Category: festivals

Festival of Trees 2007

After attending the Festival of Trees in 2006, and finding it nice but not worth returning to, I was surprised that I found myself looking forward to it this year. May and I made a date to tour the decorated halls, and headed there after supper on Friday.

May smiles by the hall entrance

Beautiful welcome display

Like last year, there were a lot of kids, trees, and lights. While the trees are undoubtedly pretty, after a while, they all start to look the same. It’s an unfortunate result of proximity and quantity – alone in a home, the individual trees would be unquestionably stunning and festive, but together, all but the really unusual or unique stand out. There seemed to be several “streams” of trees – those that used flowers, those that used fruit, and those that embraced stuffed animals as accents. My favorite on the floor was the “Good Words for Africa” tree, that hung ornaments of words made using Scrabble tiles, in addition to photos of families and children.

Mirrored table setting

Arctic display

Hockey tree (note the plastic Stanley Cup on top!)

Snowman tree

Polar bear tree

Orange tree

Flower tree

“Good Words for Africa” tree

The festival’s Gingerbread Village actually took us thirty minutes to get through – half of that spent waiting in line to view the handmade creations. The “houses” were much more creative this year, I found, with a number of memorable submissions. Many cartoon and fictional characters (including Shrek, Calvin & Hobbes and Charlotte’s Web) were represented, but my vote went to the detailed “Santa’s Western Wonderland”, featuring Mrs. Clause as a vocal performer with Santa taking a bath upstairs.

“Calvin and Hobbes: Snowman House of Horror” – too cute.

Charlotte’s Web farm

Closeup of “Some Pig”

“Santa’s Western Wonderland” front

Back (amazing, isn’t it?)

With jazz wafting in the background (provided by the Grant MacEwan Arts Outreach band), it was a lovely way to spend a pre-holiday evening. Perhaps this will become a yearly tradition after all (the rest of my pictures are available to view on Flickr).

BrightNights on the Square 2007

One of three locations of the annual BrightNights displays (the other two being the Legislature grounds and Hawrelak Park), Churchill Square is given a holiday trimming with lights all along its east side. In addition, the City has also set up a giant Christmas tree, which will be lit nightly, along with the rest of the displays, until January 6.

While not worth visiting unless you’re already in the area, it isn’t a bad detour to take en route to the Citadel, Winspear, Stanley Milner Library, or City Centre Mall.

BrightNights on the Square

With City Hall in the background

Tree (I’ll be comparing this to the Rockefeller Tree)

26th Global Visions Film Festival: “War Dance”

I had seen an ad for the twenty-sixth annual Global Visions Film Festival in early October, and was amazed that this festival had such a long and rich history in the city. After reading about the opening gala film, War Dance, I decided this would be a good year to partake in the events for the first time.

I had purchased tickets in advance from the website about a week prior, which allowed me to skip the line at the Paramount Theatre box office. I picked up my ticket and headed inside.

I haven’t been to the Paramount in years, and thinking back, my last trip there was for a screening of Steven Spielberg’s A.I., in 2001. I vaguely remember the theatre announcing its closure a few years ago due to a lack of business, and really, with their small audience numbers and seats in dire need of replacement, I wasn’t surprised. Then, the City Centre Church announced it would be utilizing the refurbished Paramount space for their weekly services, and thus, the historic gem came back into being.

Inside, the theatre looked great. The chairs had been replaced, the screen looked fantastic, and the stage, in a fashion similar to that of Garneau Theatre, provided the interior with a unique feel of untouchable renaissance never replicated at local multiplexes. I found an agreeable seat on the main floor, and was surprised at the rate that the theatre was being filled up. Another great thing about local festivals, I find, is how friendly attendees are. On this night, I watched as four different people were asked and subsequently agreed to move to accomodate other patrons yet to be seated – something I rarely see at sold-out screenings of first-run movies.

After a warm welcome from the Board President and the Festival Program Director, and a short speech from Lieutenant-Commander Pierre Comeau, who served for a period of time in the Peoples’ Republic of Congo and in Ghana to end child soldiering, the film began.

Focused on three Acholi children in the Patongo refugee camp in Northern Uganda, the documentary tells of their personal tragedies as a result of the ongoing conflict with the rebel Lord’s Resistance Army, and chronicles their preparation for a national music and dance competition in 2005 – the first time the Patongo school had beat out their regional opponents for a coveted spot at the finals.

The choice to focus on just three children was a good one, as it allowed the audience more time to connect with their stories. A poignant scene with Dominic, a spunky thirteen year old, demonstrated both innocence and maturity as he confronted a captured rebel leader to question him about the wherabouts of his missing older brother, only to find out he was likely killed years ago. A few days before the competition, Nancy, a girl of thirteen, visited the grave of her father who was murdered by rebels four years earlier. She breaks down in a sudden fit of tears, and if not heartbreaking enough, the camera pans to Nancy’s mother who reminds her daughter of the necessity to stay strong, as she herself chokes to hold back tears, warning that it ‘isn’t safe to cry so loud in the bush’; even the normal process of grieving is repressed. Lastly, Rose, a young woman with a haunting voice and a broken soul, tells of the gruesome way in which she discovered the death of her parents – rebels lifted out the decapitated heads of victims to allow family members to identify loved ones, and here, she found the remains of both her mother and father. It is evident, especially with Nancy as a contrast, of how much Rose could use a comforting, reassuring adult presence in her life.

Two things that were a tad unsettling – I did wonder througout as to how the filmmakers were able to extract the stories from the children. I just hope counselling or supports were provided (Dominic, in particular, said that he had never before spoken of the murders he had committed as a child soldier). As well, Rose’s relationship with her Aunt was quite possibly an abusive one, and though this was hinted at, was never quite resolved.

With books and media (such as the World Vision One Life Experience or Stephen Lewis’ Race Against Time) so focused on the negative out of Africa, it was really uplifing and important to see a story offering some hope and joy. It was such a triumph to be able to watch the final outcome of their preparation and hard work – I couldn’t help but smile as the Patongo school was awarded a trophy for first prize in the traditional dance competition.

If you get a chance to watch War Dance, do so. But if it isn’t available for rent, be sure to mark your calendar for next year’s Global Visions Festival. I have no doubt documentaries of equal calibre, highlighting issues vital to the consciousness of a global citizen, will be offered at its twenty seventh annual event.

Edmonton’s Fashion Festival: Fall/Winter 2007

Amanda and I headed to the last runway show of Edmonton’s Fashion Festival tonight. The event moved from Planet Ze Design in Old Strathcona to the more visible and central location of Churchill Square.

While the website recommended attendees to “dress creatively,” due to the venue being a tent in the urban outdoors, the slogan really should have been “dress warmly,” as my sister and I were quite cold by the end of the nearly two and a half hour show (my flats really were not the smartest shoe choice).

We had decided to line up quite early, which in hindsight was a great decision, as we were able to secure front row seats. The poor souls who arrived too late were relegated to stand in the crowded areas behind the chairs, not fun on the hard concrete Square floor. I didn’t blame those in the back for leaving early, as nearly half the crowd had gone by the time the last designer hit the runway.

Amanda and I wait for the show to begin
The Festival’s Creative Director Sandra Sing Fernandes opened the show by welcoming everyone. She’s a rather imposing lady, with a radio-friendly voice and a daring fashion sense. While it is likely because of her due diligence that a fashion festival exists at all in the city, perhaps from a PR standpoint she should have taken the time to, for example, learn to pronounce the names of sponsors, remember who donated the door prizes, and be able to properly introduce performers.

Sandra Sing Fernandes, MC for the evening
First up wasn’t a runway showcase, but an Edmonton-born country singer, who performed “Lady Marmalade”, for what purpose I don’t know. Later on in the show, a troupe of ballet dancers took to the stage. Neither of these seemingly impromptu additions were advertised in the program, and though it is a nice thought to provide members of the artistic community with a venue, in the grand scheme of things, such inclusions ultimately detracted from the evening’s fashion focus. Superfluous interruptions like these really highlight the assumption that fashion cannot survive on its own in Edmonton.

Of the four collections, I thought Nylon by Dex had the most “wearable” designs, while Nokomis‘ whimsical hair and makeup choices emphasised the expected femininity and organic nature of their designs. I thoroughly enjoyed Morse Code‘s portion of the night – entertaining and visually slick, the models were cheeky, with a 70s sensibility in their outrageous wigs and movements, supported by funky music choices (including remixes of Batman and Spiderman theme songs). The show closer, Stanley Carroll, opened with a spooky Halloween theme, dressing the first few models backwards, and affixing wigs over their faces and attaching a mask to the backs of their heads. While memorable, the clothing ended up playing second fiddle to the stunt. The rest of the collection was showcased with the lights on, fortunately, but really was much too long.

Ultra Ego


Ultra Ego


Nokomis


Nokomis


Morse Code


Morse Code


Nylon by Dex


Stanley Carroll


Stanley Carroll


Stanley Carroll

This was my first fashion show, and I must say it was enjoyable as a whole. Sitting so close, I was able to notice some of the “seams” – padding under shoes to prevent scuffing of soles (and allowing for shoe resale), and really, in many cases, the shoes being much too big for the models to walk properly. On another note, Amanda and I talked about the need for a bigger (indoor) space, but the halls of Shaw Conference and Northlands are all too mainstream. It will be interesting to see where this takes place next year.

Goaded by an exposure to America’s Next Top Model, but helped by the “glamour” of flashing bulbs, pumping base, and the irresistible sound of high heels hitting the platform, I will be back. Look for Spring/Summer Fashion Week in April 2008.

Edmonton: Free to Discover

I have the privilege of compiling a monthly calendar of events for my clients at work, in the hopes of encouraging them to explore and enjoy what the city has to offer. Since undertaking this initiative over a year ago, I must admit to the secondary benefit of becoming quite well-informed about economical and unique happenings in Edmonton. Thus, I am now quite dismayed when I encounter anyone who claims that “There is nothing to do in Edmonton.” At least, nothing related to either West Edmonton Mall or Whyte Avenue nightlife.

September, besides being the time of year that induces groans of children and teens everywhere, will also see the occurrence of four distinct, growing festivals:

  • Only in its second year, and taking place about a month before the better known Lit Fest, the Edmonton Poetry Festival is offering a plethora of events, many free, from readings, to poetry slams to a hip-hop night.
  • Edmonton Fashion Week runs from September 24-28, this year moving its runway shows from the south side Planet Ze Design to the unbridled space of Churchill Square. Besides being great for the current movement towards the publicity and revitalization of the downtown core, it also allows the festival itself increased exposure to new crowds. While the runway shows are not free, the opening night gala, featuring displays and a preview showcase, is open at no cost to the public (though attendees are encouraged to bring a non-perishable donation to the food bank).
  • The revamped Edmonton International Film Festival starts on September 28. Although it’s a shame the filmed-in-Alberta Assassination of Jesse James isn’t being screened, the matinee documentary series can be seen for $5 a pop.
  • Revitalization of a different sort is being celebrated in the form of the second annual Arts on the Ave Kaleido Festival. Nurturing the artistic in the ill-famed Alberta Avenue district, the festival is hosting a number of free performances and street entertainment (and for those who missed the five-star Fringe favorites Water and Homeless, you’ll get the chance to see them on stage for a bargain $5 a ticket).

I always wonder what it would have been like to grow with the Fringe, now just having finished its twenty-sixth consecutive run. With these four festivals still in their relative stages of infancy, perhaps one day you can look back and know that you were there for the beginning.

Other notable free activities during the month of September:

  • City Farm, which aims to expose the public to cultivation and animal care techniques, is holding its Harvest Festival on September 15. Admission by donation.
  • Free admission week at Kinsmen Sports Centre runs from September 22-30.
  • Two fun, cheeky exhibits at the Art Gallery of Alberta, including pieces by Andy Warhol start later this month. Admission into the temporary space at Enterprise Square is free from 4-8pm on Thursdays.
  • The City of Edmonton’s celebration of recreation, Free Admission Day, offers no cost entry to all city-owned facilities on September 30, including the perennially-popular and family-friendly Fort Edmonton Park, Valley Zoo, and Muttart Conservatory, as well as recreation centres and arenas.

Live & Let Fringe: Wrap-up

It was a year of many Fringe firsts for me, including the purchase of a Frequent Fringer pass, Die-Nasty, a deep-fried chocolate bar, and more plays than I’ve ever seen over the course of one festival. I also continued my role as a Fringe Evangelist, exposing two more newbies to the wonders of indoor productions (I’ll do a better job of pre-screening plays for my sister though, else Felicia may never again return to theatre). And of course, who could forget the controversial changes to the ticketing system? It was high drama scrutinized in the media, in line-ups, and on stage.

Despite all of this, Live & Let Fringe left me unsatisfied. It could have been the concentration of great plays I saw at the opening of the festival (as opposed to this weekend), or the consistently grey weather throughout, but there was just something missing from 007.

For those who haven’t gotten their fix, holdovers start this Wednesday. Although I’m disappointed that my pick of the Fringe, Madagascar, was left off of the schedule, I’d recommend The Power of Ignorance (which might play better to a larger crowd in the Arts Barns).

Only 355 days before the madness begins again – see you next year!

Live & Let Fringe: Day 10

After brunch, May and I headed down to the Fringe site to catch Chance Moments (Stage 11). One of the few productions I picked based on its written description in the program, the play catalogued a series of snapshots integral to the rise – and fall – of a couple’s relationship. The script and direction themselves weren’t bad (the use of everyday objects as scene starters was a nice touch), but the acting was simply not there. Kyle Schroter in particular was flat, emotionless, and couldn’t grasp the concept of pacing and beats. The production ran ten minutes short of its advertised show length, indicative of an all-too rushed delivery, and the actors’ inability to embrace poignant pauses. As a whole, the story was one that I have seen done better elsewhere (last year’s 52 Pick-up, for example), and with anaemic acting, Chance Moments ended up being one of my weakest picks this Fringe.

To round out the festival, I met up with Dickson for his selection of El Muchacho (Stage 1). A musical primarily starring teens, the plot had been adapted from Gilbert and Sullivan’s The Mikado (whatever that meant). A complicated “love story” involving an executioner, a blood-thirsty president, his guitaristo son, and a chica nicknamed Dum-Dum, the ninety minute production seemed to go on and on. There were also a number of offbeat pop culture references (including a snipe about Ryan Smyth) that Dickson didn’t appreciate – he felt they distracted from the play as a whole. A few days ago, I came across a review of this play in the Journal, and although I didn’t read the text of the article, the headline stuck in my mind – “Easy on the eyes, but often hard on the ears.” Too true. Lead male singer John Tribiger, as the tale’s Romeo, could not hold a note, and more often than not, was inaudible. Thankfully, the lead female, Katherine Carleton, could sing, but with her talent, it’s a wonder how she was cast opposite Tribiger. All this being said, I guess I shouldn’t be too hard on this group of kids; I can’t imagine getting up on stage to act, let alone sing. So bravo for their effort…but the onus will simply be on me to avoid amateur musicals in the future.

Live & Let Fringe: Day 9

Before lining up for our play on Friday night, I convinced Mack to join me in another Fringe first – a deep fried chocolate bar. Battered then fried, I can best describe it as a “corn dog gone wrong.” Biting into it, the coating suggests that there was to be something of substance on the inside, while in reality, only a mass of melting chocolate greets you. In the end, the combination of salty, sweet and oily tastes didn’t make for a very pleasing treat. Mack claimed that it was “disgusting,” but said in between mouthfuls of the delicacy, I didn’t believe him. For me anyway, this was both a Fringe first and last.

Mack picked Out of Pocket (Stage 7) as his play of choice this year, a story involving an expectant couple and a pair of homeless people who panhandled on the street in front of their apartment. With the help of a hat and a scarf worn multiple ways, Mark Jenkins and Vanessa Sabourin played all of the characters involved. Sabourin in particular (on the heels of her exceptional performance in Madagascar) seamlessly transitioned from one role to another, and was quite good as the comically nasal mistress Jesse. Mack found the plot to be a bit routine (going the “just desserts” path), and I had to agree. Not a bad play on its own, but compared to the productions I had watched earlier on in the festival, Out of Pocket was just average.

Live & Let Fringe: Day 4

I took my sisters to Strawberries in January (Stage 6) today. There was quite a bit of buzz surrounding this romantic comedy before the festival even began (directed by Mieko Ouchi, starring real-life couple Chris Bullough and Jana O’Connor), so I had high expectations going in. There was just something missing about the production, but what I can’t quite put my finger on. Bullough (as Francois) was solid, Patrick Howarth had his usual presence, and I really have no complaints about the female cast members, but besides a few tender moments (Bullough’s laundromat confession of loving Sophie’s flaws was touching), the script felt empty. Besides Francois’ pleas, I never really saw the evidence I needed to want to see him united with his beau, and because of that, the ending was abrupt and smelled more than a little of deux ex machina. Strawberries in January is far from being a bad play, but one I just can’t recommend.

With the return of the work week, I’ll be giving the Fringe a rest for a few days. But I’ll be back for a handful of plays before the close of the festival.

Live & Let Fringe: Day 3

My third day at the festival was a morning-to-night affair. While many of the Fringing public prefer wandering the grounds in the evening, I can honestly say I like arriving on site early. To grab a coffee and a paper, walk the alleys before a single vendor has opened, and appreciate the quiet before the storm has become a personal tradition for me. I haven’t been as fanatical this year about needing to secure those coveted front-row-centre seats, but I do remain tied to lining up somewhat early alongside fellow die-hard Fringers.

My first show of the day was The World’s Wife (Stage 2), which features two of my favorite actresses – Davina Stewart and Leona Brausen. Adapted from poems by award-winning Carol Anne Duffy, the play cycles through solo vignettes of wives of famous figures throughout history. I have never before seen a Fringe production with such elaborate costumes; the price of admission is easily recouped based on the wardrobe changes alone (Stewart’s showstopping Medusa gown garnered a few gasps from the audience). Beyond aesthetics, the perspectives on sacrifice, love, sexual power, and subordination are portrayed perfectly by the three women (Brausen’s incredibly astute Mrs. Darwin was my hands-down favorite). Trevor Schmidt’s direction was notably creative – casting Eurydice (Orpheus’s tragic love) as a stand-up comedian complete with a laugh track was inspired. A likely candidate for the post-Fringe holdovers, The World’s Wife is a fun and intelligent play.

Later that afternoon, I headed to Stage 6 (Catalyst Theatre, and in my opinion the best of the Fringe venues) for Madagascar. It is without question the best play I have seen at the Fringe so far this year, and one that I almost don’t want to write about for fear that I will not do it justice. The premise, as presented in the program, is simple, “three Americans find themselves alone, in the same hotel room overlooking the Spanish Steps in Rome.” Operating on different timelines, it took some time to piece together the story, but believe me, it is worth the effort. Haunting, sad, tragic – Madagascar asks difficult questions about family, identity, relationships, and personal needs in beautiful prose illuminated by the exceptional ensemble of Vanessa Sabourin, David Ley and Coralie Cairns. Sabourin and Ley in particular shone – the audience felt their pain, confusion and frustration on every step of their journey. I will stop there, but like Esther’s Hands and The Bone House from Fringes past, Madagascar has left an indelible impression on me.

That night, I met up with a friend to watch David Belke’s The Head Shot of Dorian Grey (BYOV C). As my friend remarked, Belke’s productions are reliable, his name nearly synonymous with “romantic comedy” at the Fringe. This incarnation involves two young actors (Jesse Gervais, Katherine Fadum) who first meet at an audition, but don’t discover their chemistry on stage until a joint reading of Romeo & Juliet. Setting the play in the world of theatre allowed Belke to share his inside observations gleaned from personal experience, but it seemed to get out of hand at times – the one hundred minute play felt long, with each crazy audition coming off like filler and like another stall tactic to keep the two would-be lovers apart. Gervais has never blown me away before, but here he was very natural, good humored, and likable. And oh, that gaze – did I ever want to be on the receiving end of that stare. Also a Belke standard, the supporting characters, or in this case, the supporting actors cast in multiple roles, were superb. So much so that the play could have germinated from a decision to test the deft versatility of Linda Grass and Glenn Nelson in a series of quirky but forgettable characters. Overall, Dorian Grey is cute, but not as memorable as many a Belke play.

We ended the evening with a quick bite at Murietta’s. The high ceilings might be nice to look at, but had an echo-chamber effect, with the room reaching a surprisingly-high volume. I ordered the portabello mushroom ravioli, and while it reached our table in no time at all, the dish itself was nothing special. The slightly pricey menu matches the elegant setting, but I’d much rather head to the more casual Dadeo’s or Cafe Mosaics anytime.