of the King Lear script, and some dancing, She She Pop delivers a veritable feast for the eyes. This includes the subtitles that run across the top of the stage translating their quips. Utilizing the whole stage in innovative ways, She She Pop definitely delivers a full-blown performance, breaking the fourth wall and divulging to the audience their behind the scenes work and process.

Testament also translates Shakespeare into relatable terms. Cutting through the heavy language and antiquated examples, the members of the group get to the key issues of the story through game-show like examples they illustrate on a flipchart that is projected on a screen. From physics formulas explaining Lear’s predicament to creating lists of wants the children express, the use of multimedia is seamlessly integrated into an already multifaceted play.

Utterly charming, at the end of the piece, you feel connected not only to the performers and their aging fathers, but to your own family as well. Taking a moment to consider your own familial situation, there is definitely something about this piece, barring the language difference that is sure to hit home.

And that’s where Testament’s success is born.

Relatable, charming, hilarious at times, raw, and blunt, this piece is more than a translation and adaptation of Shakespeare, but rather a work of art, a performance that incorporates all you could want in a piece of theatre. Including three men dancing in boots to Dolly Parton. Really, you don’t want to miss this.

Testament is on as a part of PuSh Festival until January 26th. In partnership with SFU Woodward’s Cultural Programs, it plays in the Fei & Milton Wong Experimental Theatre at SFU’s Goldcorp Centre for the Arts. More information and ticket details can be found online.

Tegan Verheul, Chris Wilson and Camiel Pell

Dripping irony as well as style, Vancouver comedian Tegan Verheul gives Sad Mag some insight into her creative process, riffs on the masochism of corsetry, and encourages us to imagine her as a goth. 

Tegan will be our host for the upcoming Sad Mag Comedy show this spring!

Sad Mag: Who are you?
Tegan Verheul: Tegan Verheul! Actor, improvisor, sketch comedian.

SM: How were you involved in Sad Mag’s Glamour Issue?
TV: I got to be in a real cool photo shoot with some of my favourite local comedians and they made me look much prettier than I do in real life. You can’t tell, but I’m wearing a corset and it hurt so much that any time I laughed I also cried.

SM: What was the first comedic performance that you felt proud of?
TV: My friend and I wrote and performed some sketches in high school that our drama teacher claimed were the funniest he’d ever seen, and we ended up performing them for the whole school. A lot of people came up to me afterward and said they hoped I’d pursue a career in comedy. It was the first time I thought seriously about my asinine humour as a potential profession.

SM: How did you get involved in the comedy scene in Vancouver?
TV: I auditioned for the UBC Improv Team my first year of University, and was fortunate enough to befriend some very talented individuals. These people introduced me to the improv scene in Vancouver, encouraged me to develop my skills, and eventually formed Pump Trolley Comedy. Any other projects they started they invited me to take part in, and from that exposure I was asked to join Ghost Jail and given guest slots in a variety of comedy shows across town. In short, I’ve piggybacked on the success of others.

SM: Favourite Vancouver comics?
TV: I’m a big fan of all the lady comedians in town. They’re the funniest people I know. Vancouver has a talented group of hilarious women and it’s always inspiring to watch them in their element.

Tegan and Chris Wilson

SM: Favourite comedic “genre” (i.e. improv, stand up, etc).
TV: Butt jokes.

SM: Best Vancouver venue/night for seeing said genre?
TV: The China Cloud for sure. There’s a butt joke quota you have to meet every time you perform there, or else they push you into a bucket of dirt. Also, that’s where Pump Trolley lives.

SM: Where are you as you answer these questions?
TV: On the floor of my cushy East Van apartment, surrounded by cookie crumbs, yelling at my cat.

SM: Last album you listened to?
TV: Black Sabbath – Paranoid. I’ve never let go of my goth years.

SM: What are you most excited about right now?
TV: The year ahead. Pump Trolley’s got some sick shows and festivals lined up, Ghost Jail Theatre has secured a monthly gig, plus I’m working on a few new projects (possibly involving a trip to Vegas?) and I am going to put some serious effort into doing more film and television, which has been my secret dream all along.

photo credits Alex Waber

For hilarity that keeps on twittering, follow Tegan @tegantegan

and if you want to be in the know with some of the funniest women in Vancouver, Tegan has the following recommendations (in no meaningful order):

Nicole Passmore – @nlpassmore
Alicia Tobin – @AliciaATobin
Briana Rayner – @brianarayner
Caitlin Howden – @Caitlin Howden
Sarah Szloboda – @thesarah
Bita Joudaki – @bitabitabita
Ember Konopaki – @ember_lina
Lauren McGibbon – @Lauren_McGibbon
Kelli Ogmundson – @kelliogmundson
Christine Bortolin – @theonlybortolin
Amy Goodmurphy – @AmyRickyGee

Tegan invites all funny-loving people to attend Pump Trolley Presents: WASTED, which is happening at the China Cloud Monday January 28 and Tuesday January 29 at 9:00 (doors 8:30).

the cast of Ride the Cyclone

Ride the Cyclone begins with the Amazing Karnack, a carnival fair “precognition machine,” which specializes in predicting the exact time of people’s deaths, introducing a bass-playing rat named Virgil who will cause both of their deaths by chewing through a live-wire.

Then, shit starts to get weird. Ride the Cyclone is a superb piece of musical theatre, the kind of play that makes you want to drag friends to repeat viewings. It tells of six members of a teenage choir from the small town of Uranium, Saskatchewan who die on a rollercoaster named the Cyclone. They spend the afterlife arguing with Karnack and each other about how to be resurrected, pondering whether their shortened lives had any value or meaning, and best of all each taking a turn singing hilarious, beautiful, and deeply bizarre songs exposing the rich inner lives their town and peers had no patience for. Unlike so many films and plays that condescend to non-urbanites and congratulate themselves for unpeeling the perfect facades of idyllic rural or suburban life, Cyclone depicts what beauty and madness inhabits the imagination of every human being.

This generous production gives every character the chance to shine, and the show has many highlights. Elliot Loran plays Ricky, a mute disabled nerd who is a rock star on the planet Zolar, whose fantasies of being a swinging intergalactic bachelor accompanied by a harem of alien catwomen are somehow both filthy and adorable. The character of Ukrainian gangsta rapper Misha (Jameson Parker) segues from a fantastic and heavily autotuned hip-hop parody (with the genre-summing refrain “my life is awesome/ this beat is awesome/ robots are awesome”) to a moving ode to his online girlfriend that he will never meet. Kelly Hudson’s Constance delivers a lovely soliloquy about life’s intense and rarely described moments that isn’t quite like anything I’ve ever seen attempted in theatre or cinema. And Kholby Wardell is a powerhouse in a cheap black wig, whose Genet-quoting Noel Gruber laments that being gay in a small town is like having a laptop in the Stone Age – “you have it, but there’s nowhere to plug it in.” His cabaret number “Fucked up Girl” transforms him into a dissolute Parisian prostitute who lives the life of drama and romance that Noel never could. In the preview performance I watched, Wardell’s physical and erotic performance just about brought the house down.

This version of Ride the Cyclone has some differences from the show that played in Vancouver in 2011, including a framing device wherein the characters compete to be the one that Karnack returns to the land of the living. Playwright Jacob Richmond gets great comic mileage from the competition’s enigmatic and ever-shifting rules, and the device gives the story clear narrative drive that was lacking in the earlier version. But it also feels slightly arbitrary and unconnected to Cyclone‘s central theme. Rielle Braid’s Type A brown-noser Ocean Rosenberg is thrust into the role of protagonist, but the removal of a song delving into her mixed family background prevent her from being as likable as she needs to be. Overall, Cyclone’s excellent singing, choreography, and biting social commentary are awe-inspiring. Victoria’s theatre company Atomic Vaudeville specializes in making magic happen on a small budget, and I’ve never seen one of their productions without being amazed by the complexity of their accomplishments.

One friend I saw Cyclone with said “I loved this show, and I fucking hate musicals.” Another friend said she wanted to try to act the whole thing out in her room the next day, or at least buy the soundtrack. Go Ride the Cyclone, once or five times.

For tickets or more information: Ride the Cyclone is on now until Feb 16th on the Granville Island Stage. 

{Photo credit: Fairen Berchard}

Instead of a New Year’s resolution, why not just continue to chill out? If it ain’t broken… then it’s time to fixate on another fabulous playlist from Pamela Rounis. Slow house rocks and rolls you like a trance-y lullaby. Put your “To Do” list away.

 

Listen to Pam’s “Golden” Playlist

 

A maven of music, a food snob and a stick­ler when it comes to good design, those of us who know Pam regard her as a pas­sion­ate per­son for all things cre­ative. Pam received her Bach­e­lor of Fine Arts from Emily Carr Uni­ver­sity of Art& Design in 2006 and her diploma with hon­ours in Illus­tra­tion and Design from Capi­lano University’s IDEA Program.

When Pam isn’t doing her design magic for Sad Mag, she enjoys being a soprano diva in the Kings­gate cho­rus, mak­ing elab­o­rate meals and then eat­ing them, and mak­ing daily playlists for your lis­ten­ing pleasure.

Let’s start the year with a mad dash to the cold water. That’s right, I will be throwing myself into the pacific ocean to take on 2013 by the horns (or shivers). The quick dip will cleanse the life changing events of 2012, and welcome 2013, the year to commit and discover/play more music.

Get your year started with these fifteen (local) songs, brunch, laughter & some good pals!

Listen to the January Local Musics c/o Lise Monique 

1 Gold & Youth Time to Kill
Hannah Georgas Enemies
Calamalka Bad Scene
Babe Rainbow Give You Time (feat. Ashley Webber)
Teen Daze Brooklyn Sunburn
Bear Mountain Two Step
Synthcake House Love Ground
Tyranahorse joy wolf
beekeeper Sudden Cuckoo
10 Humans De Ciel
11 Top Less Gay Tekno Party My 5
12 Slam Dunk Can’t Stand It
13 Gang Signs LA on Monday
14 Data Romance The Deep
15 MYTHS Deadlights

Amy Fox, Michele Tolosa and Dan Dumsha as Some of The Rogues

Queer comedy comes sharper and sweeter when improv rules the night. Between the 2nd  and the 12th of January 2013, catch Queer Arts Society’s The Gay Mafia at the Jericho Arts Centre.

When “The Don” of the Gay Mafia decides to step down, the members of the mob vie for a chance to replace him.  Through improv games designed to put his potential replacement’s strategy, wit and theatrical mettle to the test, The Don will name his successor nightly. The Don, who will alternately be played by Pearce Visser and director David C. Jones, will pick the winner rather than the traditional audience vote.

Pearce Visser as The Don

The day after the night after the weekend after all the holiday events treat yourself to a sassy dance mix and pretend like hell that hangover is “just a little headache.” Is there a better way to get ready for the next party than continuing to dance? Pamela Rounis brings you the designer playlist you need to heat up the holidays.

 

Listen to Pam’s “Work It” Playlist

 

A maven of music, a food snob and a stickler when it comes to good design, those of us who know Pam regard her as a passionate person for all things creative. Pam received her Bachelor of Fine Arts from Emily Carr University of Art & Design in 2006 and her diploma with honours in Illustration and Design from Capilano University’s IDEA Program.

When Pam isn’t doing her design magic for Sad Mag, she enjoys being a soprano diva in the Kingsgate chorus, making elaborate meals and then eating them, and making daily playlists for your listening pleasure.