issue 31 // volume 43

An improv tribute to Canada

> ‘Oh, Canada’ play review

Jerrison Oracion
Senior Columnist

 

wkkekenknx

he 150th anniversary of Confederation

is a time for us to celebrate the long
and interesting history of the country—
such as with the play Oh, Canada.

Canada invented a lot of things
and contributed much to the rest of the
world. We invented insulin, multiplexes,
and poutine; a lot of Canadian musicians
are famous around the world; and we
contributed many things to comedy
with our famous comedians, Saturday
Night Live, and especially Whose Line
is it Anyway? Two of the people from
Whose Line is it Anyway?, Colin Mochrie
and Ryan Stiles, began their careers in
the Vancouver TheatreSports League,
and to celebrate Canada 150 they have
created a show about Canada.

Oh, Canada pays tribute to the true
north strong and free and references
everything in Canadian culture. Watch as
a scout guides you on a tour of Canada and
teaches you about the country through
improv games. As with every performance
in the Vancouver TheatreSports
League, each show is different because
everything is done on the spot.

In the opening night performance,
Brad Rossington played a scout who is
probably the friendliest Canadian that

you've ever seen. He then introduced
a group of “Canadians” including Ken
Lawson, Graeme Duffy, Margret Nyfors,
Lauren McGibbon, Pearce Visser, and
Devin Mackenzie, who were involved
in the improv games played throughout
the show. The “Canadians” were dressed
like the person in the famous Molson
Canadian “I Am Canadian” commercial.
Next, Rossington asked me what
is Canada proud for and on the spot,
I responded with Tim Hortons. The
players said various things related to
Tim Hortons and I was laughing when
Duffy said that he was born in the same
hospital that Tim Horton passed away
in. This led to them re-enacting the
famous Molson Canadian commercial.
After that, we in the audience thought
that we were going to sing our national

anthem, but instead they accidently
played a Nickelback song, and this
happened again midway into the show.

There was a game where the players
had to doa scene three times in three
Canadian cities, and so they showed
fishing in Vancouver, a Newfoundland
city, and Saskatoon. The scene in
Vancouver was the longest and the scene
in Saskatoon was the shortest because
there are not a lot of fish in that city.

The cast also did a game where
when Rossington said “Shatner,” they
talked and moved like William Shatner.
While all their impersonations of
William Shatner were great, Lawson's
was especially good. In addition, the play
paid homage to Canadian institutions,
including Historica’s Heritage Minutes
with the stories of eye drops and the

arts // no. 9

 

EpiPen, and Hinterland Who’s Who
explaining the successful architect.
During the intermission, the
audience put what they liked about
Canada in a bowl, and Rossington read
some of them for the “Canadians” to act
out. The play even showed the story of
a couple from two countries that met in
Canada and the couple told the cast if
they were telling their story correctly.
The show was very funny and I was
laughing a lot during the entire thing,
and you have to thank the country’s
history for providing the material for it.
So, if you'd like to learn about Canada in
an improvised way, go see Oh, Canada.
Oh, Canada is now playing in The
Improv Centre until September 2.

A stylish ‘50s rendition of a classic comedy

> Bard on the Beach’s ultra-snappy version of ‘Much Ado About Nothing’

Caroline Ho
Arts Editor

 

it inside a snazzy pavilion and
be theatrically swept into the
world of Shakespeare through
a sleek 1950s adaptation.

The annual Bard on the Beach
Shakespeare Festival is currently taking
place this summer in Vanier Park with
five of the playwright’s works, including
the masterful comedy Much Ado About
Nothing, directed by John Murphy.

For anyone who enjoys live theatre in
unique venues, the glitzy glamour of
retro cinema, and conniving characters
caught up in hilarious schemes, Much
Ado About Nothing is a must-see.
Transposed out of its original courtly
setting, the Bard on the Beach adaptation
of Much Ado takes place in Messina, Italy,
in 1959. The story revolves around a pair of
young actors, Claudio and Hero, who are
besotted with one another; another pair,
Beatrice and Benedick, who are perfectly
matched in their disdain for love and for
each other; and an accompanying cast of
actors, directors, assistants, and others in
the film industry. Several of the characters
conspire to bring Beatrice and Benedick
together, while others plot to drive Claudio
and Hero apart. Comedy ensues as
schemes entangle and love is challenged.

Perhaps the most brilliant thing

about Shakespeare’s plays is their

timelessness, with stories that can be
adapted to any time or place. In this
case, the plot of Much Ado comes to life
full of entertainment industry pizzazz.
Shakespeare’s iambic pentameter fits
surprisingly well into this environment,
particularly with the quick-flowing wit of
Beatrice and Benedick. The well-designed
set, seamless scene transitions, lively
music, costumes, and colour schemes
all come together to create an authentic
sense of periodicity. The costumes are
especially effective in capturing the spirit
of the age. Snappy suits and elegant
cocktail dresses stylishly demonstrate
a colour scheme underlaid by greys,
with more vibrant hues accenting the
romantic parts of the play. Sunglasses
and cigarettes play a visible part in
bringing to life the entire vintage look.
Director Murphy refers to Much Ado,
in the program guide, as “Shakespeare’s
greatest comedy,’ and this adaptation
handles the hilarity skillfully in juggling
its several concurrent romantic schemes.
Beatrice and Benedick’s verbal sparring
is particularly amusing, especially
after both become convinced that the
other is secretly in love with them.
However, the most riotously funny
moment was probably the song and
dance routine performed by a few
of the characters around the middle
of the play, which had much of the
audience erupting in laughter.
For any first-time visitors to Bard

on the Beach who may have reservations
about a tent theatre, attending a

show should convince you that it’s

an unmissable Vancouver summer
experience. The festival boasts two large
stages within comfortable pavilions, as
well as several concession stands with
snacks, drinks, and a gift shop, in addition
to the fabulous view of Vanier Park. The
most notable aspect of the festival site is
arguably the stage’s use of the location.
Part of the BMO Mainstage is open to the
outside, allowing for the view of the park
and the water to be used as a backdrop
and as natural lighting, with varying

levels of exposure to the outside world in
different scenes. This integration of the
environ works especially well for evening
shows: As the day progresses, the setting
sun and darkening sky add openness
and authenticity to the performance.
Much Ado About Nothing runs until
September 23. However, if romance,
comedy, and ’50s glam aren't your thing,
a Bard-goer can also catch a showing
of The Winter’s Tale (until September
22), The Merchant of Venice, Two
Gentlemen of Verona, or Shylock, all
running until mid to late September.

Image Via vtsl.com

 
 

Image Via bardonthebeach.org