James Long co-artistic directs Theatre Replacement whose work (WeeTube, BioBoxes, Clark and I Somewhere in Connecticut, among others) has been seen across North America and Europe. James also works as freelance director, writer and actor with Rumble, urban ink, The Only Animal, The Chop Theatre, CBC Radio and The Electric Company, among others. As a teacher he has worked with artists across Canada and students at The University of British Columbia, The University of Regina, Simon Fraser University, Studio 58 and Seattle’s Cornish College of the Arts. James is a graduate of SFU’s School of Contemporary Arts. James Long directed Itai Erdal’s How to Disappear Completely, ...
Marcus Youssef is the artistic director of Neworld Theatre in Vancouver, BC. Marcus’ plays and performance events (Ali and Ali, Jabber, How Has My Love Affected You?, Adrift, A Line in the Sand, among others) have been produced across North America, Australia and Europe, and are published by Talonbooks and Playwrights Canada Press. Marcus co-founded the production studio PL1422 in East Vancouver, and is co-chair of Vancouver’s Arts and Culture Policy Council. He sits on the advisory board of Canadian Theatre Review, and teaches regularly at Studio 58 and his alma mater, Canada’s National Theatre School. His work was last seen at OtB in 2007’s Ali and Ali and the aXes of Evil.
Learn more about...
It's here, our 14/15 season lineup! Bracketed by two very different community events (Berlin/Nottingham’s Gob Squad and Detroit's Complex Movements), the season embraces community, individual responsibility, and finding new ways to delight in viewing and changing your world. Live music features prominently in the new season, from jazz to hip-hop to electronica to Bach, while new environments and structures invite you to change your perspective – from Complex Movement’s “pod installations” to Mariano Pensotti’s gorgeous split-level stage to Michelle Ellsworth’s intimate living-room performances. This next season is a season of progress and change, and we couldn’t be more excited about the future.
CHECK OUT THE 14/15 LINEUP
"Partly scripted and partly improvised, the piece’s dramatic tension accumulates in the same way that capital does: by seeing just how far, and at what cost, one person will go to beat another--even a close friend.
And we, in the audience, are not exempt from the game’s theatrical fallout. First, socialized by a similar logic governing everything from organized sport to institutionalized education to our systems of government, we can’t help but keep score. Then, too, there are those brutal shocks of abject recognition when we discover--as of course we must in a show such as this–that some aspect of ourselves...qualifies us, in another’s mind, as a loser. It’s Artaudian theatre of cruelty taken to a whole other metaphysical (and meta-...
"How do you perceive the world we live in? Are there winners and losers? Is everyone equal? Does money truly matter? Is it possible to mitigate privilege? In a play that is more than just a play, actors James Long and Marcus Youseff face these questions in such a blunt and brutal 'head-on' fashion that you can’t help but walk away and ask yourself, 'What kind of world do I live in?' Produced by Theatre Replacement and New World Theatre, in association with Crow’s Theatre, Winners and Losers is something special."
Read the rest of the (great) review here.
by Timothy Firth
The lights are brought low and your eyes slowly begin to adjust to the darkness of the theatre. At that critical moment when your mind wants to see clearly yet can’t quite make the connection between imagination and reality, a lilting voice creeps into your mind, letting you know that your life could be slightly better if only you were watching an Athenian space musical hosted by Lumpy Space Princess.
And as it turns out that is exactly what you’re doing.
The performance unfolds with Holcombe Waller as the voice of human progress engaged in a technological breakdown; systems are failing, and the control that once afforded the human condition access and information is being handed back to the unnerved individual.
As we continue into the performance Waller (Lumpy Space Princess) reveals our historic dependance on technology from the...
by Willow Heath
Wayfinders by Willow Heath
Oil, acrylic, and ink on clay board.
This painting was inspired by Holcombe Waller's Wayfinders performance. Previous to the performance I wan not familiar with the musical artist Holcombe Waller. Personally this was a huge challenge as an artist who typically plans every inch of my paintings it was quite a challenge to produce a painting in 48 hours without forethought. I went away from The Wayfinders show with a series of words and images in my head, the message, inspiration, and imagery was so vivid and clear.
Some of the themes and words that helped shape this painting....
* Organic juxtaposed with digital.
* God as an organic being and god as a digital navigator.
* Our lost connections and our present inability to operate without technology.
* The colors red and blue.
* Where road meets horizon meets a digital highway.
"When the houselights dim the record scratches. After a few bars in the Baroque and some distortion Holcombe Waller and his ensemble delight while vaguely indicating food for thought in a fast-paced show that, dramatically, is mostly reveal with the slightest of conflict and resolution sequences. It is as entertaining and accessible a production as one is likely to see at On The Boards.
There is dialogue, movement, and video, along with lighting effects, and some powerful emotions. It’s almost musical theatre. Through a healthier variation on 2001: A Space Odyssey with a flipped twist of the recent film, Her, Waller ruminates on our relationship with technology. His questions aren’t discomfitingly provocative or challenging, but there aren’t any easy conclusions either."
– Read the rest of the review at The Sunbreak