The Georgia Straight - PuSh Festival - Jan 17, 2019 by The Georgia Straight

JANUARY 17 - JANUARY 24 / 2019 | FREE Volume 53 | Number 2661

CANNABIS ODOURS How filtration can help

DRONE RULES Exam is not simple

DINE OUT VANCOUVER Newcomers for 2019

PuSh Festival

Local composer Joelysa Pankanea puts her talents to a new live score for the classic film Bicycle Thieves; plus, Hamlet with sign language, Javanese rhythms, and much more from around the globe

GERMAN WINES || ROBERT CONNELY FARR || NASAL NARCAN

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At the PuSh fest, music multitasker Joelysa Pankanea tackles a film score.

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CONTENTS

By Alexander Varty Cover photo by Shimon Karmel

NEWS

A UN commission has raised serious concerns about the Site C Dam and Trans Mountain pipeline project. By Travis Lupick

10 TECHNOLOGY

VA N C O U V E R ’ S P R E M I E R E

A BCIT-based drone pilot is wary of how Transport Canada’s new rules will impact new device owners.

E N T E R TA I N M E N T D E S T I N AT I O N

By Kate Wilson

13 FOOD

There are a bunch of newcomers participating in the Dine Out Vancouver Festival 2019, and here are eight. By Tammy Kwan

27 MUSIC

With his authentic and gritty Dirty South Blues, Vancouver’s Robert Connely Farr masters an ancient art form straight from the juke joints of Bentonia. By Mike Usinger

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e Start Here 24 ARTS HOT TICKET 13 THE BOTTLE 11 CANNABIS 28 CONFESSIONS 11 HEALTH 12 HOROSCOPES 24 I SAW YOU 25 MOVIE REVIEWS 9 REAL ESTATE 31 SAVAGE LOVE 23 THEATRE

e Online TOP 5

e Listings 24 ARTS 28 MUSIC

Vancouver’s News and Entertainment Weekly Volume 52 | Number 2661 1635 West Broadway, Vancouver, B.C. V6J 1W9 T: 604.730.7000 F: 604.730.7010 E: gs.info@straight.com straight.com DISPLAY ADVERTISING: T: 604.730.7020 F: 604.730.7012 E: sales@straight.com

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Video: Internet is buzzing about Katelyn Ohashi’s perfect 10. Reno battle pitches Jimmy Page against ex-boy-band guy. Justin Trudeau defends transfer of Jody Wilson-Raybould. Dragons’ Den star Manjit Minhas reveals how to build a business. Canadian sentenced to death for drug smuggling in China.

GeorgiaStraight @GeorgiaStraight @GeorgiaStraight

The Georgia Straight is published every Thursday by the Vancouver Free Press Publishing Corp. Copies are distributed free every week throughout Vancouver, Burnaby, North and West Vancouver, New Westminster, and Richmond. International Standard Serial Number ISSN 0709-8995. Subscription rates in Canada $182.00/52 issues (includes GST), $92.00/26 issues (includes GST); United States $379.00/52 issues, $205.00/26 issues; foreign $715.00/52 issues, $365.00/26 issues. Contact 604-730-7087 if you wish to distribute free copies of the Georgia Straight at your place of business. Entire contents copyright © 2018 Vancouver Free Press, Best Of Vancouver, Bov And Golden Plates Are Trade-Marks Of Vancouver Free Press Publishing Corp. SUBMISSIONS The Straight accepts no responsibility for, and will not necessarily respond to, any submitted materials. All submissions should be addressed to contact@straight.com. Canadian Publications Mail Agreement #40009178, return undeliverable Canadian addresses to The Georgia Straight, 1635 West Broadway, Vancouver, B.C, V6J 1W9

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6 THE GEORGIA STR AIGHT JANUARY 17 â&#x20AC;&#x201C; 24 / 2019

NEWS

UN body miffed by B.C. megaprojects by Travis Lupick

Referencing the Site C Dam, a UN commission says Canada is likely failing to meet commitments to Indigenous peoples.

United Nations commis- federal Liberal government’s “Recsion has released a trio of ognition and Implementation of letters it recently deliv- Indigenous Rights Framework”, a ered to Canada that warn the country is likely failing to meet its commitments to the rights of Indigenous peoples. Two of the letters concern infrastructure projects underway in British Columbia. Those are the Site C Dam, a massive hydroelectric project under construction on the Peace River in northeastern B.C., and the Trans Mountain pipeline expansion project, which will carry diluted bitumen from the Alberta oilsands to a port in Burnaby. The March on Vancouver happens “The realization of the Site C dam on Saturday. Amanda Siebert photo without free, prior and informed ARE YOU SICK of Trump, consent, would permanently affect sexism, and racism against the land rights of affected indigenIndigenous people? Then ous peoples in the Province of Britthe March on Vancouver ish Columbia,” the first letter from is the right ticket for you. the United Nations Commission It will begin at 10 a.m. at on Human Rights (UNCHR) reads. the Vancouver Art Gallery “Accordingly, it would infringe inon Saturday (January 19) digenous peoples’ rights protected with speeches and performunder the International Convention ances. This will be followed on the Elimination of All Forms of by a march to the courts on Racial Discrimination.” Howe Street, carrying the The second letter makes the message that women’s rights same point about the Trans Mounare human rights. With a tain pipeline project, which the federal election later this Justin Trudeau government puryear, don’t be surprised to chased from Kinder Morgan Cansee a few MPs or wannabe ada for $4.5 billion in August 2018. MPs on hand. Similar events “The Trans Mountain Pipeline will take place in many Expansion Project without free, other Canadian cities on the prior and informed consent, would same day, coinciding with permanently affect the land rights of the annual Women’s March Secwepemc people and, as a result, in Washington, D.C. g would infringe their rights,” it reads. The third letter relates to the

Protest

OF THE WEEK

proposed law with which Trudeau has said he wants to enshrine Indigenous rights in federal law. All three documents are signed by the chair of the UNCHR’s Committee on the Elimination of Racial Discrimination, Noureddine Amir, and addressed to Rosemary McCarney, Canada’s ambassador to the UN. They are dated December 14, 2018, but were not available online until earlier this month. Sheryl Lightfoot is an associate professor with UBC’s First Nations and Indigenous studies program and senior adviser to the UBC president on Indigenous affairs. She told the Straight that these letters describe a problem at the very core of Indigenous peoples’ right to self-determination. “In settler colonial societies, unfortunately, a set of laws developed from the colonial period to the present—there has been some consistency—that have negated or attempted to negate Indigenous peoples’ inherent sovereignty,” she explained. “But…title does actually exist and those rights are preexisting the colonial state and the technical state of Canada that developed out of it. “And so what we have in front of us is inconsistency,” Lightfoot continued. “We have a state [Canada] trying to assert sovereignty and absolute sovereignty over territory; meanwhile, we have recognition, in a conflicting way, of Indigenous peoples’ fundamental rights and title. “We have a confused array of policies where this inconsistency plays out. That’s what we are seeing in front of us right now in B.C.” g

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HOUSING

Point Grey sales brought up at hearing

by Charlie Smith

single-family house in Point Grey reflects the roller-coaster state of Vancouver’s real-estate market. In 2018, B.C. Assessment valued the property at 4765 Drummond Drive at almost $18.1 million. The 0.35-hectare site includes an 8,830-square-foot home built in 1911. The 2018 assessment reflected B.C. Assessment’s evaluation of the market value on July 1, 2017. That prompted an appeal by Frederick J. Walker, who claimed that it was too high and not equitable to other properties in that part of Point Grey. This year, however, the assessment of 4765 Drummond Drive fell to $15.1 million. That’s a drop of more than 16

percent and less than what Walker was claiming to be the value of his property in his appeal last year. At that time Walker cited three nearby sales over a seven-month period, with prices ranging from $14 million to $15.5 million. The lowest-valued comparable property identified by Walker, a house at 4722 Drummond Drive, was significantly smaller than his property and included a house that was A valuable Drummond Drive home was less than half the size. Another comparable property, at the centre of an assessment appeal. a home at 4736 Drummond Drive, sold for $15.5 million in November The third property, at 4777 West 2017. Again, the lot and home were 2nd Avenue, sold for $14.1 million in smaller than Walker’s, but the site August 2017 with a similar-size lot but includes a four-car detached garage. a smaller house.

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B.C. Assessment responded by citing the sale of a smaller property across the street from Walker’s home, which was sold for almost $17.4 million in February 2018. According to B.C. Assessment records, 4765 Drummond Drive was the 155th highest valued residential property in B.C. and the 44th highest valued residential property in Point Grey in 2017. Walker maintained that the market value should have been between $15.5 million and $16 million on July 1, 2017. His second response prompted an objection from the assessor, who claimed that this submission included “new sales comparables” and contravened the board’s order.

Earlier this month, the Property Assessment Appeal Board sided with B.C. Assessment, upholding its 2018 valuation of nearly $18.1 million. “I am not satisfied that the assessment of the Property at market value is inequitable,” panel chair Chris Hope wrote in a decision on the board’s website. “Whether a particular property’s assessment increases from one year to another at a rate higher than its neighbours is not proof of inequity.” According to the Real Estate Board of Greater Vancouver, there were seven sales of detached properties in Point Grey in November 2018, with a benchmark sale price of just over $3.2 million. That was down 17.9 percent from the same month in 2017. g

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HIGH TECH

Tighter drone rules spell uncertainty

by Kate Wilson

n the wake of a two-day shutdown at the U.K.’s international Heathrow Airport after drones were spotted near runways, the Canadian government has announced new rules on flying the devices. Currently, few regulations exist to restrict those looking to launch their drones—known legally as unmanned air vehicles (UAVs)—into the sky. Anyone is able to walk into Best Buy and pick one up for as little as $130 and record footage of snow-capped mountains ready to post on Instagram. Although basic rules exist around where and how far to fly a drone, pilots are mostly left to use their own common sense. That all changes on June 1, when the new rules come into effect. Eric Saczuk, a geomatics engineering instructor at BCIT who uses drones for his research, is of two minds about how the new regulations will affect the UAV community. Saczuk, recently returned from a research trip in Antarctica, spent two weeks flying the devices in the extreme location to see whether or not they could feasibly be used to map the rapidly changing terrain. As a professional who has used drones for everything from cinematic projects to data collection, he has an authoritative insight into how the rules will change attitudes toward the devices. In his view, many of the regulations are geared toward making it harder for inexperienced pilots to fly. “What we’re seeing is that Transport Canada has now reduced the [number of] categories,” Saczuk tells the Georgia Straight by phone. “Before, there were the hobbyists: the model-aircraft types or those shooting footage for fun. Now they’ve amalgamated that into what we call recreational flying. The other category is the advanced users, which would be the commercial operators who are flying in cities and controlled airspace. The

BCIT drone pilot Eric Saczuk is wary of the new regulations. Photo by Eric Saczuk

new regulations mean that if you’re a recreational flyer, you have to pass the basic test and get your pilot certification. If you’re a commercial user, you’ll go for the advanced test. ” The exam, however, is not simple. “I took the test two days ago, and it’s definitely not a walk in the park,” he says. “The average person who just wants to go to a retailer, purchase a drone, and start flying it is not going to be able to pass. It’s very similar to a private pilot’s licence ground school, so there’s a lot of theory on weather, navigation, and airspace restriction. People will have to take a ground-school course to get the required knowledge.” As a result, retailers could see their drone sales start to drop. Enthusiasm for the devices has hinged on low costs and accessibility, but new flyers could now be deterred by the work involved in obtaining a licence and paying to register their drone with Transport Canada. Although the new regulations could discourage hobbyists, small businesses will also feel the pinch as the country cracks down on specific devices. “Unless a current company has one of the drones that are on the

Transport Canada compliance list, they won’t be able to fly it for commercial purposes after June 1,” Saczuk says. “From all of the messages I’m seeing, that’s becoming quite a bone of contention. For myself, I have a DJI Inspire 2 that I currently use— legally—for all sorts of commercial work. As of June 1, I don’t know whether I’ll be able to fly that drone. It’s a problem because UAVs can be expensive, and a lot of the drones on the compliance list are in the five figures. If we’re talking about having to invest between $20,000 and $40,000 in equipment, it’s going to put a lot of small operators out of business.” While the instructor applauds the comprehensive outline of fines that can be applied to those who fly drones irresponsibly, he remains apprehensive about how many drones will be available to the Canadian market come June. “I certainly feel that registration and pilot certification are steps in the right direction,” he says. “But I’m wary about whether the manufacturers will follow the Transport Canada rules and make their drones compliant and safe.” g

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HEALTH

CANNABIS

Nasal option promoted Company reduces odours in grow-ops to curb overdose deaths

“S

by Piper Courtenay

by Travis Lupick

his week, David Renwick, general manager of Adapt Pharma Canada, was in Metro Vancouver talking with people about the country’s overdose epidemic. His company is the Canadian distributor of Narcan Nasal Spray (better known in Canada by its generic name, naloxone), the so-called overdose antidote that’s used to save lives by blocking the effects of opioids. “We’re trying to create some noise at a grassroots level,” Renwick said in a telephone interview ahead of his trip to Vancouver. “It’s already available in Ontario without a prescription and completely free of charge to anyone. In Quebec, it’s also available to anyone over the age of 14, completely free.… But there is no political will right now in British Columbia.” The primary difference between Adapt Pharma’s Narcan Nasal Spray and the generic naloxone that’s already widely available for free in B.C. is the two products’ delivery systems. Generic naloxone is a liquid that comes in a vial. To use it, the individual responding to an overdose must snap off the top of a glass vial, load up an accompanying syringe, and then perform an intramuscular injection. As its name suggests, Nasal Narcan Spray comes ready to use and is administered via the nose. So it’s easier to use. Yet a number of Vancouver’s nonprofit-housing providers said they’re not especially eager to see their stocks of intramuscular naloxone replaced with nasal Narcan. RainCity Housing, Lookout Housing and Health Society, PHS Community Services Society (the Portland Hotel Society), and Atira Women’s Resource Society felt that Narcan Nasal Spray is nice to have as an

Adapt Pharma Canada figured out how to deliver naloxone through the nose.

alternative option, and they’ve paid out of pocket to have limited supplies at certain locations. But, in general, nonprofit-housing staff are accustomed to intramuscular naloxone and find that it’s working well. Dr. Jane Buxton, the B.C. Centre for Disease Control’s medical lead for harm reduction, said there are cost considerations. The BCCDC’s free naloxone kits cost the provincial government roughly $20 for an overdoseresponse package that contains three doses of 0.4 milligram of naloxone. Meanwhile, Adapt Pharma said it can supply its Narcan Nasal Spray devices for $46 for one dose of four milligrams of the drug. Buxton said the difference is partly because the formulation of naloxone adopted by B.C. is generic, whereas Adapt Pharma’s remains proprietary. Renwick noted B.C.’s fentanyl overdoses often require several 0.4-milligram doses of naloxone to block, whereas his company’s four-milligram doses usually work with just one administration. “You cannot equate one injectable vial to one nasal spray,” he emphasized. g

omeone’s tokin’ some reefer,” mused Adam Goldberg’s mullet-clad brainiac character, Mike Newhouse, in the cult 1993 stoner flick Dazed and Confused. Despite the subsequent beating he takes from Clint—a thug nostalgic for the greaser era—the scene points out one of the most recognizable brands of the subculture: the smell of weed. Almost everyone can immediately identify that skunky waft of citrus and diesel emitted from the cherry of a joint, often quickly dispelled by a gust of wind. Enter legalization, and now everyone in the province is allowed to legally grow and consume cannabis in their private residence (landlord permitting, for renters), and hundreds of producers are applying to license and build large-scale grow operations. Some joke about Vancouver’s latest bout of fog actually being pot smoke, but the concern about an increase in odour emissions from consumption and cultivation is legitimately on the minds of many policymakers and cannabis-industry professionals across the country. Debate still hovers around the validity of the concern, but municipalities and businesses are faced with quickly mitigating problems stemming from odour control—an issue one Ontario-based company promises to tackle with its latest air-filtration solution. With a patent-pending design and airtight elevator pitch, the founders of Blade Filters Inc. took home first place in a recent cannabis-startup pitch competition. Giancarlo Sessa and brothers Aedan and Joseph Fida create replaceable activated-carbon air filters for odour removal and filtration for greenhouses or indoor grows where plants emit volatile compounds. “Every time the carbon becomes exhausted in a unit and it’s no longer filtering out odour, you have to replace the entire thing,” Blade cofounder and chemical engineer Joseph Fida said of competing filters during the five-minute pitch to a panel of industry judges. “Keep in mind, at a recreational size alone, these filters range from nearly $130 to $500.” He said most cultivators, even at the micro level, often use more than one filter, and each only lasts up to 18 months. With stainless-steel cartridges, the company says it has created a quicker, cleaner, and more cost-effective alternative to the existing method, which requires companies to replace an entire filtration unit. The replaceable cartridges, which should reduce the cost of odour control by up to 30 percent, come in a range of sizes, making them an option for both home cultivators and large production facilities.

Blade Filters cofounders Joseph Fida, Giancarlo Sessa, and Aedan Fida (standing) came first in a Lift & Co. expo contest.

“In a microcultivation environment, and [in] municipalities around the [Lower] Mainland, we see a huge amount of concern around odour. There have been some bad actors in the licensed-producer [LP] space, and I think it’s really important that we give people a plug-and-play solution,” said Dan Sutton, a judge and founder of Tantalus Labs, a B.C.-based LP. The competition was a featured segment during the 2019 Vancouver Lift & Co. expo over the weekend. The annual industry-focused cannabis conference plays host to thousands of guests, all eager to hear about the latest research and innovation from the sector’s top experts and exhibitors. “We determined that over 50 percent of consumers have actually tried to replace the carbon in their filters, and all of them encountered the same problems: it’s very difficult to do, creates a mess, and they can never pack the carbon as well as the manufacturer,” said Sessa, adding that the company’s recycling program also makes its system more environmentally friendly. The Blade Filters team won several startup resources, including private consulting sessions with a cannabisstartup accelerator, Leaf Forward, and $3,000 in advertising with Lift & Co. “There’s an industry joke that says cannabis isn’t green,” said Blade cofounder Aedan Fida. “We’re changing that, one filter at a time.” g

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HOROSCOPE

ow through the end of next week brings the action peak of the month. The exceptional could come to pass. Friday opens with Venus/Mars creating relationship ease and harmony. Action/response mechanisms are in good shape too. Mercury aligned with Pluto in Capricorn puts ambition into play in some productive and well-thought-out way. Get to the point; take care of business; get it sorted out, nailed down, completed, or formalized. Leave the work at the office. By evening, sun/Uranus is ready to shake it off or stir it up. Friday’s sun/Uranus trigger is a precursor for Sunday’s delivery package. Aquarius month begins with the sun’s ingress on Sunday at 1 a.m. PST and a total lunar eclipse in Leo at 9:16 p.m. PST. It is also a supermoon, so expect the moon to glow even brighter. The eclipse sparks something of greater than usual impact regarding relationship, social, political, geophysical, or weather action. The super full moon in Leo holds exceptional creative and karmic potency. It brings to life that which has been on brew but that has not yet seen the full light of day. This eclipse can bring to fruition that which has been in the works for the past 18 months. You/we/it could make a breakthrough of significance and/ or find yourself on an emancipation track. Venus/Neptune can lift a veil, expose more, and put imagination or romance into play. Mars/Saturn surpasses a wall or a roadblock. Tuesday’s Venus/Jupiter continues to keep everything on the abundance upswing.

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ARIES

March 20–April 20

Ready, set, fire away! Mars in Aries is in optimum takef light activation (trine aspect) with Venus on Friday and with Jupiter next Friday. Mars is working with Sunday’s super lunar eclipse in Aquarius. Watch for something unexpected, exceptional, or lifealtering to fast-track you, especially so if you are born on or near March 21 or April 4 or 5.

*Some Exceptions Apply.

VIRGO

August 23–September 23

Subtle, obvious, or out of the blue, ample potential is on brew. Sunday’s super full-moon eclipse can take you to a place you did not expect. Don’t let the uncertainty hold you back. What is on a natural and full swing could be pointing you in the direction of your next best thing. Courage and initiative are your best play.

LIBRA

September 23–October 23

Something compelling or motivating can overtake you Friday. Let it. By evening, it’s time to shift gears. Whether you have plans for the weekend or not, watch for the stars to fill your dance card. Gaining traction on Friday and spilling over into the week ahead, Sunday’s super full-moon eclipse can take the mind, heart, or wallet someplace you didn’t expect.

SCORPIO

October 23–November 22

Your career can hit a significant takeoff trajectory. Your personal life can too. You will feel the fullest breakthrough effect of Sunday’s eclipse if you are born on or near October 23. Yes, put it on show. Special recognition can come your way. Experiment; be first; go with your gut. Mars keeps you on the cutting edge/a step ahead of the curve.

SAGITTARIUS

November 22–December 21

June 21–July 22

Whether you reach a breakpoint, a light bulb f lashes, or inspiration stokes your fire, watch for the super lunar eclipse in Leo to trigger something significant. It sets fertile conditions for you to make a break for it and/or to move yourself to higher ground. Seize opportunity; trust your instincts; go for it. A creative solution or saving grace could make your day.

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unexpected, exceptional, lucrative, perhaps even life-altering can overtake you. Someone could show up, take an exit, or surprise you. You’ll gain great fuel from Mars, Venus, and Jupiter if your birthday falls on or near August 7.

You are growing by leaps and bounds. It is too. Venus and Jupiter in Sagittarius keep the trend and the opportunity on an escalation track. Sunday’s super lunar eclipse sets the action on an acceleration fast track. Mars in Aries keeps your hotness on fire through the end of next week. Take TAURUS your best shot. Travel by plane, April 20–May 21 pen, stage, microphone, mind, Sunday’s super lunar body, heart, or soul! eclipse can be an eye opener. It CAPRICORN can awaken a part of you that has December 21–January 20 been elsewhere for quite some time. Getting something new You can reach a breaking point or a breakthrough of significance. off the ground? Venus, Jupiter, A realization, an opportunity, a Mars, and Sunday’s strike-it-rich creative inspiration, someone or super eclipse hold great promise. something taking you by surprise: Watch for a big reveal or for someonce it is set in motion, there’s no one to hit the action switch. A new love, passion, or financial opporturning back. Catch the wave. tunity gains excellent traction right GEMINI out of the starting gate. What’s hot May 21–June 21 is hot; don’t dwell on what’s not. Your hope, faith, and AQUARIUS investment can see a payoff. SynJanuary 20–February 18 chronicity and karmic destiny are Anything goes! Sunday’s working together. Watch for good news, a favourable result, or a good strike-flint super lunar eclipse can show on something that looks take you by surprise; someone could promising. Something long awaited be the catalyst. The sudden, opporcan come to fruition or reveal more tune, lucrative, exceptional, or lifeof its true worth. It’s an excellent altering could come to pass. This one time for a fresh page. Take a risk on is especially for you if your birthday falls on or near January 20. Friday, something or someone new. Sunday to Tuesday, and next Friday, CANCER take your best shot!

w o rr o m o T s t r a t S A

JANUARY 17–23, 2019

by Rose Marcus

LEO

July 22–August 23

Things are about to get exciting. Sunday’s supermoon eclipse will hit with maximum cut-to-the-chase impact if you are born on or near July 22. Something

PISCES

February 18–March 20

Neptune has kept the potential and the uncertainty going for quite some time. Now through the end of next week, the eclipse thrusts it/you into high gear, perhaps unexpectedly so. Good news travels fast. Opportunity does too. It’s breakthrough time! Travel; reinvent; dive into something fresh and new. Trust your gut instincts. Monday/Tuesday, success comes readily. g Want to know more about how the eclipse will unfold for you? Book a reading or sign up for Rose’s free monthly newsletter at rosemarcus.com/.

FOOD

Dine Out newcomers worth exploring

by Tammy Kwan

COQUILLE (181 Carrall Street, $35 to $45)

Gastown’s newest seafood establishment made its debut in February 2018 sporting a chic design with a nautical theme. Sit in one of its pink clamshell booths and indulge in its Dine Out lunch or dinner menus, which feature items like fresh oysters, ceviche, Dungeness crab perogies, and roast scallops. Finish off with a dessert such as baked rice pudding or soft-serve sundae. BREWHALL (97 East 2nd Avenue, $15)

At the location formerly occupied by Steel Toad Brewery, Brewhall opened to Vancouver’s craft-beerloving crowd last summer. The massive space has since become a popular spot that offers food, drink, and arcade games. Its Dine Out dinner menu allows food lovers to choose a burger, from BBQ smokehouse to Korean fried chicken to crunchy Portobello. Pair it with a side of crinkle-cut, curly, or extra-dirty fries and finish off with your choice of cinnamon-sugar or pumpkin-spice mini doughnuts. LOT185 CAFÉ + WINE BAR (1055 Canada Place, $35)

Located right next to Jack Poole Plaza, this Vancouver Convention Centre food spot is a coffee bar by day and wine bar at night. Its Dine Out dinner menu will showcase a variety of dishes made with local and seasonal ingredients, including classic lobster bisque, seared Fraser Valley duck

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he 17th annual Dine Out Vancouver Festival (January 18 to February 3) recently revealed this year’s list of participating dining spots, and reservations are already in full swing. For food lovers who aren’t sure where to book a table, we’ve compiled a list of new restaurant additions to Canada’s largest food-and-drink celebration. From classic burger-and-beer joint to Japanese eatery to seafood establishment, here are eight newcomers to try for Dine Out 2019. (Some of the following are walk-in only.)

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Gastown seafood place Coquille is one of the new additions to the Dine Out roster.

breast, Cabernet-and-cane-sugar- making a return this year, and guests braised Angus boneless short ribs, will find a curated dinner menu for its Dine Out run: think beetroot with and chocolate mousse. caramelized honey and buffalo-milk POPINA CANTEEN ricotta; smoked-ham-hock gnocchi (1691 Johnston Street, $15) with leek, scallion, and Parmesan; This Granville Island shipping-contain- and a chocolate torte with poached er eatery made headlines when it opened apple and crème fraîche sorbet. last year, with a fast-casual menu that caters to local and international appe- SOPRA SOTTO PIZZERIA tites in the tourist-heavy destination. (1510 Commercial Drive, $35) Created by four of Vancouver’s biggest If you enjoy fuss-free Italian fare, chefs, Popina will offer a lunch and din- check out this relatively new Drive ner menu for Dine Out. Go for items eatery with a simple and laid-back inlike grass-fed B.C. beef cheeseburger, terior. Highlights of its lunch and dinhouse-made falafel sandwich, shoestring ner Dine Out menus include antipasto or yam fries, and, for dessert, its popular served with freshly baked focaccia, tagliatelle with truffle sauce and mush“puffcream” of the day. rooms, and spaghetti with mussels and RESTAURANT YUGO clams. Desserts range from tiramisu to (4265 Main Street, $45) flourless chocolate cake to tora della Tucked away in Mount Pleasant is this nonna (lemon-flavoured custard with dining spot that specializes in Japanese a shortbread crust). cuisine with hints of French flavours. Its Dine Out dinner menu features appetiz- VERRE RESTAURANT ers like king-salmon-and-albacore cru- (550 Denman Street, $45) do and beet-and-daikon-roll salad, with Coal Harbour’s new and sleek Verre main-course options such as seafood Restaurant will be participating risotto or omakase (chef’s choice) nigiri in Dine Out for the first time, and and aburi oshi (flame-seared pressed guests will enjoy its French-meetssushi). Desserts like deep-fried man- Mediterranean menu inside a space tou (Chinese steamed bun) and mango that showcases a jewel-box design. Its festival offerings begin with mushcheesecake are also on offer. room-and-black-truffle duxelles. ROYAL DINETTE Other featured items include fish (905 Dunsmuir Street, $45) soup, gnocchi arrabiata (spicy pasta Although this downtown Vancouver sauce) with Parmesan, and lingcod farm-to-table joint has been around with fingerling potatoes. Go for the for a few years, it took some time off Key lime tart or crème brûlée to finfrom the annual food festival. It’s ish your meal. g

Selbach’s wines are cellar-worthy

by Kurtis Kolt

’ve just returned from a fantastic dim-sum lunch at Victoria Chinese Restaurant in downtown Vancouver’s Royal Centre. Johannes Selbach, the winemaker and family proprietor of Germany’s lauded Selbach-Oster winery, returned to visit Vancouver, and I was sitting in on a lunch he was hosting with master of wine Barbara Philip, the European category manager at B.C. Liquor Stores, along with a couple dozen of their product consultants. As we tucked into pan-fried mini pork buns and house-roasted Peking duck, Selbach was refreshing all in attendance on his family’s terroir-driven wines from Mosel and mentioning that we’ll be seeing some great bottlings of vintage 2018 in coming years. “With German Riesling, wine enthusiasts have a wonderful opportunity,” he stated. “It’s one of the last segments of premium European wine that is still coming in at an incredible bargain, whether you’re buying wine for consuming right now or laying them down to enjoy down the road.” It’s very true. We look at the astronomical prices commanded by wines from places like Barolo, Burgundy, and Bordeaux, well into the hundreds or thousands of dollars, and yet so many top-tier German Rieslings are coming in at well under a hundred bucks. I’ve personally put my money where my mouth is. Like most Vancouverites, I don’t have a lot of disposable income to be dropping on flashy icon wines, and our 500-squarefoot apartment doesn’t leave much room for wine storage, either. The one thing my wife and I try to cellar, though, is Riesling. Most of the small collection we have is wines purchased between $30 and $40 mark, and should be good laying down at least a dozen or couple dozen years. Willpower, or lack thereof, has also meant when we do opt to pop a cork or twist a cap, any of ’em is ready to go right now. Selbach’s wines are phenomenal examples of place and time, full of charm and charisma, and very deserving of spots in your cellar or in your glass tonight. Here are some favourites.

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Selbach-Oster proprietor Johannes Selbach and B.C. Liquor Stores master of wine Barbara Philip. Photo by Kurtis Kolt

apricots but still finishes rather dry. There is a gentle kiss of sweetness balancing out the striking acidity, coming from a dosage of older Auslese Riesling before the cork goes in the bottle. A stunning wine that turned a lot of heads. The bad news is that there’s only the smallest smattering of this wine left in B.C. Liquor Stores, a little bit each in Port Coquitlam and Kelowna (although you can request product transfers between stores). The good news is there’s more on the way and it’s likely to be here in time for summer.

2018 Opentable Diner’s Choice Award

2018 Zagat Rated

SELBACH-OSTER PINOT BLANC 2017 (Mosel, Germany; $31.99, B.C. Liquor Stores)

Aromatics of elderflower and violets lead to a palate full of starfruit, Asian pear, and guava, with a little green alSELBACH-OSTER RIESLING BRUT 2014 mond rounding it out. It’s clean as a whistle, will work (Mosel, Germany; $35.99, B.C. Liquor Stores) great as an apéritif, and shines a spotlight on an unsung This traditional-method, or Champagne-style, spar- but very worthy variety. see next page kling wine overflows with jasmine, honeyed peaches, and

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COMING UP AT THE VANCOUVER SYMPHONY JAN

VSO NEW MUSIC FESTIVAL JAN 16, 17, 18, 19

From the “the loveliest apocalypse in musical history” to a meditation on birdsong, the VSO’s 6th Annual New Music Festival explores the state of our world today during four days of musical discovery. Featuring the music of John Luther Adams, Nicole Lizée, Claude Vivier, Emily Doolittle, and many more.

FEB 8 CZECH BEAUTY: THE MOLDAU

INSIDE THE SYMPHONY The second concert in the VSO’s fun new afterwork series, featuring guest conductor Brett Mitchell and two of the best-loved Czech pieces: Smetana’s The Moldau and Dvořák’s Symphony no. 8. Join us for Happy Hour and a post-show mix and mingle with the musicians.

NMF

FEB 13 STRINGS, SONATAS & SEXTET 14/17 VSO CHAMBER PLAYERS

2019 VANCOU VE R SYM P HONY ORCHESTRA NEW MUSIC FESTIVAL

The Chamber Players shine a spotlight on strings with Gorecki’s highly virtuosic, Bartók-inspired Sonata for Two Violins, Ravel’s strikingly spare Sonata for Violin and Cello, and Dvořák’s energetic Sextet for Strings, written during the composer’s Slavic period.

JAN 16 – 19, 2019

FEB MOZART: THE MAGIC FLUTE 15/16 MASTERWORKS DIAMOND

Praised worldwide for his exceptional virtuosity, poetic playing, and intellectual depth, Chad Hoopes is a young violinist well on his way to the very top of his profession. He performs Dvořák’s masterpiece Violin Concerto, in a concert that also features one of the greatest symphonies ever written, the Fourth Symphony of Johannes Brahms.

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SELBACH-OSTER ZELTINGER HIMMELREICH RIESLING KABINETT HALBTROCKEN 2015 (Mosel, Germany; $29.99, B.C. Liquor Stores)

Put on your sunglasses for this one. The steep, south-facing Zeltinger Himmelreich vineyard is planted in coarse slate with elements of loam and alluvial soils. It produces a remarkably bright and shiny wine with zippy lime, pomelo, and pink grapefruit and a lofty arc of acidity keeping that fruit buoyed at great heights. A mouthwatering, delightful wine that’ll induce many a grin. SELBACH-OSTER ZELTINGER SONNENUHR RIESLING SPÄTLESE 2016 (Mosel, Germany; $39.99, B.C. Liquor Stores)

We’re getting a little sweeter with this one, but the lively acidity keeps it from coming anywhere near any cloying heaviness. Ripe Gala apple and Bosc pear are topped up with a dollop each of orange marmalade and lemon curd, then a hint of buckwheat honey on the finish. We’ve now entered the realm where spicy foods can start hitting the table. SELBACH-OSTER ZELTINGER SONNENUHR RIESLING AUSLESE 2016 (Mosel, Germany; $28.99 for 375 millilitres, B.C. Liquor Stores)

Same vineyard, but the grapes are left to hang on the vine a little bit longer and are starting to develop a little botrytis, or noble rot, concentrating all of that fruity goodness. Think caramelized orange rind, fresh-squeezed blood orange, apricot jam, and orangeblossom honey. A brilliant wine with lots of life to it; it’s enjoyable if you’re pulling the cork tonight, but it should also last a good 50 years. Not a typo. Oh, and speaking of great value: pick up one or two of these and head to Victoria Chinese Restaurant; I’ve just learned their corkage charge is a measly 10 bucks. Cheers to that! g

rink D OF THE WEEK ELISA WOOD-FIRED GRILL bartender Devin McKeigan is taking her Mi Luz cocktail to the Canadian finals of the Bacardi Legacy Cocktail Competition in February. The drink’s inspiration comes from her love of the hospitality industry, which, to her, is like family. “Mi Luz embodies the light that we all have inside and how we let it shine when fuelled by passion and the people around us,” McKeigan says. “Like a lighthouse, our light within leads the way through life and continues to burn strong when we stand tall and together.” MI LUZ 2 oz Bacardi Añejo Cuatro ¾ oz Martini Bianco ¾ oz apple-rich Demerara (Using equal parts apple juice and Demerara sugar, boil juice; add sugar and stir; remove from heat.) 2 dashes Scrappy’s Seville Orange Bitters 2-3 spritzes of salted caraway solution (Boil 4 parts water. Add 1 part salt. Stir till dissolved. Remove from heat. Add approximately 4 heaping tablespoons of caraway seeds. Infuse for 24 to 48 hours.)

Put all ingredients except the salted caraway solution into a mixing glass. Add ice. Stir to dilution. Strain into tulip, snifter, or desired glassware. Spritz with salted caraway solution. by Gail Johnson

BILINGUAL ENGLISH NG GLISH AND AND ASL ASL INTEGRATED THROUGHOUT

PRINCE HAMLET Radically updated! Wildly inclusive! Shakespeare like you’ve never seen it before!

JAN 23-27 | FR EDER IC WOOD TH EATR E @ UBC

G E T Y O U R T I C K E T S T O D AY AT 14 THE GEORGIA STR AIGHT JANUARY 17 – 24 / 2019

PUSH FEST

Composer Joelysa Pankanea (right, photo by Shain Roe) does everything from play the marimba to write scores for choirs, but now she’s turning her skills to Vittorio De Sica’s beloved 1948 film, Bicycle Thieves (left).

Giving Bicycle Thieves a musical tune-up

by Alexander Varty

s there anything Joelysa Pankanea can’t do? The 41-year-old composer has won multiple awards for her work in musical theatre. She’s written scores for films, for chamber ensemble, and for choir. She’s trained as a classical pianist, is an expressive performer on the marimba, and is increasingly exploring the world of electronic music. But, she says, she can’t sing. She might be lying. Over the phone from her West End home, Pankanea warbles the main theme from her new adaptation of Vittorio De Sica’s 1948 film Bicycle Thieves, and while she has a small voice compared to some of the belters she’s written for, it’s clear and true. And that melody! Pankanea’s wistful, waltz-time tune is somehow both fresh and nostalgic, which makes it a perfect fit for De Sica’s black-and-white masterpiece. An early and acclaimed example of Italian neorealism, Bicycle Thieves depicts a family trying to survive amid the rubble of post-Mussolini Rome, where owning wheels, even pedal-powered ones, can mean the difference between eating and not. In today’s crumbling economy, there are parallels to be drawn, but De Sica’s formal innovations also keep his images relevant. Working without sets, often using ordinary people rather than trained actors, he blurred the line between drama and documentary in a way that still inspires filmmakers today. Pankanea’s initial response to Bicycle Thieves was more emotional than intellectual, however. Her project, which involves wiping the original soundtrack and adding both a quartet of live narrators and her own original score, was commissioned by former PuSh International Performing Arts Festival artistic director Norman Armour. “What he basically asked me to do

was create a live score to a film, and it had to be an old, iconic, public-domain film,” Pankanea explains. “But it could be any film that I wanted, from any country.…Not being a huge movie-history buff myself, I didn’t really know where to start, so I just started asking people for recommendations.” She quickly realized that Bicycle Thieves fit the bill. “Within the first half an hour of the film I was

completely locked in—I just couldn’t get my eyes away from the screen,” she says. “And by the end I was all teared up, and I just knew this was the film I was going to do. It was sad enough for my music—for some reason I just gravitate towards really, really sad music, so there’s that. And I knew that this was a film I could watch a hundred times over and not get tired of seeing. “It’s just such a simple story,” she

continues. “The humanity in it, the hope, and also the feeling of having your hopes completely dashed. That’s just a human thing; it happens to all of us.…And I just loved how real it was.” There was only one problem: Alessandro Cicognini’s existing score, which at the time must have seemed as revolutionary as the images it accompanied. “It’s so fantastic,” Pankanea comments. “The main theme is

PUSH FEST TIP SHEET HERE ARE SOME of our strongest recommendations among the PuSh International Performing Arts Festival’s main-stage performances. The interdisciplinary array of shows happens around town from Thursday (January 17) to February 3. d SALT. (January 24 to 27 at the Roundhouse Community Arts and Recreation Centre) One of the most resounding images from Selina Thompson’s critically lauded one-woman show is of her sledgehammering a giant chunk of the title substance. But she also shatters ideas about colonialism, racism, and history as she relates her deeply personal journey retracing the transatlantic slave triangle from Britain to Ghana to Jamaica and back. It’s an arduous feat: at one point she crosses the bumpy sea in a windowless cabin, determined to track the trauma that echoes into this century. d KIDS (January 24 to 26 at the Scotiabank Dance Centre) Freakish. Daring. Cathartic. Primal. These are just some of the words viewers reach for to describe the all-out movement in young Taiwanese dance artist Liu

Kuan-Hsiang’s Kids. But the daring trip into the sometimes grotesque extremes of the body’s capabilities is far from just a physical exploration. Set to conversations (with subtitles) that the performer-choreographer had with his mother in the days before she died, it’s a sharp-eyed look at mortality, and the struggles and release the body goes through as it transitions beyond this world.

the Vogue Theatre) The legendary bandit takes operatic form in this spectacle from Austin composer Graham Reynolds and the librettists at Mexican theatre company Lagartijas Tiradas al Sol. The story of the famous revolutionary comes to life with video projections, two singers, and six instrumentalists, drawing from Tejano and Mexican musical forms.

d KIINALIK: THESE SHARP TOOLS (January 30 to February

2 at Performance Works) Anyone who’s seen Greenlandic mask dancer Laakkuluk Williamson Bathory perform in Tanya Tagaq’s haunting video for “Retribution”—a howling indictment of environmental destruction— knows she’s spellbinding. Now, in another exciting collaboration, the Nunavutbased artist is joining queer theatremaker Evalyn Parry on-stage. Having met on an Arctic expedition, they combine their fierce talents for storytelling and music with video elements to speak to climate change, colonial history, and more.

PANCHO VILLA FROM A SAFE DISTANCE (January 31 at

ZVIZDAL (CHERNOBYL— SO FAR, SO CLOSE) (January

31 to February 2 at the Roundhouse Community Arts Centre) This is exactly the kind of show we love PuSh for: one that defies easy categorization, and that you would never otherwise get the chance to see. In this case, Zvizdal falls somewhere between documentary film, art installation, and performance. The title refers to a haunting town inside the radiationplagued Chernobyl exclusion zone. Antwerp-based art collective BERLIN and journalist Cathy Blisson have spent years documenting the elderly couple that still lives there, utterly isolated from the rest of the world and refusing to leave. The show blends live shots of three tiny models of the pair’s homestead with projected video footage for a rich and intimate portrait.

by Janet Smith

so catchy and beautiful and balanced that the very first time I watched it, when I chose it, I immediately knew ‘Uh-oh, I cannot listen to this film with the sound on ever again.’ And I didn’t. I watched it with the sound off, and I worked out all my themes with the sound off. It took me a little while to get the original theme out of my head, but eventually my own little quasi-Italian folk song that I’ve based the entire score on just came out.” At PuSh, Pankanea’s music will be interpreted by an all-star sextet of violinist Molly MacKinnon, cellist Marina Hasselberg, bassist Mark Haney, pianist Emily Jane King, and percussionists Martin Fisk and Michael Simpsonelli, with the last doubling on mandolin and guitar. “I wanted to have a pad of strings, because I wanted to create that sort of cinematic feel,” the composer explains. “So I split the band into half strings and the other half were instruments that I thought could pull out that folk feel whenever I needed it.…So with that dynamic I could go into the folk stuff, I could do sort of comical moments, and I could get really serious as well. I thought it was the perfect instrumentation.” And not only will Pankanea bring her compositional flair and directorial savvy to Bicycle Thieves, she’ll also bring part of herself. She’s no stranger to unsettled societies, having spent her first decade in Nairobi, Kenya, at a time when prejudice against South Asians was rampant. Living in an environment that “bred a sort of fear” might explain why she’s so drawn to the sound of sorrow—and why she’s a great choice to revive De Sica’s saga of hunger, worry, and crime. g The PuSh International Performing Arts Festival presents Bicycle Thieves at Performance Works next Saturday and Sunday (January 26 and 27).

JANUARY 17 – 24 / 2019 THE GEORGIA STR AIGHT 15

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March 2019 acting classes Registering now!

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BLOOD ON THE DANCE FLOOR BY JACOB BOEHME “RESOUNDS WITH THE PULSE OF LIFE.” THE SYDNEY MORNING HERALD FEBRUARY21–24, 6–9 8PM NOVEMBER SFU GOLDCORP NOVEMBER 24, 2PM CENTRE FOR THE ARTS

November 22, 2018, 8pm: Presented in French | Présenté en français November 24, 2018, 2pm: Performed with ASL Interpretation

TICKETS SELLING FAST!

SFU GOLDCORP CENTRE FOR THE ARTS Warning: Adult concepts (sexual & drug references), coarse language, loud music.

HAVE YOU BEEN TO...

SE ASON PAR T NERS

Pacific Institute of Culinary Arts

SE ASON PAR T NERS

DORINE BL AISE, PHOTO

picachef.com

18 THE GEORGIA STR AIGHT JANUARY 17 – 24 / 2019

PUSH FEST

Javanese music drives Attractor’s frenzy

GLOBAL DANCE CONNECTIONS SERIES

by Janet Smith

COMPANY 605 CANADA

LOOP, LULL

January 21-22, 28-29 | 7pm

LIU KUANHSIANG TAIWAN

KIDS

January 24-26 | 8pm

Australia’s Dancenorth builds to a trancelike fervour in Attractor, propelled by the duo Senyawa. Photo by Gregory Lorenzutti

chance to get a sense of what that force feels like, joining the hourlong, atavistic fervour for the last 20 minutes of each performance in its visit to the PuSh International Performing Arts Festival. In their culture-crossing collaboration with the company, choreographers Lucy Guerin and Gideon Obarzanek drew inspiration from Obarzanek’s experiences in Indonesia, where he took part in traditional Javanese rituals that lead participants into deep trances. With Attractor, they sought to create a similar effect in a secular way. “From the outset we were quite confident that we couldn’t re-create what Gideon did in Indonesia, and we’re not attempting to have a sincere trance state,” says Page. “We’re using some of the constructs, like durational practice, but we’re not inducing a trance in the dancers or the audience. That said, the dancers do enter quite a heightened state. It’s such a profoundly total experience as a performer.” Senyawa brings its own, unique take on Javanese folk music to the

party, using handmade, electrified stringed instruments crafted from salvaged bamboo and timber, and adding vocals that build like operameets-metal. With very little preparation, the volunteer guests propel themselves into the ecstatic release of the show—and it’s infectious enough that other audience members often can’t stay seated either. The piece breaks down walls between cultures and between spectators and performers. And, for Page, it is what dance, and Dancenorth, is all about. “We’re so far away from the dance community that we have this sense of agency and freedom,” he suggests. “We’re interested in asking something of the audience. And it’s a beautiful thing: because random people from every city we visit take part, every night is so different.” g The PuSh International Performing Arts Festival presents Attractor at the Vancouver Playhouse on Friday and Saturday (January 18 and 19).

VICTORIA HUNT AUSTRALIA

COPPER PROMISES: HINEMIHI HAKA January 31-February 2 | 8pm

Photo credits top to bottom: David Cooper/Etang Chen/Heidrun Löhr

uelled by the punk-neotribal rhythms of Javanese duo Senyawa, Attractor’s dance builds to a trancelike frenzy. Performer Kyle Page, artistic director of Australia’s Dancenorth company, says its convulsive choreography is every bit as pummelling as you might expect. The trick is to click into your higher gear. “The biggest challenge is the unrelenting physical demands this piece places on the dancers,” the affable artist says over the line from the 33-year-old company’s remote home in North Queensland, a scenic spot perched between the Great Barrier Reef and the tropical forest. “It makes huge demands. But it is incredibly cathartic and you step into a place where that energy can generate and cultivate itself. “One of the key drivers is absolutely the live music and the interplay between the performers and musicians,” he explains. “It’s almost like centrifugal force.” Twenty Vancouver volunteers from the audience will have the

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FROM A SAFE DISTANCE Part Rock. Part Opera. All Mexican Revolution.

JAN 31 8PM | VOGUE TH EATR E

G E T Y O U R T I C K E T S T O D AY AT JANUARY 17 – 24 / 2019 THE GEORGIA STR AIGHT 19

PUSH FEST A radically inclusive Prince Hamlet

THE KING’S SINGERS

ROYAL BLOOD: MUSIC FOR HENRY VIII

AT THE CHAN CENTRE

FEB09

“The superlative vocal sextet.” The Times (London)

Tickets from $36 | earlymusic.bc.ca | 604.822.2697 This concert is generously supported by Janette McMillan & Douglas Graves, Birgit Westergaard & Norman Gladstone

by Janet Smith

n Canadian theatre, American Sign Language interpretation, when it’s offered, is usually done off to the side during a couple of special performances. But in Why Not Theatre’s radically inclusive Prince Hamlet, which is coming here for the PuSh International Performing Arts Festival, it takes centre stage. A deaf actor tackles one of the lead roles, and integrates sign language right into the storytelling. What’s struck director Ravi Jain, who took on this wild rethinking of Hamlet for his buzz-generating Toronto company’s 10th anniversary, is how much that new physical language has brought to the show. “Shakespeare relies so much on the words, and here there’s a story you hear and then a story you see,” he relates, talking to the Straight from the Banff Centre, before hitting the West Coast. “What’s beautiful is we’re both seeing and hearing the text, and I find I’m understanding it better. It’s so interesting to see what can be communicated with voice and what can be communicated with sign.” The project began with Jain’s own desire to revisit Hamlet, while challenging traditional casting with actor Christine Horne in the lead and several other women taking traditionally male parts. Jain, who has made a name for diverse casting in shows like the Canadian classic Salt-Water Moon, also adds people from an array of racial backgrounds in the roles. As he puts it, “I wanted to challenge the perspective of who tells the story.” A conference in Minnesota that called on theatre directors to consider casting people with disabilities spurred Jain to then go beyond gender and race. And after meeting deaf activist and actor Dawn Jani Birley when he returned

Christine Horne takes on the lead role in Why Not Theatre’s bold Prince Hamlet.

to Toronto, he knew he had found his Horatio—a role his reconstruction of Shakespeare’s tragedy turns into a central narrator, as important to the story as the titular prince. “I stumbled into it—and I have been so lucky to stumble into that with Dawn, who is so involved in and ferocious about deaf rights,” Jain says. “We agreed at the start that what we have in common is that we both have a passion for equity.” Canadian-born Birley now lives in Finland, where progressive policies for the deaf included funding her for two interpreters—not only for the creation process with Jain, but on the road. It’s allowed Jain to integrate sign language organically; Birley’s expressive movement becomes a kind of physical poetry that adds an extra, fascinating layer of storytelling to the action. It hasn’t been without its challenges: Birley herself has had to find a new, heightened way of translating Shakespearean English. There have been practical concerns as well, Jain says. “In order for Dawn to sign, all the actors are constantly giving cues to let her know

where she is in the script,” he explains, “so the actors’ attention is heightened even more than usual.” The collaboration, staged with striking tall mirrors and real dirt, has opened a new world of possibility for Jain. He’s already working on another Shakespearean project with Birley: as director of the Citadel/Banff Centre Professional Theatre Program, he’s overseeing a reimagining of Shakespeare’s The Tempest, directed by Josette Bushell-Mingo of Sweden’s national deaf theatre, Tyst Teater. He’s found the work fits perfectly with what he’s doing at Why Not and elsewhere. At the same time, he discovers himself on the vanguard of a movement to integrate more signing into Canadian theatre. “I’ve been about language, communication, and culture,” he says, “and the more you get into this, it’s really about culture.” g The PuSh International Performing Arts Festival presents Prince Hamlet at the Frederic Wood Theatre from next Wednesday to Sunday (January 23 to 27).

“Watching this work is an electric experience!” — SYDNEY MORNING HERALD

T W O N I G H T S O N LY !

ATTRACTOR

Indonesian experimental music duo Senyawa and Dancenorth Australia combine to create a “secular ritual”.

JAN 18-19 | VANCOUVER PLAYHOUSE

G E T Y O U R T I C K E T S T O D AY AT 20 THE GEORGIA STR AIGHT JANUARY 17 – 24 / 2019

JANUARY 17 â&#x20AC;&#x201C; 24 / 2019 THE GEORGIA STR AIGHT 21

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RACHMANINOFF SHOSTAKOVICH • ARENSKY

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GatewayTheatre.com , H GatewayThtr Christine Quintana & Chirag Naik. Photo: David Cooper.

22 THE GEORGIA STR AIGHT JANUARY 17 – 24 / 2019

PUSH FEST Tin pots to 100 synths: sounds from Japan

by Alexander Varty

either fully scientific nor entirely random, the music played by three adventurous Japanese acts coming to the PuSh International Performing Arts Festival can best be described as alchemical— sounds generated by experimental processes, and by musicians capable of combining serious intent with a willingness to seek the miraculous and the unknown. The most obviously alchemical performance, in that it combines elements of both science and ritual, will likely come from Tetsuya Umeda, who eschews conventional instruments entirely. In Ringo— which means “apple” in Japanese, but will have other connotations for percussionists and lovers of popular music—he crafts mysterious sensory environments from the simplest of means: tin cans, dry ice, bowls, and those little propane burners popular in hot-pot restaurants. Bright lights, dark shadows, fire, and dancerly movement all add to his atmospheric performances; he’s concerned not so much with the alchemical transformation of his materials, but with inducing subtle psychological shifts in his audience. “In our daily life, we sometimes come across unexpected situations, and at other times, we experience things that should exist forever suddenly disappearing,” he says from Osaka. “These things happen to us, but we might not realize these changes because we are buried under hyperexcessive information overload. In the performance, it is my duty to subtly control and change the things already extant in the space, to change the balance so that it is just noticed or sensed. It is ideal to have an ambiguous and uncontrollable balance, so as to go back and forth between the border of the ordinary and the extraordinary.” Naoyuki Arashi, who performs as ASUNA, likewise walks a line between science and magic. In 100 Keyboards, he uses cheap and mostly outmoded synthesizers to set up beating tones; starting with a single note, he’ll build an enormous, physically enveloping cloud of sound. And while he knows fairly clearly how his hundred synths will interact with each other, each performance is different because of the more random factor of how the music will engage with each venue’s acoustics. “When I first arrive in [the]

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ASUNA, one of Japan’s experimenters at PuSh, walks a line between science and magic with his 100 Keyboards, made up of mostly outmoded synthesizers.

space, I check which note has the most resonance and interference,” Arashi explains, noting that 100 Keyboards draws on his interest in minimalistic music, his work with digital sound, and his experiences

Club PuSh TIP SHEET

DJS, DANCING, and pop-up performances will usher in the PuSh International Performing Arts Festival’s 15th anniversary. It all happens at Beaumont Studios, ground zero this year for the event’s more offbeat, experimental, edgy fare. Here are two of the shows that will help launch 18 days of action at the multitasking arts space. c WORD SOUND HAVE POWAH (January 17, 8 p.m.) Music artist D’BI mashes up Jamaican dub, dancehall reggae, Afrobeat, hip-hop, poetry, funk, and a multitude of other forms that should blow the roof off the West 5th Avenue space. c OPENING PARTY (January 17, 9:30 p.m.) Queer singer-songwriter and rap poet Kimmortal and art-fashion-dance collective Immigrant Lessons join forces for an interdisciplinary show called X Marks the Movement. Drag-theatre masters the Darlings, DJ O Show, bars, a thrift shop, and artist studios are all on the roster.

playing lo-fi experimental punk music. “During the performance, I choose each note on the keyboard on the spot while listening to its sound so that those phenomena are likely to occur.” Setting is also important to the four members of Marginal Consort, who upend concert orthodoxy by trying not to listen to each other during their performances, and by deliberately siting themselves as far away from each other as possible. The idea, as explained by founding member Kazuo Imai with the aid of translator Keiko Higuchi, is a kind of “parallel” play; each member of the group is an independent entity, with their own amplification and instrumentation. (The tools used range from familiar horns and strings to amplified springs to home-built electronics.) Audience members are free to “mix” the sound for themselves by moving between performers, creating their own balance of sound—and sight, given that the musicians also delve into anguished, perhaps butohinspired theatrics. Otherworldly? Yes. But also beautifully open-ended, democratic, and, ultimately, human. g The PuSh International Performing Arts Festival presents Tetsuya Umeda in Ringo at Performance Works at 7 p.m. on Friday (January 18). ASUNA presents 100 Keyboards at the Russian Hall at 4 and 8 p.m. on Saturday (January 19). Marginal Consort appears at Performance Works at 2 p.m. on Sunday (January 20).

ARTS

Full Light’s sets stun more than script by Kathleen Oliver

“Fejérvári performed the piece with sweep and discernment and made the concerto’s bird-like song and nocturnal atmosphere tremendously affecting” — International Piano Magazine

On a technical level, The Full Light of Day dazzles with both its cinematic quality and filmlike content. Photo by Don Lee.

THEATRE

THE FULL LIGHT OF DAY

By Daniel Brooks. Directed by Kim Collier. An Electric Company Theatre production, in association with the Banff Centre for Arts and Creativity and BMO. At the Vancouver Playhouse on Wednesday, January 9. Continues until January 12

d THE FULL LIGHT OF DAY is enormously ambitious. On a technical level, it dazzles. But despite the production’s abundant strengths, its story doesn’t quite reach the heart. Playwright Daniel Brooks focuses his script on a wealthy family, the Whites. Patriarch Harold is a realestate mogul (today’s equivalent of the tragic hero of ancient Greece, apparently) who has spent his life putting up a lot of “ugly buildings”, according to his wife, Mary. His eldest son, David, has taken over the business and moved its already shady dealings into even deeper shade. Daughter Jane has thrown herself into her own work as a realtor to avoid grieving the loss of her husband to suicide. Youngest son Joey appears to have a bigger conscience than his siblings, but he can’t figure out quite how to use it. The first act, which clocks in at over an hour and a half, introduces

us to the family members as they prepare to celebrate Mary’s birthday. There are hints that something is amiss, both with Mary’s health and with Harold’s business, and the plot circles back on itself in surprising and revealing ways, but it’s never entirely clear what’s at stake—or whether there’s anyone on-stage we’re supposed to like enough to care about. (The most sympathetic character is dispatched disappointingly early.) The story improves considerably in the second act as Mary, on her deathbed, confronts the shadowy side of her privilege and negotiates new relationships with her family members. But the blend of realism and myth in the action doesn’t always land comfortably. To dwell on the story, though, is to overlook this production’s most significant achievement: its staging as a hybrid of film and theatre. Director Kim Collier and director of photography and projection design Brian Johnson have created an extraordinarily immersive world for this play, blending live action and film in breathtaking ways. Atmospheres are projected onto a scrim in front of the set; huge, live close-ups of actors’ faces appear on the walls themselves; actors sit in an actual car on-stage while the streetscapes roll past on-screen, larger than life. It’s extraordinary, and the creators’ inventiveness is

seemingly inexhaustible. Within this world, all of the actors are tremendous. Watching the emotions play on the projected face, big as a house, of Gabrielle Rose’s Mary, is a study in nuance, as is seeing Jim Mezon gradually scrape away the lacquer on Harold’s tough exterior. Jonathon Young’s Joey is utterly charismatic in his confusion; Young also shines as a preacher in a later scene. Jillian Fargey brings both steel and warmth to the role of David’s wife, Sherry, one of the few characters in the play who’s capable of reaching out with kindness. Jenny Young and Dean Paul Gibson both do excellent work as Jane and David, though Jane in particular feels underwritten. Julie Fox’s set is a stunner, with tall structures that can be moved around to accommodate the script’s cinematic quality—lots of short scenes and frequent changes of location— and its cinematic content; its surfaces are both handsome on their own and well-suited for projection. Peter Allen’s original music leans heavily toward the sentimental, though. For me, the characters and events of The Full Light of Day don’t resonate as real enough to induce the big emotions that I think the creators want me to feel. Nonetheless, the stellar acting and formal ingenuity of this play deserve sustained applause. g

MARKING THE INFINITE

ZOLTÁN FEJÉRVÁRI PIANO

SUN JAN 27 at 3pm I VANCOUVER PLAYHOUSE This dynamic young Hungarian was the winner of the 2017 Concours Musical International de Montréal for piano as well as the recipient of a coveted Borletti-Buitoni Trust Fellowship. Not to be missed!

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8pm Friday, January 25, 2019 Shaughnessy Heights United Church 1550 West 33rd Avenue at Connaught Drive Vancouver Chamber Choir | Erick Lichte, conductor The final audition concert presents Erick Lichte, whom Vancouverites know as Artistic Director of Chor Leoni Men’s Choir. His mostly contemporary and international repertoire will include Tavener’s Village Wedding, Lang’s manifesto, Whitacre’s A Boy and a Girl, Rautavaara, Wadsworth, Caamaño, Ešenvalds, Daley, Higdon, Sametz, Mendelssohn and Gershwin.

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JANUARY 17 – 24 / 2019 THE GEORGIA STR AIGHT 23

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PuSh Film Series

The Children Are Watching Us

VITTORIO DE SICA, ITALY, 1944, 85 MIN.

SUN 3:00PM

> Go on-line to read hundreds of I Saw You posts or to respond to a message < KIND-FACED MAN ON THE BUS TONIGHT

KITS BULLDOG WARRIOR MOM

CLASSICAL PIANIST

I SAW A: I AM A: WHEN: JANUARY 11, 2019 WHERE: Sumac @ Astoria

I SAW A: I AM A: WHEN: JANUARY 14, 2019 WHERE: On and Off The Bus

I SAW A: I AM A: WHEN: JANUARY 12, 2019 WHERE: Kitsilano Beach

We got on and off the bus at the same stops. You were wearing dark blue suede shoes, and I a red scarf. We shared a few glances. I don’t know why, but I’d like to know more about you. Respond with the bus number and a brief description of me, if you feel the same way.

I was standing at Kits beach with my American Bulldog and you walked up commenting on the dog and how her breed are warriors. I just wanted to say I think you're so beautiful and I hope I run into you again some day

I’m guessing you were the only classical pianist at the Sumac show at the Astoria on Friday night! I’m the foreigner whose accent you identified. Thought you were just moving during the set, but didn’t see you once it ended. Would love to get to know you better.

HAND-KISSING AT SHOW’S END

MIXED FILIPINA HUGGER

BOWIE BALL BARTENDER

I SAW A: I AM A: WHEN: JANUARY 12, 2019 WHERE: The Rickshaw You were the bartender wearing a touque and hoodie at the Bowie Ball Saturday night. I’m 99% sure you were just being a friendly bartender because I was giving decent tips. But on the slim chance you weren’t and the even slimmer chance you see this - I was the short chubby blonde buying too many Hey Y’alls (embarrassing for a 27 year old). I had asked for a regular and a peach but you ran out of peach. The next time I came by you made sure to tell me you found more peach and asked how I was enjoying the show. I was pretty sauced by then but still didn’t have the balls to elaborate any more on something along the lines of “it’s amazing! I’ll definitely be coming every year!” I’d love to have a more coherent conversation when you’re not working!

MARTINI’S RESTAURANT - WITH COWORKERS

I SAW A: I AM A: WHEN: JANUARY 10, 2019 WHERE: Martini’s Restaurant, West Broadway You were sitting with some of your coworkers at the table next to ours. We exchanged several glances. We were both with coworkers and there was no opportunity to introduce myself. You are a brunette and if you read this you’ll know who I am. Are you single? Let’s meet! Let me know something about this so I know it’s you.

I SAW A: I AM A: WHEN: JANUARY 17, 2019 WHERE: Astoria Hasting

I SAW A: I AM A: WHEN: SEPTEMBER 6, 2018 WHERE: The Toast Collective

Chatting at the end of the show, my heart was pumping and my skin was bursting... left suddenly and I wanted to turn back so badly... hope to see you at the next shows around east downtown clubs...

We saw bands together at the toast in early Sept. You were with a friend, I was with a friend, we all got along together drinking our beers. You just moved into town recently, you’re not on social media (or so I was told), but you asked for my full name which I typed into your phone's notes and invited you to come to my show the week after (which u didn’t, which is ok). We hugged and parted ways! U told me u were part Filipina (I am Filipin-x also). If u remember me and ever wanna hang sometime hmu. that would be cool! Have a nice day.

PRESUMPTUOUS ASIAN

I SAW A: I AM A: WHEN: JANUARY 10, 2019 WHERE: Tentatsu on Hastings I came in and saw you sitting waiting for your take out order. I nervously grabbed a Straight to read, making eye contact. You were wearing Grey overcoat, brunette very nice smile. I’m gonna presume by the size of your take out, you ordered for one. I’m also gonna presume you’re uncomfortable eating in a restaurant alone. Well I would love to meet again to offer a dinner for two.

MINDY- THORNTON PARK

I SAW A: I AM A: WHEN: JANUARY 13, 2019 WHERE: Thornton Park Sunday around 10am in Thornton - you were walking your dog - I was working, and we had an amazing conversation about how the City is failing its citizens, the collapse of civilization, etc. I think we were also flirting but I’m not able to ask you out when I’m working. Care to go for a walk in a NICE park, and see what’s what?

VIRTUAL REALITY ISLAND

I SAW A: I AM A: WHEN: JANUARY 8, 2019 WHERE: West Saanich We met at the gym. I commented on your Tough Mudder shirt. You liked my sleeve tats and tight pants. Next time I will wear my ball cap to cover the bald spot and catch your eye.

CANADIAN TIRE SERVICE

I SAW A: I AM A: WHEN: JANUARY 7, 2019 WHERE: Cambie Canadian Tire We chatted in the waiting room and discovered we are both originally from the same city. I enjoyed our brief chat and hoped it might continue a bit longer, but your truck was ready. Thanks for brightening my day!

Visit straight.com to post your FREE I Saw You _ 24 THE GEORGIA STR AIGHT JANUARY 17 – 24 / 2019

CIRCLE GAME: REIMAGINING THE MUSIC OF JONI MITCHELL The music of Joni Mitchell is reimagined in a play by Andrew Cohen and Anna Kuman. To Feb 9, Firehall Arts Centre. Fom $25. BLIND DATE Fusion of clown, improv, theatre, and social experiment. To Jan 19, 7:30-9:30 pm, Surrey Arts Centre. $29-$49. DAKH DAUGHTERS Seven actors use musical instruments in a performance about love, freedom, and beauty. Jan 15-19, 8 pm, York Theatre. $10-$51. MRS. KRISHNAN’S PARTY Mrs. Krishnan’s boarder invites a few friends into the back room of the corner shop as a special surprise to celebrate Onam. Jan 15–Feb 3, 8 pm, Vancity Culture Lab. $24-$59. THE ODD COUPLE (FEMALE VERSION) Easygoing and neurotic personalities clash when two women become roommates. Jan 16, 17, 18, 19, 8-10:30 pm, Evergreen Cultural Centre. $24/$19. THROWDOWN Vancouver TheatreSports’ annual improv celebration. To Jan 27, The Improv Centre. From $10.75. DOUGLAS COUPLAND’S VORTEX Douglas Coupland’s radical art installation takes an imaginative journey to the Great Pacific Garbage Patch, immersing viewers in the ocean-plastic pollution crisis. To April 30, 2019, Vancouver Aquarium. $22/39. MUSEUM OF ANTHROPOLOGY AT UBC aIN A DIFFERENT LIGHT: REFLECTING ON NORTHWEST COAST ART to spring 2019 aMARKING THE INFINITE: CONTEMPORARY WOMEN ARTISTS FROM ABORIGINAL AUSTRALIA to Mar 31 aSHAKEUP: PRESERVING WHAT WE VALUE to Sep 1 MUSEUM OF VANCOUVER aWILD THINGS: THE POWER OF NATURE IN OUR LIVES to Sep 30 aHAIDA NOW: A VISUAL FEAST OF INNOVATION AND TRADITION to Dec 1, 2019 aIN/FLUX: ART OF KOREAN DIASPORA to Jan 27 VANCOUVER ART GALLERY aA CURATOR’S VIEW: IAN THOM SELECTS to Mar 17 aGUO PEI: COUTURE BEYOND to Jan 20, 10 am–5 pm aDANA CLAXTON: FRINGING THE CUBE to Feb 3 aTHE METAMORPHOSIS to Mar 7 VANCOUVER ART GALLERY’S OFFSITE aPOLIT-SHEER-FORM OFFICE to Mar 31 POLYGON GALLERY aKEVIN SCHMIDT: RECKLESS to Mar 10 CONTEMPORARY ART GALLERY aKAMEELAH JANAN RASHEED to Mar 17 TECK GALLERY aEYE EYE to Apr 27 PENDULUM GALLERY aKLUSTERFLUX: STEFANY HEMMING & CAROLE SINCLAIR to Feb 1 MORRIS AND HELEN BELKIN ART GALLERY aHEXSA’AM: TO BE HERE ALWAYS to Apr 7 DR. SUN YAT-SEN CLASSICAL CHINESE GARDEN aSUK-FONG, HOW ARE YOU? to Feb 24 SEYMOUR ART GALLERY aCANDY BAR, ELECTRIC LIGHTS: THE SCROLL STORIES OF SEAN KAREMAKER to Feb 23, 10 am–5 pm SFU GALLERY aANN BEAM AND CARL BEAM: SPACES FOR READING Jan 15–Apr 18, 12-5 pm

WEDNESDAY, JANUARY 16 LONDON HAYDN QUARTET The quartet performs Haydn’s String Quartet Op. 76 with early clarinet specialist Eric Hoeprich. Jan 16, 10-11:30 am; Jan 17, 10 am–11:30 pm, Vancouver Academy of Music. $38/$42.

THURSDAY, JANUARY 17 PUSH INTERNATIONAL PERFORMING ARTS FESTIVAL Startling theatre, innovative dance, and genre-defying music. Jan 17–Feb 3, Various Vancouver Venues. NAUFUS RAMÍREZ-FIGUEROA: HEART OF THE SCARECROW Project explores the historical reverberations of Guatemalan playwright Hugo Carillo’s 1962 script. Jan 17–Mar 9, Audain Gallery. Free. MUSIC FACULTY WINTER SHOWCASE Music from across the ages by Gabrieli, Cage, and Stockhausen. Jan 17, 1-2 pm, Laura C. Muir Performing Arts Theatre. Free. VETTA AFTERNOONS: GREAT RUSSIAN TRIOS Russian virtuoso pianist Anastasia Markina returns to Vetta. Jan 17, 2 pm, West Point Grey United Church. $20.

SPAWNING GENERATIONS: RANTS AND REFLECTIONS ON GROWING UP WITH LGBTQ+ PARENTS Launch of a collection of stories by queerspawn (people with LGBTQ+ parents). Jan 17, 7 pm, Massy Books. THE OPEN HOUSE BY WILL ENO People have been born into families since people started getting born at all. Playwrights have been trying to write “Family plays” for a long time, too. And these plays try to answer endlessly complicated questions like “Can things really change?” This has to stop.With generous support from Fets Whiskey Kitchen and Cartems Donuts. Jan 17-19 & 22-26, 7:30 pm; mats. Jan. 19 & 26, 3 pm, Havana Theatre. $25/$17 for students. LION IN THE STREETS Canadian playwright Judith Thompson’s seminal play. Jan 17–Feb 2, 7:30 pm. $24.50. ACCELERATE 2.0 Dancers include Modus Operandi, Antonio Somera Jr., Joanna Anderson, Hilary Maxwell, and Kevin Locsin. Jan 17, 18, 8 pm, The Cultch. $20/$10. BRITTANY LYSENG Canadian comedian performs two nights of standup. Jan 17, 8 pm; Jan 18, 8 pm; Jan 19, 7 pm; Jan 19, 9:30 pm, Yuk Yuk’s Comedy Club. $10/20. THE FIGHTING DAYS Sidekick Players presents Wendy Lill’s play about the polarities of public and private lives. Jan 17–Feb 2, 8 pm; Jan 27, 2 pm; Jan 20, 2 pm, Tsawwassen Arts Centre. $18/$15. MILLENNIAL LINE Standup comedy and poetry show with headliner Aaron Read. Jan 17, 8:30 pm, Red Gate Arts Society. $7-10. SARAH TIANA L.A.-based comedian performs three nights of standup. Jan 17, 8:30-10 pm; Jan 18, 8-11:59 pm; Jan 18, 10:30-11:59 pm; Jan 19, 8-9:30 pm; Jan 19, 10:30-11:59 pm, The Comedy MIX. $15/$18/$20. JOKES PLEASE! Standup comedy show hosted by Ross Dauk. Jan 17, 9-10:30 pm, Little Mountain Gallery. $7.

FRIDAY, JANUARY 18 LONDON HAYDN QUARTET The quartet performs Haydn’s String Quartet Op. 76 with early clarinet specialist Eric Hoeprich. Jan 18, 11:15 am–12:30 pm, Christ Church Cathedral. $38/$42. BIRTHE PIONTEK + RAFAEL SOLDI Opening reception for two new shows of photography and sculpture. Jan 18, 7-11:30 pm, BAF Gallery. Free. VETTA EVENINGS: GREAT RUSSIAN TRIOS Russian virtuoso pianist Anastasia Markina returns to Vetta. Jan 18, 7:30 pm, West Point Grey United Church. $25. VANCOUVER CHALLENGE CUP Ballroom dancers from Canada and the U.S. compete. Jan 18-19, 7:30 pm, Hellenic Community of Vancouver. $45-$55. THE (NOT SO) LITTLE MERMAID Community theatre production of a British panto. Jan 18–Feb 2, 7:30 pm, St Martin’s Hall. $14-$21. BRITTANY LYSENG Canadian comedian performs two nights of standup. Jan 18, 8 pm; Jan 19, 7 and 9:30 pm, Yuk Yuk’s Comedy Club. $20. GRAHAM CLARK’S QUIZ SHOW Comedy game show hosted by Graham Clark. Jan 18, 8 pm, Fox Cabaret. $10/$12. A PRAYER FOR OWEN MEANY Ensemble Theatre Company’s epic tale about the power of a single voice. Jan 18–Feb 9, 8 pm, Pacific Theatre. $20-36.50.

SATURDAY, JANUARY 19 PRIMORDIAL ABSTRACTION: DEPTH AND ILLUSION Paul Ygartua art exhibition at Ukama Gallery. Jan 19-31, Ukama Gallery . Free. VIVE LES VOYAGEURS Immerse yourself in French-Canadian culture. Jan 19-20, 10 am–5 pm, Fort Langley National Historic Site of Canada. Tix $7.80/$6.55. HAWAII DAY Tiki bar, snacks, music, and a chance to meet the artists. Jan 19, 11 am–7 pm, Pacific Arts Market. Free. OCCUPYING CHINATOWN Artist talk featuring Paul Wong. Jan 19, 2-4 pm, Dr. Sun Yat-Sen Classical Chinese Garden. Free with registration. CAG ARTIST TALK Artist Aslan Gaisumov in conversation with CAG curator Kimberly Phillips. Jan 19, 3 pm, Contemporary Art Gallery. Free. PINOCCHIO Karen Flamenco Dance Company performs its latest production. Jan 19, 3-4 pm, 5-6 pm, The Improv Centre. $12. MALANKA—UKRAINIAN NEW YEAR Performances by the Dovbush Dancers and the

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GREAT RUSSIAN TRIOS (January 17 and 18 at West Point Grey United Church) Born and raised in St. Petersburg, Anastasia Markina (shown here) has gone on to take some of the top piano prizes in the world, and to become the head keyboardist with the Dallas Symphony. Now the virtuoso joins Vetta Chamber Music violinist Joan Blackman and cellist Eugene Osadchy in works by some of the greats of her homeland; think Sergei Rachmaninoff and Dmitri Shostakovich. Of course, you don’t have to be Russian to play them, but, man, it helps. LION IN THE STREETS (January 17 to February 2 at the Telus Studio in the Chan Centre for the Performing Arts) In Judith Thompson’s unforgettable 1990 play, the central character is the ghost of a murdered nineyear-old who’s returning to her neighbourhood 17 years after her death. It’s a fascinating premise that offers this UBC Theatre and Film production opportunities for surreal staging, and moments of pitch-black darkness that rub up against biting humour. Through it all Thompson asserts herself as one of this country’s most brilliant playwrights. Michelle Thorne directs. THROWDOWN (To January 27 at the Improv Centre) You have a little over a week left to catch the action at Vancouver TheatreSports League’s annual international improv fest, Throwdown. We’re talking some of the best improvisational comedy teams from around the globe, all going head-to-head in competition. Don’t be surprised to find yourself picking sides and hollering like you’re at a hockey game. g Barvinok Choir. Jan 19, 6 pm, Ukrainian Hall. $60. LUXURY OF TIME Experience curated by The Whodini Art to create a platform that supports eight local contemporary artists and a local band. Jan 19, 6 pm, 7 E 7. $10. SOUNDING THE INFINITE: AN EVENING OF MUSIC AND ABORIGINAL ART Performance by Vancouver septet RumSalt. Jan 19, 7 pm, Museum of Anthropology at UBC. $35-$42. SIVAN MAGEN Harpist from Israel. Jan 19, 7:30 pm, Roy Barnett Recital Hall. Tix $25. HOUSE CONCERT Clarinetist Jack Li and pianist Scott Meek perform. Jan 19, 7:30-9:30 pm, Living Room at UBC . $30. BLOODFEUD: 2019 Standup and improv battle for comedy glory. Jan 19, 7:30-10 pm, Little Mountain Gallery. $10/$12. MURDER ON RESERVE Police procedure sets a trap with comedic results. Jan 19–Feb 9, 7:55 pm, Metro Theatre. $25/$22. THE GATEWAY SHOW Standup comedy with a twist. Jan 19, 8 pm, Rickshaw Theatre. $15. THE COMIC STRIP—STANDUP COMEDY Standup comedy with Randee Neumeyer, Ryan Gunther, and headliner Harris Anderson. Jan 19, 9 pm, Tyrant Studios. $18. SHAKESPEARE AFTER DARK The Bard improvised and twisted. Jan 19, 10:30 pm, Havana Theatre. $12.

SUNDAY, JANUARY 20 VANCOUVER COMICON Comic-book convention. Jan 20, 11 am–5 pm, Heritage Hall. $5 (kids under 14 free). VETTA DOWNTOWN: GREAT RUSSIAN TRIOS Russian virtuoso pianist Anastasia Markina returns to Vetta Jan 20, 2 pm, Pyatt Hall. $25. SKETCH COMEDY FOR THE PEOPLE Class on writing and performing sketch comedy. Jan 20, 6-10 pm, China Cloud. $55. THE AMERICAN WET DREAM: AN AMERICANA ROCK CABARET The Lolas perform a revue-style show with guests Carlotta Gurl, Donna Telmi, and Ariel Helvetica. Jan 20, 7 pm, The Yale Saloon. $25. GEEKS VERSUS NERDS: ROYAL RUMBLE Comedians debate pop-culture topics. Jan 20, 7-9:30 pm, ANZA Club. $10. TU B’SH’VAT OPEN MIC Renée Sarojini Saklikar and Mark Winston read from Listening

see page 26

MOVIES

Children not seen, not heard Heart-ripping Capernaum gives us a kids’-eye view of the slums of Beirut

Zain Al Rafeea (right) leads Nadine Labaki’s Capernaum as a preteen more at home with a perilous street life than with his own abusive family.

REVIEWS CAPERNAUM

Starring Zain Al Rafeea. Rated 14A

occasionally professional opera singer, he would have been an ideal viewer for A Bread Factory, a matched pair of two-hour movies, set in a struggling small-town theatre, that can be seen separately or together, with a break. Long-time veterans of the art wars will enjoy the whole thing, but this sizable sit has something for everybody. The pioneering Greek playwright, who had boffo box office 2,500 years ago, is in the picture because his Hecuba is about to be revived by the folks at the Bread Factory, a community arts centre run by toughminded Dorothea, played by Cagney & Lacey’s Tyne Daly, and the gentler Greta (Elisabeth Henry-Macari). They’re using a combination of oldtimers (like South African Brian Murray, who has since died) and local kids to flesh out the tragedy that happens in the follow-up to war between Greece and Troy. For more than four decades, the former loafery has been successfully hosting programs of all kinds—Janeane Garofolo has an early cameo as a caustic independent filmmaker—in the fictional upstate New York town of Checkford (actually Hudson). But in Part One, subtitled For the Sake of Gold, a Trojan horse arrives in the form of another arts centre, run by slick Chinese performers applying for the same subsidies our Breadies normally depend on. The artists in question, called May and Ray and played by a real-life couple, England’s George Young and Taiwanese-American Janet Hsieh, are all space suits, fuzzy shoes, and robotic pronouncements. (“China is the future!”) Their shtick is funny at first, but this is by far the easiest

d CAPERNAUM TAKES you deep into the slums of Beirut, where children suck back cigarettes, jump filthy puddles in their flip-flops, and face predators at every turn. Nadine Labaki’s heart-ripping new film gives audiences a groundlevel view of an ugly world they wouldn’t otherwise see. At its centre is tough, unaffected Zain (Zain Al Rafeea), a boy who may be 12, but he’s not sure: his parents can’t remember when he was born. When the film opens, he’s in jail “because I stabbed a son of a bitch”. He’s soon led to court in handcuffs to sue his parents for giving birth to someone they had no means to care for. In flashback, we learn he’s been raised in squalor, sharing a mattress with his four siblings. He and his 11-year-old sister Sahar find ways to survive in the streets despite abuse and alcoholism at home. But his world is torn apart when his parents consider selling Sahar to make ends meet. Running away from that nightmare, Zain finds himself in a tawdry seaside amusement park, hooking up with an illegal immigrant, Ethiopian Rahil (Yordanos Shiferaw). He looks after her baby in a corrugated-metal squat while she scrubs floors and manages public toilets for money. When Rahil goes missing, they take to the streets to search for her, Zain pulling the infant in a big tin pot he’s mounted on a stolen skateboard. Al Rafeea and Shiferaw ground Labaki’s empathetic story in beautifully natural performances. The scruffy-haired boy looks tired beyond his years, fiercely determined despite the weight he carries on his tiny shoulders. Rahil rarely speaks about whatever unimaginable tor- c THE CHILDREN ARE WATCHING ment she’s been through to get here, US The PuSH Film Series but transmits it in every painful gaze. brings this early work It’s not all unrelenting misery. by Vittorio De Sica and Zain’s interactions with the baby can screenwriter Cesare Zavattini, about the disintegration of a be funny, and his gentle care for her, family in Mussolini’s Italy, to as well as his affection for his sister, the Vancity Theatre on Sunday offer hope for the universe. With the (January 20). kindness of Rahil, the misfits form a kind of family—and for a short c STRANGE VICTORY Declining while, it almost works. to let America off the hook following the Second World Through it all, Zain is a beacon War, Leo Hurwitz’s 1948 of resilience amid chaos. But at its documentary uncovered the heart, Capernaum is a plea for child seeds of fascism at home. welfare in the corners of the world Catch a rare screening at the where it doesn’t exist.

Movies

TIP SHEET

by Janet Smith

A BREAD FACTORY, PARTS ONE AND TWO Starring Tyne Daly. Rating unavailable

d “EURIPIDES, YOU pay fa dese!” That was one of my dad’s favourite jokes. As an amateur poet and

Vancity Theatre on Sunday (January 20).

c THE SILENT PARTNER In celebration of the great Daryl Duke, the Cinematheque pairs this classic tax-shelter heist flick with the Vancouver filmmaker’s fine adaptation of I Heard the Owl Call My Name, on Monday (January 21).

target picked by Texas-born writerdirector Patrick Wang, a theatre veteran (and trained economist) whose similarly hefty first feature, In the Family, stuck to more intimate confines. While not entirely convincing, the new film’s duelling-bohos conflict gives him as much leisurely time to spend with the small-town players—dotty artists, venal politicians, chirpy merchants, and lippy kids— as any four episodes of Gilmore Girls. Of particular interest is a coming-of-age subplot with Zachary Sayle as a love-struck high-schooler who ends up taking over the local newspaper from a veteran journalist (Glynnis O’Connor, who had the Bobbie Gentry role in 1976’s Ode to Billy Joe). Especially in the warmer second half, called Walk With Me a While, the extra-loose format allows for singing real-estate agents, tap-dancing café patrons, and aged actors who confuse Chekhov plays with their own back stories. It’s hitand-miss stuff, and Wang’s not very interested in camera moves, establishing shots, and other cinematic niceties. But when things click, Factory’s heady halves produce surprisingly strong emotions. Pay for these and make Euripides happy. by Ken Eisner

SCIENCE FAIR

A documentary by Cristina Constantini and Darren Foster. In English, Portuguese, and German, with English subtitles. Rated G

d NATIONAL GEOGRAPHIC magazine turned 130 last fall. And in all that time it has remained scrupulously apolitical. Until now. The pathologically antiscience bent of religious fanatics and industry overseers now in charge of most U.S. agencies has forced the publication to remind people that brains are not only good, they’re a necessary part of life and, well, capitalism! This cleverly edited doc follows ethnically and financially diverse kids from varied parts of the world as they converge on the eponymous event—the International Science and Engineering Fair—held every year since launching in 1942, at the height of the Second World War. First-time featuremakers Darren Foster and Cristina Constantini actually found some still-active winners from the early days, and one more recent veteran, to describe the process. But the emphasis is on fresh young faces. To do this, they had to choose between 425 regional and international competitions to follow a gaggle of high-school students who would then be winnowed down to a smaller group competing for 1,700 spots at the 2017 ISEF, in Los Angeles. These include several standouts from rural parts of the USA. There are three

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amiable frat-type boys from Kentucky refining a cardiacreading device; a goofy West Virginian teaching robots to rap (he might want to rethink using Kanye West as a model); and, most touchingly, a low-key Muslim girl, named Kashfia Rahman, who gets little support from her South Dakota school for her brain-function studies. Elsewhere, a boy and girl from a remote corner of Brazil tackle the Zika virus, and a rich kid from Germany has revolutionary ideas about aeronautics. On New York’s Long Island, a woefully underfunded AfricanAmerican science instructor is so successful at inspiring from page 24

to the Bees. Jan 20, 7:30 pm, Or Shalom Synagogue. EAST VAN IMPROV LEAGUE Instant Theatre presents competitive improv comedy. Jan 20, 7:30-8:30 pm, Havana Theatre. $12.

MONDAY, JANUARY 21 COMPANY 605: LOOP, LULL New collaboration explores concepts of looping and transformation. Jan 21-29, 7 pm. $37/$29.

TUESDAY, JANUARY 22 CAROL MATTHEWS BOOK LAUNCH Launch of Matthews’s book Minerva’s Owl: The Bereavement Phase of My Marriage. Jan 22, 7 pm, Massy Books. CAG ARTIST TALK Anne Low and CAG curator Kimberly Phillips discuss Low’s work. Jan 22, 7 pm, Contemporary Art Gallery. Free. TOP TALENT SHOWCASE Vancouver comics develop their craft. Jan 22, 29; Feb 5, 8 pm, Yuk Yuk’s Comedy Club. $10. JAMES EHES QUARTET Canadian violinist James Ehnes, described as “an artist of remarkable elegance” with “remarkable and penetrating talent “ brings his quartet to play the music of Haydn, Janáček, and Schubert. Jan 22, 8 pm, Vancouver Playhouse. $55 online/$60 at the door. POWER BALLAD An angry, feminist, live-art investigation of language and its sometimes hidden ideologies. Jan 22-26, 8 pm, Cultch Historic Theatre. $24-$51.

WEDNESDAY, JANUARY 23 I THINK I’M DEAD Al Lafrance’s storytelling journey into insomnia. Jan 23, 7-8 pm, The Heritage Grill. Pay what you want. OPERA SPEAKS Vancouver Opera hosts a panel discussion about the realities of living and working as an artist in Vancouver. Jan 23, 7-8:30 pm. Free.

THURSDAY, JANUARY 24 SMASH COMEDY FEST Comedy fest spotlighting women/trans*/femme/+ performers. Jan 24-26, Little Mountain Gallery. $10-$50. THE MATCHMAKER The Arts Club Theatre Company presents Thornton Wilder’s

her students, she ends up bringing multiple teams to L.A. A disproportionate number of U.S. prodigies come from Asian backgrounds. In fact, one young wag describes the opening-night dance as “200 Indian guys standing around two girls”. In fact, ethnic and gender demographics keep changing, and the zeal for science keeps growing. Not everyone’s a winner, baby, but it’s sheer pleasure to meet so many young people—and even more crucially, some tireless teachers—who dedicate their knowledge to improving life for whatever planet we have left.

uproarious play of forbidden young love and mistaken identity. Jan 24–Feb 24, Stanley Industrial Alliance Stage. From $29. MUSIC MOVES Expressive rhythms for Baroque violin and harpsichord. Jan 24, 1-2 pm, Laura C. Muir Performing Arts Theatre. Free. A BOOK LAUNCH AND READING Local authors Miriam Clavir and John Donlan present their new works. Jan 24, 6:30 pm, Massy Books. NASTY WOMEN COMEDY Kickoff of the Smash Comedy Festival features standup guest Julie Kim. Jan 24, 7:30-9:30 pm, Biltmore Cabaret. $10/$14. LIU KUAN-HSIANG: KIDS Tribute by Taiwanese choreographer-dancer Liu Kuan-Hsiang to his late mother. Jan 24-26, 8 pm, Scotiabank Dance Centre. $37/$29. JOEL KIM BOOSTER L.A.-based comedian and writer performs three nights of standup. Jan 24, 8:30-10 pm; Jan 25, 8-9:30 pm; Jan 25, 10:30-11:59 pm; Jan 26, 8-9:30 pm; Jan 26, 10:30-11:59 pm, The Comedy MIX. $15/$18/$20.

FRIDAY, JANUARY 25 JEREMY HOTZ Canadian comedian performs a night of standup. Jan 25, Vogue Theatre. $45-55. SMASH COMEDY FEST: IMPROV & SKETCH COMEDY WORKSHOPS Comedy workshops with Amy Shostak, Rae Lynn Carson, Jenny Rubé, and Racquel Belmonte. Jan 25-26, Little Mountain Gallery. $30-$40. BOOBIES AND WIENERS SIX Immature and dirty nude-art show. Jan 25, 6 pm, The Arts Factory. Free. CARTOON CABARET Burlesque and cabaret performers pay tribute to animated personalities. Jan 25, 7 pm, Rio Theatre. $20/25. ARDEN MYRIN Comedian and actress performs two nights of standup. Jan 25, 8 pm; Jan 25, 10:30 pm; Jan 26, 7 pm; Jan 26, 9:30 pm, Yuk Yuk’s Comedy Club. $25.

SATURDAY, JANUARY 26 LUNAR FESTIVAL Event includes Chinese Lion Dance and calligraphy and Korean drum performance. Jan 26, 11 am–2:30 pm, The City of Lougheed. Free. BROCK HOUSE/KERRISDALE CHOIR A variety of four-part music by 60 experienced

by Ken Eisner voices. Jan 26, 3 pm, Marpole United Church. $10 (children free). LEFT OF PUSH Experiments-in-process and tour-ready performance by local artists. Jan 26, 4 pm; Jan 27, 7 pm, Left of Main. By donation. SFU ROBBIE BURNS DINNER & SILENT AUCTION Evening commemorating the life and works of Scotland’s iconic cultural voice. Jan 26, 6 pm, Executive Plaza Hotel & Conference Centre. $80. BURNABY PHOTOGRAPHIC SOCIETY’S 23RD ANNUAL SHOWCASE Slide shows set to music. Jan 26, 7 pm, Shadbolt Centre for the Arts. $20. THE COMIC STRIPPERS Male stripper parody and improv comedy show. Jan 26, 8 pm, York Theatre. $44.25. TABOO REVUE Screaming Chicken Theatrical Society’s monthly burlesque show. Jan 26, 8-11:30 pm, WISE Hall. $20/$25. THE COMIC STRIP—STANDUP COMEDY Standup comedy by Myles Anderson, Sean McDonnell, and headliner Sam Tonning. Jan 26, 9 pm, Tyrant Studios. $18.

SUNDAY, JANUARY 27 HIGH SPIRITS CHOIR Program includes a dramatic setting of text from Dante’s Inferno. Jan 27, 3:30 pm, West Point Grey United Church. $15/$20/$25. EAST VAN IMPROV LEAGUE Instant Theatre presents competitive improv comedy. Jan 27, 7:30-8:30 pm, Havana Theatre. $12.

MONDAY, JANUARY 28 MUTED WITH MONICA GERMINO Violinist performs MUTED, composed by Louis Andriessen, Michael Gordon, David Lang, and Julia Wolfe. Jan 28-30, Orpheum Annex. $39/15. ARTS EVENTS are a public service provided free of charge, based on available space and editorial discretion. We can’t guarantee inclusion, and we give priority to events taking place within one week of publication. Submit events online using the eventsubmission form at straight.com/AddEvent. Events that don’t make it into the paper due to space constraints will appear on the website.

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music

Farr brings the southern blues north The Vancouver-based singer-songwriter draws on his American roots for Mississippi Live

by Mike Usinger

here are days when Vancouver’s Robert Connely Farr can’t believe how much he misses the American South—a place that shaped him profoundly as a child, and proved completely revelatory in adulthood. “It’s been one of the hardest things,” says the East Van–based blues musician, on his cell during a break from his day job at a Lower Mainland architectural firm. “Ever since I’ve been here, the thing that I’ve tried to reconcile within myself is my decision to leave home. I miss my family, and I love where I’m from. But I can also be critical of it, and that shit don’t fly too well down there. So it becomes one of those things of ‘Where do you fit in?’ ” The degree to which Farr is conflicted is obvious on his stunner of a new release, Dirty South Blues. While he loves home, that doesn’t stop him from examining its darker side. Witness the greasy title track, where over shimmering organ and distortionswirl guitar, he sings “Take me back to the dirty south lord/Where the devil makes his whiskey and the crosses burn lord.” The full-length basically pulls off the near impossible, namely making a white guy sound like he was raised in a rusty-tin-and-tarpaper shack a stone’s throw from Robert Johnson’s fabled crossroads. Farr delivers the blues at its most meditative and swampy on “Ode to the Lonesome”, drips Muscle Shoals sweat on the soulful “Blue Front Cafe”, and wrings every bit of black-hearted pain out of the ghostly “Cypress Tree Blues”. If the singer-guitarist seems like an emissary from a rawer and more primal time, that’s not by accident. Well into adulthood, he became obsessed with what’s known as the Bentonia blues, thanks to a friendship with Mississippi cult fave Jimmy “Duck” Holmes—who schooled him well on the power of minor tones and downtuning. But coming from a decidedly nonmusical family, Farr first loved hard-rock giants like Kiss and Guns ’N Roses. When you grow up in the church—which is pretty much the case for most of the South—you sometimes need an outlet. Joking that he relocated to Vancouver because it doesn’t have a church on every second corner, Farr, who was raised in Bolton, Mississippi, as a Methodist, says: “I was obsessed with

Robert Connely Farr was mentored in the blues by cult fave Jimmy “Duck” Holmes.

music from the time that I could listen to music. One of my first cassettes was Bryan Adams. But I also liked Kiss—I had, like, 20 Kiss tapes. My mom was like, ‘That’s not fucking cool.’ I got really into anything that was rock ’n’ roll—Guns ’N Roses, Ratt, Poison—anything that the church didn’t like.” Farr later went all-in on grunge titans like Nirvana, and then had his world-view altered by southernrock deconstructionists the DriveBy Truckers. After dabbling in the six-string as a teen, he embraced it big-time in college in Raymond, Mississippi, after deciding to take a classical-guitar class. “This guy in Raymond was running a record shop in an old railroad station that had been closed down,” Farr recalls. “I went in there and went, ‘I just got this acoustic guitar— what do you suggest that I listen to to learn to play it?’ He said, ‘Neil Young. Decade.’ Man, that thing didn’t leave my tape deck for a year. You can play any song on that double album, and I’ll tell you what comes right after it. It was pivotal.” Moving across the continent after graduating from college with an architectural degree wasn’t

something he intended to do. “I came to see a friend in Washington, and thought I’d cruise up here to meet some Cuban cigars,” he says. “I met a girl, came up a couple of times, and was like, ‘Fuck, man— this is where I’m living.’ I’m not going to bullshit you—I didn’t even know Vancouver was up here. The girl that I met showed me the North Shore, we hung out on Main Street. There was snow, and the beach, and I was like, ‘Fuck—are you kidding me?’ ” After settling in Vancouver, Farr slowly began integrating himself into

the local music community, soaking up an appreciation for blues pioneers like Willie Dixon from Jim Byrnes. Working with roots vet Jon Wood under the banner Mississippi Live & the Dirty Dirty, he made a series of records that straddled southern rock and outlaw country, including 2009’s Mississippi Live and 2015’s Going Down. (Playing with Farr and Wood in the band today are bassist Tom Hillifer and drummer Jay B. Johnson.) It was a trip back home that would finally set him on the throwbackblues path he’s on today. “In the early part of 2017 I got a call telling me that my dad’s cancer had come back,” he relates. “They were like, ‘You need to come home right now.’ I jumped on a plane, went home the next morning, and by the time I got there the doctor was like, ‘Um, we made a mistake. Your dad’s looking pretty good.’ ” Still, that provided some valuable time for reconnecting with family. One afternoon, after getting some barbecue, Farr decided to show his father the Blue Front Cafe, a historic, ramshackle Bentonia, Mississippi, juke joint (run for decades by Holmes’s family) that had always fascinated him. “I’d been taking pictures of it since I was in high school—it’s such a beautiful building in this small town,” he says. “The door was open that day, so I stuck my head in to look around and see what was inside, ’cause I’d never been in. Jimmy ‘Duck’ Holmes was sitting inside, and he said, ‘Can I help you?’ We got to talking, and I told him that I was from Vancouver, Canada. He said, ‘I’m coming up there this summer to do a show.’ He then played

3 Questions

Q. Who inspires you as a songwriter? A. I heard an interview with Jason Isbell one day, and he said, “I’m not going

to put something in a song unless it’s the way I would say it.” That really hit home—the idea of “It’s not what you saw, it’s the way that you say it.”

Q. Is the South changing? A. It’s way different than when I was a kid. You see a lot more gay people,

you see a lot more interracial relationships. You see more tattoos, and you see people questioning what the government’s doing.

Q. How did Leeroy Stagger impact Dirty South Blues? A. I sent him all the songs that I’d written, and he picked all the blues ones.

He said, “I wanna make a blues record.”

me and my dad a song—‘Devil Got My Woman’—and it just floored me. That’s what started all this. “I went home four times that year,” Farr continues. “Every time I went home, I’d go see Jimmy and he would show me something. I’d come back here and try to dissect what I’d learned. It was crazy the way it hit. It was like, ‘This is what I need to do.’ It felt so natural. I went home and did a show for him at the Blue Front Cafe for New Year’s. The day before the show I was over at his place playing something for him, and he was like, ‘I can’t show you anything else. You know how to do this, Connely. But you aren’t going to do it like me, you aren’t going to do it like Skid James, and you’re not going to do it like Jack Owens. You got to go do it the way you’re going to do it.’ ” Farr did exactly that when he decamped to Lethbridge, Alberta, to make Dirty South Blues with outlawcountry artist and producer Leeroy Stagger. After working the songs out with Wood and his regular bandmates in Vancouver, he arrived in the studio well aware of what he wanted to accomplish: namely, making a record that was authentically retro in the Bentonia-blues style. Accompanied by crack players assembled by Stagger, Farr delivered a collection that’s all about grit, mud, and downbeat, 2-a.m.-in-the-moonlight majesty, rather than polish and flash. Dirty South Blues is made, lovingly, for the juke joints of Mississippi— the only things missing are a plate of pecan-smoked barbecue, a pack of Marlboros, and a half-gone bottle of Cody Road bourbon. Farr might be based in Vancouver these days, but he’s made a stunner of an album that, above all, sounds like the place that he’s proud to be from. “I was down playing Jimmy’s Bentonia Blues Festival last year, and he comes up to me after the set, puts his arms around me, and says, ‘When you are here, you are home. You are family,’ ” Farr says. “There’s this barrier that really breaks down through music. That’s what I love about old juke joints. You walk in and they are 50-50 black and white. Music is the common denominator, and it’s beautiful.” g Mississippi Live & the Dirty Dirty (fronted by songwriter Robert Connely Farr) play the WISE Hall with Trailer Hawk on Saturday (January 19).

Weeds brings jazz of the past to life b IT MUST BE an odd feeling: just days before you’re about to launch your new record label, the Internet explodes with news that your business partner has been headhunted by a legend. That’s what’s happened to Cory Weeds this month, but according to the unflaggingly energetic saxophonist and jazz entrepreneur, it’s all good news. The back story is that in 2016 Weeds struck up a Facebook friendship with Los Angeles record producer Zev Feldman, then riding high on a series of exemplary archival recordings he’d released through the Resonance imprint. This led to a five-night run of tribute concerts at Frankie’s Jazz Club, which Weeds books, with Feldman talking about his work, and local musicians interpreting the music of the historic greats. “It was a huge success,” Weeds recalls in a telephone interview from his Burnaby home, and naturally the two vinyl junkies began discussing other projects, leading to the founding of Reel to Real Records, which this week issues its first two projects: Swingin’ in Seattle, culled from 1966 and ’67 club dates by the great alto saxophonist Cannonball Adderley, and A Soulful Sunday,

Cory Weeds’s Reel to Real Records launches this week with recordings by two legendary musicians.

which features singer Etta Jones with pianist Cedar Walton and his trio, recorded in 1972. “Zev very casually mentioned this Cannonball Adderley tape to me, and that’s the one that ended up coming out,” Weeds explains. “And in

the midst of that we came across the Etta Jones tape, which I just couldn’t put down.” Although Feldman and Weeds’s roles within Reel to Real aren’t clearly defined, with the first two discs Feldman essentially sourced the recordings, assembled the comprehensive liner notes, and touted the label to the jazz press. Weeds handled the legal side, took care of mastering and pressing the discs, and organized distribution through his preexisting Cellar Live label. And then, on January 7, the news came down that Feldman had just been handed one of the most important archival positions in jazz: consulting producer for historical and archival recordings for New York City’s legendary Blue Note record company. Naturally, this is going to put pressure on Feldman’s time, but he and Weeds will continue to work together. “It can only be good for the label,” Weeds says, and although he’s reluctant to go into detail about what comes next, he mentions that Seattle jazz DJ Jim Wilke, the source of the Adderley tape, has many other equally compelling recordings in his archive,

as does his local counterpart, Gary Barclay. More immediately, Weeds is getting ready to celebrate Reel to Real’s debut with three album-release tribute concerts: two with his own quintet, featuring Swingin’ in Seattle drummer Roy McCurdy, and one with the Sharon Minemoto Trio, with Dawn Pemberton taking on the Etta Jones role. “I don’t think we’re going to do the arrangements exactly like they are on the record,” the saxophonist says. “It’s more just to create some excitement around the release. And in the case of Roy, I mean, what a bonus that Roy is still alive and sounding incredible! I mean, that’s just really cool. So it’s more just to play homage—and it’ll be fun.” by Alexander Varty

The Cory Weeds Quintet, featuring Roy McCurdy, plays Frankie’s Jazz Club on Friday and Saturday (January 18 and 19). The Sharon Minemoto Trio, with Dawn Pemberton, plays the same venue next Thursday (January 24).

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JANUARY 17 – 24 / 2019 THE GEORGIA STR AIGHT 27

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CAUTIOUS CLAY HAS A LOT TO SAY

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The Georgia Straight Confessions, an outlet for submitting revelations about your private lives—or for the voyeurs among us who want to read what other people have disclosed.

b IT’S POSSIBLY a bit of understatement to say that 2018 was an interesting one for Josh Karpeh. A few months prior to the start of last year, Karpeh was still a white-collar wage slave who had yet to play a show under his musical pseudonym Cautious Clay. By the end of 2018, he was a full-time artist with two EPs out, an NPR Tiny Desk Concert under his belt, and a rapidly building buzz for his carefully crafted but still soulful brand of forward-thinking R&B. Reached at his home in Crown Heights, Brooklyn, Karpeh measures his career growth by the size of the venues he finds himself performing at in New York City. “It’s gone from selling out Baby’s All Right, which is, like, 200 cap, to Irving Plaza, which is 1,080, in the same city in less than a year, so it’s definitely insane,” he tells the Straight. It’s another mark of Cautious Clay’s rising success that he already has collaborations with heavy hitters like John Mayer, Hudson Mohawke, and Tobias Jesso Jr. on his CV. The North Vancouver–raised Jesso, who cowrote Karpeh’s latest single, “Reasons”, is an ascending star in his right, a cowriter of choice for the likes of Adele and Sia. “His management reached out to me, cold-emailed after I’d released ‘Joshua Tree’, the second song I released,” Karpeh says. “And they just found me on SoundCloud or Spotify or something, and he wanted to write with me. So we linked up in L.A. on one of my first trips out there, and that’s when we wrote that song.” Collaboration can be fun, but Karpeh has already proven, with his self-produced debut EP Blood Type (which features his breakout song, “Cold War”), that he has no problem doing everything by himself. “When there’s too many cooks in the kitchen, per se, it can just be a little daunting, almost like ‘Wow, I can’t

MUSIC LISTINGS CONCERTS JUST ANNOUNCED

Scan to confess The Lost Art of Punctuality When I say I will meet someone at a specific time, that is a personal contract. I am making a commitment to that person. I am telling them that I value their time as much as my own. And that I respect them enough... (con’t @straight.com)

Brunch I used to love going out for brunch, now it just takes too long and costs too much.

Free and Clear I paid off 23K in debt over the last 3 years. It wasn’t easy, there were weekends alone, lots of no frills shopping and cutting down on drinking and drugs. Couldn’t get a credit card for a while, couldn’t buy things like fancy clothes or go to clubs, had to buy second for a lot of things. But now I’m free and clear and it’s the best pay raise I could give myself.

when i swim i am beautiful

Indica I smoked a lot of Indica before bed and it really put me in a trance. I just felt like I was being transported way up yay high up to the clouds of purple. Reminds me of a Jimi Hendrix song.

Internalized classism.

by John Lucas

Cautious Clay plays the Fox Cabaret on Thursday (January 17).

THE ELEVEN TWELVES Sixties-inspired garage band, with guests Massy Ferguson and Provincial Champion. Feb 16, 8:30 pm, LanaLou’s Restaurant. $10/$15. JEFF LANG Australian roots and blues singer, songwriter, and guitarist. Feb 22, 8 pm, St. James Hall. $25/$30. BILLY IDOL Rocker from the ‘80s performs with guitarist Steve Stevens. Mar 3, 8 pm, Vogue Theatre. Tix on sale Jan 18, 10 am, $114.50/99.50/64.50. WALTER LURE’S L.A.M.F. Ex-Heartbreakers cofounder tours with guitarist Mick Rossi. Mar 3, 8 pm, Pat’s Pub & Brewhouse. $16.50. ELLA VOS L.A.-based pop singer-songwriter. Mar 22, 8 pm, Biltmore Cabaret. Tix on sale Jan 18, 10 am, $20. PUP Toronto punk band. Mar 29, 9 pm, WISE Hall. Tix on sale Jan 18, 10 am, $15. THE INTERRUPTERS Ska-punk band from L.A., with guests Masked Intruder and Rat Boy. Apr 9, 8 pm, Commodore Ballroom. Tix on sale Jan 18, 10 am, $26. LOVELYTHEBAND Indie-pop band from L.A., with guests Jagwar Twin and Flora Cash. Apr 19, 9 pm, Imperial Vancouver. Tix on sale Jan 18, 10 am, $22.50. RÜFÜS DU SOL Electronic-music trio from Australia. Apr 26, 8 pm, PNE Forum. Tix on sale Jan 18, 10 am, $45. STRAND OF OAKS Rock project by songwriter and producer Timothy Showalter, with guests Wild Pink. Apr 27, 8 pm, Biltmore Cabaret. Tix on sale Jan 18, 10 am, $20. BAD SUNS American alt-rock quartet. May 6, 8 pm, Venue. Tix on sale Jan 18, 10 am, $20. ELLE KING Americana singer-songwriter and actress, with guest Barns Courtney. May 21, 9 pm, Commodore Ballroom. Tix on sale Jan 18, 10 am, $30.

STICKY FINGERS Reggae-fusion/indierock band from Sydney, Australia. Jun 14, 9:30 pm, Commodore Ballroom. Tix on sale Jan 18, 10 am, $22.50. BRYAN FERRY British art-pop singer-songwriter, former frontman of Roxy Music. Sep 5, 7:30 pm, Queen Elizabeth Theatre. Tix on sale Jan 18, 10 am, $250/199/129/95/65/45. THE WHO British rock legends, featuring original members Pete Townshend and Roger Daltrey. Oct 21, 7:30 pm, Rogers Arena. Tix on sale Jan 18, 10 am, $304/203/153/103/83/53.

WEDNESDAY, JANUARY 16 THE YAWPERS WITH BLACKFOOT GYPSIES Rock bands from the States. Jan 16, 8 pm, The Flamingo Events Centre. $12. REEL BIG FISH Ska-punk band from Orange County, California, with guests Masked Intruder and Bikini Thrill. Jan 16, 8 pm, Commodore Ballroom. $25.

THURSDAY, JANUARY 17 YG American rapper performs material from latest album Stay Dangerous. Jan 17, 7 pm, Harbour Event Centre. Note: moved from original venue of PNE Forum. $49.50. CAUTIOUS CLAY Brooklyn-based R&B singer-songwriter and producer. Jan 17, 9 pm, Fox Cabaret. $15.

FRIDAY, JANUARY 18 ENSIFERUM AND SEPTICFLESH Deathmetal bands, with guests Arsis and Scimitar. Jan 18, 7 pm, Rickshaw Theatre. $35. HAPPY HOUR PRESENTS Performances by Bridal Party, Yung Heazy, Club Sofa, and Luv Supreme. Jan 18, 8-11:30 pm, WISE Hall. $12-15. CLAIRE HUNTER Toronto singer-songwriter, with guest Zach Kleisinger. Jan 18, 9 pm, Café Deux Soleils. $10. FRIDAY JAZZ The Winston Matsushita Trio performs piano-based jazz. Jan 18, 9 pm, Tyrant Studios. $10. THE UNKNOWN SOLDIERS AND SPRINGSTEEN ON BROADWAY Tributes to the Doors and Bruce Springsteen Jan 18, 9:30 pm. $10.

SATURDAY, JANUARY 19

I actually get super uncomfortable when men who appear wealthy hit on me and brag about their money, accomplishments, property they own etc. I mean, of... (con’t @straight.com)

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SAMMY KAY Folk-punk troubadour, with guests Seth Anderson and Jesse Lebourdais. Jan 29, 8 pm, LanaLou’s Restaurant. $12. THE POSIES Duo performance by Posies founding members Jon Auer and Ken Stringfellow. Jan 31, 7-10:30 pm, St. James Hall. $28-$100. OZOMATLI Latin hip-hop/reggae-funk band, with guests Salsadancehall Collective and DJ SuCommandante Espinoza. Jan 31, 8 pm, Rickshaw Theatre. $26.50. THE STARLING EFFECT Local indie-rock band, with guest Lorna Rowe. Feb 1, 8 pm, LanaLou’s Restaurant. $10. RICHARD DUGUAY AND FYFW Canadian rocker, with guests Rat Silo and SLIP-ons. Feb 1, 8:30 pm, Pat’s Pub & Brewhouse. $15. STAYED ON FREEDOM Celebration of Black History Month. Feb 2, 7:30-10 pm, Christ Church Cathedral. $30/$35. CARLO Carlo and Jesse Bru perform Berlin house music. Feb 2, 10 pm, Open Studios. $25/$30. BLACK GARDENIA Vintage-inspired jazz featuring Daphne Roubini. Feb 14, 8 pm, Frankie’s Jazz Club. $20. LOOT Tribute to Tool raises money for Covenant House Vancouver, with guests Alice Hardy and Holy Tokes. Feb 15, 8 pm, Rickshaw Theatre. $15. BARRY GREENFIELD: PASSION IN THE ROUND Music and storyteller evening, with proceeds to Wigs for Kids B.C. Feb 15, 8 pm, Yaletown Roundhouse Exhibition Hall. $25. THE TOASTERS NYC ska legends, with guests Los Furios and Cawama. Feb 16, 7:45 pm, Rickshaw Theatre. $15.

think,’ you know what I mean?” he notes. “And I don’t like to feel that way. So, a lot of times I’ll collaborate with people and I’ll make a bunch of new vibes and it’s great. A lot of times I do like to do things completely solo if I’m feeling a certain type of way, and I’m inspired, and I don’t want to feel hindered by other people’s thoughts.” In that way, he can rightfully be compared to the boxer known as the Greatest of All Time, whose birth name, Cassius Clay, inspired Karpeh’s stage moniker. “Yeah, it’s definitely a Muhammad Ali reference, but the meaning really stems from my thoughts and perspectives on the way I create my music,” he says. “I’d say it’s best defined by my being particular; being cautious about my music. I’m very thoughtful. I have a way of creating it where every element, whether it’s the lyrics, the production, the mix—I mix all my own stuff—everything is very much in my hands at the end of the day, because I want to be that particular about it.” Karpeh clearly has a lot to say—not just in interviews, but through his songs, which touch on everything from how our addiction to social media commodifies human interactions (“Cold War”) to the challenges that come with finding balance between love and worldly ambition (“Joshua Tree”). “I do invest a lot in people connecting to my lyrics personally,” he admits. “I do get messages at times from people who are like, ‘I’ve been going through a hard time, and what you said in “Stolen Moments”, or what you said in “Cold War”, I really resonated with that.’ That’s the most enjoyable to me, because people are listening to my music in a way that it’s doing its job. It’s not just background music. People are listening and they’re connecting. They want something deeper.”

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COLTER WALL Country-folk singer-songwriter from Swift Current, Saskatchewan. Jan 19, doors 8 pm, show 9 pm, Commodore Ballroom. $29.50. TRAILERHAWK Outlaw country, with guests Mississippi Live & the Dirty Dirty and R.d. Cane. Jan 19, 7 pm, WISE Hall. $18.75/$20.00. DINNER JAZZ CONCERT The Soultrax Trio, featuring guitarist-vocalist Olaf De Shield, performs blues and jazz. Jan 19, 7 pm, Gallery Bistro. LYDIA HOL Psychedelic-soul project, with guests Graftician and Craig Aalders. Jan 19, 7:30-10:30 pm, Fox Cabaret. $15/$20.

SUNDAY, JANUARY 20 SIMPLE GIFTS CHOIR BENEFIT CONCERT Swing jazz, classical, Broadway, and gospel music. Jan 20, 3-5 pm, Knox United Church. $15. LANCO Country-music quartet from Nashville. Jan 20, doors 7 pm, show 8 pm, Commodore Ballroom. $28.75.

MONDAY, JANUARY 21 PETUNIA AND THE VIPERS Local roots band performs a Monday-night residency. Jan 21, 8-11 pm, WISE Hall. $10. WILD CHILD Austin-based indie-pop band plays tunes from latest album Expectations. Jan 21, 9 pm, Fox Cabaret. $16.

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THURSDAY, JANUARY 24 INTERNATIONAL GUITAR NIGHT Performances by four acoustic guitarists. Jan 24, 7:30 pm, Massey Theatre. $39/$29. LOUDON WAINWRIGHT III The Rogue Folk Club presents American folk singer-songwriter (“Dead Skunk”). Jan 24, 8 pm, St. James Hall. $20-$40. PATSY KLEIN AND TONY WILSON BAND Original songs and covers by P.J. Harvey, Aimee Mann, and CCR. Jan 24, 8-11 pm, WISE Hall. $10. MOONDLE Jazz-inflected indie pop, with guests Parlour Panther and Tonye. Jan 24, 8-11:55 pm, WISE Hall. $15. THE KNOCKS Electronic-music duo from New York City. Jan 24, doors 8 pm, show 9 pm, Fortune Sound Club. $25.

ZIMMERS HOLE Former members of Strapping Young Lad. Jan 26, 7 pm, Rickshaw Theatre. $29.50.

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to plaintive reveries (the stringsadorned remembrance “When You Were Living Here”) to heartland-lite ballads (“Becoming”). The connecting thread is the way Harrison sounds ever-optimistic. (Two tracks are dedicated to the memory of a friend and former roommate, Eric Rose). When You Were Living Here starts off with “Exactly What to Do”, in which he sings “I’m outta work, it’s an incredible high/All day creating my own musical ride”. For most of us, that would be a case of “be careful what you wish for.” Harrison, on the other hand, couldn’t sound more thrilled— suggesting that Slug Comparison might very well be nothing less than his dream job. Look out, Coheed and Cambria.

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Somewhere along the line—right around the time Coheed and Cambria, Protest the Hero, and the Mars Volta were all vying for world supremacy—prog rock morphed into a maximum-overdrive arms race. Forget making something melodic and listenable; it was all about notes-per-minute delivered with brute-force velocity. When You Were Living Here dials things back to a less harsh time. Singer-guitarist Doug Harrison—who performs solo under the moniker Slug Comparison—formerly fronted Victoria’s Fen, a unit that wasn’t afraid to go the acoustic route. Although he’s happy to have this 12-song release filed under “prog”, the songs swing from postMumford folk (“Let Some Light”)

FRIDAY, FEBRUARY 8

DEREK GRIPPER An exotic blend of contemporary classical and traditional kora music, Derek Gripper’s mastery of his 6-string guitar is nothing short of miraculous. Jan 26, 8 pm, St. James Hall. $25 adv/$30 door (cash only).

DOROTHY Rock band from L.A., with guests Spirit Animal. Jan 27, 8 pm, Venue. Tix $25.

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ANGELA VERBRUGGE WITH NYC PIANIST & TRIO Coastal Jazz presents Angela Verbrugge to celebrate the release of her highly anticipated album recorded with a top trio in NYC. NYC Pianist Ray Gallon Feb 7, 8 pm, Frankie’s Jazz Club. $16.

SATURDAY, JANUARY 26

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b I’M A MIDDLE-AGED man dating a younger guy. He wanted to be a “boy” to a Dom top daddy, and I was happy to oblige. The sex is amazing, and we click as people, too. Then a couple days ago, he told me he wanted to explore small penis humiliation (SPH). I was taken aback—not by the request, but because his penis is NOT small! It’s not huge, but it’s at least average. And it’s thick! I’m not super hung, so it’s not that he seems small in comparison—I have maybe an inch on him. When I pointed this out, he claimed I was just trying to make him feel better about his small size! He said I was patronizing him. He ended the conversation by saying he would drop it, since it was obviously making me uncomfortable. Honestly, I am uncomfortable with it. I just can’t imagine bringing myself to go on about how small his dick is when I’m actually thinking how much that thing would hurt if he were to top me. But my bigger concern is that doing SPH might feed into possible body dysmorphia. The way he reacted to being told his penis wasn’t small was a red flag—it told me this isn’t just a fantasy. It’s not that he wants to be made to feel it’s small; he really believes it is small. How is this different from telling a skinny boyfriend what a big fat pig he is?

I really like this guy, and I think to examine if his reaction felt this could go somewhere. I want to shaming,” said Malone. “While I appreciate NOSPH’s be GGG, but not at the cost of his concerns,” continued Malone, “SPH mental health. - Need Objectivity, Savage, Please Help! scenes don’t require one to have a small dick. It’s fully engaging in “The boy expressed a desire to play the role-play itself that’s hot and out a specific scene; he did not re- exciting. It really is no different if quest a fact check on his dick size,” a daddy’s skinny boyfriend wanted said Reece Malone, a board-cer- to engage in a fantasy where the tified sex therapist with a doctor- thought of being a ‘big fat pig’ was ate in human sexuality. “The boy’s hot and exciting for him.” disappointment is understandable, Now, if he had a history of buespecially if he was feeling hopeful limia, telling him he’s a “big fat that the request would be met with pig” could be harmful; likewise, if enthusiasm and mutual excitement.” he had a history of bigorexia, tellYour boy was probably nervous ing him he’s a “skinny little shit” when he brought SPH up, NOSPH, could be harmful. Your boyfriend and his reaction to your reaction— may have a distorted idea about his complaints about feeling pa- average dick size—most likely distronized, his demand to drop the torted by porn—but odds are good subject—was likely motivated by he’s one of millions of people out shame. Not shame about the size there who have eroticized their of his dick but shame about this anxieties and insecurities. So long particular kink. He was open with as he isn’t contemplating some you about other kinks right away, dangerous or stupid way to make but sharing those kinks probably his cock bigger (like getting liquid didn’t make him feel as vulnerable silicone injected into his genitals, as sharing this one did. He held SPH something that led to the death of back until he felt he could really a gay man in Seattle last year), you trust you. And after he worked up can engage in SPH without doing the nerve to tell you about his big- him harm. gest turn-on, your response was to “But NOSPH should ask more argue with him about whether his questions and engage in a dialogue on dick is small enough to qualify him how his boy wants the scene played for SPH play. “I think it’s important out, and if and how it would change that NOSPH revisit the conversation their sexual dynamic overall,” said

Malone. “It’s also fair for NOSPH to share his own concerns about feeding into body dysmorphia. He also has the right to set boundaries or decline the scene altogether.” Agreed! Limits and boundaries aren’t just for subs, bottoms, or slaves. Doms, tops, Masters, and Mistresses get to have limits and set boundaries too. If you can’t go there, you aren’t obligated to go there. But it might make you feel better about going there, NOSPH, if you bear in mind that you can mock his tiny cock (during sex play) and reassure him about his cock (during aftercare). If your boy doesn’t feel like he has to win an argument about how small his cock is to get the SPH he wants, he might be willing to admit—or finally be willing to accept—that his cock isn’t really that small. Reece Malone is the creator of “Last Longer in Bed: 6 Steps to Master Premature Ejaculation”. You can learn more about Malone and his work at reecemalone.com. b I’M A GAY MAN in my late 20s finishing up a graduate program and dating a man who is 38. The sex is great. Some context: we met on Scruff and dated for a little bit. Then I suffered a loss in my family—I was sad and confused and didn’t want a relationship

during this time. We talked again in June 2018; we went to Pride in Minneapolis; and we have been together since December 2018. Recently he hinted about children and my attitude toward children. I responded that I want to have children of my own someday. However, in a text, he stated that he wants a child in a year or two. This seemed like an ultimatum to me, one that could make or break this relationship, and I wonder why he kept this from me. I do want children, but I’m still a starving student, a child is a huge responsibility, and I worry about the state of the world. And he texted this information to me! I feel anxious and pressured. What do I need to do? - Text Ultimatum May Unravel Loving Ties Maybe you need to chill the fuck out, TUMULT. People put their long-term goals on the table when they start getting serious about someone—long-term goals like the places they’d like to live or the kids they’d like to have— because if you’re not on the same page about the big stuff, continuing to make a large emotional investment in the relationship sets both partners up for heartbreak. And while you seem to think he should

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