The Georgia Straight - Canadian Film Day - April 13, 2017

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4 THE GEORGIA STRAIGHT APRIL 13 – 20 / 2017

E EINGK F RRKBAC PA IN

CONTENTS

McSpadden Park, Vancouver. Fan Jiang photo.

7

STRAIGHT TALK

With all the hoopla about the Trudeau government’s proposed marijuana legislation, cannabis crusader Jodie Emery has called for amnesty for those prosecuted for past offences. > BY TR AVIS LUPICK

12

FOOD

A new public market in Gibsons is the latest example of community gathering places that showcase local artisans and food producers. > BY GAIL JOHNSON

17

ARTS

From Edward Elgar to Benjamin Britten and Ralph Vaughan Williams, British composers get a royal showing by strings star James Ehnes.

START HERE 14 32 20 9 15 32 29 10 8 35 11 22

The Bottle Confessions Dance Green Living I Saw You Local Motion Movie Reviews Real Estate Renters of Vancouver Savage Love Straight Stars Theatre

r

> BY ALE X ANDER VART Y

TIME OUT

25

COVER

As Canada turns 150, National Canadian Film Day goes big with the stories we tell and the pictures that move us. > BY ADRIAN MACK

23 Arts 32 Music

SERVICES 33 Careers 10 Real Estate

31

MUSIC

Seasons Festival’s eclectic format allows audiences to jump between multiple shows and venues and plan their own nights. > BY K ATE WILSON

33

COVER PHOTO

CLASSIFIEDS

Automotive | Education | Services | Travel Marketplace | Employment | Real Estate Property Rentals | Music | Announcements Callboard | And more...

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APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 5

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PROVINCIAL GENERAL ELECTION Will the public’s desire for change unseat the B.C. Liberals? Or will Premier Christy Clark’s handling of the economy and other issues give her party its fifth straight majority? In our April 27th issue, we will examine key issues that could decide this election.

To Adver tise Contact 604.730.7020 | sales@straight.com 6 THE GEORGIA STRAIGHT APRIL 13 – 20 / 2017

straight talk OD DEATHS GET LITTLE ACTION FROM B.C. LIBS

April 14 marks the passage of one year since the provincial government declared a public-health emergency related to illicit-drug overdose deaths. Since then, almost another 1,000 people have died, about five times the annual average of 204 deaths for the years 2001 to 2010. The same week, the B.C. Liberals released their party platform for the upcoming provincial election (May 9), and it doesn’t include much on the crisis, candidates for the NDP and the Greens were quick to point out. “I’m appalled,” said Selina Robinson, the NDP MLA for Coquitlam-Maillardville. “This says that they don’t care.” Robinson told the Straight the NDP will reveal its plan for responding to the overdose crisis this Thursday (April 13). “You’ll see our platform later this week and there will be some details in there that will shed a light on something that the B.C. Liberals and Christy Clark have left in the dark,” she said in a telephone interview. In the Liberals’ platform, the overdose epidemic is first referenced on page 103 of 129, toward the bottom of a section on mental health. “2016 was also a year of needless deaths from opioid overdoses, particularly with the rise of illicit fentanyl and carfentanil across Canada,” it reads. “Here in B.C., we have led the country in our response to this crisis, being the first province to declare a public health emergency and assemble an expert Joint Task Force.” On future action, the Liberals’ platform promises $12 million for “up to 28 highly specialized addiction treatment beds for youth”, $2 million annually for the new Vancouver-based B.C. Centre on Substance Use, and $10 million “to reduce wait lists for substance use treatment services”. Jonina Campbell, the B.C. Green candidate for New Westminster, told the Straight that her party plans to give the crisis “significantly” more attention than the current government. “When the Liberals talk about keeping B.C. strong, they are obviously referring to a community that does not include those who are struggling with mental health and addictions,” she said. At an April 11 memorial in the Downtown Eastside marking the public emergency’s one-year anniversary,

harm-reduction advocate Sarah Blyth argued that the overdose epidemic is an issue every candidate should be talking about. “We’re going to make it a provincial election issue whether they like it or not,” she said. “People are dying. If that’s not an election issue, then I don’t know what is.” > TRAVIS LUPICK

ACTIVIST CALLS ON FEDS TO FORGIVE POT OFFENCES

The federal Liberal government is expected to table legislation to legalize recreational marijuana on Thursday (April 13), exactly one week ahead of the world’s annual 4/20 celebration of all things cannabis. The proposed law will be debated in Parliament. Then it’s likely that each province and territory will require some time to work out regulatory details. In the meantime, long-time advocates for marijuana reform want to know if Ottawa has any plans to provide relief on past offences. Just last month, Canada’s most prominent marijuana advocates, Jodie Emery and her husband, Marc, were charged with conspiracy to commit an indictable offence, possession for the purpose of trafficking, and possession of the proceeds of crime. In a telephone interview, Jodie said that once the new laws come into effect, she wants the federal government to look at expunging records of crimes that are no longer crimes. “We should have amnesty, pardons, and an official apology from the government,” she told the Straight. At the same time, Jodie painted a bleak picture of how she predicts the Liberals’ regulatory framework for marijuana will work. “We know the government will not apologize for prohibition because we know they intend to maintain it,” she said. “The form of legalization that they are going to put forward is really just an economic opportunity for a select few people while everybody else continues to be arrested.…Growers and dispensaries will continue to be criminalized and they will introduce even tougher penalties for people operating outside the legal system.” The Straight asked Justin Trudeau about amnesty at a campaign stop in Vancouver in August 2015. “That’s something that we’ll be looking into as we move forward,” he

said. “There has been many situations over history when laws come in that overturn previous convictions, and there will be a process for that that we will set up in a responsible way.” > TRAVIS LUPICK

MORE UNDERFUNDING, MORE CUTS TO SCHOOLS

Due to another funding shortage from the province, over $2 million in educational, maintenance, and administrative services for the next school year could be eliminated in Vancouver. The education cuts recommended by district staff include the closure of two of the city’s three remaining centres for adult education. The district may also lose all of its career-information advisers, who help high-school students explore options for postsecondary education. Funding for aboriginal education might also be slashed and King George secondary school staffing could be reduced. Proposed cuts to educational services total almost $1 million, with maintenance and administration absorbing the rest. The district was previously forecast to have a bigger deficit of almost $15 million for school year 2017-18. This was reduced significantly after the B.C. government created a Classroom Enhance Fund (CEF) after a Supreme Court of Canada decision restoring contract language on class size and composition in the labour agreement with teachers. With its share the Vancouver school district was able to realign costs. According to former trustee Patti Bacchus, the new round of cuts demonstrates that not much has changed since she and other elected members of the Vancouver School Board were fired by the province last October. “We put our jobs on the line last year to say, ‘No more. We’re not going to say this is okay,’ ” Bacchus said by phone, referring to the previous board’s refusal to pass a balanced budget after services were cut due to a budget gap of $21.8 million. She added that the trustee appointed by the province after the board’s sacking can deliver a message to the government. “She needs to go back and say, ‘There’s not enough money. This is not okay,’ ” Bacchus said of trustee Dianne Turner. “That would be a powerful message.” Turner is scheduled to make a budget decision on April 26. > CARLITO PABLO

EASTER AT THE MARKET

The Georgia Straight | Vancouver’s News and Entertainment Weekly | Volume 51 Number 2571 1635 West Broadway, Vancouver, B.C. V6J 1W9 www.straight.com Phone: 604-730-7000 / Fax: 604-730-7010 / e-mail: gs.info@straight.com Display Advertising: 604-730-7020 / Fax: 604-730-7012 / e-mail: sales@straight.com Classifieds: 604-730-7060 / e-mail: classads@straight.com Subscriptions: 604-730-7000 Distribution: 604-730-7087 EDITOR + PUBLISHER Dan McLeod ASSOCIATE PUBLISHER Yolanda Stepien GENERAL MANAGER Matt McLeod EDITOR Charlie Smith SECTION EDITORS

Janet Smith (Arts/Fashion) Mike Usinger (Music) Steve Newton (Time Out) Adrian Mack (Movies) Brian Lynch (Books) EDITORIAL ADMINISTRATOR Doug Sarti ASSOCIATE EDITORS

Gail Johnson, John Lucas, Alexander Varty STAFF WRITERS

Tammy Kwan, Lucy Lau, Travis Lupick, Carlito Pablo, Amanda Siebert, Craig Takeuchi, Kate Wilson SENIOR EDITOR Martin Dunphy EDITORIAL ASSISTANT Jennie Ramstad PROOFREADER Pat Ryffranck CONTRIBUTING WRITERS

Gregory Adams, Nathan Caddell, David Chau, Jack Christie, Jennifer Croll, Ken Eisner (Movies), George Fetherling, Tara Henley, Michael Hingston, Ng Weng Hoong, Alex Hudson, Kurtis Kolt,

Robin Laurence (Visual Arts), Mark Leiren-Young, John Lekich, Amy Lu, Bob Mackin, Michael Mann, Rose Marcus, Beth McArthur, Verne McDonald, Allan MacInnis, Guy MacPherson, Tony Montague, Kathleen Oliver, Ben Parfitt, Vivian Pencz, Bill Richardson, Gurpreet Singh, Jacqueline Turner, Andrea Warner, Jessica Werb, Stephen Wong, Alan Woo ART DEPARTMENT MANAGER

Janet McDonald SENIOR DESIGNER David Ko CONTRIBUTING ARTISTS

Alfonso Arnold, Rebecca Blissett, Trevor Brady, Louise Christie, Emily Cooper, Randall Cosco, Krystian Guevara, Evaan Kheraj, Kris Krug, Tracey Kusiewicz, Kevin Langdale, Shayne Letain, Matt Mignanelli, Mark “Atomos” Pilon, Carlo Ricci, William Ting, Alex Waterhouse-Hayward DIGITAL PRODUCT MANAGER

Chet Woodside LEAD WEB DEVELOPER Jeffrey Li WEB DEVELOPER Tina Luu WEB ADMINISTRATOR Miles Keir

PRODUCTION SUPERVISOR Mike Correia PRODUCTION

K.T. Dean, Sandra Oswald

AD SERVICES ASSOCIATE

Jon Cranny, Lyndsey Krezanoski

DIRECTOR OF ARTS & MARKETING

Laura Moore SALES DIRECTOR

Tara Lalanne

SALES MANAGER Sharon Smith (On Leave) ADVERTISING REPRESENTATIVES

Steve Barmash, Glenn Cohen, Lauren Ellis, Robyn Marsh, David Pearlman,

PROMOTIONS + SPECIAL PROJECTS

Navdeep Chhina

ADVERTISING + PROMOTION ASSISTANT

Maya Beckersmith

DIGITAL SALES COORDINATOR

Brenna Woodhouse CIRCULATION MANAGER

Dexter Vosper

EASTER EVENTS Sunday, April 16

10:00am - 11:00am: Easter Egg Hunt* (Meet next to Cheshire Cheese)

10:00am - 2:00pm: Kids Crafts Face Painting ($) 10:30am - 11:30am: Easter Bunny

INFORMATION TECHNOLOGY DIRECTOR

Dennis Jangula

CREDIT MANAGER Shannon Li

11:00am - 12:00pm: Easter Egg Decorating*

ACCOUNTING SUPERVISOR

Tamara Robinson

*while supplies last

ACCOUNTING

Angela Krommidas

RECEPTION/PROMOTIONS ASSISTANT

Teagan Dobson

The Georgia Straight is published every Thursday by the Vancouver Free Press Publishing SUBMISSIONS The Straight accepts no responsibility for, and will not Corp. Copies are distributed free every week throughout Vancouver, Burnaby, North necessarily respond to, any submitted materials. All submissions should be and West Vancouver, New Westminster, and Richmond. International Standard Serial addressed to contact@straight.com. 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 © 2017 Vancouver Free Press, Best Of Vancouver, BOV And Golden Plates Are Trade-Marks Of Vancouver Free Press Publishing Corp.

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APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 7

HOUSING

UPCOMING ISSUES APRIL 20

Earth Day Green Living

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Renters of Vancouver takes an intimate look at how the city’s residents are dealing with the housing crisis. Tenants choose to remain nameless when they share their stories.

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Renters of Vancouver: “There are so many stories”

hen my husband and I moved into our new suite in April 2013, the landlord marketed himself as a holistic, feminist, community-loving, fair-trade kind of guy. What we experienced was very different. “He lived on the property, and he absolutely crammed it full of people. My husband and I lived on the ground level; the landlord, his partner, and his newborn son were in the middle; he rented out the top floor to four women, and then leased his coach house to another couple. He didn’t treat anyone in that house with respect. “He wouldn’t take care of his property. In our suite, for instance, all the bottom plugs of the sockets didn’t work. When we told him, he said it was an easy fix—and then nothing ever happened. The next problem was with the entrances. There were two ways into our suite, and he put in a makeshift door. The old door was just locked and never used, so we put a bookshelf in front of it. One day there was a rainstorm and it was really windy. Sheets of rain started coming in because the door wasn’t protected or weatherproof, and all the water started pooling. When he came to view it he was very dismissive—he said that it just looked like it came in under the bottom, which wasn’t true. “He owned a business, but he kept all of his stock in the yard and in the house. Not only was the place infested with mice and silverfish because of that, but he was paranoid about people stealing his products because he would lock the back entrance to the yard and the alley. That’s how you access the laundry room and the bins for recycling—you have to exit the house to reach that area. He wouldn’t give anyone the key or tell them where he put it, and he kept hiding it in different locations. That made it pretty tough to do laundry. “While our property was bad, though, the women upstairs had it even worse. They had to wear sandals because the hardwood floor was so awful that if they walked in bare feet they’d get splinters. Plus, while he made me feel really uncomfortable, he treated my husband

PETER WALL DOWNTOWN LECTURE SERIES

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A renter and her husband discovered that a landlord turned out to be a far cry from how he marketed himself as a holistic, community-loving, feminist guy.

and I much better than those ladies, because—and it’s frustrating to say it—I had a man around. “One time he went up to one of the women and said, ‘I don’t care about your welfare. As far as I’m concerned, you’re just camping in my home. And look at how you’re all living—you’re disgusting.’ And it just wasn’t true at all—they were all lovely professional people. “As well as being verbally abusive to the upstairs tenants, he also had a very fractious relationship with his wife. They would be constantly shouting and yelling. The women upstairs told me that when they opened the vent to let the heat through, they overheard him screaming at his partner, telling her that she was ‘a bad person’ and that ‘she couldn’t express emotion because she was Chinese.’ “There are so many stories. At one point, there was only one woman upstairs. She had her boyfriend over, and he left at about 10 o’clock at night and walked down the stairs. The landlord came up and knocked on her door, and when she opened it he was just in a T-shirt, and she wasn’t sure if he was wearing any pants. He yelled at her and told her that it was inappropriate to have that kind of walking noise at 10 o’clock and left. When we saw her the next day, she was so upset that she just grabbed all of her stuff and moved out without telling him, because she just couldn’t be there anymore. “My husband and I lasted three years at that place, mainly because

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we had two cats and I wasn’t prepared to give them up if we moved. But after we left, I kept in touch with the woman who took over our suite, and we bonded over our mutual difficulties with this man. She left after three months. “Not only would he enter her suite without permission but she stopped talking on the phone in the apartment because she thought he was eavesdropping on her. At one point when she was calling me, she said that she was thinking of leaving. The next day he confronted her about it, saying, ‘Is it true that you don’t want to live here?’ She felt very unsafe. After she moved out, she showed me some of the texts that he sent her. He would get angry over really trivial things, like accusing her of putting too many items in the washing machine, and in one text he actually said that he was ‘watching her’. “One of the tenants upstairs decided to go to the Residential Tenancy Branch. But when she did, they only said: ‘Oh, yeah, we have a file on this guy already.’ She wanted her friend to call the police about the time that he turned up not wearing pants. I don’t know if she did, but I do know that the people that moved in after her definitely dialled 911 on at least one occasion because of his behaviour—and I’m pretty sure nothing happened. “People like this should not be landlords. And I don’t know what we can do about it.” -

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Ecofriendly designer teaches slow fashion soon-to-be online shop that together advance the values of the “slow fashs a former garment develop- ion” movement. er, local designer Daphne By offering how-to sessions that Woo knows firsthand the teach attendees about natural dyehavoc the textile industry ing processes, the designer hopes can wreak on the environment. For al- to raise awareness of the differmost two decades, the fashion-design ences between mass-produced grad has worked closely with design- and quality, hand-crafted garers at companies ments. “Fast fashsuch as Mountain ion uses chemPresented by Equipment Co-op, ical dyes that Asics, and luluhave a whole lemon athletica. slew of problems, Most notably, a stint at Nike’s Euro- from toxicity in the environment pean headquarters in the Netherlands to health issues,” she says, “in comtook her to garment factories in Viet- parison to natural dyes, which are nam, Turkey, Indonesia, and Taiwan, a lot more rewarding [to use].” where she witnessed the amount of Woo makes her dyes using locally clothing being produced and the sheer sourced vegetables and plant items number of hands involved in the mak- such as red cabbage and onion skins. ing of each item. The sight was enough She also purchases tints from the to spark thoughts of a career change. all-natural aisle of Granville Island’s “Basically, the success of the com- Maiwa. At her first workshop, on pany was reliant on this excessive April 30—as part of Fashion Revoluneed to consume,” Woo says by phone. tion Week, celebrated globally from “And it really bothered me because April 24 to 30—Woo will introduce how much more can you produce be- eco-minded guests to the art of shibori fore the world collapses?” and walk them through the method After leaving Nike in 2009, Woo of colouring a piece of silk or cotton. founded Amacata, a textile and jewel- Attendees will leave with their own lery business, in the Netherlands. shibori or dip-dyed scarf as well as Working from home, the designer understanding the garment industry’s drew from her knowledge of shibori— impact on the Earth. a traditional Japanese dyeing techTickets to the event, which include nique—to create scarves, tote bags, admission, craft materials, and dinand other accessories. She used nat- ner at Woo’s Port Moody studio, ural, sustainably sourced beads in her are $165 before April 15 and $200 bracelets, rings, and necklaces. “It gave afterward. They’re available at www. me the opportunity to do something amacata.com/. The price will drop to that was more aligned with my val- $180 if more than 20 participants are ues,” she says. confirmed by April 24. Passing on When Woo returned to Vancouver her knowledge and insights from the four years ago, she decided to revamp sports-apparel industry, Woo hopes her project into a do-good enter- Amacata can help spur a shift in the prise. With the help of Groundswell’s way we view textiles. social-venture program, she recently “If consumers make more informed relaunched Amacata as an education choices, that will help to change what is resource, workshop facilitator, and produced in the industry,” she says. > BY L UC Y LA U

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Local one-woman textile business Amacata favours traditional Japanese dyeing techniques. Josefien Nanne photo.

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APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 9

NEWS

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illennials face formidable odds of ever owning the proverbial house with a white picket fence. By 2020, people in 82 of the 88 top in-demand jobs in Metro Vancouver will no longer be able to afford a singlefamily home, according to a 2015 report by Vancouver City Savings Credit Union (Vancity, for short). By 2030, all detached residences in the region will be out of the reach of average households, Vancity predicted. The prospects may be challenging, but Alyssa Lee and her partner, Luke Vancouver residents Luke Cunninghan and Alyssa Lee hope to buy a house with Cunningham, are not giving up. a yard by purchasing one condo at a time, fixing it up, and selling it at a profit. “The end goal is to try and, you know, have a detached house one than what we’re making,” Lee said. good to, you know, buy in the low end As of March 2017, a typical detached and then do our own renovations.” day,” Lee told the Georgia Straight home in the areas covered by the Real in a phone interview. Refurbishing their first condo took They want to have kids and raise Estate Board of Greater Vancouver a lot of time and effort, according to (REBGV) was about $1.5 million. them in a home with a yard. Lee, who works as an events and pro“Hopefully, one day, we want to According to the real-estate grams coordinator at UBC. make enough money to justify that and board, prices of single-family homes, “My contribution is usually in have enough space for them,” Lee said. as well as condos and townhouses, the form of food and coffee and Lee and Cunningham have come increased compared to February management of the project,” Lee up with a plan to this year because of said with a laugh. give themselves strong demand. In March 2015, Vancity released a a chance. Based on fig- report titled Downsizing the Canadian In December ures by the REB- Dream: Homeownership Realities for Carlito Pablo 2015, they bought GV, the value of an Millennials and Beyond, which noted and moved into their first property, average detached house in Greater that condos will be the most affordable an old condo unit near a Canada Vancouver has risen by 110 percent and viable option for young families. Line station in Vancouver. during the past 10 years. The Vancity report also stated that The couple renovated the place According to Lee, she and her even with condos, millennials may and, a few weeks before the inter- partner may try a condo in West have to look in cities far from Vanview, they were able to sell the condo. Vancouver this time. couver, like Coquitlam, Port Moody, “My partner is a carpenter and gen“We’re hoping to gain a leg up Surrey, and Langley. eral contractor, so it was cheaper for on the city of Vancouver, so I think Lee and Cunningham both turned us—than, I guess, for most people—to West Vancouver might be a good bet, 30 last year. While they will try to do the work with the knowledge and because it’s desirable,” Lee said. work toward buying a stand-alone the stuff he already had,” Lee said. Lee and Cunningham have lived home one day, they’ll be happy with The sale will be completed by either together since 2012. They rented a whatever they can get. the end of May or early June, so now laneway house in East Vancouver, “Our goal is always to buy somethey’re looking for another property to and three years later they decided to thing that we wouldn’t mind staying purchase, live in, modernize, and sell. buy their first property. in if perchance it doesn’t sell,” Lee said. “Every renovation that we do, hopeLee recalled that they didn’t want to If they don’t make it, Lee said that fully, we make a little bit more each rent anymore because rents were high. it will not be the end of the world for time and make steps towards that [pur“It made sense for the long term,” her and Cunningham. chasing a single-family home], as long she said. “And in order to…get ahead Lee said: “I mean, just owning a as the market…doesn’t increase more of the market, we thought it would be place in Vancouver is great in itself.” -

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or many, Thursday marks the end of a short workweek, but rather than hit Stop, sun/ Uranus hits fresh flint. Don’t expect to call it an early night or to settle down to a good night’s rest with ease. In fact, while you sleep, the world continues to be a busy place. One way or another, Good Friday keeps the action on the go. The end of Venus retrograde on Saturday sets an appropriate backdrop for a weekend devoted to religious tradition, a family gathering, or a spiritual sojourn. If none of the above are on your list, you’ll still make the most of it. A long weekend getaway or relaxation track is ideal. Ending her six-week backtrack, Venus resumes direct motion in Pisces. This planetary switch is reviving and advancing for all of us, but you may see more significant mobilization if you were born in the last few days of Pisces, or the other mutable signs (Gemini, Virgo, and Sagittarius). The past six weeks have turned up the heat on critical and key issues pertaining to our relationships, money, survival, material, and physical well-being. You may have witnessed a striking sense of a karmic destiny or replay. Easter Sunday, Venus and Mars, the relationship duo, connect with ease. On Easter Monday, sun/Saturn work it out quite well. Venus won’t move through its final checkpoint with Saturn until the end of next week, so the brakes will not hit full release until at least then. Be reminded that Mercury retrograde is also now in full swing, so aim to stay mindful and vigilant.

ARIES

March 20–April 20

You’ll have no problem making the most of your free time. Sun/Uranus provides a fresh refuel Thursday/Friday. The end of Venus retrograde on Saturday puts you on

the resolution upswing, but there’s still more time to put in and more to work through. It’s under good control on Easter and Easter Monday. Tuesday/ Wednesday, your plate is full. Tackle it head-on.

TAURUS

April 20–May 21

It’s time to plug into something fresh and new. Thursday’s sun/Uranus can spark it, but that’s not all you have going for you. The end of Venus retrograde and Mars on the move in Taurus also help you to make better headway. Sunday/Monday are your best takecharge days. Tuesday/Wednesday, it’s a matter of timing. You can’t choose the moment; it chooses you.

GEMINI

May 21–June 21

Friday’s on a carryover from Thursday. Giving you something extra to go on, a late-night conversation or last-minute brainstorm makes for a great perk-meup. Saturday, don’t plan too much; go with the f low. Easter Sunday/ Monday are on a straightforward go. Tuesday’s duty call can be labelled work, but the net gain is worth the effort. Wednesday, touch base; talk it out.

CANCER

June 21–July 22

One way or another, Friday keeps you on the go. Saturday, ditch the plans and take it as it comes. No matter what you get up to, Easter Sunday/Monday places you on a just-right track. Back-to-it Tuesday requires you to put good effort into it. Wednesday can also stretch you, but, overall, you should feel that you are making decent progress.

> BY ROSE MARCUS

all-clear signal. Whether you have major plans or no plans for Easter weekend, it’s all good. If you have a complaint, it’s likely that the long weekend isn’t long enough. Venus is back on track but she has farther to go before she’s up to full speed. Tuesday/Wednesday, stay sharp.

SAGITTARIUS

November 22–December 21

You may want to keep a low profile on Thursday, but come Friday, you’re ready to take on more. Even so, through holiday Monday, the stars opt for rolling with it rather than wearing yourself out. Relax, enjoy. No matter how you spend it, Easter Sunday/ VIRGO Monday are built just right. Tuesday’s August 23–September 23 push can be a productive one. WedThursday’s late wind car- nesday can stir up something fresh. ries over to Friday. Seize the opCAPRICORN portunity to get something off your December 21–January 20 chest or try something new. Friday/ How great if you have FriSaturday, cater to the moment; let time roll on its own. Home is the day booked off too! If you haven’t, place to be for Easter weekend. try to avoid overloading your day Family bonds and communication as best you can. You deserve as tracks can be strengthened. Sun- much free time as you can muster. day/Monday, good timing is on your If you are religious or spiritually side. One way or another, Tuesday/ inclined, Easter weekend provides wonderful replenishment. Even if Wednesday are productive. you aren’t, Sunday/Monday fulfills LIBRA its side of the bargain very well.

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September 23–October 23

As of Thursday, you should see a good turnaround regarding a job, health, or a matter that has plagued you as of late. Sun/Uranus infuses fresh life into a relationship or communication track. Venus ends retrograde on Saturday, but the process of clearing, upgrading, and resolving continues. Take your time, use your time, and savour your time this long weekend. Tuesday/Wednesday, the stars hit Go.

SCORPIO

October 23–November 22

The spotlight is on you Thursday. There’s no need for latenight caffeine; watch for sun/Uranus to keep you buzzed up. Friday keeps you well-occupied. Saturday, chill out; indulge yourself or another. Spend for the added convenience; don’t scrimp on pleasure. LEO Whether you observe Easter or July 22–August 23 not, Sunday/Monday delivers the As of the end of Thurs- goods. Tuesday/Wednesday, take it day’s workday, the stars give you the one step at a time.

AQUARIUS

January 20–February 18

Stick to it; ambition pays off Thursday. The more you get out of the way, the freer the next couple of days can be. Sun/Uranus keeps the spark well lit through Friday. Mercury continues in retrograde, but as of Saturday, Venus is ready for her next phase. Easter Sunday/Monday relationship accord and good timing prevails.

PISCES

February 18–March 20

The end of Venus retrograde on Saturday coincides very well with Easter and the long weekend shift of pace/attention. Whether subtle or obvious, Venus lends you a sense that you are finally on the move-along, despite knowing that there’s still more to get through. Easter Sunday/Monday, spend your time; enjoy the reward. -

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I VOTE.

GENERAL ELECTION The provincial election is on May 9, 2017 You can vote if you are: • 18 or older on May 9, 2017 • a Canadian citizen, and • a resident of British Columbia for the past six months

Voter registration

Six days of advance voting

Questions?

Advance voting is available from 8 a.m. to 8 p.m. (local time) on April 29 and 30, and May 3, 4, 5 and 6. All voters can vote at advance voting and all advance voting places are wheelchair accessible.

For more information visit our website, call us toll-free or contact your district electoral offi ce.

You must be registered to vote. If you are not already registered, you can register when you vote. Remember to bring your ID with you when you vote.

General Voting Day

Make voting easy

Vote at your district electoral office from now until 4 p.m. (Pacific time) on May 9, or ask for a vote by mail package from Elections BC.

Look for your Where to Vote card in the mail and bring it with you when you vote. It will make voting faster and easier. You can vote at any voting place in the province. Voting places are listed on your Where to Vote card and at elections.bc.ca/wtv. You can also call 1-800-661-8683 to find voting places near you.

General Voting Day is May 9. Voting is open from 8 a.m. to 8 p.m. (Pacific time).

What if I’ll be away?

Becoming a candidate You can get a candidate nomination kit from your district electoral office or online at elections.bc.ca. Completed nomination kits must be delivered to your district electoral officer by 1 p.m. (Pacific time) on Tuesday, April 18, 2017.

elections.bc.ca 1-800-661-8683 TTY 1-888-456-5448

APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 11

FOOD

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The new Gibsons Public Market, located in the former home of the Gibsons Yacht Club, quietly opened in early March.

Markets bring fresh bounty

N

ow in its 38th year, Gran- pastries; Fromagerie de Baie has more ville Island Public Market than 50 types of local and European is still the place to take cheese; G.G. Greens carries fresh oryour food-obsessed out- ganic fruits and vegetables; the Gibof-town guests and to find fixings for sons Butcher sells natural meat and your family dinners. Pungent cheese game and makes its own sausages, and plump olives, raspberries stacked patties, jerky, and dog food; the Fishlike pink pyramids, wild salmon and erman’s Market has freshly caught live crab, enormous apple fritters and prawns, scallops, halibut, and salmon dainty macarons, in season and more all sorts of pâté fish and seafood; and prosciutto, and the Rain Florfresh wasabi and ist, meanwhile, Gail Johnson black garlic—that’s is where you can just a small taste of the edible goodness find bouquets, orchids, herbs, edible that the market offers. flowers, and other plants. The Vancouver landmark is the Opening in June within the markind of local treasure you never get ket is the Nicholas Sonntag Marine tired of. It’s a model that has inspired Education Centre. The 1,200-squareother similar spots—markets that foot exhibit is named after a GPM cosupport and showcase local artisans, founder who died in 2015. Along with producers, and suppliers and that go many small aquariums, the centre on to become a vibrant part of the will display a large cylindrical tank community. Here are a few. filled with small species from Howe Sound—plumose anemones, pile GIBSONS PUBLIC MARKET The perch, red rock crabs, and black rockofficial ribbon-cutting on the new fish among them—all of which will be 14,000-square-foot waterfront facil- part of a catch-and-release program. ity takes place on April 29, though it The market is a $4-million partquietly opened in early March. Lo- nership of the Community Fucated near Molly’s Reach restaurant, tures Development Corporation, where so many scenes in the long- the Town of Gibsons, the Sunshine running and Gibsons-shot Beach- Coast Community Foundation, and combers TV series took place, the Gibsons Community Building Socimarket occupies the former home of ety, a nonprofit group. the Gibsons Yacht Club, with views of RIVER MARKET Formerly Westthe marina and Shoal Channel. Vancouver-based Emelle’s Catering minster Quay, New Westminster’s runs a bistro with the same name here, River Market came to life in 2010. Set serving items like panini, vegetable right on the mighty Fraser River, it’s and spicy-chorizo hash, and gourmet close to Pier Park, which has a boardburgers, while the market itself has walk and beach-volleyball courts, and seven main vendors: Art Meets Choc- the Fraser River Discovery Centre. One of the anchor tenants is Donolate whips up floats, milkshakes, truffles, and other sweet treats; Bowen ald’s Market, a Vancouver chain with Island Roasting Company roasts its a vast selection of organic goods. own coffee beans and bakes its own Longtail Thai Kitchen—which is

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headed by Angus An, the celebrated chef from Vancouver’s Maenam Restaurant—serves Thai-style comfort food; right next door is Wild Rice Market Bistro, which left Chinatown for the ’burbs and continues to offer excellent modern Chinese food. Then there is Re-Up BBQ, which was one of Vancouver’s first food trucks. In 2013, the cart was hit by a bus; because the owners had just opened up at the River Market, they decided to stick with the bricks-and-mortar location. Re-Up serves southern-style barbecue, smoking all of its meat and curing its own bacon on-site daily. The place also makes black-bean-and-corn chili, corn bread, and cola. Other River Market vendors are Freebird Chicken Shack, Great Wall Tea Co., Tre Galli Gelato Caffe, and Pamola Bakery and Deli, which makes fresh cakes and bread as well as authentic Mexican food. RICHMOND COUNTRY FARMS

Reopening for the season on April 20 (by which point winter really should be done), this family-operated market at 12900 Steveston Highway has been in business since 1978, promoting the benefits of local food well before the 100-mile diet was a thing. You’ll find organic strawberries, blueberries, watermelons, Brussels sprouts, potatoes, broccoli, kale, corn, and more at the Farm Market, along with indoor and outdoor plants. Come fall, you can’t miss the pumpkin patch. Just 100 metres east of the market is Country Vines Winery, which makes Syrah, Cabernet Franc, Cabernet Merlot, rosé, icewine, and other varieties. Grab a bottle to go with all those farmfresh veggies that you’ll be throwing on the grill. -

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New District is worth a visit West Side wine store boasts a treasure trove of local and international labels

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few things have piqued my interest on the wine-retail front of late. First off, I finally made the pilgrimage to the New District wine store over at West 41st Avenue and Dunbar Street a few weeks back. I was going to refer to it as newish, but upon calling the shop and speaking with assistant manager Martin Farrell, it turns out that I’m somewhat behind the times, as I ended up confirming they’ll be celebrating their first anniversary this May. Hey, I’m a transit taker who lives in Chinatown, so the deep West Side can be quite the journey! Well, I’m glad I finally made the trip and I’ll certainly make a point of doing so more often, because I was like a kid in a candy store while perusing the shelves. I had no doubt the international and local selection of wines would be loaded Barón de Ley Rioja Reserva (available at the New District wine store in with gems, as local wine personalDunbar-Southlands) is spicy, but it is far from dark and brooding. ity D J Kearney, who’s also one of the best wine instructors this town has ever seen, holds the role of dir- bread aromatics waft out of the Cambie Street has Wines of Gerglass in this Burgundian bubble many pouring a dozen vintages at ector of wine there. She has amassed a treasure trove made from Chardonnay and Pinot its tasting bar! Not only that, but of labels in the bright and breezy Noir. This comes in at about half the the small Asian-inf luenced bites price of the more will be provided by the Four Seastore, along with i n e x p e n s i v e sons Hotel Vancouver’s YEW Seacurating various Champagnes in food + Bar. small packaged our market, so Actually, this Riesling fan is gocollections of two, Kurtis Kolt for similar quality, ing to recommend you go even if you three, or a halfdozen wines—available in-store or by you can think of it as a two-for-one don’t think you’re a Riesling fan, as delivery—with several themes, ran- bargain. That’s something worth a there are so many styles of wine the grape can make that I can almost ging from the High Roller pack to toast! guarantee you’ll be converted—and Perfect Pinots. Many of the wines I saw on shelves ANTHONIJ RUPERT CAPE OF you’ve got nothing to lose, because aren’t widely available, so it’s defin- GOOD HOPE CHENIN BLANC the whole thing is free! Finally, look toward next Thursitely a unique stop for local wine 2015 (South Africa, $29.99) A enthusiasts, whether you’re in the fruit basket overflowing with pears, day (April 20), anytime between neighbourhood, visiting from afar, quinces, peaches, and apricots with 2 and 6 p.m., and hop over to Everyor logging on to NewDistrict.ca to do a drizzle of honey and a handful thing Wine’s North Vancouver loyour shopping from the couch. The of lemon basil. This wine is such a cation, at 998 Marine Drive. That’s savvy staff are always keen to help charmer and such a pleasure to quaff. when the folks from the Okanagan Valley’s Niche Wine Company will guide you as you peruse the shelves; it’s a great place to discover your BARON DE LEY RIOJA RESERVA also be doing a free tasting of some 2010 (Spain, $37.99) Carrying a of their current wines. The smallnext favourite bottle. A few favourites I spotted while nice bit of age on it, this 100 percent batch winery makes pristine and Tempranillo has that whole baking lively whites and reds, particularly strolling the aisles: rack of spices we expect from our Pinot Noirs that always knock it PARÉS BALTÀ CAVA BRUT (Spain, rich Riojas, but the fruit is far from out of the park. $23.99) I’ve always adored the fresh- dark and brooding. Bright red This is just a small handful of ness of this wine, an organic and berry fruit gives the whole package events going on in local wine stores. biodynamic blend of Xarel.lo, Maca- a nice lift and, served with a chill, As we bound into spring, there are beo, and Parellada, three indigenous it could hit the balcony for a barbe- always a host of new wine releases Spanish varieties. A zippy sparkler cue quite well. coming into town from local wine that bursts with lemon, pomelo, and country or hitting our shores from a little young almond, too. Also on the retail front, Riesling farther abroad. It’s one of the best fans should pencil this Saturday times of year to check what’s hapCAVE DE LUGNY CRÉMANT DE (April 15), from 3 to 6 p.m., into pening in your favourite wine shop BOURGOGNE BRUT CUVÉE MIL- their calendars (or tap it into your to stay up-to-date with new releases LÉSIME 2013 (France, $29.99) A smartphones), because the B.C. and often meet the folks behind little more of those fresh-baked- Liquor Store at 39th Avenue and some of our favourite sips. -

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NaramataBench.com > Go on-line to read hundreds of I Saw You posts or to respond to a message < ALIBI ROOM

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I SAW A: I AM A: WHEN: APRIL 1, 2017 WHERE: Alibi Room

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When you were leaving the Alibi Room with your friends, we made eye contact. I was with my friend at a table near the window. I glanced outside and you were on the sidewalk watching me. I was a bit shy, but I kept glancing over my shoulder at you guys. When my friend left the table, next thing I knew you came back inside and sat down at my table with me. You shook my hand and asked if you knew me from somewhere. You looked familiar as well to me. I made a terrible joke that perhaps we had met in clown school. You were blonde, attractive, your name was Jordan. We chatted for a few minutes until my friend came back. You asked for my number, and when you left you said you were going somewhere secret. But you never contacted me? Did I give you the wrong number?

GAME OF THRONES, DRUNKEN IDIOT AND FUN BUS CONVERSATIONS...

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I SAW A: I AM A: WHEN: APRIL 9, 2017 WHERE: 95 Bus

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Ok, this is less of a “missed connection” and more of a “I bloody well wish we had more time to interact” kind of post. You’re an actress who was reading Game of Thrones and sat down beside me coming from East Van toward Burnaby... You got on the bus at the same stop as a belligerent, drunk and obnoxious fat dude who kept yelling on the back of the bus “...who wants to party?? You?? YOU???” lol. I had to ask you about GoT, as I’m a huge fan (I’m sure that was obvious). I would love to share minds more about that... and whatever our curious minds might point us toward. As you left the bus, you mentioned actress and I told you musician, then you introduced yourself and I responded in kind. Your name start with T and mine with D... If you see this, I hope you reply. You’re fucking awesome.

SUNDAY NIGHT SKETCHERS

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CUTEST LAUGH

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I SAW A: I AM A: WHEN: APRIL 9, 2017 WHERE: Commercial #99 Bus Stop You were waiting for the number 99 B-line at Commercial, I was behind you eating pizza. You were wearing beat up Sketchers, a black leather jacket and had a tan/sand coloured bag with a little rip on the outside. I was unshaven and wearing glasses, black t-shirt and jacket, jeans with the knees ripped out and beat up Vans. We should hang out.

POLITE LASS AFTER THE BUS

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I SAW A: I AM A: WHEN: APRIL 9, 2017 WHERE: W 4th Ave. & Fir St. You were running to catch the #50. By all appearances, it looked like you were heading from or to yoga. I was standing in front of the bus shelter, waiting for the #84, and stepped aside so that you could zip past. As you passed by, you delighted me with a courteous, thank you‚ that makes you someone I'd like to know better. Well, I'm glad you made it, and I hope you had a good time! You: Tall, curly-haired, brunette with a yoga mat and distinct I ❤ Dublin cloth bag. Me: Black hair, glasses, and windbreaker. If you see this, please reach out. I would enjoy seeking the craic with you sometime!

PHOTOGRAPHER @ THE VANCOUVER ART GALLERY

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I SAW A: I AM A: WHEN: APRIL 9, 2017 WHERE: Robson Square, in Front of The Vancouver Art Gallery You were taking photos and stopped to take pictures of my dog on the steps at Robson square. You are tall, cute, and I’m kicking myself for not striking up a conversation. Really hope you see this and reach out.

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I SAW A: I AM A: WHEN: APRIL 8, 2017 WHERE: The fox in Mount Pleasant I was sitting near you at quiz show last night and found your laugh to be so intoxicating. I’ve never thought that hearing someone laugh so wholeheartedly would leave me so smitten. When I looked over to see you I could hardly believe it - you’re the same girl I see on the #3 bus occasionally. Always dressed impressively you were wearing a shirt with little cats all over it. I would love to get to know you better if you ever want to grab a coffee.

SMILING SKYTRAIN ITALIAN

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I SAW A: I AM A: WHEN: APRIL 8, 2017 WHERE: Main St. - Science World SkyTrain Station We got on the Expo Line at Main and Science World. I was carrying a very heavy box and you graciously let me sit down. You then sat down opposite me, next to an elderly Albanian gentlemen, who shared some of his life with you. All the way through you laughed, asking polite questions. You mentioned that you are of Italian background, but were born in Canada. He left, and then you rode the train all the way to Surrey. You would not stop smiling, even with the rain and the delays. It was as if you had discovered a hidden secret. I dearly wanted to ask you what had made you so happy - I had never seen someone look so lively on public transit. Towards the end, you pulled a dog-eared copy of Spinoza’s Ethics out of your beautiful old leather satchel, and I was head over heels. I desperately tried to think of something to say, but was too shy. We smiled at each other as I left the train. If you weren’t smiling about a partner, perhaps you could tell me what you were smiling about some time?

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ARTS

Not that long ago, B Y ALEX ANDER VAR T Y

the idea of a major metropolitan orchestra hosting a festival of English music would likely have seemed absurd. After all, it was only in 1904 that a German critic and yoga enthusiast named Oscar Adolf Hermann Schmitz described the United Kingdom as “das Land ohne Musik”. That’s “the land without music”, for those of us unable to read Schmitz in the original, and even if his phrase was uttered during the early stages of the nationalistic sabre rattling that would soon lead to a pair of horrifically brutal wars, there’s some truth to it. Quick: name one British composer operating between the 1695 death of Henry Purcell and the 1899 debut of Edward Elgar’s Enigma Variations. Can’t do it? Don’t worry: you’re not alone. But if you’re looking for a crash course in the extraordinary blossoming of English music that followed Elgar’s masterpiece, it would be hard to improve on the Vancouver Symphony Orchestra’s upcoming Spring Festival, which this year is subtitled A British Fantasy. The event aims to place English music in an expansive historical context, in part by including 20th-century works that reference early British composers—such as Ralph Vaughan Williams’s Fantasia on a Theme by Thomas Tallis—alongside contemporary works like Velocity, by 33-year-old Gavin Higgins. And the festival’s first concert, Songs and Serenades, offers an especially apt introduction to the field, featuring as it does works by three of the four demigods of early English modernism: Elgar, Vaughan Williams, and Benjamin Britten.

Unfurling a British Fantasy Conductor Symphony

As part of the Vancouver Symphony Orchestra’s Spring Festival, James Ehnes treats his fans to the work of early English modernist demigods. Benjamin Ealovega photo.

“Often these composers were not shy about some extended sections with just the orchestra letting us know the picture that they were painting,” that are very exciting. It’s he notes. “But, that being said, I think that somejust really wonderfully ef- times there is a bit of a misconception that British music is all about, you know, rolling hills and beautifective stuff.” For all that Ehnes loves ful fields and the seashore.…Aaron Copland, who English music, he’s reluc- apparently was otherwise a very, very nice man, said and string star James Ehnes helps the Vancouver tant to describe it. Some a very funny and disparaging thing about some piece Orchestra celebrate the U.K.’s musical riches of the clichés, he admits, of Vaughan Williams’s: he said it was ‘like looking at are true: Elgar did define a a cow for 45 minutes’, or something like that. Before We can thank conductor and soloist James language that others later built on, and many of the I really knew the repertoire, that was kind of the idea Ehnes for that. “The artistic staff at the VSO—and genre’s most famous pieces—including Vaughan I had—but that’s just scratching the surface.” [VSO music director] Bramwell Tovey, as well— Williams’s The Lark Ascending, which he’ll play on said, ‘Give us some British music that you think opening night—do appear to spring directly from James Ehnes appears with the Vancouver Symcould work for a play/direct program,’ ” the Bran- the bucolic English landscape. But such familiar phony Orchestra at the Orpheum on April 22 and don, Manitoba–born musician explains in a tele- constructs give only an incomplete view, he cautions. 24, as part of Spring Festival: A British Fantasy. phone interview from Dallas, Texas. “I just sort of rattled off a bunch of pieces and they said, ‘Okay! More sure picks for a jolly good time, including a Scottish ringer We’re done.’ It was actually an amazingly simple process, putting that program together.” Although the four composers who revolutionized music in the United Kingdom durPerhaps that’s because Ehnes and Tovey have ing the first half of the 20th century were all, technically, English—Edward Elgar a long history together. Their first collaboration having been born in Worcestershire, Ralph Vaughan Williams in Gloucestershire, came in 2006, and involved recording William William Walton in Lancashire, and Benjamin Britten in Suffolk—there’s a good Walton’s Violin Concerto; they’ll repeat that inreason why the Vancouver Symphony Orchestra’s Spring Festival is subtitled A British Fantasy rather itial encounter, in a way, on the Spring Festival’s than An English Fantasy. “English” would eliminate the rest of the British Isles from consideration, second night. This time around, however, Ehnes making it impossible for the London-born Bramwell Tovey and his band to program things like Ernest will appear on his second-favourite instrument, MacMillan’s Fantasy on Scottish Melodies, which will be performed at the Orpheum on April 29, as part in Walton’s Viola Concerto. of a concert headlined by Walton’s Henry V. “I think if you were to ask a lot of violists, they Actually, MacMillan’s a bit of a ringer in the VSO’s British Fantasy. Despite his resolutely Scottish would say that this is the greatest of all the viola full name—Ernest Alexander Campbell MacMillan—the composer was born in Mimico, Ontario, in concertos,” he says of this work by the fourth Brit1893, and died almost 80 years later in Toronto. And despite having been interned as an enemy alien ish demigod, which will share the program with in Germany during the First World War—he had been attending the Bayreuth Festival when hostilities Gustav Holst’s The Planets and Higgins’s Velbroke out—he was an enthusiastic supporter of German music, gaining fame for his interpretations, as ocity. “It’s just a fantastic piece of music. It’s sort a conductor, of works by Johann Sebastian Bach and Ludwig van Beethoven. of wistful music; it’s very poignant, which is all Another intriguing showcase comes on April 30, when Tovey will display his own impressive skills the more remarkable for having been written by a at the keyboard as soloist in Elgar’s Piano Quintet, after which he’ll take to the podium to lead the VSO very young man. But it’s also very virtuosic, for an in the same composer’s magnum opus, the Enigma Variations. After that, the festival ends on a lighter instrument that is not traditionally thought of as note with the traditional Last Night of the Proms on May 1—thereby reinforcing all the stiff-upper-lip being a highly virtuosic instrument. stereotypes it had earlier exploded, but offering a jolly good time nonetheless. “Like most of the great concertos, it has every> ALEXANDER VARTY thing,” he adds. “It has beautiful melodies; it has lyricism; it has drama; it has great interplay between the soloist and the orchestra; and there are

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THINGS TO DO

ARTS High five

Editor’s choice GREAT EXPECTATIONS Some of Vancouver’s favourite dance and theatre performers join forces for How to Be, Tara Cheyenne Performance’s hilarious yet biting look at how we drive ourselves cray-cray trying to live up to unrealistic expectations. Created with and performed by Justine A. Chambers, Susan Elliott, Kate Franklin, Josh Martin, Bevin Poole, Kim Stevenson, and Marcus Youssef, How to Be continues genre-jumping dance-theatre genius Tara Cheyenne Friedenberg’s meld of character work, warped humour, and darker, moving ideas—witness her hits like bANGER, Goggles, and Highgate. How to Be is at the Cultch’s Historic Theatre from Wednesday to Saturday (April 12 to 15).

Five events you just can’t miss this week

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FRED HERZOG (To May 6 at the Equinox Gallery) Vancouver’s street life frozen in time.

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ROOM 2048 (To April 15 at the Firehall Arts Centre) Sound, light, and dance in the latest hallucinatory work from Hong Kong Exile.

3

OMNIS TEMPORALIS (To June 25 at the Richmond Art Gallery) Musician Mark Haney’s brilliant collaboration with cartoonist Seth.

4

GENERATION POST SCRIPT (To April 16 at Studio 1398) The first generation born in space gets suitably angsty.

5

IVAN DECKER (April 13 to 15 at the Comedy MIX) One of the funniest dudes to come out of Vancouver’s standup scene.

In the news

BIG BRIT AWARD Kidd Pivot and Electric Theatre Company’s Betroffenheit has just won an Olivier Award—Britain’s version of a Tony. The critically celebrated work by Vancouver-based Crystal Pite and Jonathon Young nabbed the prize for best new dance production at the ceremonies April 9. Betroffenheit has been touring the world, and hit London’s Sadler’s Wells Theatre last spring. U.K.– based dance critic Luke Jennings listed Betroffenheit as one of the best of 2016, calling it a “vast, terrifying and ultimately redemptive work of art”. Audiences here will get another chance to see the dark, carnivalesque dance-theatre exploration of real-life loss on March 17 and 18, 2018, as part of the next DanceHouse season. -

APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 17

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e Patin Libre founder Alexandre Hamel tells the Straight over the phone from Montreal that his contemporary skating company rose out of what he can only describe as his “love-hate relationship” with the art form he’s practised since he was three years old. “It’s the thing I love to do myself, but it’s not the kind of thing I like to watch. It’s what my mom loves to watch,” he says with a laugh. “But I love the movement, the vocabulary, the intensity of it.” Hamel has spent the better part of his life on ice, immersed in elite figure skating and national competitions between 8 and 22, and then working for a series of glitzy professional shows like Disney on Ice. But by the early 2000s, he admits, he was starting to rebel against all that sparkle and show biz. To the dismay of his mother, always his biggest fan, he even quit skating for a couple of years. Then, in 2005, he launched Le Patin Libre with friends. The group started small, earning its first gigs on the outdoor rinks of Quebec’s winter festivals. Gone were the sequins and satin of Holiday on Ice shows and skating TV specials; instead, his young artists performed in street clothes, drawing attitude and inspiration from street dance. “Many people make the mistake of saying we’re urban dance on ice,” Hamel clarifies, stressing that he and his crew are fans, but not practitioners, of hip-hop and breaking.

“Maybe sometimes you can see a little bit of the same energy or bravado. What makes us what we are now is that we realized at some point it’s better to take out things than add things. We even had acrobatics and fireworks early on. But now it’s a less-is-more thing. As we took out things and just kept skating, it helped us to develop our choreographic technique of what we call glide. “I can just stand there and achieve high speed through space, and this is impossible for dancers and acrobats,” the affable artist adds. “A human is not supposed to go fast like that—there’s something between joy and fear about doing that. So now we make ice-skating itself shine; we’re going back to the identity of the medium. I feel that skating was never approached with a full artistic dedication before. It fell into commercial ice shows and TV shows.” Le Patin Libre has clearly “glided” into something big. Its latest show, Vertical Influences, has travelled the world, garnering the attention of such prestigious presenters as Paris’s Théâtre de la Ville and London’s Dance Umbrella Festival. London’s Guardian raved that its performance is “a pure body rush”. But perhaps the most fascinating thing about Le Patin Libre is how it has been able to reach remote communities where contemporary dance might never be able to go. At first, Hamel admits, skating clubs were skeptical about these new outsiders invading their rinks. But now, those clubs are often bringing him

and his troupe to town. In Vancouver the Cultch is presenting, but the troupe will perform at Britannia Ice Rink and will host master classes and auditions there. How accessible is this brand of contemporary art? Just try to think of a small Canadian town that doesn’t have a local rink. As Hamel puts it: “There are more ice rinks in Canada than theatres! “I think we are a bridge between two worlds,” he adds. “Sometimes I criticize the world of contemporary dance as having an elitist urban atmosphere. But figure skating reaches everybody. We meet everybody at the door and we see lots that are seeing contemporary performance for the first time. And then I say to them, ‘If you like our show, maybe you should see that lady—have you heard of her?— Crystal Pite.’ ” Bridging contemporary dance, sport, and the circus arts, Le Patin Libre is gaining a strong following. But we have to ask: what does Hamel’s mom think about his company today? “I think every male figure skater should go to a psychologist and talk about his mom,” Hamel says jokingly. “But my mom made figure skating happen for me—and that glide thing is an addiction. “She loved Vertical Influences so much that she saw it three or four times. I think that’s because, visually and abstractly, it expresses this complete joy of skating.” The Cultch presents Vertical Influences at Britannia Ice Rink from Tuesday (April 18) to April 30.

ARTS

Raes Calvert (shown here in Redpatch) found his own quest for his aboriginal heritage dovetailing with his cocreation of the play. Mark Halliday photo.

Journey of discovery culminates in Redpatch Years of research, a trip to Nootka Island, and the Vimy anniversary fuelled the play about an aboriginal soldier > BY JA NET SM IT H

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War I should come as an almost equal surprise to audiences. Calvert’s own grandfather fought in World War II, but he and Oliver found through research that it was in the trenches and battlefields of the earlier war that aboriginal people had the bigger role. Oliver had performed in the play Vimy at the Firehall Arts Centre in 2011, and both he and Calvert became fascinated with a side character who had a First Nations background. “We were roommates at the time and we had gone to Studio 58 together, so we were always bumping around ideas for a theatrical take,” Calvert explains. “I shared that my grandfather fought in World War II and we started to do research. We found out there really was a story there that neither of us had learned about in high school.” “The thing that got me the most was that this story wasn’t being told,” Oliver adds. “In World War II, because that war became more mechanized and technology was more prevalent, they didn’t have as big a role. The First World War was where the First Nations soldiers were very, very useful as trench raiders, scouts, snipers. They were using wilderness survival techniques that people wouldn’t necessarily have had coming from the city.” The research snowballed, revealing the racism that undercut the respect among the troops. It led to meeting military experts, visiting libraries, and eventually that trip to Nootka Sound. In all, it’s taken more than four years, building to this 100th anniversary of Vimy, for the duo to interweave its tale of the historic battle with a First Nations origin story. “We hope this play goes on and has a life definitely beyond this run and beyond ourselves,” Calvert says. “We’re both very proud because it’s taken a lot of time to get to this play; it was about taking the right amount of time to get to the right place for its world premiere.” It seems Redpatch is coming to life at the same time as a general awareness of its subject is starting to happen. “My mother teaches in the Richmond school district and she says the story of aboriginal soldiers is only entering the curriculum this year,” Calvert says. “It’s about time these stories are being told. It’s a history of what it means to be Canadian and the history of Canada and its triumphs and defeats.” -

aes Calvert and Sean Harris Oliver spent years researching World War I and the aboriginal soldiers who fought in it for their new play Redpatch. But it was a trip to Nootka Island, off Vancouver Island’s remote west coast, that took the script to a new level. Redpatch, cowritten by the friends and theatre artists behind Hardline Productions, centres on Half-Blood (played by Calvert), a soldier tormented by personal tragedy, a trickster raven, racist soldiers, and the horrors he’s witnessed in the trenches. His story comes to a head at the battle of Vimy Ridge, which marked its centennial on April 9. And Calvert, who had recently traced his own heritage back to Nootka and the Nuu-chah-nulth First Nation, decided with Oliver to make Half-Blood come from there too. “To have the character come from a true place, a place of honesty, it became clear we had to go to this island,” Calvert tells the Straight over the phone with Oliver, describing the long trip by ferry and then floatplane to reach the wilderness-enveloped Nootka Sound. “We talked to elders, they taught us some stories. That was what was the next step that we needed to do so we were not just appropriating language or stories. “It’s an amazing, amazing place,” he adds of the emotional experience. “It’s very magical. I have family from that land, and before that for thousands of years. And in a weird way it felt like being home, even though I’d never been there. I definitely felt a connection to what was there.” Oliver says that journey brought a visceral, descriptive quality to Redpatch the critically lauded show might never have had without it. “That experience going to Nootka Island is really what made the play,” he tells the Straight of the trip that’s chronicled on video at redpatch.ca/. “It took it from being a historical fiction to grounding it in something real. It gave us more scenes and story to draw from and put into the play. For example, when we flew into the island, we said, ‘Jeez, there’s a lot of fog here’—you sort of descend out of the fog and see the island,” Oliver explains. “And so we use the fog all the time in the play, transitioning from the war back to the island. We wouldn’t have had that knowledge if we had not been there.” That trip to Nootka was a revelation for the pair, but the scale of indigen- Redpatch is at Studio 16 from Wedous peoples’ contribution to World nesday to Sunday (April 12 to 16).

Program 3 May 11 12 13, 2017 Choreography Emanuel Gat Emily Molnar Ohad Naharin

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APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 19

ARTS

Requiem and Stabat Mater meet > BY A LEX A NDER VA R TY

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iovanni Battista Pergolesi wrote Stabat Mater in 1736, at the tender age of 26, shortly before his untimely death from tuberculosis. Maurice Duruflé, in contrast, penned his Requiem in 1947, a little more than halfway through his very long life. What links these two works, other than that they will both be performed as part of Aeterna, this year’s edition of the Vancouver Chamber Choir’s annual Good Friday concert? The choir’s artistic and executive director, Jon Washburn, has an amusing answer—and a serious explanation, too. “I think that they alliterate; one starts with P and the other starts with D,” the conductor contends, chuckling over the line from his Vancouver home. “But, musically,

they seem to be cut out of a similar cloth. They really seem to complement each other.” It’s this musical alliteration that intrigues him the most. “They’re both works that I just love,” he says. “For Duruflé, it’s his masterpiece, and for Pergolesi, it is full of potential. It is full of wonderful works yet to come, which we’ll never get to hear. So, in a way—and I hadn’t thought of this before—there’s kind of this juxtaposition of the young composer and the old composer, and the potential and the realized. “The thing about Duruflé is that he wrote so few works,” Washburn continues. “In 80 years he only published 20 works, or something like that, and they’re all incredibly refined. It’s like he’s gone over and over them in order to just turn every little corner. Whereas with Pergolesi, you feel that

it’s all youthful virtuosity—and that, no matter what he does, there’s a wonderful melody.” Washburn stresses that even though both pieces draw their text from Catholic liturgy, the Vancouver Chamber Choir’s Good Friday offering needn’t be seen as speaking solely to the religiously inclined. While Stabat Mater tells the story of the Virgin Mary’s sorrow after the death of her son, it was not, he claims, intended to be performed in church. “It’s too big,” he says. “I think it was intended for concerts.” Duruflé’s Requiem, on the other hand, was intended to be performed as part of a Mass—at least in its simplest form, which was scored for choir and organ alone. The French composer published two other versions of the piece: one for choir, organ, and full orchestra, and another

for choir, organ, and strings, which is the version the VCC will present. Edward Norman will be at the keyboard, while the Pacifica Singers and the Vancouver Chamber Orchestra will flesh out the cast. Although he’s generally seen as an impressionistic composer, like his predecessors Claude Debussy and Maurice Ravel, Duruflé also took inspiration from the oldest surviving form of Christian music. “The way that he writes has a melodic character to it that he picked up from Gregorian chant,” Washburn explains. “And that’s what gives you that sense of ‘This melody is going to go on forever, and it’s very peaceful, and it seems to be leading someplace that I need to go.’ ” -

Dance bridges the ancient and the new DA N C E WHAT THE DAY OWES TO THE NIGHT A Compagnie Hervé Koubi production. A DanceHouse presentation. At the Vancouver Playhouse on Friday, April 7. No remaining performances

There’s a transcendent moment

2 in What the Day Owes to the

Night when the sight of men whirling like Sufis gives way to that of others who spin upside down, on their heads, hip-hop–style. It’s the ancient giving way to the modern, the spiritual giving way to the street-smart. But each The Vancouver Chamber Choir’s version of human top is as entrancing Aeterna is at the Orpheum on Friday as the other, white skirt-pants flutter(April 14). ing out like sails around the dancers. The presentation—which met with an extended standing O—felt like an experience larger than a dance show. That’s in part because choreographer Hervé Koubi took the time to share the story behind his creation. At the top of the evening, the Cannes-based artist explained how he had always believed he had French heritage until he was 25, when his father suddenly revealed his Algerian roots. What the Day Owes to the Night is the result of his ensuing journey to his parents’ homeland, where he recruited a troupe of performers who had never been to dance school, but did hip-hop and capoeira in the streets and on the country’s beaches. You can feel the brotherhood he’s formed with these committed, insanely chiselled, bare-chested young men, and it’s moving. What’s most striking about the work is its mix of raw muscularity and incredible grace. The men effortlessly pull off back flips, top spins, handstands, and cartwheels, but always as part of Koubi’s sculptural formations. In the program notes, the choreographer speaks of being inspired by North African architecture, lace, and art, and you can see that poetic Arabic style in the movement, patterning, and tableaux. Sometimes the dappled light reminds you of rays darting in through high mosque windows; other times it evokes the half-light of a desert sunrise. But the most powerful element of the piece is the dancers themselves. In an interview before the show came to town, Koubi’s artistic collaborator Guillaume Gabriel explained that because the performers are not schooltrained, they dance not for entertainment or show. They simply dance, because they have to. This brings the work an authenticity and passion that are hard to describe. The movement is raw and muscular, but sometimes balletic: witness some gorgeous lifts or the tangling of bodies linked by hands. Set to everything from the oud to baroque music, the dance circles and repeats, often reaching an almost hypnotic or prayerlike state despite its flashes of intense physicality. If you lose yourself in that meditative state, time and geographical space will cease to exist for the hourlong performance. There are glimpses of stories here, seeming slices of Algeria’s past. The work draws its name from a book about a conflicted young Algerian during the former French colony’s war for independence. There is imagery of death, of a body being lifted and then tumbling down lifeless, shrouded in his flowing skirt-pants. What’s unsaid, but resonates, is the work’s messages about cultures joining together in today’s divided world. That divided world came into relief at the beginning of the show, when it was announced that three of the company’s North African dancers could not get visas for this North American tour, so the show would be performed with a smaller ensemble. Though that absence hung over the work, it did not diminish the effect—an effect that came not out of theatrics, but out of the human soul. > JANET SMITH

20 THE GEORGIA STRAIGHT APRIL 13 – 20 / 2017

PEDRITO MARTINEZ GROUP APR. 23 @ 8 PM

Afro-Cuban master percussionist w/ his red hot, dance-inducing band

VENUE: ST. JAMES HALL

BILL CHARLAP TRIO • MAY 4 @ 8 PM

Grammy-winning pianist’s tight-knit jazz trio (featuring Peter Washington on bass & Kenny Washington on drums)

VENUE: KAY MEEK CENTRE

MARC COHN • MAY 8 @ 8 PM

Grammy-winning singer/songwriter celebrates the 25th anniversary of his platinum-selling debut album

VENUE: NORMAN ROTHSTEIN THEATRE

Tickets: 604.990.7810 • Online: capilanou.ca/centre Capilano University • 2055 Purcell Way • North Vancouver

PRESENTS

VSO SPRING FESTIVAL A BRITISH FANTASY

THE 2017 VSO SPRING FESTIVAL features Maestro Bramwell Tovey, violinist/violist James Ehnes, pianist Ian Parker, and narrator Christopher Gaze in a 5-concert celebration of British composers and their most popular works. Highlights include Holst The Planets, Elgar Enigma Variations, and The Last Night of the Proms. Order the Festival Pass (all 5 concerts) and save!

SONGS AND SERENADES

SATURDAY, APRIL 22, 8PM, ORPHEUM James Ehnes leader/violin/viola* ELGAR Serenade for Strings in E minor BRITTEN Lachrymae* VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis BRITTEN Prelude and Fugue for 18 strings VAUGHAN WILLIAMS The Lark Ascending* ELGAR Introduction and Allegro*

JAMES EHNES

THE PLANETS: AN HD ODYSSEY MONDAY, APRIL 24, 8PM, ORPHEUM Bramwell Tovey conductor James Ehnes viola* Elektra Women’s Choir° Morna Edmundson chorus director GAVIN HIGGINS Velocity WALTON Viola Concerto* HOLST The Planets° With HD VIDEO FROM NASA AND THE JET PROPULSION LABORATORY, shown on the big screen as the orchestra performs The Planets. BRAMWELL TOVEY

HENRY V SATURDAY, APRIL 29, 8PM, ORPHEUM Bramwell Tovey conductor Ian Parker piano* Christopher Gaze narrator° Langley Fine Arts School Choir° Jim Sparks chorus director MACONCHY Proud Thames MACMILLAN Fantasia on Scottish Airs RIDOUT Fall Fair ADDINSELL Warsaw Concerto* WALTON Henry V° CHRISTOPHER GAZE

ENIGMA

CHOR LEONI/MEN’S CHOIR PRESENTS C Erick Lichte

ARTISTIC DIRECTOR

CHANTICLEER in Concert

“Chanticleer fascinates and enthralls for much the same reason a fine chocolate or a Rolls Royce does: through luxurious perfection.” — Los Angeles Times “The world’s reigning male chorus.” — The New Yorker

April 21 | 8:00pm CHAN CENTRE FOR THE PERFORMING ARTS 6265 CRESCENT RD, UBC, VANCOUVER SECTION A $70 | SECTION B $60 | SECTION C $45

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SUNDAY, APRIL 30, 7PM, ORPHEUM Bramwell Tovey conductor/piano* ELGAR Piano Quintet* ELGAR Enigma Variations: An Exploration ELGAR Enigma Variations Maestro Tovey performs with VSO musicians in the Elgar Piano Quintet, then explains the Enigma Variations with his trademark insight and wit, before a full performance of Elgar’s landmark work in the second half of the concert. BRAMWELL TOVEY

LAST NIGHT OF THE PROMS MONDAY, MAY 1, 8PM, ORPHEUM

BRAMWELL TOVEY WITH THE VSO

Bramwell Tovey conductor Vancouver Bach Choir VSO School of Music Sinfonietta The Last Night of the Proms is the customary ending to the Promenades series at the Royal Albert Hall, a tradition proudly upheld by Bramwell Tovey, the Vancouver Bach Choir, the VSO School of Music Sinfonietta and the VSO.

FESTIVAL SPECIAL EVENTS The VSO Spring Festival includes PRE-CONCERT TALKS which begin one hour before each concert, and POST-CONCERT Q&A with Maestro Tovey and guest soloists. FREE TO TICKETHOLDERS. @VSOrchestra MEDIA SPONSOR

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vancouversymphony.ca/springfest APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 21

ARTS

Drift offers a dark peek into the future T HEAT RE GENETIC DRIFT Written by Amy Lee Lavoie. Conceived and directed by Richard Wolfe. A Pi Theatre production, presented as part of Boca del Lupo’s Micro Performance Series. At the Fishbowl on Wednesday, April 5. No remaining performances

Genetic Drift is a cool theat-

2 rical experience with a com-

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pelling premise, but its storytelling comes up short. Director Richard Wolfe conceived the piece as part of Boca del Lupo’s Expedition Series, which asks artists to envision our world 150 years in the future. Playwright Amy Lee Lavoie positions the audience as a gathering of the “ultra elite” who’ve paid big bucks for an exclusive peek into the future. Our unctuous host (Alex Forsyth) invites us to contemplate under what circumstances we might be willing to live forever, then unveils Gary 3 (Tom Jones), the future’s genetically altered human with the “face of a microbe”. Gary 3 doesn’t want to be looked at, especially not by us, and his contempt for humanity circa 2017 leads to some darkly funny observations. I can’t say too much more without spoiling the surprises; the show is only 35 minutes long, but it ends without having built to a satisfying climax. Gary 3 alludes to two previous Garys and a couple of Marys, but we get only enough details to infer the cause of Gary 3’s existential despair, and although Lavoie gets in some witty lines, Gary 3’s haranguing of the audience becomes repetitive. Jones does a terrific job in the role. With his face completely obscured by Amy McDougall’s creepy mask (based on the microscopic tardigrade, famed for its resilience), Jones relies entirely on his masterful vocal inflection to keep the encounter intimate. Jergus Oprsal’s minimalist set and moody lighting and Daniel O’Shea’s video, especially a trippy dream sequence, add to the experience. But more story might create a deeper emotional immersion and a more satisfying tussle with questions about the future of human longevity. > KATHLEEN OLIVER

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THE WATERSHED By Annabel Soutar. Directed by Chris Abraham. A Porte Parole and Crow’s Theatre production, with support from La Coop Fédérée. At Gateway Theatre on Friday, April 7. Continues until April 15

*The preview is for members of Capture, VABF, and Western Front. Memberships also available for purchase at the door.

Everything about The Water-

2 shed is huge: its physical scale, its

stay connected @GeorgiaStraight

thematic ambition, and the stakes attached to the issues it explores. There is much to enjoy in the virtuosity of this production, but not enough to sustain the nearly three-hour running time. Montreal playwright Annabel Soutar specializes in documentary

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22 THE GEORGIA STRAIGHT APRIL 13 – 20 / 2017

theatre, drawing her text entirely from interviews, media transcripts, and other real-world sources. Vancouver audiences last saw her work three years ago when Seeds, an exploration of Saskatchewan farmer Percy Schmeiser’s legal battles with agri-business giant Monsanto, came here as part of the PuSh Festival. In Seeds, the playwright becomes a character in her own play, but the central story is Schmeiser’s. In The Watershed, Soutar’s efforts to create this script are its dramatic heart. Liisa Repo-Martell returns in the role of Annabel; this time she’s researching water, one of Canada’s most abundant—and vulnerable— resources. In the 90-minute first act, Annabel interviews scientists, activists, corporate executives, and politicians on both sides of the former Conservative government’s 2012 decision to close the Experimental Lakes Area, a research facility in northern Ontario. She and her husband, Alex (Alex Ivanovici, playing himself), enlist the help of their two young daughters in learning about the issues. Act 2 sees the whole family taking a road trip to get a close-up look at Alberta’s tarsands. As he did with Seeds, director Chris Abraham infuses this sometimes dry material with incredibly energetic staging: the cast of eight are always on the move, briskly trading off roles in constantly shifting locales and contexts. And the actors are terrific, whether they’re playing members of Soutar’s family or public figures like Maude Barlow and (pre-scandal) Jian Ghomeshi. Special mention goes to Brenda Robins, Molly Kidder, and Virgilia Griffith, all unaffectedly ebullient as preteen girls, and Eric Peterson, as Soutar’s conservative father, gives us some moving scenes. The play’s design is also spectacular. Set designer Julie Fox fills the enormous playing area with wooden pallets, pipes, and plumbing fixtures before an expanse of brick wall that serves as a canvas for Denyse Karn’s exquisite projections. Thomas Ryder Payne’s immersive sound design and Kimberly Purtell’s gorgeous lighting enhance the atmosphere. But for all its energy and passion, The Watershed isn’t easy to connect with emotionally. For one thing, the urgency of Annabel’s research is a few years old. It’s a strange feeling, summoning retroactive fury at the Harper government’s well-demonstrated contempt for science. It’s also a bold move for Soutar to put Annabel front and centre; I don’t think she succeeds at making the minutiae of her research as interesting to an audience as they obviously are to her. The Watershed is a mixed success. As agitprop theatre, it’s dated; as a personal story, it’s self-indulgent. The liveliness of its staging is no small achievement. But I was hoping for more. > KATHLEEN OLIVER

APRIL 29 + APRIL 30

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REDPATCH Hardline Productions presents the world premiere of Raes Calvert and Sean Harris Oliver’s historical drama about a young Métis volunteer soldier who is deployed to fight in the First World War. Apr 12-16, Studio 16 (1545 W. 7th). Tix $25-33, info www.hardlineproductions.ca/ redpatch/.

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PARADE Fighting Chance Productions presents the story of a man who is put on trial for the murder of 13-year-old factory worker under his employ. Apr 14-29, Norman Rothstein Theatre (950 W. 41st). Tix $25-40, info www.fightingchance productions.ca/.

New Choral Creators 8pm Friday, May 5, 2017 Ryerson United Church

Vancouver Chamber Choir | Vancouver Youth Choir Kathleen Allan, George Roberts, Jon Washburn, Conductors At 150 years, Canada is still a relatively young nation, making our Youth & Music concert a perfect venue for the Choir to start its 2017 celebrations. This event highlights the delightful finalists and winners of our 13th biennial Young Composers’ Competition, plus a programme that celebrates the creativity of our youngest composers from 8 to 30.

UNDER THE SAME SKY Optimistic Music Company presents a new musical that spans 40 years and 5,000 miles, featuring a variety of musical styles. Apr 19-23, Studio 16 (1545 W. 7th). Tix $25, info www.optimisticmusicco.com/.

2ONGOING ANGELS IN AMERICA, PART ONE: MILLENNIUM APPROACHES The Arts Club Theatre Company presents Tony Kushner’s tale of companionship and abandonment that takes place in New York City at the height of the Reagan era and the beginning of the AIDS crisis. To Apr 23, Stanley Industrial Alliance Stage (2750 Granville). Tix from $29, info www.artsclub.com/.

1.855.985.ARTS (2787) vancouverchamberchoir.com

MOM’S THE WORD 3: NEST 1/2 EMPTY Mom’s the Word Collective presents the story of a group of moms whose kids have grown, whose marriages have evolved, and whose bodies are backfiring. To May 6, Granville Island Stage (1585 Johnston, Granville Island). Tix from $29, info www.artsclub.com/.

LESLEY TELFORD | INVERSO

THREE SETS/RELATING AT A DISTANCE

on the web!

For up-to-the-minute, searchable Arts listings on your phone, visit

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April 20-22, 2017 | 8pm Photo: David Cooper

RODGERS AND HAMMERSTEIN’S CINDERELLA Broadway Across Canada presents a musical take on the classic fairy tale that features songs such as “In My Own Little Corner”, “Impossible/It’s Possible”, and “Ten Minutes Ago”. To Apr 16, 7:30 pm, Queen Elizabeth Theatre (650 Hamilton). Tix from $30 (plus service charges), info www.broadwayacrosscanada.ca/.

YOUTH & MUSIC 2017

Scotiabank Dance Centre

Tickets ticketstonight.ca Info thedancecentre.ca

DANCE 2THIS WEEK ROOM 2048 Hong Kong Exile presents the world premiere of a dance-theatre piece that explores the sociopolitical realities of the Cantonese diaspora. To Apr 15, 8 pm, Firehall Arts Centre (280 E. Cordova). Tix $12-28, info www.hongkongexile.com/.

MUSIC 2THIS WEEK TESTAMENT Explore the songs and stories of Jesus’s childhood, by artists such as Woody Guthrie, Patty Griffin, Sam Cooke, Tom Waits, Bruce Springsteen, and Bruce Cockburn. Apr 12-15, 8 pm, Pacific Theatre (1440 W. 12th). Tix $34.95, info www.pacific theatre.org/.

Paula Kremer, Artistic Director

SUN APR 23, 2017 AT 3 PM

ORPHEUM ANNEX

Full Fathom Five Shakespeare S hakespeare in in S Song on g

AETERNA: PERGOLESI STABAT MATER AND DURUFLÉ REQUIEM Jon Washburn conducts the Vancouver Chamber Choir and Orchestra in a performance of Pergolesi’s Stabat Mater and Duruflé’s Requiem. Apr 14, 8-10 pm, Orpheum Theatre (601 Smithe). Tix $10-55, info www.vancouverchamberchoir.com/. ONCE UPON A TIME CONCERT The Vancouver Pops Symphony and Choir presents music from Cinderella, Peter Pan, Anastasia, Beauty and the Beast, Pocahontas, and How to Train Your Dragon. Apr 15, 8-10 pm, Chan Centre for the Performing Arts (6265 Crescent Rd., UBC). Tix $15, info www.vancouverpops. com/concerts/.

Tickets: vancouvercantatasingers.com 604.730.8856

AETERNA

Pergolesi Stabat Mater & Duruflé Requiem 8pm Friday, April 14, 2017 Orpheum Theatre Vancouver Chamber Choir and Orchestra Pacifica Singers | Jon Washburn, Conductor The Vancouver Chamber Choir brings you the finest repertoire for chorus and orchestra every Good Friday in hopes that you will make it part of your family's musical tradition. Enjoy Pergolesi’s magnificent Stabat Mater, a pinnacle of Italian Baroque music, and the sublimely beautiful Requiem based on Gregorian chant by French master Maurice Duruflé.

1.855.985.ARTS (2787) vancouverchamberchoir.com

see next page

APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 23

Arts time out

from previous page

straight choices

improv-comedy show based on HBO’s Westworld. To May 13, 7:30 pm, The Improv Centre (1502 Duranleau, Granville Island). Tix $15.50-29, info www.vtsl.com/.

COMEDY

IVAN DECKER Canadian standup comedian performs a solo show. Apr 13-15, The Comedy MIX (1015 Burrard). Tix $20/18/15, info www.thecomedymix.com/.

2ONGOING THE COMEDY MIX 1015 Burrard, Century Plaza Hotel & Spa, 604-684-5050, www.thecomedymix.com/. Comedy club with pro-am night Tue at 8:30 pm, showcase Wed at 8:30 pm, and featured headliners Thu at 8:30 pm and Fri-Sat at 8 and 10:30 pm. Cover $8 Tue, $10 Wed, $15 Thu, $18 Fri, $20 Sat. 2IVAN DECKER Apr 13-15 YUK YUK’S COMEDY CLUB 2837 Cambie, 604-696-9857, www.yukyuks.com/vancouver/. Comedy club with Top Talent Tue at 8 pm, amateur night Wed at 8 pm, and professional headliners Thu-Fri at 8 pm and Sat at 7 and 9:30 pm. Cover Tue $10, Wed $7, Thu $10, and Fri-Sat $20. 2BYRON BERTRAM Apr 13-15 VANCOUVER THEATRESPORTS LEAGUE Some of the world’s most daring and innovative improv. Firecracker! (Wed, 9:15 pm); Ok Tinder (Fri and Sat, 11:15 pm); Rookie Night (Sun, 7:30 pm); TheatreSports (Wed, 7:30 pm; Fri and Sat, 9:30 pm); Western World (Thu, Fri, and Sat, 7:30 pm). Apr 12-19, The Improv Centre

BYRON BERTRAM Standup comedian, actor, and podcast host performs a solo show. Apr 13-15, Yuk Yuk’s Comedy Club (2837 Cambie). Tix $19.05/9.53, info www.yukyuks.com/vancouver/.

HUMAN CALCULATIONS Mathematics is an art form in itself, as proven by Pi Theatre’s number-charged Long Division. This is a “refreshed remount� of Peter Dickinson’s ambitious work, one that circles around seven seemingly unrelated characters (including a high-school math teacher, a soccer-loving imam, and a lesbian bar owner) bound together by a single traumatic incident. Directed by Richard Wolfe, with choreography by Lesley Telford and musical score by Owen Belton, it’s a multimedia, movementdriven piece that has a strong cast. It should set your left brain firing in the intimate space of the Annex (823 Seymour Street) from April 26 to 30.

2THIS WEEK

feeds and audience suggestions. To Jun 30, 9:15 pm, The Improv Centre (1502 Duranleau, Granville Island). Tix $7.50, info www.vtsl.com/show/nofilter/.

#NOFILTER Interactive improv-comedy show based on live-stream social-media

WESTERN WORLD The Vancouver TheatreSports League presents an

(1502 Duranleau, Granville Island). Info www.vtsl.com/.

ET CETERA 2THIS WEEK CAPTURE PHOTOGRAPHY FESTIVAL Annual not-for-profit festival aims to spark public dialogue about photography as an art form and a vessel for communication. To Apr 28, various Vancouver venues. Info www.capturephotofest.com/.

GALLERIES VANCOUVER ART GALLERY 750 Hornby, 604-662-4719, www.vanartgallery.bc.ca/. 2VANCOUVER SPECIAL: AMBIVALENT PLEASURES (exhibition encompasses a range of approaches and reinvigorated explorations of surrealism, abstraction,

atemporality, and conceptual practices) to Apr 17 2WE COME TO WITNESS: SONNY ASSU IN DIALOGUE WITH EMILY CARR (Sonny Assu creates a new series of digital tags on a body of Emily Carr paintings) to Apr 23 2SUSAN POINT: SPINDLE WHORL (exhibition features artworks that take the spindle whorl as their starting point) to May 28 2PACIFIC CROSSINGS: HONG KONG ARTISTS IN VANCOUVER (exhibition presents works from well-known Hong Kong artists created after their relocation to Vancouver throughout the 1960-90s) to May 28 2HOWIE TSUI: RETAINERS OF ANARCHY (solo exhibition featuring new work from Howie Tsui) to May 28

MUSEUMS THE MUSEUM OF ANTHROPOLOGY AT UBC 6393 NW Marine Drive, 604-822-5087, www.moa.ubc.ca/. 2AMAZONIA: THE RIGHTS OF NATURE (exhibition features Amazonian basketry, textiles, carvings, feather works, and ceramics) to Jan 28

TIME OUT ARTS LISTINGS are a public service provided free of charge, based on available space and editorial discretion. Submit listings online using the event-submission form at straight.com/AddEvent. Events that don’t make it into the paper will appear on the website.

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24 THE GEORGIA STRAIGHT APRIL 13 – 20 / 2017

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MOVIES

In 1970, BY ADR IAN M ACK

Canada’s infant film industry wasn’t doing much more than Goin’ Down the Road. Next Wednesday (April 19), National Canadian Film Day pulls focus on just how far we’ve come. Redubbed this year to ref lect Canada’s sesquicentennial, NCFD 150 promises to be, in the words of its founders, Reel Canada, “the largest film festival in the world, ever”, with a jaw-dropping 1,700-plus screenings, parties, installations, and other unique events taking place in a coast-to-coast toast to the pictures that move us. And because we’re a country of dirty socialists, every single one of those screenings and events—including a special 20th-anniversary presentation of The Sweet Hereafter at the Vancity Theatre with filmmaker Atom Egoyan in attendance—is completely free. “It’s always a treat to travel outside of the country and f ly that Canadian f lag,” says Georgia Straight cover star Jeff Chiba Stearns, fresh from a presentation in Cleveland of his acclaimed 2016 documentary, Mixed Match. “I think Americans look at us and they’re jealous because we have a lot of support for the arts, at least compared to what they have.” Looking

Lights, Canada, and action! National Canadian Film Day 150 throws a nationwide party, and you’re all invited—oh, and leave the wallet at home forward to the screening he’ll host at the Vancouver Public Library on NCFD 150, Stearns notes that even with its weighty subject—Mixed Match examines the challenges involved in finding bone-marrow donors for multi-ethnic blood-cancer patients—his film can align with the evolving Canadian experience. “You can’t walk down the street, especially in Vancouver, without seeing multiethnic kids and interracial marriages everywhere,” he says. “That’s partly why I think a film like Mixed Match is so important for something like National Canadian Film Day, because it really is exploring the changing landscape of Canadian identity. It’s not the same Canada it was 150 years ago.” For Aubrey Arnason, who joins Stearns on our cover this week, NCFD 150 offers the chance to out-megaphone our neighbour to the south. Her short film “Kindergarten Da Bin Ich Wieder”, directed with Kalyn Miles in 2015 for the Crazy8s short-film competition, is a charming quirkfest that recalls Winnipeg’s brilliant, if under the radar, John Paizs. “I think we’re not that great at marketing ourselves,” the busy writer-director-actor tells the Straight. “We’re too humble. I think we need to get better at shouting aloud that we’re Canadian. ‘This is my story and I’m going to tell it!’ ” On the big day, Arnason will be shouting aloud with three other Crazy8s filmmakers aboard a Via Rail train bound for the Interior, where Thompson-Nicola film commissioner Vicci Weller will accompany them on a “Creative Day in Kamloops”. Indeed, while NCFD 150 brings 30 separate happenings to Vancouver—a vintage Airstream trailer planted in Jack Poole Plaza will treat passersby to shorts by TELUS Storyhive and the NFB, for instance— there are a whopping 225 events in total across

Pioneering local filmmakers Mina Shum (left) and Ann Marie Fleming get their due with free screenings on National Canadian Film Day 150. Travis Lupick photo.

the province. In short: National Canadian Film Day seriously intends to excite us about the stories we tell.

2

We’ve picked five local screenings to whet your appetite. Go to Straight.com for the full, mind-boggling schedule and a few more NCFD 150 items besides. -

With 30 free events scheduled so far, National Canadian Film Day (NCFD 150) will be all over the city next Wednesday (April 19). Here are five of our picks: SKIP TRACER When Atom Egoyan was asked to program an influential Can-

adian film to precede his visit to the Vancity Theatre on Wednesday, he chose this cold snap of paranoia from the late ’70s about a debt collector fighting to win his fourth man-of-the-year award at a sleazy finance company in Vancouver. This is your city in its dark ages: all peeler bars, construction, and wiry little businessmen brandishing steel pipes. Essential viewing, with writer-director Zale Dalen in attendance. Vancity Theatre (4:30 p.m.)

STORIES WE TELL/ARCHANGEL Planting yourself in the Cinematheque for the night isn’t

the worst idea for NCFD 150. A stellar program begins with the pairing of Window Horses director Ann Marie Fleming’s crucial short “You Take Care Now” with Sarah Polley’s hauntingly autobiographical Stories We Tell. Right after that, Oscar-winning animated short “Ryan” is billed with Guy Maddin’s delirious 1990 effort, Archangel—a film so beautifully lost in its own mood of amnesia that you’ll wonder how you got there when it’s over. Cinematheque (6 p.m.) DOUBLE HAPPINESS Chinese-Canadian life had precisely no representation on the big screen when this unassuming gem came out of nowhere in 1994 and made West Coast Canadian indies feel possible. Sandra Oh became a star as young Jade, a dutiful daughter straining against her parents’ traditions—and secretly dreaming of an acting career (rather poetically in this case). First-time writer-director Mina Shum didn’t do too badly out of it, either. Shum will be in attendance. UBC Frederic Wood Theatre (7:30 p.m.) AN IMMERSIVE VIRTUAL REALITY EXPERIENCE We’ve tried it, and, rest assured, you don’t

want to miss the NFB’s VR demonstration in the atrium of the W2 building from 10 a.m. to 12 p.m. Among the highlights is “Cut Off’, which lets the viewer accompany Justin Trudeau on his visit last April to the Shoal Lake 40 First Nation. The atrium and NFB screening room also play host to a daylong selection of shorts, including Marv Newland’s “CMYK”, and the Oscar-winning “Danish Poets”. National Film Board Pacific Yukon Studio (8:30 a.m. to 5 p.m.)

AFTER THE LAST RIVER As we wrote when it took one of the jury prizes at the 2015 DOXA Documentary Film Festival, Vicki Lean’s devastating exposé on the impact of a De Beers diamond mine on northern Ontario’s Attawapiskat First Nation needs to be seen by anybody with a Canadian passport. Together with the David Suzuki Foundation, DOXA brings the young filmmaker to town for a special presentation. UBC Robson Square (6:30 p.m.) > ADRIAN MACK

IR IS H D IR E CTOR SHOOTS C ANUC K DUC KS >>>

E

than Hawke is a movie star with a becoming dash of on-screen humility, but is he a character actor? When Aisling Walsh cast the Boyhood star as a reclusive, uneducated, explosively violent Nova Scotian in her new period film, Maudie, she wagered she could draw something more out of a guy who’s generally seen projecting various shades of his sensitive Gen-X self. “I was a huge fan for years and you just get hints, sometimes, of what an actor is capable of,” the Irish filmmaker tells the Straight, in a call from London, England. “It’s a very silent part, it’s a very thoughtful part, and sometimes actors like to do that—not have to say very much, and just be. I felt that he might not be offered a role like this one very often, and therefore he might want to do it.” He did want to do it, very eagerly, no doubt partly drawn by the

Filmmaker Aisling Walsh was confident that Ethan Hawke and Sally Hawkins could transform themselves into one of Canada’s oddest couples in Maudie.

opportunity to work beside Sally Hawkins in a film that’s largely a two-hander about an eccentric, ultimately celebrated real-life couple. Opening Friday (April 14), Maudie tells the story of Maud Lewis,

whose colourful portraits of the wildlife and landscape surrounding her remote Nova Scotian home would turn the near-disabled amateur painter into one of Canada’s most beloved folk artists.

> BY ADRIAN MACK

If Hawke disappears behind his squint as Maud’s almost nonverbal husband, Everett—Walsh praises his embodiment of the unprepossessing fish peddler as “phenomenal”—Hawkins’s metamorphosis inspires a kind of awe as she contorts herself into a figure whose growth was interrupted at the age of four by juvenile arthritis. Remarkably, except for some fake knuckles and a hump that grows as the character ages—Maudie observes these two supremely odd ducks from the late’30s until her death in 1970—no prosthetics were used. “The rest is all Sally,” says Walsh, who recalls the British actor showing up on set and asking “in Maud’s voice” for a paintbrush. “And you could sense this intake of breath from everybody, and that’s when you saw that it was going to be extraordinary. But that’s what Sally does as an actor and that’s what Ethan does

☞

as an actor. I knew she would transform herself, utterly.” A part of Newfoundland was also transformed, utterly, when the production built a near replica of the Lewis’s tiny, unheated house on one of the province’s lonelier coasts. The original resides in a museum in Halifax, and it’s there, Walsh says, that her journey with Maudie began and ended. “Their souls are still in that house, both of them,” says the filmmaker, whose last biographical subject was Dylan Thomas. “I went back many times with the DOP and the designer because we painstakingly re-created it as near as we could. There’s always something kind of magical, if that’s the right word, when you make a film about somebody’s life. It feels like those people are kind of watching over you. You’re wondering, ‘What would Maudie think of this?’ ” -

APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 25

MOVIES

In the Hereafter and now > B Y K EN E IS NE R

A

tom Egoyan has just returned from Armenia, his ancestral home and site of his ambitious Ararat. He and his wife, Arsinée Khanjian, got caught up in muddled elections there, and that was after a trip to China to work on a potential project. Now he’s looking forward to visiting Victoria, where he grew up, and then Vancouver, to help celebrate National Canadian Film Day (NCFD 150) next Wednesday (April 19) at the Vancity Theatre with a special 20th-anniversary screening of The Sweet Hereafter. “It’s fitting that we show this,” declares Egoyan, on the line from his Toronto home, “as it’s really the only film I ever made that was shot and set in B.C.” Plenty of other Canuck titles are showing throughout Vancouver and rural B.C., thanks to Reel Canada, a nonprofit outfit he helps advise. The day before, there’s a special screening of his most recent movie, Remember, at Victoria’s Empress Hotel. That was the site of Egoyan’s first job, in fact, as captured in his 1989 breakthrough, Speaking Parts. “I think I still have some badges from when I worked there, and I have to find them before going home,” he adds. The veteran writer-director, actually born in Egypt, in 1960, sounds nostalgic when talking about his first real home—especially when it comes to UVic’s Cinecenta, where he “spent countless hours devouring all those great movies from Europe and Asia that inspired so many filmmakers who followed”. Egoyan moved to Toronto in the early ’80s, to study international relations at Trinity College. Cinema took over, however, and he achieved some of his globalist ambitions by winning festival competitions, including three major Cannes prizes and two Oscar nominations for Hereafter. DOXA PRESENTS THU MAY 4

OPENING NIGHT FILM

7PM VOGUE

SAT MAY 13

CLOSING NIGHT FILM

8PM SFU

Atom Egoyan is returning to a “peak experience”. George Pimentel photo.

He has since been knighted by the French government, received state honours in Armenia, and been given the Order of Canada—upgraded to the highest level, Companion, in 2015 for his dedication to Canadian culture. Examples of his generosity include sharing his own prize money with Vancouver directors John Pozer (The Grocer’s Wife) and Mina Shum (Double Happiness) in 1991 and ’94, respectively. “The landscape has certainly changed since then,” Egoyan observes. “In the ’90s, there was suddenly much more emphasis on the fluidity of gender and sexuality. Then, when Deepa Mehta won all those awards for Water, just over 10 years ago, it was obvious that Canadian film would show a lot more cultural diversity.” Other big changes have been in technology and distribution. “With the advent of digital cameras

and editing,” he explains, “it has become way easier to make films. And I’ve never seen so many high-quality first features. The problem comes in finding places to show them. There have also never been so many festivals, and programmers compete over premieres, which means that movies don’t travel quite as much as they used to. And theatrically, they are vying for space with things that are much easier to market. So a great debut like Hello Destroyer, for example, just isn’t seen by all the people who would enjoy it.” Of course, marketing problems are familiar to Egoyan, who had a hard time pushing his Hereafter even after the triple win at Cannes. “Let’s face it: who wants to see a movie about a bus crash that kills a bunch of schoolchildren? Then, when you want to explain that it’s not really about that, and that some of it is quite funny, or even stranger, you lose some more people.” Still, the movie will always hold a sweet spot in his filmography. “There’s no doubt it was a peak experience. It was the last film that I location-scouted and cast myself; even the fact that Donald Sutherland dropped out at the last moment and we got Ian Holm instead was important. We finished in January of 1997, and I don’t know how we got it together to show at Cannes, which was having its own 50th anniversary. Have I ever felt that magic again? I don’t know, really. I never went to film school, but I know my first efforts were full of feeling. I’m always trying to keep that alive and, hopefully, to add some sense of accomplishment.” The Sweet Hereafter screens at the Vancity Theatre at 7 p.m. on Wednesday (April 19), followed by a Q&A with Egoyan and actor Bruce Greenwood. Egoyan’s 1994 film Exotica screens at 10 p.m.

“ONE OF THE BEST MOVIES OF THE YEAR” DAILY MAIL “BILL NIGHY IS “GEMMA ARTERTON BRILLIANTLY FUNNY” IS PERFECT” EVENING STANDARD

THE TIMES

++++ ++++ THE TIMES

The Road Forward

Manifesto

Marie Clements’ musical documentary is simultaneously a piece of BC First Nations history, a call for revolution and resolve, and a portrait of a people who have retained their power and identity through community and activism. Indigenous musicians and performers chart a path of resurgence towards genuine self-determined reconciliation.

This century’s great cultural and political manifestos are given voice by actress Cate Blanchett in the guise of a baker’s dozen of characters. Manifesto takes the most grandiose, bombastic screeds and injects them with prankish new life. The result is that we hear them anew, as a howl for change, for new ideas, and brave new worlds.

SAT MAY 6

WED MAY 10

Julian Rosefeldt, Germany

Marie Clements, Canada

TOWN HALL SCREENING

DAILY MAIL

7PM SFU

SPECIAL PRESENTATION

6:30PM SFU

Vancouver: No Fixed Address

Swagger

No topic unites all of Vancouver quite like housing. At every dinner party, social gathering, or chance meeting in the street, everyone has an opinion, and they want to share it. A chorus of voices chime in — everyone from David Suzuki, to Mayor Gregor Robertson, Condo King Bob Rennie, and lots of regular Vancouver citizens.

From its bravura opening POV shot, swooping like a bird of prey over the Parisian suburb of Aulnay-sous-Bois, Olivier Babinet’s vivid film is bursting with life and fantasy-fueled mise en scène. The director spent more than three years working with a dozen teenagers, posing questions about family and relationships, hopes and dreams.

Charles Wilkinson, Canada

Olivier Babinet, France

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IN SELECT THEATRES FRIDAY 26 THE GEORGIA STRAIGHT APRIL 13 – 20 / 2017

Check theatre directory for locations and showtimes!

“THIS YEAR’S FIRST OSCAR® -WORTHY PERFORMANCES FROM SALLY HAWKINS AND ETHAN HAWKE.

ONE OF THE YEAR’S BEST FILMS.” SCENE CREEK

“THE TRUE STORY OF CANADIAN FOLK ARTIST MAUD LEWIS, BOASTS A POWERFUL, OSCAR -WORTHY PERFORMANCE BY SALLY HAWKINS.” ®

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“MAUDIE IS STUNNINGLY BEAUTIFUL AND DEEPLY MOVING.” LOCALEXPRESS.CA

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SALLY HAWKINS

Academy Award® Nominee

ETHAN HAWKE

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British Columbia is celebrating National Canadian Film Day 150 in a BIG way!

225 EVENTS AND COUNTING ACROSS THE PROVINCE

FREE Vancouver Screenings Include: Vancity Theatre/ VIFF

THE SWEET HEREAFTER (7PM) Filmmakers Atom Egoyan and ƌƵĐĞ 'ƌĞĞŶǁŽŽĚ ŝŶ ĂƩĞŶĚĂŶĐĞ

Vancouver Public Library —Main Branch

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UBC Robson Square

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UBC Frederic Wood Theatre

DOUBLE HAPPINESS (7:30 PM) WƌĞͲƌĞĐĞƉƟŽŶ Ăƚ ϲ͗ϯϬ WD &ŝůŵŵĂŬĞƌ DŝŶĂ ^ŚƵŵ ŝŶ ĂƩĞŶĚĂŶĐĞ

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Wednesday

APRIL 19 28 THE GEORGIA STRAIGHT APRIL 13 – 20 / 2017

&ŝŶĚ ĂŶ ĞǀĞŶƚ ŶĞĂƌ LJŽƵ͗ ĐĂŶĂĚŝĂŶĮůŵĚĂLJ͘ĐĂͬďĐ Get social! @CanFilmDay #CanFilmDay

MOVIES

A fine Gemma Arterton battles for Britain PERFUME WAR

RE VIEW S

A documentary by Mike Melski. Rated PG

THEIR FINEST

It’s fitting that self-made Can-

2 adian entrepreneur Barb Stege-

Starring Gemma Arterton. Rated 14A

The title here is truncated from

2 novelist Lissa Evans’s Their Fin-

est Hour and a Half, a cheeky reference to a famous Winston Churchill speech made just before the Battle of Britain. In late 1940, France is already lost, the U.S. has not yet entered the war, and the demand for morale-boosting entertainment—an uplifting 90 minutes, let’s say—is at an all-time high. Demand is also surging for the professional services of women, which is how Catrin Cole (a delightful Gemma Arterton), a Welsh transplant to blitz-blighted London, managed to turn copywriting experience into a job with the Ministry of Information. “We can’t pay you as much as the chaps, of course,” explains her cheerful new boss (Richard E. Grant). What she thinks is a secretarial gig turns out to be working on a script for a new propaganda film. Upon realizing that the story she’s been given to work with, about twin sisters stealing their dad’s boat to help rescue soldiers from Dunkirk, was largely fabricated by local newspapers, she weaves some flannel of her own. She needs the dosh to support her moody husband (Jack Huston)—a painter wounded in the Spanish Civil War—and enjoys the screenwriting camaraderie with a sleepy older fellow (Paul Ritter) and the crankier Buckley. Younger viewers will recognize the latter, beneath his glasses, ’stache, and Brylcreem, as Hunger Games dreamboat Sam Claflin. Their work is intended to boost morale and help invite Yanks aboard, as explained by their Alexander Korda–ish producer (Henry Goodman) and a stuffy cabinet minister (Jeremy Irons, in a great cameo). The movie we’re watching, then, is a boon to lovers of British cinema, with the bonus of comic opportunities handed to Bill Nighy, as an aging ham actor whose flagging career could be revived by this home-front codswallop. As assembled by An Education director Lone Scherfig and veteran TV writer Gaby Chiappe, all the parts here work together beautifully. It’s a shame, then, when the incipient romance between Buckley and Catrin moves to the foreground, breaking the collective momentum of the story and flow of her self-discovery. Their Finest recovers, however, and these two hours are quite rewarding. > KEN EISNER

MAUDIE Starring Sally Hawkins. Rated PG

It’s hard enough to capture the

2 motives and drives of a dedi-

cated fine artist, and folk arts are, in some ways, even harder to parse. How do people make songs and poems and paintings without knowing what the rest of the world has already done? On the other hand, the simplicity of mixing creative crafts with everyday chores recalls the village life that dominated the planet for thousands of years, and the straightforward Maudie, an Irish-Canadian coproduction, pretty much sticks to that approach. The neatly shot two-hour movie outlines the high and low points of Maud Lewis, a Nova Scotian who achieved minor celebrity for her cheerful watercolours in the 1950s and ’60s. The story of her self-taught expressionism is especially poignant, since she was born poor in a remote area, frequently abandoned, and had a condition that sent arthritis through most of her small, frail body. Both parents died in the 1930s, and Maudie picks up the story when the would-be painter, played wonderfully by Mike Leigh veteran Sally Hawkins, finds herself living in smalltown Digby with few options. When her brother sells the family home, giving her nothing, she bridles at the strictures of her stern maiden aunt

Sam Claflin and Gemma Arterton make short work of wartime propaganda in director Lone Scherfig’s love letter to classic British cinema, Their Finest.

(Vancouver stalwart Gabriel Rose), who doesn’t approve of her smoking, drinking, and going to jazz clubs—let alone wasting her time with paintbrushes that are already hard to hold. Told she can’t even look after herself, the 34-year-old Maud instead goes after a job taking care of someone else. Rest assured, dear moviegoer, that real-life fish peddler Everett Lewis looked nothing like Ethan Hawke, and yet the former child actor does his best to play a rough, sometimes brutal dim bulb of a man— one who ranks his dogs and chickens above “a crippled-up woman”. It’s sort of a love story. Irish director Aisling Walsh, working from Rookie Blue writer Sherry White’s prosaic script, pretty much rests the whole shebang on Maudie’s struggle against pain and prejudice to gradually become famous for her colourful art. There are few whys here—just a lot of doin’.

> KEN EISNER

SONG TO SONG Directed by Terrence Malick. Rated PG

Less a movie than a year’s sub-

2 scription to Architectural Digest

crammed into a 130-minute montage, Song to Song is ostensibly set in the festival-heavy music world of Austin, Texas. But few songs are performed in the latest exercise in luxuriant shoegazing from Terrence Malick. The imagistic flow here, again courtesy of resourceful cinematographer Emmanuel Lubezki, centres on Rooney Mara as a woman caught between Michael Fassbender’s powerful music producer and Ryan Gosling’s up-andcoming songwriter. Talk about your First World problems! There’s more than a whiff of white privilege to this voyeuristic tour of mansions, hotels, and private-jet Mexican vacations, hosted by young Caucasians who never need to work. Wealth is the cause of endless misery, but please don’t look away. That swimming-pool party is even more decadent than the other five! Mara’s character—called Faye; the rest go unnamed—slept with the unlikable Fassbender dude to advance her music career, while actually digging the Gosling guy more. Despite briefly fondling a Fender, though, she never sings or plays a note. There is more live dialogue heard here than in Malick’s recent snoozers To the Wonder and Knight of Cups. But what’s uttered is improvised and uniformly banal. The usual offscreen murmuring allows the director to endlessly reshape his thin narrative—most of it shot around five years ago—in the editing booth. The difference between joy and sorrow, apparently, is mostly the product of voice-over explanation. If I’m reading the Osterizer-on-high narrative right, the stubbly producer eventually drops Faye for a hot waitress (Natalie Portman), the stubbly songwriter meets another musician (Lykke Li) and then a ritzy Austinite (Cate Blanchett), and Faye changes things up with a glam Parisian lesbian

(nonstubbly Bond veteran Bérénice Marlohe). Everyone pouts like mad. Presumably, these A-listers keep returning to Malick hoping he’ll return to the brilliant form of 1978’s Days of Heaven. Well, he did combine classical storytelling with experimental cinema in 2011’s The Tree of Life, but now seems content to plunk pretty people against ever-shifting backdrops, the better to mug, twirl, and mock-fight their cares away. He reduces talent to its most childish elements and removes all material challenges. The sushi looks fantastic. > KEN EISNER

BLACK CODE A documentary by Nick de Pencier. In English, Portuguese, and Tibetan, with English subtitles. Rating unavailable

The Internet has been a fluid

2 place since a start, recalled in

Werner Herzog’s recent Lo and Behold, that came from the gleam in just a few programmers’ eyes. The potential to do good and harm was built into something that enabled at first hundreds and then millions to communicate, often anonymously. Made before the U.S. Congress used its power to do harm (for profit) by agreeing to remove privacy protections, Black Code is mostly concerned with the dark side, although it’s amazing how often the bad shit piggybacks on top of the good stuff. Case in point is the Arab Spring, in which countless young people saw a way out from under autocratic, often theocratic regimes through the flashmob capabilities of Facebook and other social media. A few years later and those same regimes are using the Net to track down, trick, and/or entrap potential dissidents. Based on a book of the same name by computer specialist Ronald Deibert, the 90-minute doc follows the unassuming University of Toronto professor as he travels to some hot spots where the Internet has provided both hope and horror. Back in 2009, Deibert and his crew at the Citizen Lab uncovered the GhostNet, a Chinese enterprise that hacked citizens and governments in more than a hundred countries. Hence an emphasis here, from Canadian director Nick de Pencier (known for producing and lensing docs like Watermark and The Ghosts in Our Machine), on Tibetan exiles in India. He also looks at, among others, an Ethiopian expat who thought he’d be safe from surveillance in the U.K. (guess what?) and Brazilian activists who find themselves beaten and arrested for perfectly legal activity, documenting the seemingly random use of violence, detention, and intimidation that is increasingly the first strategy of corporate security forces everywhere. The director’s approach is scattershot, to be sure, but it’s hard to picture a more coherent response to threats that keep evolving even faster than we can identify them.

mann should bring the same DIY attitude that’s helped her build a socially minded fragrance empire to a film about her own life. The 7 Virtues maven and her husband, Mike Velemirovich, have formed a new movie company, and its first breezily inspiring documentary is about, well, Stegemann. It’s directed by an old King’s College friend, Mike Melski. That means the film is as earnestly passionate about the world causes its brand supports as it is about her genuinely motivating rags-to-riches story. But it also gives the film an inescapable promotional scent. Stegemann’s own story of overcoming unbelievable odds gives Perfume War its heart, tracing her life from poverty and bullying as a child in Nova Scotia through university to single motherhood. From the outset, the movie weaves her story tightly together with that of her best friend, Trevor Greene, the Canadian soldier who was attacked with an axe in Afghanistan and is still fighting to recover from the brain injury. It’s an admittedly odd alignment—the wounded soldier and the perfume dealer—but Greene was the one who inspired Stegemann to turn toward Afghanistan and try to spark peace there through business. Stegemann found an Afghan activist who was organizing farmers to grow orange blossoms and roses as an alternative to the poppy trade fuelling unrest and terror in the region. With no financial backing or experience in the industry, she launched the first two 7 Virtues scents using their oils. From there, we watch her “crazy journey”—including pitching on Dragons’ Den (and surviving an epic ripping from a skeptical Kevin O’Leary), winning over corporate giants like Hudson’s Bay, defying the sexual branding of perfumes, and developing a career as a speaker. The film is full of the motivational talk that peppers Stegemann’s engagements and her best-selling book 7 Virtues of a Philosopher Queen, including countless intertitles quoting Roman philosopher-king and Stoic Marcus Aurelius. What we don’t see or hear enough from are the farmers in Afghanistan, though cameras do join Stegemann on a trip to Rwanda, where she sources patchouli oil. Stegemann’s triumphs are huge, and her role-modelling for women important. She’s honest and likable, a whirlwind of energy, and a

passionate subject who can hold the screen. Interestingly, she doesn’t believe in charity; socially conscious venture capitalism is the driving force here. Perfume War is a compelling success story; still, you’re left wondering what a more arm’slength documentary team might have sniffed out of all this.

> JANET SMITH

STRANGERS ON THE EARTH A documentary by Tristan Cook. In English, Spanish, and German, with English subtitles. Rating unavailable

Giving ad hoc concerts in

2 churches as he goes, American

cellist Dane Johansen is among the pilgrims followed on the monthlong journey along Spain’s Camino de Santiago—the subject of many other films in the last decade, in both documentary and fictive styles. Newcomer Tristan Cook’s impressionistic 95-minute doc draws on The Way and other films about the challenging route in order to give context to a pilgrimage that means something different to everyone who makes it. A 10-person crew accompanied the young musician as he set out each morning on the roughly 800-kilometre journey with his cello (in a light, manmade-fibre case) strapped to his back, taking time along the way to meet travellers from Germany, Brazil, Canada, and elsewhere. Along the way, Johansen—who also helped produce the film—performs J.S. Bach’s instantly recognizable six Cello Suites at churches and community centres, for travellers and locals alike, and the effect is often moving. Overall, though, the movie is pleasant, but only intermittently engaging. On several dates, it is showing with The Gardener, an expansive visit to the subtly spectacular grounds of the Jardins de QuatreVents, in La Malbaie, Quebec. That was the green-thumb baby of Frank Cabot, who nurtured the massive family spread until his death in late 2011. The gardener of the title—of the Boston Cabots, who arrived in Salem in 1700—forsook his political dynasty to become one of the few foreigners ever to receive the Order of Canada, for his horticultural dedication. It’s a gorgeously shot tour, lensed by coincidentally named director Sébastien Chabot, although the flower-lined vistas certainly didn’t require such treacly orchestral accompaniment. > KEN EISNER

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30 THE GEORGIA STRAIGHT APRIL 13 – 20 / 2017

MUSIC

Seasons Festival is about a lot of things. It’s about electronic-music fans discovering new favourites. It’s about shining a light on local producers. Most of all, though, it’s about frickin’ laser beams.

Well-seasoned city of sounds

Centre into a multiday platform that showcases various genres of electronic music—and, at various locations, visual art—in their natural habitats. Taking over everything from the smoky basement of Now in its seventh year, Seasons Festival proudly Celebrities to the huge arena of the Pacific showcases Vancouver’s top electronic-music talents Coliseum, Blueprint has A gloriously incoherent mix of genres, enough venues and affiliates on its books to house moods, and artistic media, Seasons Festival em- performers spinning aggressive big-room dubstep BY KATE WI LSON bodies the way people consume music. or glitchy, minimal techno. Showcasing more than 60 artists across eight “We know that we’re a big company, and our locations over the course of five days, the elec- fan base is very diverse,” Prol says. “The guy who tronic-music focused festival is all about personal goes to MIA on a Saturday is not necessarily the decisions. Encouraging audiences to pick and guy who wants to go to Fortune. The venues are choose different shows, the event offers a wrist- very different. When you head to the main room band that allows individuals to flit between classic in Celebrities, you get that kind of LED feel—it’s Vancouver venues, drop in and bounce out, plan brighter, it’s flashing, and it’s pumping. When their own schedules—and call it a night on their you go to Open Studios or the bottom of Celebs, own terms. So much more than turning up in a it’s underground, and it’s analogue. The biggest field, camping out for a couple of days, and being show we do at the Pacific Coliseum has all the trapped by rigid lineups, Seasons provides choice, lights and the effects and the raw power—that’s mobility, and familiarity. the crazy one. We’ve made sure we’ve varied our Which, if you think about it, is basically the offerings to let everybody feel like they’re doing real-life equivalent of Spotify. their own thing. “The idea is for us to program artists at differ“The size of Vancouver allows people to easily ent times, so people think, ‘Well, I’m going to go flow throughout the city,” he continues. “The festo MIA early to go and check out SOSUPERSAM, tival moves individuals around, and lets residents and then I’m going over to Celebrities to do the and visitors experience things in different places. Monstercat showcase,’ ” Alvaro Prol, co-owner Seasons Festival is a mini-showcase of our home.” of Blueprint Events, tells the Straight on the line Prol’s comments are equally applicable to the from the company’s Snowbombing festival at Sun event’s artists. Alongside world-class icons Above Peaks. “The scheduling for Seasons is very delib- & Beyond, Galantis, and Excision—the three bigerate. It’s really varied. You can go and check out a gest names at the show’s two-day headline arena trance act, or a hip-hop act, or a super-boutiquey event—Blueprint has booked a swath of local tallocal underground show—or all three. ent making moves in the Vancouver scene. Funky “Booking diverse artists is our duty as promot- house and soul producer Pat Lok shares the fesers,” he continues, “and it’s that range that gives tival bill with acts like Pomo—most recently people the option to pick and mix different events. known for writing with Anderson .Paak—rising I think we can’t just go one way or another—it’s vocal techno act Sabota, and soulful singer and our responsibility to give people different things, producer Harrison Brome, tipped by Prol to be exciting things. Maybe a fan of Galantis will leave “the next big story out of the city”. a fan of Yotto. Those are the fun stories of festiRather than exercising complete control over the vals—the discoveries people make when taking a bookings, however, the Blueprint team has delegatchance on a new venue and show.” ed certain responsibilities by offering local labels Beginning seven years ago as a passion project and groups the autonomy to select their own lineloosely designed as “an experience around Easter”, ups—a move that allows Vancouver’s top collecSeasons has grown from a one-night-only event fea- tives full independence to book unique showcases. turing Calvin Harris at the Vancouver Convention “Seasons has become a big thing,” Prol says, “and

as it grows, we want authenticity. Instead of doing a show with artists from groups like Monstercat, Hybridity, or Pacific Rhythm, we’re like, ‘Go do your own thing. Make it a part of our festival, let us promote you and live within your idea, but you own that particular section of the lineup.’ We’re doing that with So Loki, for example, which is a local act. Instead of booking a show with them, we gave them a bunch of money to curate something.” Recognizing that—with the rise of streaming sites offering billions of songs at the click of a button—everyone can be a first-class selector, Seasons brings the digital appreciation of music to life for both the audience and the festival programmers. “Seasons is about trying to let people take ownership of the event, and making it feel like it’s theirs,” he continues. “Everyone is a part of the festival.” Seasons Festival is at various venues from Wednesday to Saturday (April 12 to 15).

in + out

On curating Seasons’ lineup: “You have your dream artists in your mind, and then you have to start picking away at it. There are lots of calls, lots of shuffling people around, and then you realize that this guy is in wherever-the-hell because his best friend is getting married. But we’re really good at getting nearly everyone we wanted— this year we’re at about 80 percent. It’s a great lineup, and the ticket sales are pretty much right on par for the two-day Pacific Coliseum event. Having no day outstrip the other is a good sign that we’ve balanced it right.”

On rising star Harrison Brome: “I feel like he’s probably one of the most exciting Vancouver acts we have now. He’s a 20-year-old singer-songwriter and producer, and he’s got an EP out called Fill Your Brains. He just released a single called ‘Body High’, which is doing extremely well—it already has over a million plays on Spotify. The last show he did at Fortune sold out months in advance, which was his firstever show in Vancouver. We feel like this Harrison Brome thing will blow up.”

☞

JACKLIN’S CONFIDENCE IS G E TTING A BO O S T >>> Proving that self-confidence

2 is a funny thing, it’s taken al-

most a quarter-century for Australian singer-songwriter Julia Jacklin to feel like she might actually have something important to say. The payoff for the long lead-up to her debut album, Don’t Let the Kids Win, has been pretty much universal acclaim, the record having been hailed as a triumph everywhere from the Guardian (“lovely”) to the Australian edition of Rolling Stone (a perfect four stars). As a result, she’s been on the road constantly, scoring invites everywhere from Glastonbury to SXSW. “I’m enjoying the travel so far, mostly because I’m getting better at sleeping upright,” Jacklin says with a laugh, speaking on her cell from Australia while waiting to board a plane to New Zealand. “That was a big challenge for me in the beginning. I was always so excited to be

on a plane that it would keep me awake, and that would send me into this almost insane kind of place.” That she’s been so in demand has surprised her, mostly because she initially thought Don’t Let the Kids Win—which found a home on the Polyvinyl Record Co.—would get nothing but a Bandcamp release. Instead, she’s been praised for her storytelling cleverness as a lyricist—Courtney Barnett might be impressed by “When you saw my face in the line/Said if I just focus I could get laid anytime” from “L.A. Dream”, or “Don’t let the time go by without sitting your mother down/And asking what life was like for her before you came to be around” from the title track. Musically, comparisons have been made to the likes of Lucinda Williams, Sharon Van Etten, and Angel Olsen, all of whom the 26-year-old would fit magically with on a Spotify

Julia Jacklin thought the motel’s sole employee, Norman, seemed okay.

playlist. But still, despite Jacklin being the latest breakout artist from a country that’s been producing a lot of them, one thing comes up repeatedly with the singer. As great as everyone else thinks she is, she wonders if she deserves the acclaim. “I dunno—it comes from so many different things that it’s hard to explain it without getting too deep,” she replies when asked about self-doubts. “I think a lot of it comes from not having ever

Alvaro Prol sounds off on the things that enquiring minds want to know.

studied music. I always felt like the least competent person in the room when I was there with my friends. I’d shoot myself in the foot a million times because I didn’t want to participate in jams or things that would help me improve. I mean, I took singing lessons, but never really delved into things too deeply. I was much more into writing than the craft of being a musician.” Along the way, though, something changed. After graduating from high school Jacklin did time in a go-nowhere Americana-obsessed unit, spent some time travelling the world, and briefly thought about becoming a social worker. In her 20s she decided to take songwriting a bit more seriously—which eventually led her to New Zealand, where she recorded the self-financed Don’t Let the Kids Win in 2015. The surprise acclaim given the record is deserved, with Jacklin as comfort-

able cranking the amps for the blazing “Hay Plain” as she is going the spartan and reflective route for the lovely “Sweet Step”. And despite whatever self-doubts she once had, the singer now realizes that she’s onto something. “It’s interesting—I’m going back to New Zealand today to the same studio where I recorded the album,” Jacklin says. “I haven’t been there since the recording, and it’s crazy to think about how different I feel now and how everything has changed. I had no idea how things were going to pan out—I was just going to release the album on my own. So to be in this position now makes me feel proud of myself.” > MIKE USINGER

Julia Jacklin plays the Cobalt next Thursday (April 20). see next page

APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 31

Music previews

from previous page

Low Roar’s new album was born of challenging times At peace with the past as Ryan

2 Karazija sounds on Low Roar’s

new album Once in a Long, Long While, there are moments that suggest the last couple of years were challenging ones. The Oakland-raised and Warsaw, Poland–based musician doesn’t attempt to deny this when he’s reached at a tour stop in Mexico. “I like to keep my songs a bit of a secret, but for some reason I feel like

talking about them today,” Karazija says, speaking on his cell. “You’re my therapist now. The album that I wrote begins right after my divorce. One of the songs is for my ex-wife—I’d never written a song for her, and one came out about two weeks after I moved out. That was ‘Without You’. There’s also two chapters. The first one is about one of my exes, and the other one, the second half, is kind of about this girl that I was really in love with.” For all the darkness that bleeds through the lyrics, the record is also one of hope. Consider “Gosia”, where a soft blanket of synths and glowing acoustic guitar somehow helps create the illusion everything is okay, despite devastating lines like “Now my faith

is dead while my body lays drenched in the ashes of a forgotten time/It’s hard when you come to realize someone’s path is headed elsewhere in life.” Karazija launched Low Roar from Iceland, after moving there and recording in his kitchen. An eponymous 2011 debut suggested a passing affection for Massive Attack and Sigur Rós. A follow-up, 0, gained invaluable exposure when “I’ll Keep Coming” and “Easy Way Out” landed in trailers for the crazily anticipated upcoming video-game opus Death Stranding. Once in a Long, Long While was created amid the wreckage of a relationship, with the singer leaving Iceland, spending time in Sweden, and then eventually decamping to Poland.

Karazija channelled his emotions into songs. And now that he’s started revisiting those on the road, things are sometimes more painful than he remembers. “I played one of the songs here yesterday on the radio,” he says. “On our first night here in Mexico I saw a bunch of friends and we all went out and I kind of woke up a bit hungover. The song that I did was one that I hadn’t performed since I did it for the record. There’s one line that goes, ‘Babe you walk your way I’ll walk mine/I’ll stop to think of you from time to time.’ I should have done something different. Sometimes I get a hangover depression, and after I was done the radio thing I was like, ‘Why

did I choose to sing that song?’ ” Choosing anything else from Once in a Long, Long While might, however, have left him equally traumatized. “After I did the record it felt like a real release,” Karazija says. “I haven’t really gone back and listened to the record that much, and there’s a few of the songs that we’re not playing live.” He laughs, and then continues: “I mean, I thought it was a happy record. But maybe it’s the most depressing one that I’ve made.” Or maybe the answer is, beautifully, both. > MIKE USINGER

Low Roar plays the Biltmore Cabaret next Thursday (April 20).

Verboden wants it darker

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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.

Scan to confess Emojis

R

obert Katerwol sounds a little the worse for wear when the Straight reaches him at home in Vancouver. “I was in the hospital just two days ago,” Katerwol says. “I was diagnosed with some kind of virus, so I’m having a really tough time.” This last statement is punctuated by a nasty-sounding cough. Here’s hoping Katerwol feels better by the time this issue hits the streets, because he has a festival to sing at. Oh, and he’s also running it. Now in its second year, Verboden is a three-night showcase of independent music, featuring a mix of local bands and acts from out of town. These include Katerwol’s own minimalist industrial duo Weird Candle (a There are surprisingly few actual girls in the band collaboration with Caleb Blagdon), new-wave poppers Girlfriends and Boyfriends. Wayne Moreheart photo. Girlfriends and Boyfriends, and the swirling-goth-rock purveyors of Puritans. reputation appears to be growing. “I feel it’s getting bigThe thread that stitches together these groups, and ger, because I’m getting ticket sales online from EdmonVerboden’s other performers, is an appetite for darkness. ton, from Portland, from Seattle, from Calgary. From Whether they draw inspiration from the late-’70s postpunk quite a far reach. That wasn’t happening last year, so the of Joy Division or the bleak electronic soundscapes of Skin- word is spreading a lot more now.” ny Puppy, all of the festival’s acts are geared toward those Verboden is still a one-man operation, however. The who wear black on the outside because fest was at three venues last year, but black is how they feel on the inside. this time around Katerwol has simOr maybe they don’t. One of the reaplified things by booking only two sons this particular music scene has a rooms, which are located on adjacent John Lucas low profile is that its fans don’t necesblocks of East Hastings Street. “When sarily resemble entrants in an Edward Scissorhands look- one band finishes [at the Red Gate], another band is startalike contest. Another is that Vancouver doesn’t exactly ing at the other venue, so people just have to walk half a have an abundance of venues available to bands making block to the Astoria,” he says. “So there’s basically no gaps original music. Mainstream venues, that is. In a separate between music. It’s like that basically from 8 p.m. to 2 a.m. interview, Girlfriends and Boyfriends singer-bassist Grant Thursday is just at one venue, the Astoria, but Friday and Francis Minor notes that local fans of dark music must seek Saturday it’s going to be back and forth.” their pleasures in underground spaces. After it’s all over, Katerwol has his sights set on presenting “There are a few venues where you can see more of that smaller shows throughout the year. “It’s going to be whenkind of stuff popping up, which are usually DIY–type ever I have an opportunity to work with a touring band that spaces—Black Lab, Red Gate, Franklin Studios,” Minor I would love to have play the festival but isn’t touring at the says. “There’s one, I think it’s called the Rattle, I just saw right time,” he says. “I would grab them and throw a show Brutes there a couple weeks ago. People are doing the best in this vein, maybe in the summer or whenever.” they can in this city to find DIY–type spaces to put on To give the curious a taste of what to expect, Katerwol shows with this darker postpunk or alternative, electron- has created a 28-track mix tape. Hear it on the Verbodic-type spin to it. I think there’s a bit of a scene in Vancou- en Bandcamp page (verboden.bandcamp.com/releases), ver for this, but Rob’s festival is unique in that way, as a where you can also purchase a three-day festival pass. more organized initiative to bring all this together.” While you’re streaming choice cuts by ACTORS, Night “I think Vancouver is a hub for music like this,” says Terrors, and Bestial Mouths, spare a thought for KaterKaterwol, who points out that local acts such as Spec- wol’s good health; the man will have enough to keep him tres and Animal Bodies play packed shows at home and occupied this weekend without having to worry about abroad. “There’s also bands like Koban, and lié is playing some nasty virus slowing him down. this year. They play around the world.” As for Verboden, it’s not just Vancouver fans who Verboden takes place Thursday to Saturday (April 13 to will be in attendance. Katerwol notes that the festival’s 15) at the Astoria and the Red Gate.

Local Motion

Who cares if someone is using them in their text? At least a human being is connecting with you in their own way. No wonder people are so afraid of having friends , judging them because of a stupid emoji in their text.

Urban noise hell I wish that every single vehicle in the West End would disappear overnight and that the incessant, daily ‘woop woop’ of triggered car alarms would cease, leaving residents with some peace until the inevitable power washers and leaf blowers start up of course, the reverberating sound amplified across the apartment towers. Just make it all stop.....

music/ timeout

TV at the bar Whoever invented this ludicrous idea that TV at the bar is a good thing is a colossal moron. Don’t we get out of the house to socialize? Don’t we stare at enough fucking screens during the day? No wonder we’re all afraid to talk to each other!!

CONCERTS

I don’t want to smell you

2JUST ANNOUNCED

If you’re riding the bus or train, or are going to be in any other place where there’s a ton of people crowded in together, please take a moment while dousing yourself with parfume or cologne and consider those who will be around you. Not everyone wants to smell you.

Famous Last Words “If we move in together, we’ll save money on rent.”

Visit

to post a Confession

32 THE GEORGIA STRAIGHT APRIL 13 – 20 / 2017

CONCERTS < CLUBS & VENUES <

P.J. PERRY QUARTET Juno Award winner and Broadway feature soloist. Don’t miss this rare Vancouver appearance by a master player, swinging improviser and Canadian jazz giant. Presented by Coastal Jazz. Apr 21-22, 8 pm, Frankie’s Jazz Club (765 Beatty). Tix $20, info www.coastaljazz.ca/.

CLUBS & VENUES BACKSTAGE LOUNGE Arts Club Theatre, 1585 Johnston, Granville Island, 604-6871354. Vancouver’s only live-music venue on the water. 2KILLIN FLOOR BLUES BAND Apr 12 2TOY ZEBRA Apr 13 2THE TAINTED LOVERS Apr 14 2KOMBUCHA MUSHROOM PEOPLE Apr 29

BILTMORE CABARET 2755 Prince Edward, 604-676-0541. 2SAN FERMIN Apr 20 2JOE PURDY Apr 21

and renewed approach to music and beer. 2JOKES Apr 18 2THE SATURDAY AFTERNOON JAMS Apr 22

BLUE MARTINI JAZZ CAFE 1516 Yew, 604-428-2691. Live jazz, soul, and blues. 2UNOMAS Apr 12 2JENNIFER SCOTT AND RENE WORST DUO Apr 13 2FALCON TRIO Apr 14 2AL FORMAN TRIO Apr 15 2JAM HOSTED BY GABRIEL AND BRUNO Apr 16 2ROB ELLER Apr 18

RICKSHAW THEATRE 254 E. Hastings, 604-681-8915. Live bands some nights. 2HOMESHAKE Apr 14 2COMEDY SHOCKER XII: THE DIRTY DOZEN Apr 15 2SPRUCE TRAP Apr 15 2REAL ESTATE Apr 18

COBALT 917 Main, 778-918-3671. Live bands some nights, DJs other nights. 2NSFW: HIP HOP MEETS STRIPTEASE 3 YEAR ANNIVERSARY Apr 14 2ALL THEM WITCHES May 6 COMMODORE BALLROOM 868 Granville, 604-739-4550. General admission venue with 900-person capacity features live performances. 2PROZZAK Apr 14 2THE DAMNED Apr 15 2THE ZOMBIES Apr 21 2THE HARPOONIST & THE AXE MURDERER Apr 22 FORTUNE SOUND CLUB 147 E. Pender, 604-569-1758. Located in the heart of Chinatown, Fortune Sound blends high and low by bringing up-from-the-street ambience into a modern setting. 2AB-SOUL Apr 12 2WINDHAND Apr 22 FRANKIE’S JAZZ CLUB 765 Beatty, 778727-0337. Live music Thu-Sun. 2P.J. PERRY QUARTET Apr 21 2JAMES DANDERFER’S EAST-WEST QUINTET FEATURING QUINCY DAVIS AND NEIL SWAINSON Apr 28 FUNKY WINKER BEANS 37 W. Hastings. Evil Bastard Karaoke Experience Sun-Thurs. IVANHOE PUB 1038 Main, 604-608-1444. Pub with live bands on weekends. RAILWAY STAGE AND BEER CAFÉ 579 Dunsmuir, 604-564-1430. Vancouver’s original live-music venue reopens with a facelift

RIVER ROCK SHOW THEATRE River Rock Casino Resort, 8811 River Rd., 604247-8900. Thousand-seat venue. 2MELISSA ETHERIDGE May 5 230TH ANNIVERSARY GALA PERFORMANCE May 28 ST. JAMES HALL 3214 W. 10th, 604-736-3022. 250-seat venue at St. James Community Square. 2THE SMALL GLORIES Apr 14 2A MIGHTY STRING THING Apr 22 2PEDRITO MARTINEZ GROUP Apr 23 VOGUE THEATRE 918 Granville, 604-5691144. Entertainment venue specializing in all-ages concerts. 2MAYDAY PARADE Apr 13 2THE NIMBUS GRAD AND SHOW CASE Apr 22 2LAURA MARLING Apr 26 2DRUM HEAT Apr 27 WISE HALL 1882 Adanac, 604-254-5858. 2JOYLINE BAYLIS Apr 13 2BLUE LODGE SOCIETY Apr 14 2THE BIG SOUND: VANCOUVER Apr 15 2WISE LOUNGE MONDAYS WITH MISS QUINCY AND THE FIVE STAR STUDS Apr 17

TIME OUT MUSIC LISTINGS 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 listings online using the event-submission 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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HOSPITALITY/FOOD SERVICE Hiring One Full-time Pasta Chef $23.50/hr, benefits offered after 1 yr, high school/equivalent, speak basic to moderate English, 2 yrs cooking exp, excellent customer interaction & service, respectful, self-motivated & good team player. Main duties: prepare & cook complete Italian meals or specialty foods & create decorative food displays for special events such as half buffet & catering, instruct cooks in preparation, cooking, garnishing & presentation of food, plan menus & create new recipes, supervise cooks & other kitchen staff & requisition food & kitchen supplies. Email: wholesale1@cioffisgroup.com Cioffi’s Meat Market & Deli Ltd. 4158 East Hastings St. Burnaby BC V5C 2J4

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Is your life affected by someone else's drug use? Nar-Anon Family Group Meeting Every Friday 7:30-9:00 pm at Barclay Manor, 1447 Barclay

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LifeRing - Sobriety your Way Sound Different? Men & Women supporting each other in a friendly, non-judgemental environment based on abstinence, secularity & self-help Van: @ Vancouver Daytox 377 E. 2nd Sat @ 4pm Maple Ridge: @ The CEED Centre 11739 - 223 St Sundays 1:30pm www.liferingcanada.org or www.lifering.org

Nar-Anon North Van 12-step program for families and friends of addicts, meets Tuesdays from 7:30 to 9 pm 176 2nd Street East in North Van.

Info: nar-anonbcregion.org RECOVERY International FEAR? DEPRESSION? PANIC ATTACKS? Feelings that keep you from really living your life? A way out is where we come in. Weekly meetings. Call for info: 9am - 5pm Kathy 778-554-1026 www.recoverycanada.org

Sex Addicts Anonymous 12-step fellowship of men & women who share their experience, strength and hope with each other, that they may solve their common problem and help others recover from their sexual addiction. Membership is open to all who desire to stop addictive sexual behaviour. For a meeting list as well as email & phone contacts go to our website at

www.saavancouver.org Sex and Love Addicts Anonymous (SLAA) Do you have a problem with sex and love relationships. You are not alone. SLAA is a 12 Step 12 Tradition oriented fellowship for those who suffer from sex and love addiction. Leave a message on our phone line and somebody will call you back for meeting time and locations. 604 515-5423

MOOD DISORDERS SUPPORT GROUPS We have peer-led support groups all over the Lower Mainland for people with depression, bipolar disorder and anxiety led by well-trained facilitators. Group sessions during days, evenings, or Saturdays. For location and times of groups:

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savage love

> BY DAN SAVAGE

I’ve read your

column for as long as I had access to the Internet and was interested in sex, so here goes: I’m a 27-year-old male with a 42-year-old girlfriend. We met at work; we were both going through divorce. At the beginning, holy moly! My dream girl in the bedroom. We’ve been together for a year, and the sex is still the best I’ve ever had—she says she feels the same— but it’s vanilla. I am assertive and in control in the bedroom, which works for both of us, as she prefers to be passive and wants me to make moves or switch it up. I want to do other things, but she doesn’t want to do anything anymore other than missionary-position sex. Anal, oral, watching porn together, bondage, voyeurism—she’s not up for any of it. There’s always an excuse: “I’m not young like you”; “I’m not flexible like you”; “I have done that before and don’t like it”; no, no, no. Do I just suck it up and be grateful for what I have or what?

postdivorce rebound relationship for you both, the odds are stacked against anything long-term. I don’t mean this relationship is doomed to fail. What I mean is this: you’ll probably be together for another year or two before parting ways. While most people would define that as a “failed relationship”, anyone who’s been reading my column for as long as he’s been interested in sex can tell you that I don’t define failure that way. If two people are together for a time, if they enjoy each other’s company (and genitals), if they part amicably and always remember each other fondly and/or remain friends, their relationship can be counted as a success—even if both parties get out of it alive and go on to form new relationships. In the meantime, SHOTDOWN, enjoy the amazing vanilla sex for as long as it lasts—which could be forever. Anyone who’s been reading my column for as long as he’s been > SHE HATES OPTIONS TOTALLY, interested in sex knows that I’m not DESIRES ONE WAY NOW always right.

She wants you to be in control and switch it up but doesn’t want to do any of the things you suggest when you take control and attempt to switch things up. Hmm. Either you’re bad at everything you’ve attempted other than missionary, SHOTDOWN, or she has a very limited sexual repertoire and/or actual physical limitations or health issues she hasn’t divulged to you. Considering the age difference here, and considering that this is a

My BF and I have been dating for two years. He’s 21; I’m 20 (and female). When I noticed my boyfriend wanted his ass played with and liked being submissive, I couldn’t help but wonder if something more was going on. I snooped through his browser history (not my proudest moment) and found he was looking at pictures of naked men. Then I saw he posted an ad on Craigslist under “men seeking men”. He responded to one person, saying he wasn’t sure if he was

straight or bi, but he had a car and could drive over! The guy responded saying how about tonight, and my BF never responded to him. I confronted him. He explained it was just a fantasy he had, he’s totally straight, and he was never planning on going through with it. After the dust settled, he told me he never wanted to lose me. We then went to a sex shop and bought a strap-on dildo for me to use on him, which we both really enjoy. He bought me a diamond bracelet as an apology and promised never to fuck up again. A couple months have passed, and things are great, but I still feel bothered. He loves my tits, ass, and pussy. He eats me out and initiates sex as often as I do. Just cuddling with me gets him hard. Which is why I’m even more perplexed. He doesn’t like to talk about the Craigslist incident and gets upset when I bring it up. Should I leave it alone? Is my boyfriend secretly gay? > CONFUSED AND CURIOUS

Let’s review the facts: Your boyfriend digs your tits, cuddling you makes him hard, and he loves eating your pussy. You also discovered an ad your boyfriend posted to Craigslist where he said he wasn’t sure if he was bi or straight, a discovery that created a crisis in your relationship, a crisis that was resolved with a strapon dildo and a diamond bracelet. Your boyfriend isn’t “secretly gay”, CAC, he’s “actually bisexual”. You know, like he said he was—or said he might be (but totally is)—in that email exchange you found.

At this point, I’m required to tell you that bisexuals are just as capable of honouring monogamous commitments as monosexuals, i.e., gays, lesbians, and breeders. But since the data shows that monosexuals are bad at monogamy—the data says bisexuals are too—I’m not sure why I’m required to say that or how it’s supposed to be comforting. But even if your boyfriend never has sex with a man, CAC, even if it takes him years to drop the “totally straight” line, you should go ahead and accept the fact that your boyfriend is bisexual. Pretend to be shocked when he finally comes out to you—there might be a necklace in it for you—and then get busy setting up your first MMF threesome.

My girlfriend and

I have been together for about 18 months. We’re both 29 and are in the process of creating a future together: we live together; we have a great social life; we adopted a dog. We’re compatible, and I do love her. However, our sex life could be a whole lot better. I like sex to be kinky, and she likes it vanilla. She is adamant about monogamy, while I want to be monogamish. I feel strongly that this is who I am sexually and my sexual desires are not something I can change. My girlfriend thinks I’m searching for something I’ll never fi nd and says I need to work through it. Because we are so compatible in every other aspect of our relationship, should I keep trying to work past the unsatisfying sex? > NEEDS ADVICE, WANT THREESOMES

Divorce courts are fi lled to bursting with couples who made the same mistake you and your girlfriend are currently making—a mistake that gets harder to unmake with every dog you adopt or lease you sign. You’re not sexually compatible, NAWT—and sexual incompatibility is a perfectly legitimate reason to end an otherwise good relationship. The importance of sexual compatibility in sexually exclusive relationships (the kind your girlfriend wants) cannot be stressed enough. Sexual compatibility is important in open and/or monogamish relationships too, of course, but there are work-arounds in an open relationship. The gaslight bar is set so low these days that I’m going to go ahead and accuse your girlfriend of gaslighting you: There are people out there who have the kind of relationship you would like to have—it’s a lie that no one has a GGG partner or a successful monogamish relationship—and I have it on good authority that many of these people are straight. You’ll never find everything you want, NAWT, since no one gets everything they want. But you’re too young to settle for the girlfriend you’ve got. You’ve already made the dog mistake. Get out before you make the child mistake. On the Lovecast , an interview with the creator of the Love Is Love comics collection: savagelovecast.com. Email: mail@savagelove.net. Follow Dan on Twitter @fakedansavage . ITMFA.org.

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APRIL 13 – 20 / 2017 THE GEORGIA STRAIGHT 35

NOW SELLING

A WATERFRONT COMMUNITY BY PINNACLE

1 Bedroom 2 Bedroom 3 Bedroom Residences from 620 sq.ft. to over 3000 sq.ft. plus 600 sq.ft. balcony. Penthouses with spectacular terraces and roof top decks. Access to pool and fitness facilities at Pinnacle Pier Hotel. Step out to a wealth of fine restaurants, shops and markets. come home to Cascade.

CascadeAtThePier.ca | 604.984.0906 s ale s pre sen tation cen tre

19 9 Vic tory Ship Way, North Vanco u ver Open 1 2PM - 5PM daily (Fridays by appointment)

36 THE GEORGIA STRAIGHT APRIL 13 – 20 / 2017

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