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BeatRoute Magazine BC Print Edition April 2018

BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics. Currently BeatRoute’s AB edition is distributed in Calgary, Edmonton (by S*A*R*G*E), Banff and Canmore. The BC edition is distributed in Vancouver, Victoria and Nanaimo. BeatRoute (AB) Mission PO 23045 Calgary, AB T2S 3A8 E. editor@beatroute.ca BeatRoute (BC) #202 – 2405 E Hastings Vancouver, BC V5K 1Y8 P. 778-888-1120

Richard Jackson, Pump

Richard Jackson, Pump Pee Doo (2004 - 2005) fibreglass, pumps, buckets, acrylic paint, MDO 132 x 240 x 240 inches (335 x 609 x 609 cm) Rennie Museum | 51 East Pender St | Vancouver

THE BLUE HOUR FEATURE EXHIBITION AT CAPTURE PHOTOGRAPHY FESTIVAL CONSIDERS THE CONCEPT OF TIME NOOR KHWAJA Joi T. Arcand’s inspires the discussion of the “invisibility of Indigeneity” at Capture Festival. The Contemporary Art Gallery’s exhibition, The Blue Hour, opens to the public from April 6 until June 24 as the headliner for the annual Capture Photography Festival. This exhibition features five different artists who each use photography in their own way to complicate the imagined timeline of the photographic image. While each individual artist’s work speaks outwardly to larger political, environmental, and visual dilemmas, MR. BURNS THE SIMPSONS-INSPIRED PLAY EXPLORES THE SIGNIFICANCE OF STORIES AXEL MATFIN The stories that we tell and hear have an immense impact on our society and culture. From binge-watching a new show to downloading a book directly to the palm of our hand, we as humans have greater access to story, in all its mediums, than ever before. But what if that all went away? What if we were plunged into a dark age where all the stories and parables of our modern era disappeared? What if we were left with only the memories of our most impactful narratives? What would our narratives become? How would our stories change, and how would that define our culture? What happens to the copyright of a story in a world without law? Do stories belong to anyone? This April, Vancouver’s Little Mountain Lion Theatre Productions will engage with these questions in their performance of Mr. Burns: A Post-Electric Play. their combined presentations allow them to challenge our definitions of the characteristics of photography. Speaking with the show’s curator, Kimberly Phillips, it is clear that the intent behind The Blue Hour is to spark a conversation. “When something starts to kind of trouble our perceptions about a medium or a discipline or an object, that’s when I tend to become excited,” Photo by Duy Nguyen Mr. Burns: A Post-Electric Play goes beyond Springfield city limits. Photo by Joi T. Arcand Phillips explains. This exhibition does just that. Our daily interactions with photography allow us to “presume we have control,” and think of photography “as something that brings clarity, that locks a moment down, and that is evidence of something that happened.” The exhibition attempts to skew this perception and invites us to view the photograph as “the way the world reveals itself to us, not an index of the world,” especially in relation to time. Photographs do not have to reveal a moment in the past, but rather can interrupt an idea of the present and the future as well. The title of the exhibition, The Blue Hour, is drawn from the writings of contributing artist Colin Miner, and helps to introduce the repeated interruptions of time in the work of the displayed artists. Phillips explains that the term technically references “a time of day at twilight, where it’s not quite day and it’s not quite night.” You can’t tell “if time is moving ahead or backwards. It’s a moment where time is suspended.” This ambiguity in our often linear ideas of time is what the exhibition hopes to create. The Blue Hour runs from April 6-June 24 at the Contemporary Art Gallery as part of Capture Photography Festival. Written by American playwright Anne Washburn, Mr. Burns premiered May 2012 in Washington, D.C. and was met with reviews that galvanized it as a staple of modern experimental theatre. The play focuses on the survivors of a world-ending disaster as they gather around a campfire for the verbal re-telling of the now-classic Simpsons episode “Cape Feare.” For the second act, the play jumps ahead seven years, when these same survivors have formed a theatre troupe which travels the remains of the world performing television episodes, complete with commercials. In the third act, time jumps 75 years into a future still reeling from the fall of civilization where the theatre troupe has expanded their interpretation of TV lore into a full-on musical cabaret that reflects the new society. Mr. Burns is fertile ground for the talents of director Madelyn Osbourne who, along with her team of designers and actors, has been preparing for opening night since late 2017. The evolving post-apocalyptic world of Mr. Burns provides ample room for a radical assembly of costumes, stage design, and character evolution that has Osbourne deeply engaged with the process of the production. She communicates with her team by connecting with their feelings. A key figure beside Osbourne is her composer and musical director Katerina Gimon who, after months of divining inspiration from Gilbert and Sullivan, as well as from the original 1962 Cape Fear film, has created a truly original score. “I was going through wormholes of pop culture,” states Gimon when asked about her process on writing the original music. “A lot of this was already quite set,” – some songs are built into the show – “but the hardest thing was trying to find the moments where I could bring back certain melodies or melodic ideas so the structure would work for the actors and the audience.” Mr. Burns: A Post-Electric Play runs from April 3-21 at Studio 1398. BOOK REVIEW: DELUSIONS OF GRANDEUR SHORT STORIES SHARE RELATABLE ACCOUNT OF YOUNG, CANADIAN EXPERIENCE LAUREN DONNELLY CITY Imagine if your conversations with your best friend were published as short stories. The breakups, the random musings, the chance encounters on transit. Delusions of Grandeur is just that. Janet Ford and Carmen Leah are Canadian artists and best friends who live on opposite sides of the country. Ford writes from Vancouver about her experiences with addiction and mental illness, and from Toronto, Leah reflects on the consequences of mundane moments in everyday life. Ford’s characters speak from the depths of addiction and mental illness while Leah’s characters grapple with how to live with them. Juxtaposed, their stories tell both sides of the story. The result is a relatable, albeit dishevelled, account of young Canadian life. These characters are anti-heroes and -heroines, and though it isn’t uplifting material, it’s unapologetically honest – that’s what makes it so good. The collection tells stories of everyday cowardice and brief sparks of bravery. Ford’s “Sober” is a microcosm of the cycle of addiction. Waking up next to an enabling partner, last night’s makeup etched under her eyes, the heroine decides to make a change. And she’s determined that this time, it’ll stick. Ford unflinchingly describes how low rock bottom needs to be to make sobriety tempting. In Leah’s “Hospitals,” Claire’s dealing with the symptoms of her MS, her friend Sam is suicidal, her other friend has overdosed, and her boyfriend is abusive. Surrounded by other people’s misery, she learns that “things [get] better. But first they [get] worse.” Nestled against each other, Ford’s and Leah’s stories dialogue with one another. One asks a question and the story that follows responds. But like any good conversation between friends, the exchanges are complementary, proving that we’re never alone in our illusions of self-importance, no matter how different our individual failings. Pick up a copy of Delusions of Grandeur at The Paper Hound or Lucky’s Comics. Illustration by Carmen Leah April 2018 9

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