Billy Elliot the Musical opened in Vancouver last night. 

The story is based on the hit film Billy Elliot about a young boy from a small mining town who wants to pursue his dream of becoming a ballet dancer. With the strict disapproval of his father and older brother, Billy will have to learn how to find his own path and push on through regardless of the obstacles. Billy proves that it can be done: if you have a dream, regardless of how unattainable it may appear on the surface, with a lot of hard work and determination you can truly shine.

Right out of the gate, the show gets off to a bit of a slow start with the ensemble number, “The Stars Look Down”, and the actors clearly struggle with the accents, but steadily the audience settles in with the introduction of the main characters and are soon bouncing along to the tunes.

Billy Elliot the Musical is an insanely demanding show for a twelve-year-old to pull off, regardless of talent, but Drew Minard does just that. Singing is not his forte but when he dances, he does in fact “shine” and his chemistry with the rest of the cast members is undeniable.

Some of the most notable highlights of the show came when he shared the stage with (Jake Kitchin). Both young men have an impeccable sense of comedic timing and had the audience eating out of their hands.

Mr. Braithwaite (the portly Patrick Wetzel) also had a couple of surprises for us near the end of the first act with his humour and agility, such as when he slid into the splits during a dance number with Mrs. Wilkinson (Janet Dickinson) and Billy.

The song, “Dear Billy” (Billy's Reply) seemed a little redundant in the program and lacked the emotional intensity of the heart-wrenching Dear Billy (Mum's Letter) in the first half, that brought tears to the eyes of a large portion of the audience. For some reason it felt out of place in its emotional intensity: too much of the same perhaps? The show isn't perfect but there are some moments that are priceless and make the show a “must see” for the whole family. This show promises to have you jumping to your feet as did the audience tonight, and once again after the encore.

Billy Elliot the Musical is at the QE for five nights only.   
click here for tickets!

Norwegian modern dance group Carte Blanche performs Sharon Eyal and Gai Bachar's Corps de Walk at the Playhouse theatre for two nights only.

Corps de Walk is the latest piece by Norway's contemporary dance company Carte Blanche. Carte Blanche has fast gained an international reputation as one of the most extraordinary dance companies in the world, performing works by some of the best and most celebrated Norwegian and international choreographers. 

Choreographer Sharon Eyal broke onto the scene almost eight years ago with her hit production Love, which stamped her name on the contemporary dance world, and has not looked back. She and artist Gai Bachar have put together a new, jaw-dropping, one-act show that promises to mesmerize and fascinate.  

The sensational Billy Elliot the Musical comes to Vancouver's QE theatre

The highly anticipated musical Billy Elliot the Musical (based on the book by Lee Hall) marks the journey of a young boy from a small town, who changes his life and inspires everyone around him when he bravely gives up boxing for ballet, and reminds us that dreams really do come true if you want them badly enough.

Featuring music by Elton John, choreography by Peter Darling, and directed by Stephen Daldry, Billy Elliot the Musical has taken home ten Tony Awards among others, including Best Musical by the New York Drama Critics Circle. It is a beautiful, coming of age story for the entire family and an experience that will have you bouncing in your seat.

Don't miss your chance to see the show that's the talk of the town: Six days only, April 2 – 7, 2013 at Vancouver's Queen Elizabeth Theatre. www.ticketmaster.ca

For more information go to: www.BillyElliotTour.com.

Hold onto your popcorn, Cirque du Soleil's latest production Amaluna, is going to have you jumping in your seats. 

Amaluna (mother moon) boasts an incredible list of daredevil new acts that are entrancing in both their complexity and beauty. 

Director Diane Paulus' Amaluna is a coming of age story that "honours femininity, renewal, rebirth, and balance."   

Prospera's daughter Miranda, falls for the handsome young Romeo and 
their love is put to the test with 
challenges of trust and faith.

The show opens with lizards and clowns...

and quickly moves to fast paced 
acrobats with precision timing...

and gravity defying unicyclists. 

Romeo wanders through a forest and stumbles onto  an enchanting goddess, who dances the dance of the peacock, symbolizing the purity of love.

Meanwhile a moon goddess appears to Miranda to give her, her blessing as she transitions into womanhood, exploring her strength and liberation. 

Romeo chances upon Miranda playing in a large water bowl where he joins her to steal his first kiss.

Along their way Miranda and Romeo are met with a host of creatures and obstacles, from iguanas... 

and peacocks... 

to trapeze artist...

Amazon women.

The show is made up of a 70% female cast and a 100% female band. “Amaluna is a tribute to the work and voice of women,” explains Director of Creation Fernand Rainville. “The show is a reflection on balance from a woman’s perspective. Director Diane Paulus says: “Amaluna is less about feminism and more about reconnecting to our world in a different way.” Composers Bob & Bill set out to create a unique and raw sound for Amaluna, and to surprise by means of the unexpected.

The set design (Scott Pask) and costumes (Mérédith Caron) themselves are worth the price of admission. The artists involved in this production are beyond talented making Amaluna a must see for the whole family. Check them out while they're here by clicking on, Cirque du Soleil.

Cirque du Soleil has an exciting new show filled with many of the regular crowd pleasing acts, and some new ones that will take your breath away! 

Lizards, goddesses,
peacocks, and clowns ...

aerial straps, trapeze artists,
cyclists, and a beautiful woman 
swimming in an enormous bowl 
of water. 

Amaluna costume designer 
Mérédith Caron 
has created an array of gorgeous 
costumes and head dresses.

The set design is spectacular and cleverly designed to be fully enjoyed no matter where you are seated. 

Today with more than 5,000 employees worldwide, including more than 1,300 artists, Cirque du Soleil shows why it continues to flourish, with its spectacular presentation of Amaluna. 

Stay tuned for a full review and photos, and be sure to click on Amaluna for tickets.

If ever there was a near flawless production to grace the stage of the Queen Elizabeth Theatre, it has to be Richard Eyre's rendition of Mary Poppins.

Though probably most quickly recognized for his work as a director of films (the Oscar nominated Iris, and Notes on a Scandal) Eyre is certainly no stranger to theatre and holds several coveted honours including five Olivier Awards, four Evening Standard Awards, three Critics Circle Awards, and a Lifetime Achievement Award from the Directors Guild. Eyre's direction of Mary Poppins marks another great achievement and is both imaginative and extremely well orchestrated.

Between Julian Fellowes' classic book and Walt Disney's popular film of the same title, Mary Poppins has made its way into countless households around the world. Most people are familiar with the story but for those who are not, it is a story about a nanny; a very special nanny who represents hope for all that is good in the world to succeed. Throw in a magical travel bag and endless optimism and you have a heartwarming tale of a journey to discovering the true value of what it means to be a family.

Mary Poppins is a visual spectacle to rival The Lion King. The sets are beautifully crafted and some of the illusions drew audible gasps from the audience. The show boasts an array of amusing new songs like Cherry Tree Lane and Practically Perfect, that slide in seamlessly along side of classics like Chim Chim Cher-ee, A Spoon Full Of Sugar, and Supercalifragilisticexpialidocious.

Next to the directing, the huge kudos should go to Tara Rubin Casting for the incredible cast who deliver jaw dropping performances scene after scene, song after song, and do it all with seemingly effortless, precision timing. They are mesmerizing to say the least, and so individually talented it feels like you've stumbled into the theatrical equivalent to Woodstock (1969).

Rachel Wallace, who takes on the epic role of Mary Poppins, brings to the character a perfect blend of intelligence and likeability. Her voice is precision and her stage presence captivating. What's especially wonderful about her is her unique ability to create that inviting space for her fellow actors flourish. And it's a delicate business when you have a character who is supposed to be overly confident and likeable at the same time. She does so with grace, never once losing her hold on her audience.

For the opening performance, understudy Con O'Shea-Creal stepped into the role of Bert, the chimney sweep. He was every bit the leading man, giving a stellar performance and proving he was more than worthy of the role.

The set design is spectacular, the music superb, and the costumes intricate and beautiful. There is so much to like about this show that it's best to simply recommend that you see it while you can.

Mary Poppins is a must see for the whole family and runs until July 22nd. Click for tickets and times.

Bard on the Beach opens this year with the ever popular, The Taming of the Shrew and follows up with Macbeth.

As is the nature of Bard on the Beach, the same amazing cast of regulars who fill the roles for the first show of the season, also effortlessly (at least they make it seem that way) fill the roles for the second show. This year they had the daunting task of tackling The Taming of the Shrew and Macbeth. These are two hugely different plays, not only in content but style and pacing, so it's no small feat to do this and do it well.

In a nutshell, The Taming of the Shrew is a comedic look at the search for love. Beautiful Bianca (Dawn Petten) entertains a host of suitors who all vie for her father's approval and subsequently her hand in marriage. Her no-nonsense, older sister Kate (Lois Anderson) on the other hand, makes no bones about making intellectual mince-meat out of any man who crosses her path. Their father Baptista (Bernard Cuffling), promises Bianca's suitors that none shall have her hand until her older sister Kate is married. Bianca's suitors are at odds until they come across a man who surprises them all and takes on this challenge with sinister zeal.

Kate, with the reputation of shrew firmly affixed to the very mention of her name, wreaks verbal havoc in the village creating a moat of malice around her. Enter Petuchio (John Murphy), the man who attempts to tame her, and his trusty servant Grumio (Kayvon Kelly). Petruchio spins a web of confusion around Kate, resulting in their marriage and followed by a hilarious battle of wits that takes no prisoners.

Director Meg Roe does a great job with her cast and crew. Lois Anderson's own intelligence shines through her character adding to her believability, and Murphy's John-Cleese-like movement is remarkably funny. Dawn Petten adds a silliness to her character that's reminiscent of SNL, but it's Kayvon Kelly's approach to his character Grumio that steals most of the scenes. The comedic timing of the actors, coupled with the pacing of the action, works beautifully.

This is the sort of play you cold see a few times (seriously, not a bad idea) and never be bored. Even the stage design is amusing.

A few days later the entire cast and crew shifts gears and changes tone completely as they ready to perform Macbeth. This is a hard play to tackle and the cast does a brilliant job. There are a few mishaps along the way, but nothing that can't be fixed with an attentive director.

Macbeth is the story of man plagued by false prophesies, psychosis, and an insatiable thirst for power. Macbeth murders everyone, from king to child, who blocks his path to becoming king.

Bob Frazer takes on the formidable role of Macbeth and fully embodies the character, breathing life into this complex role. Colleen Wheeler dives into the role of Lady Macbeth offering a delicate, yet sinister, balance to Frazer's Macbeth. Over all, the performances were great and it's clear the amount of work that has gone into developing the characters.

Another thing that really stands out about this play is the sound design. Composer and sound designer, Murray Price weaves sound through the scenes, adding richness and filling the delicate spaces with a distinct tone.

There are, however, three things that have the potential to take you out of this play and will most likely be addressed as is the case with high caliber productions like these: the tone of the dialogue; the speed of the dialogue; the movement of some of the actors in the smaller roles.

Shakespeare's dialogue is difficult to follow on a good day. Many of the cast, speak with a monotone that at times drones the words together and can cause the viewer to disconnect from the action. The play is so dark and dramatic that it can be difficult to find the right pacing that will allow the performers to deliver the dialogue effectively as well as give pause long enough to register the effect of what's been said. Having said that, the pace could stand to be picked up just a little, especially in some of the less dialogue-heavy places.

Lastly, the slower pace of the main characters directly contrasts with the hyper pacing of some of the actors in smaller roles. At one point in the play, a young boy (one of the female actors in disguise) runs up to Macbeth to give him some news. His tiny, sped-up footsteps sent a wave of laughter throughout the audience on opening night: not likely something he'd intended to do. Even Lady Macbeth got a laugh when she sped up the pace near the end of the second half, but only because it was such a stark contrast to the slower, less effective pacing that had already been established.

After all that, none of these things is epic enough to warrant skipping this play. The actors give their all and are very good by all standards. The amount of effort put into these shows and the level of talent that we see on the stages is astounding.

For show times go to Bard on the Beach.

Lindt chocolate teamed up with figure skating Olympic Gold Medalists and World Champions Tessa Virtue and Scott Moir at the boutique's Queensborough landing location in New Westminster, to celebrate Skate Canada's finale.

A select group of lucky guests get to meet the famed skaters.

Four-time World Champion figure skater Kurt Browning joins Virtue and Moir for a lesson in truffle making from Lindt's master chocolatier, Ann Czaja.

            Tessa gives it a try.

(oh, oh!)      

Guests enjoy an array of exquisite flavours, from marzipan ...

        

                                     to champagne,

... and more champagne.

Photos are signed,   

 

    
       and gifts are given ...


                          
                                   

                                          and given ...

    and given.

            We learn a few secrets,

and fans have their dreams come true.

A sugar sweet day to remember!

Be sure to check out the Lindt boutique in New Westminster!

This was not at all what I expected.

When I heard that Cats was coming to town I was more than a little excited. I'd heard so much about the show over the years; I'd even been in a "best hits" version of the musical back in the day.

Somewhere between watching the coverage on TV so long ago and plunking down in the velvets seats of the Queen Elizabeth theatre, something went horribly wrong.

The jam packed theatre was abuzz with anticipation as the lights went down and the music began. The show opened with the cast of Cats meowing their way down the aisles poking their illuminated heads into the faces of the audience members on the edges of the aisles, and making their way to the eerily darkened stage. Many of us had been around for The Lion King a few months back so this was a good sign; they're coming down the aisles so we were in for a fan-freakin-tabulous show alright!

A series of small white pin lights began to flicker on stage and the music swelled and swelled until just when we were ready for the whole damned thing to erupt in a frenzy of feline fantasy... bam! the cats were gone, the lights went up and... and... nothing. 

We waited and waited and just when we were certain that someone must have missed their all important opening act cue, the stage was flooded with a gazillion cat people all posing like they'd just given us the show-stopping entrance of a lifetime. I'm going to stop there because there really isn't any point in going further. The point's made.

Andrew Lloyd Webber based his songs on T.S. Eliot's book of poems, Old Possum Book of Practical Cats and the show has been a hit for decades so why was it such a disappointment? 

The cast was actually quite talented; they could sing and dance, no doubt about that. The set design wasn't that bad, though the lighting design could have used some imagination.

                                That's it!       Imagination!

                    The show had a fundamental lack of imagination. 


It felt like when you're in grade school and the substitute teacher gets called in at the eleventh hour and doesn't know what the blazes to teach so spends the entire class playing hangman on the chalkboard.

So the songs were a little lame, so the costumes were all over the place, so the show has been staged that way since its inception a thousand years ago: couldn't somebody have injected just a little originality into it? After all, it is 2012.
There was no story. Yes, yes, there ISN'T any story, but there COULD be.
Just saying.

There are a million different ways to string those lackluster songs together that could make the climactic Memory seem like an after thought. This is ground ripe for the planting of something great, it's just going to take an inspired director and a little imagination... actually a lot of imagination, but that's not the point. The point is, work for those 100 plus Canuck bucks you're charging and come up with something worth all the change in our Memory banks.

... don't make me get off this couch.

"Halfway between Heaven and Hell, in a place called Hope, history's most famous sinner stands trial."

How much do you know about Judas Iscariot? Apparently there's a lot more to the guy than expected. 

The Team of talented artists connected to the production that is showing at the Cultch right now have put together a particularly amusing rendition of what he's been up to all these years. While Judas sits in a small cell in Hell his ultimate fate is being decided by some of the biggest, controversial names in history.

An array of colorful witnesses, from Mother Teresa to Sigmund Freud, to the show stopping Saint Monica, all take their turn giving their take on how the whole "incident" went down and what Iscariot's fate should be in the end.

Writer Stephen Adly Guirgis, Rumble Productions and director Stephen Drover offer us a delicious mix of humour and drama in a well paced, well cast presentation that plays to theists and atheists alike. The cast of 14 double up on roles with ease and precision bringing a contemporary perspective to an ancient story.

Most of the humour might be lost on a younger audience and the play certainly has its fair share of profanity, but if you can get past the program guide you're in for a real treat. The Last Days of Judas Iscariot is a must see and one of the best shows the Cultch has presented this spring.

The show runs until April 21, 2012
for tickets and show times check out the Cultch