Category Archives: Recent Reviews

March 9 Joy Kogawa House Fundraiser in Toronto a Great Success

March 9 Joy Kogawa House Fundraiser in Toronto a Great Success

by Anton Wagner, secretary Save Kogawa House committee 

Joy’s
launch of her novel Emily Kato, combined with a fundraiser for the Joy
Kogawa House, was an inspiring evening at the Church of the Holy
Trinity, next to the Eaton Centre in downtown Toronto, on March 9.
Nearly $9,000 was raised for the Land Conservancy of B.C.’s Joy Kogawa
House rescue drive. About 150 people attended the event organized by
Anton Wagner, Secretary of the Joy Kogawa House Committee.

March 9th, Toronto, Tomoko Makabe sells books for the Emily Kato launch

Tomoko Makabe sells books as audience arrives –  photo by Henryk Fibich

The
evening was scheduled to begin at 5 pm. Fortunately Save Joy Kogawa
House Committee member Tomoko Makabe suggested we should start selling
books already at 4:40 so that those coming early could purchase copies
of Emily Kato and Obasan and have Joy inscribe them. There was still a
line-up as concert pianist William Aide began the evening half an hour
later with a beautifully serene classical composition.

March 9, Toronto, William Aide concert pianist

William Aide plays piano while Tomoko Makabe sells books as the audience arrives –  photo by Henryk Fibich

The
Reverend Sara Boyles welcomed the audience and spoke of the tradition
of social justice at the Church of the Holy Trinity, founded in 1847
for Toronto’s poor immigrants, and that the Churches was continuing to
stand with the homeless, dispossessed and people excluded from Canadian
society.

Michael Creal, former head of humanities at York
University, reminded the audience of the forced evacuations and
internments of 22,000 Japanese Canadians under the War Measures Act in
1942 and of the importance of Joy’s Obasan in expressing the suffering
these government injustices inflicted on the Japanese Canadian
community. He recalled that he taught Obasan at York University in the
early 1980s and that his students didn’t know what had been done to
Japanese Canadians during World War II. Michael described the very
important public meeting at the Church of the Holy Trinity in 1984 that
led to the Toronto Ad Hoc Committee on Redress and helped to make
redress a national issue. He then introduced Joy.

March 9th, Toronto, Michael Creal

 Michael Creal, former head of humanities at York University –  photo by Henryk Fibich

Joy
spoke of her childhood home in Vancouver that is now under threat of
demolition and read the description of the house from Obasan. She then
read from Emily Kato, including chapter 22 set in the Church of the
Holy Trinity, one of the many locales where organizing for redress took
place. Joy recalled that it felt like a miracle when she came across
her childhood home in Vancouver again in 2003 and that it continues to
be a miracle that the house is still standing. She also described her
encounter, in the garden of the house, with the cherry tree which was
subsequently severely pruned and may be dying. “I felt when I was
there, in all its woundedness, that somehow in the universe we are
known, our wounds are known. And I had the strange sense that this
knowing, this knowing of the community, this knowing of the family,
that when we are known we are healed. I felt that healing welling up
within me at the tree. So for me that spot became holy ground. It was
my small portal to messages that we are known. And I just felt that
healing.” Referring to the new novel she has begun to write, Joy
concluded, “My dream is that I will be able to write Gently to Nagasaki
with instructions that will come to me through the portal of that tree.
That is my dream.”  
 

March 9th, Toronto, Joy Kogawa raises her hands to make a point.

Joy raises her hands to make a point –  photo by Henryk Fibich

Bill
Turner, Executive Director of The Land Conservancy of B.C., then spoke
of the necessity of saving the Joy Kogawa House as a permanent reminder
of historical events that must never be repeated and asked those
present to assist in the drive to save the House from demolition. “The
House is a symbol of a time and a reminder when ordinary Canadians were
removed from their homes and interned. We want to save this house as a
reminder of that. We want to save this house so that it can become a
place of happiness again, a symbol of peace and hope and
reconciliation. We must not forget what happened in those years, and
it’s easy to do so. It’s easy to forget.”

Bill expressed his
optimism that the $700,000 required to purchase the House from its
present owner could be raised with Canada-wide support. “The Joy Kogawa
House is of national importance,” he stated. “As those of us who are
now here die and move on, we must preserve these places so that our
children and grandchildren can learn what happened. In a society that
doesn’t remember and recognize its mistakes, they can continue to
happen. An injustice to one is an injustice to all.”

March 9, Toronto, Bill Turner

Bill Turner, Executive Director of The Land Conservancy of BC – –  photo by Henryk Fibich

Joy’s
dream, of course, is also that other writers will be able to come and
stay and write in the Joy Kogawa House. Ron Brown, First Vice-Chair of
the Writers Union of Canada, was the first speaker representing the
dozen writers’ organizations that have backed saving the Kogawa House.
He recalled that Groucho Marx once said that he would never belong to
an organization that would have him as a member.  “Well, 1,500 members
of the Writers' Union of Canada are absolutely delighted to belong to
an organization that can claim Joy Kogawa as a member. You have written
so passionately about an unpleasant reality,” Brown stated.

“You
have arrived at an interesting moment in Ontario.  We are experiencing
a controversy about an attempt to censor a book about another
unpleasant reality.  The book is called Three Wishes.  It was written
by Deborah Ellis, one of our members, and includes interviews with
Israeli and Palestinian children who express their fears and wishes
about the conflict there. Some of those views are disturbing to some. A
teacher near Toronto objected that the contents do not adequately
reflect the Israeli point of view, and an organized effort was launched
to have school boards across Ontario remove the book from their silver
birch award reading list. A few have done just
that.”

“Canada
has faced a number of unpleasant realities.  The extermination of the
Beothuks in Newfoundland, the expulsion of the Acadians from New
Brunswick, the long standing mistreatment of our First Nations people,
and the reality which you, Joy, have written about.

But unlike
most other books written about these realities, Joy brings together
three things which the others do not. Not only has she written about
this reality, but she has experienced it herself, and third, the Kogawa
House still stands as a physical legacy of that dreadful time.”

“This
is why I find it distressing that the house is facing the threat of
demolition. I write about heritage buildings and have seen too many
demolished. Those with negative connotations especially. It seems that
in Canada it's what we do.”

“And that is why I find it even more
distressing that Canada's heritage minister has declined to provide
funds to help save the house, despite a written pledge from the federal
government that it will do everything in its power to ensure that such
atrocities will never recur. Talk about not
putting their money where their mouth is.”

“But
it is encouraging to see so much support here tonight for saving the
house, support that the Writers' Union is happy to share. But as Joy
said in the Globe this morning, there is not much time left.”

“As
with the book Three Wishes, to destroy the Kogawa House would be much
like censoring reality. In Canada we should be confronting our
realities, not censoring them.  Saving the Kogawa House will serve as a
visible reminder of one unpleasant reality. So, let's save the house
and help make Joy's dream come true.”

March 9th, Toronto, Ron Brown

Ron Brown, First Vice-Chair of the Writers Union of Canada –  photo by Henryk Fibich

In
her address, Mary Ellen Csamer, President of the League of Canadian
Poets, stated: “As writers, artists, we are both witnesses to and
participants in our times. Sometimes, as now, our shared responsibility
is to act as an amplifier for those voices who can best speak to
specific actions of the body politic, done purportedly on our behalf. 
Joy Kowaga’s intelligent passionate voice has added to the sum of our
witnessing, to the collective ‘no’ of our resistance to our own
fear-based tyranny.” She added that “It saddens me that our Federal
Government has no program in place to protect our historical and
literary heritage. The Joy Kogawa House represents the struggle for
Home. It is not real estate, it is the real estate of our collective
need to create and nurture community so that we can learn to live
without fear of each other. To create this writers-in-residence,
historic centre in the City of Vancouver would express on behalf of all
Canadians our deep desire to redress the wrongs of the past and
celebrate once again our rich and diverse cultural community. On behalf
of the League of Canadian Poets, and its 700 members, I urge the
Federal Government to provide the necessary fund to help us to save the
Joy Kogawa House.”

March 9, Toronto, Mary Ellen Csamer - with Bill Turner and Joy Kogawa in background

Mary Ellen Csamer, President of the League of Canadian Poets –  photo by Henryk Fibich

Philip
Adams next spoke on behalf of two organizations as Coordinator of the
Readers & Writers program for PEN Canada and as Treasurer of the
Playwrights Guild of Canada. “The Playwrights Guild of Canada has over
800 members who are for the most part desperate for a time and place to
write and it is our hope that one or many of them may be allowed the
opportunity to do that in the Joy Kogawa House. PEN Canada fights for
freedom of expression around the world and particularly here in Canada.

There are many exiles here in Canada as well. The First Nations
certainly have reason to feel exiled, the Japanese Canadians have been
exiled, and many people from other countries who are here now continue
to feel in exile. Again it is PEN Canada’s hope and dream that perhaps
some day soon such writers will be able to take up residency in
Vancouver.”

March 9th, Toronto, Philip Adams

 Philip
Adams, spoke on behalf of two organizations as Coordinator of the
Readers & Writers program for PEN Canada and as Treasurer of the
Playwrights Guild of Canada.
–  photo by Henryk Fibich

Dr.
Joseph Levy, Vice-President, External, of the York University Faculty
Association, explained that his field of health sciences is really
about healing and that this evening had been an evening about healing.
“We must say to ourselves that we never want this to happen again in
Canada but we also don’t want this to happen again in Somalia, in
Afghanistan, in Romania or anywhere else in the world where this could
possibly happen. So I see this project as being not only for our fellow
Canadians who were interned during the war but I also see this project
as symbolic of something that will allow all of us to continue working
around the world so that this kind of event, this atrocious, despicable
way of treating citizens in their own country, should never happen
again. But let me remind you that it is happening at this moment all
over the world.”

Dr. Levy then presented a $1,000 contribution
from the York University Faculty Association to Bill Turner for the
Land Conservancy Joy Kogawa House fundraising drive and challenged
other universities across Canada to match YUFA’s donation.  

March 9th, Toronto, Joseph Levy, with Bill Turner behind him

Dr. Joseph Levy, Vice-President, External, of the York University Faculty Association, with Bill Turner –  photo by Henryk Fibich

 

Ben
Antao, President of the Toronto Branch of the Canadian Authors
Association, also brought a donation from his organization. (The CAA
awarded Obasan its Book of the Year Award when it was first published
in 1981.) “Heritage properties of writers and artists help to enrich
the cultural mosaic that is Canada,” Antao stated. “I haven’t seen Joy
Kogawa’s childhood home in Vancouver but I have read her novel Obasan
and the book describes her house and illuminates a dark chapter in the
developing history of Canada and her people.”

MArch 9th, Toronto, Ben Antao

Ben Antao, President of the Toronto Branch of the Canadian Authors Association,–  photo by Henryk Fibich

Following
these presentations, William Aide again played the piano, Joy inscribed
more books and many in the audience spoke with Bill Turner about saving
the Kogawa House and made personal donations.

March 9, Toronto, Lynn McDonald with Joy Kogawa

Joy inscribing a copy of Emily Kato to Lynn Macdonald – photo by Henryk Fibich

There
was much animated conversation as the audience enjoyed the delicious
food and refreshments provided by members of the Church of the Holy
Trinity congregation and organized by its Social Justice Committee.

March 9th, Toronto: Professors Joseph Levy and Kym Bird of the York University Faculty Assoc. with Bill Turner and Anton Wagner

Professors
Joseph Levy and Kym Bird of the York University Faculty Association
with Bill Turner and Anton Wagner, Secretary of the Save Joy Kogawa
House Committee – 
photo by Henryk Fibich

 

March 9, Toronto, Derry Poster with Joy Kogawa

Joy signs Derry Fitzgerald’s poster of the March 9 event which Derry designed at the 6 St. Joseph Street House.  –  photo by Henryk Fibich

Vancouver Opera's “Naomi's Road” goes to the heart of Vancouver's old Japantown – a fundraiser for Powell Street Festival


Vancouver Opera's “Naomi's Road” goes to the heart of Vancouver's old Japantown


– a fundraiser for Powell Street Festival

The Japanese Canadian community used to thrive along Powell St. in
Vancouver.  I remember walking down there in the late 1960's and
visiting the different stores, on the search for more origami paper,
after being taught to fold origami paper figures by my father. 
Today it is a shadow of its former self.  But it's memory is kept
alive by both the annual Powell Street Festival
and the Japanese Hall / Japanese Language School on Alexander St.

Naomi's Road opera, put on by the Vancouver Opera Touring Ensemble, came to old Japantown on Saturday night.  It was presented in the hall at the Vancouver Japanese Language School,
newly built and connected to the Japanese Hall, built in 1918, which
stands alone as the only property among any Japanese Canadian
private citizen, business or organization to retain ownership after the
war.

About 100 people filled the new hall, in anticipation of watching the
touring production which has been playing to schools throughout
BC.  This was about the 95th presentation of the production so
far, and the cast does a remarkable job of keeping each presentation
fresh. 

It was also the 4th time I had seen Naomi's Road, writing a review of the premiere weekend, and also the excerpts presented at the Laurier Institution / Roy Miki lecture at the Chan Centre, and the Vancouver Arts Awards.  Everytime I have seen it, it is enjoyable.  I even find myself humming the songs afterwards now.

Naomi's Road, is the children's version of Joy Kogawa's
award winning novel, Obasan.  It tells the story of a family being
torn apart by the events of WW2.  The mother goes off to Japan to
look after her sick grandmother.  The father's sister comes to
help look after the children.  WW2 breaks out, and anybody of
Japanese ancestry is “evacuated” from the BC coastal region, and sent
to “internment camps.”  The father is unexplainedly sent to a
different camp (as able-bodied working males were sent to work
camps).  The two children Naomi and Steven, aged 10 and 14, learn
to deal with racism, and being separated from their parents, as well as
the negative impacts of war.

All the performers, Jessica Cheung (Naomi), Gina Oh (mother, Obasan,
Mitzie), Sam Chung (Stephen), and Gene Wu (father, train
conductor,bully, Roughlock Bill), perform well.  Cheung really
conveys the innocence and wonder of a 10 year old, while Chung plays
her foil expressing the anger and resentment of being forced into the
internment camp. 

Oh and Wu perform well in their multiple roles, convincingly altering
ther performances with each character.  In Oh's case from a loving
mother, to a reserved aunt, and a youthful child named Mitzie.  Wu
does the same, first as a concerned an playful father figure, a racist
bully, and also as Rough Lock Bill, a First Nations character that
befriends the two children.

The action moves quickly, with multiple scene changes which the actors
create by moving screens around as part of their stage action.  It
is a wonderful way to experience a small performing arts production,
watching all this stage action unfold, as the set evokes Powell St, a
living room, a train, an internment camp, and a lakeside beach.

For this performance, it was a treat for the performers to be on a
raised stage, rather than floor level at the West Vancouver, or
Vancouver Public libraries.  But unfortunately if the performers
stood too close to the front the stage, they became back lit and their
faces were difficult to be seen.  The piano was also woefully out
of tune, but giving the performance and “old-time feel” to fit with
it's 1942 setting.

A question and answer was held folowing the performance, and a special
treat was that author Joy Kogawa came up on stage with the
performers.  Joy exclaimed that she is moved to tears, everytime
she sees the opera.  She said that it is a wonderful opportunity
for sharing the story of Japanese Canadians and for creating healing.

Questions covered many topics, but in this setting at the Japanese
Language School in Japantown, it was interesting to hear that many
former internment camp survivors thanked the performers for sharing the
story, and that they related very strongly to the performance.

At the end, I stood beside the pamphets for the Land Conservancy campaign to help save Kogawa House, and answered questions about the Save Kogawa House campaign.

also see:
my review of Naomi's Road premiere weekend,
my interview with Naomi's Road performers

REVIEW: Playwright C.E. Gatchalian's BROKEN, explores the broken tangents in relationships

REVIEW:  Playwright C.E. Gatchalian's BROKEN,
  
explores the broken tangents in relationships



 

 
image
Meta.for Theatre Society and Broken
Whisper

in association with the
Firehall Arts Centre

present
 
BROKEN
Five Plays by C. E. Gatchalian

Directed by Sean
Cummings

Starring Tanja Dixon-Warren, Michael Fera, Ntsikie Kheswa, Thrasso Petras, and Nelson
Wong

March 2-11, 2006 (Preview March
1)

The Firehall Arts
Centre

280 East
Cordova Street
,
Vancouver


Tickets:
Tuesday to Saturday, 8 pm:
$18/14

Friday to Saturday, 8 pm:
$22/18

Wednesday, March 1 (preview), 8 pm:
half price

Wednesday, March 8, 1 pm:
pay-what-can-matinee

Sunday, March 5, 2
pm
 matinee:
$18/14


Tickets and info: (604)
689-0926


February 21,
2006




Broken, currently playing at the Firehall Arts Centre,
is a suite of five separately written one act plays, brought together
by overlapping themes of dysfunctional  relationships that explore
alienation, love, repression, denial, and sexual identity.  Motifs
and Repetitions is C.E. Gatchalian's first play, and was initially
performed for the Bravo! channel in 1997, and also on the Knowledge
Network in 1998.  For Broken, it is combined with the single act plays Diamond, Ticks, Hands and Star
Combined together, it is strong, hard hitting and sometimes confusing
journey into a world of sexual identity, and its effects on the personal and
the interpersonal.  He is the first Filipino-Canadian to be
nominated for major literary award, the Lambda award in 2004, for the play collection Motifs and Repetitions and Other Plays.





To
witness a Gatchalian play, is to be moved by the lyricism and the
poetics of the language.  It is a constructed creature with themes
and
characters juxtapositioned to create dynamic lines of
tension.   Special attention is placed on the rhythm and
repetition of words, more like lines of music, combined with themes and
variations.  One is
equally aware of what is not being spoken, as what is being
spoken.  The stories unfold like crumpled pieces of paper,
revealing complex spontaneous confessionals, not simple gift-wrapped
pretty linear stories. 

Motifs and Repetitions, explores a love triangle with unexpected twists.  The dialogue starts off tentative and hesitant,
as a couple gets to know each other on a first date.  It shifts
gears as a third person is revealed to be already involved.  The
language becomes short and terse, short syllables alternating between
the actors like a rotating word play game.  Actors
Ntsikie
Kheswa, Thrasso Petras

and Nelson Wong, do a splendid job conveying the tensions between the
relationships bringing subtle body language cues to interplay with
their words.

In Hands, actors Tanja
Dixon-Warren and Michael Fera exchange a series of monologues, that
reveal the spoken and unspoken issues in their relationship.  At
first tender, then explosive, emotions touch on the uncomfortable ways
that people repress and hide their feelings, rationalizing them away in
organized boxes that allow them to survive their disappointments and
failures.  The tension in the audience is thick, like being caught
in the ugly moment of somebody else's family secret… which it
is.  A third person, actor Thrasso Petras, enters the scene,
unspeaking…  but “speaking” volumes about the family secret and
the family dynamics.  Tanja Dixon-Warren's monologues and acting
are strong enough to carry all the action and unfolding storyline.
 
Diamond, Star, and Ticks, are one person vehicles where Ntsikie
Kheswa,
Nelson Wong, and
Thrasso Petras, each explore different aspects of alternative sexual identities.  Ticks
is the most interesting, where Petras plays a fast talking gigolo who
brings a plague upon a city.  Petras creates a strong stage
presence, his voice filling his performance with an nervous urgency, as
his character describes his environment and his relationship to
it.  Wong and Kheswa are also both interesting to watch but Wong
and displays good confidence and watchability.  All moved easily in and out of their roles.

Sean Cummings directed C.E. Gatchalian's Crossings,in
2004, and performs the honours for Broken as well.  Throughout
most
of the work, the attention is riveting.  The performers bring
voice and dynamic tension to the works.  However there were
noticeable lags in Diamond, where
actor Ntsikie
Kheswa moves between different locations on stage, with different
lighting cues, meant to reveal different aspects of a character and the
demands on an actor.


Playwright Gatchalian has achieved the ability to be thought provoking,
while creating a inside view and commentary on social conditions. 
The works of Samuel Beckett came to mind for me, expecially

with the examples of unspoken thoughts between the spoken words. 
Very
exciting.  Good thing I loved “Waiting for Godot” and studied both
music, modern art and drama.  Maybe it is in this juxtaposition of
music, modern art and drama where Gatchalian is most comfortable
pushing the boundaries of unconventional  storytelling.  This
should play well to lovers of European modern drama, such as Checkov
and Brecht, and maybe even local fans of Vancouver playwright Morris
Panych, whose work “My Aunt, Your Aunt” was recently booked into the
Firehall Arts Centre by Theatre Around the Corner, a Czech and Slovak community theatre in Vancouver..


BROKEN is not for the easily offended or the unwilling to explore
personal challenges.  It is a showcase for writing and
acting.  There are mostly powerful and interesting moments. 
Sometimes “comfort buttons” are pushed beyond comfort zones, but
otherwise there are brillian use of themes and repetitions, just like
in musical composistions.  Upon learning that Gatchalian was once
a musical prodigy, whose path later found itself graduating from the
UBC Creative Writing Program, I wonder what it will be like if C.E.
Gatchalian at some point writes an opera.  Or maybe it will be a
suite of 5 one act separate operas.  No doubt, it will be
inventive in form and brilliant in language and rhythm.


Eve and the Fire Horse: child's view of the world pokes questions at multicultural dichotomies



Eve and the Fire Horse:


child's view of the world pokes questions at multicultural dichotomies

There is deservedly lots of buzz happening for Eve and the Fire Horse.  Writer/Director Julia Kwan and her crew have just won the Sundance Special Jury Prize.  Film critic Roger Ebert called the movie “the most beloved film at Sundance.”  Pretty darn good for Julia Kwan's first full length movie, shopping itself for a US distributor at the most influential independent film festival.

Many people have said they relate to the film's stories and characters, regardless of ethnicity.  The two sisters speak English to each other and the younger 9 year old Eve also narrates. Phoebe Kut stars as the central figure Eve, and Hollie Lo plays her older sister Karina.  Their parents speak Cantonese Chinese to them, the kids answer in English.  This is not a theatrical device – Julia Kwan says this is typical of many immigrant families. This could be any first and second generation immigrant group as they adapt to wherever they are now settled.

The Year of the Fire Horse is a special type of person born in the year of the Horse.  Each of the 5 elements Earth, Metal, Water, Air and Fire give a special additional quality to the Chinese zodiac animal.  Fire Horse year was 1966, and the children are supposed to be especially spirited and stubborn, and even troublesome.  This personality trait for Eve helps to move the film forward as well as help create a wonderful title, movie logo, and release date for Chinese New Year.

The kids also struggle with making friends, settling in with their peer group, and finding a way to reconcile their family's buddhist beliefs with the Christian elements in Canadian North American society.  The film opens with a Chinese New Year dinner where clashes between superstitions and common sense can be questioned through the children's comments and explanations of traditions.  Along the way we meet a small caucasian girl who is picked on by the school bullies and called “PWT”, explained by the 11 year old older sister Karina to Eve, as “poor white trash.”

“Are we poor white trash?” asks Eve.

“No… we're not white.” Karina answers.

There is something special about how 9 year old children struggle to make sense of the world and it's seeming dichotomies.  Julia Kwan allows viewers into the world of Eve, as she is allowed flights of imagination in her conversations with the Chinese goddess of the kitchen, the statue of Buddha, and their new room mate Jesus, as the girls now start going to Catholic Sunday School. 

“Two gods in the house must bring better luck than one,” thinks the logic of their mother May Lin Eng, played wonderfully by Vivienne Wu.

The film follows a series of incidents such as an uncle going to the hospital after choking because he refused to spit out his “long-life noodles,” the unexpected death of a grandparent, and a hospital procedure for their father.  This allows Phoebe to wonder about how the world works, through reincarnation, funerals, hospitals and Sunday School.

There are so many episodes that I could relate to from my own life: such as being asked in Grade 5 by a school friend to attend a social event, that turns into a education session about Jesus Christ; recalling the funerals and times of passing of my paternal grandparents who always spoke exclusively in Chinese to me – even though I could only speak English.  And then there is the delight of Eve recieving her very first pet – a gold fish!  Eve and her fish – this is one of the most delightful scenes in the movie, as Eve's imagination takes flight.

image
After the Vancouver Chinatown New Year's parade I hang with my new friends, producer Yve Ma with his daughter on my left, and actor Phoebe Kut and her friends on my right – photo Deb Martin.

Review: Gung Haggis Fat Choy World Poetry Night – Jan 16


Review: Gung Haggis Fat Choy World Poetry Night

Once
a year, the World Poetry Reading Series at the Vancouver Public Library
colludes and collides with the alignment of Chinese New Year and Robbie
Burns Day, and is marked by the appearance of Toddish McWong.  This
intersection is called Gung Haggis Fat Choy World Poetry Night.

Ariadne
Sawyer and Alejandro Olea-Mujica are great friends to work with, as we
built a program to entertain our audience as well as inform them about
Chinese and Scottish traditions while serving up new Canadian writers,
proud of their Scottish and Chinese ancestral roots.  Following an
introduction by Vancouver Public Library Community Programs Librarian
Barbara Edwards, piper Joe McDonald led a parade of the performers into
the Alice Mackay Room, around the back, up the side and across the
front.  The original tune was appropriately titled “Gung Haggis Fat
Choy.”

Joe MacDonald, Ariadne
Sawyer, Alejandro Mujica-Olea, Fiona Tinwei Lam, Ian Mason of the Burns
Club of Vancouver – photo Deb Martin.

Introductions and welcomes were made by Todd Wong,
Ariadne Sawyer and Alejandro Olea-Mujica, who while acknowledging the
importance recognizing the multicultural holidays of Robbie Burns Day
and the Asian Lunar New Year, also recognized Martin Luther King Jr.
Day in the United States, and that Chile (Alejandro's home country from
which he was forced to flee in exhile during the Pinochet regime) just
elected a female president, to nice applause in the audience.

Starting
off the musical and poetical program were Todd Wong and Joe McDonald,
singing Loch Lomand.  Unfortunately while they both knew the same
chorus – they had different versions of the verses in their head.  But
it set a friendly tone for the evening, as the singalong words of
“You'll take the high road, and I'll take the low road,” set the stage
for Dr. Ian Mason, president of the Burns Club of Vancouver.  Mason
gave a wee eulogy about the works and life of Burns, and gave good
examples of his work. 

A Chinese fan dance was next on the menu as Yan Yan walked out in her
flowing costume and fan, set to contemporary Chinese music.  It was a
wonderful demonstration of how cultural dance traditions could be
merged with contemporary music.

Ariadne
next read a ballad set to guitar music, “The Ballad of Gung Haggis Fat
Choy”, which described how we mix all the cultures together, like
making a stew or dinner banquet.  Ariadne first created this work last
year, and it was so well recieved it was requested for this year.

Fiona
Tinwei Lam, is a Scottish born lass of Chinese descent who came to
Canada at age 4.  She read from her book “Intimate Distances” which had
been a finalist for the 2004 Vancouver Book Prize, and picked
selections that related to cross-cultural dating and relationships…
and food!

A Mongolian dance was the final performance for the
first half.  Bright costumes and movements simulated Mongols riding on
horseback.  This was followed by a short
intermission, where many people checked out books and cds for sale by
the performers.


Joe McDonald and Todd Wong, leading a singalong…. – photo Deb Martin.

Joe McDonald gently played the tune “My Bonnie
Lies Over the Ocean”, bringing back the audience to their seats. Todd
introduced his children's poem-song about immigrants coming to Canada
titled “My Haggis Lies Over the Ocean, My Chow Mein Lies Over the
Sea.”  Smiles rose on many faces as they all joined in for the chorus. 
Todd explainined that he had been inspired to write songs and poems for
children by performers Rick Scott and Harry Wong who were going to be
featured artists at the upcoming Gung Haggis Fat Choy Robbie Burns
Chinese New Year dinner.  To close off my time on the stage, I informed
the audience that it was an amazing coincidence that on Thursday night,
the library would be hosting a tribute to the 250th Anniversary of
Mozart's birtdahy.  Rick Scott's most requested song is his “Yo! Mo!
Concerto” where he does a rap tribute to Wolfgang Amadeus Mozart.  I
next did my own rap tribute to Robbie Burns with his poem “To a Haggis.”

Ariadne
next introduced James Mullin, who read several of his poems which
created lovely peace imagery of wonderment.  Mullin is the book manager
of Tanglewood Books, and hedraws on his Celtic heritage.



Alexis Kienlen reading her poetry – Alejandro and Ariadne listen intently – photo Deb Martin.

I
introduced Alexis Kienlen by asking if anybody had read Saturday's
edition of the Vancouver Sun, as I pointed out Alexis' guest turn at
writing “Bedside Table.”  Kienlen took to the stage and read several of
her poems.  She shared with the audience that she had lived in many
parts of the world, including Mongolia, and the performance by the
dancers had coincidently coincided with some poems about her Mongolian
experienes she had chosen for the evening.  Kienlen also shared her
thoughts about growing up multi-racial in Canada, describing herself as
1/4 Chinese and 1/4 Scottish, with some french and english. Her poetry
was inciteful and very much appreciated by the audience.

Closing
off the program, the Chinese Dancers performed a final dance, Joe
McDonald and Todd Wong led a gentle rendition of “Scotland the Brave”
then Joe asked the audience to all stand and make a great circle
holding hands for the singing of Auld Lang Syne.  Yes, it sounds
hokey… but people loved it.  We could look at the smiles on
everybody's faces, with our arms crossed together.
The gang:  front row: Ian Mason, Shirley Sue-A-Quan, Yan Yan, Angela

back row: Joe McDonald, Alejandro
Mujica-Olea, Alexis Kienlen, Ariadne Sawyer, James Mullin, Fiona Tinwei
Lam – photo Deb Martin.

Chun-Yi: The Legend of Kung Fu

Chun-Yi

Chun Yi: The Legend of Kung Fu
January 4 –
11, 2006
Vancouver's
Queen Elizabeth Theatre

Imagine
what would happen if kung fu experts learned to dance, and Chinese
classical dancers choreographed martial arts, and some chinese gymnasts
were given Cirque du Soleil equipment and special effects, and
everything came together to create a multi-discplinary show.  In
this case, the result is based on the story of Chun-Yi “The Pure One,”
about a young boy who becomes a Shaolin Temple Monk.

Sixty-five kung fu practitioners, dancers and acrobats
from 13 provinces of China, perform in telling the story about how the
young man must got through personal challenges of temptation that
threaten his abilitiy to master the Kung Fu discipline. But in the end
all is well.  As the chinese proverb says, each journey begins
with a single step, the process is always more important that the
result.

And what a beautiful process this work of gorgeous sets and spectacular
stage effects is!  Combined with traditional martial arts
movements with
evocative dance, ballet and flying acrobatics.

I watched this exciting show with two viewpoints.  With one eye I
marvelled at the abilities of the performers, the inventive use of sets
and the unfolding of the story.  With the other eye I saw my
memories of learning about martial arts as a youth, as well as a youth
growing up in Canada with very few possible role models of being Asian.

But
somewhere in my memories were recollections of tacky Chinese theatre,
cantonese and martial arts displays.  Chun Yi: The Legend of Kung
Fu leaves all those old memories at home, and can easily be said to be
on the same professional levels as many Broadway shows or operas. 
The scale is huge, with moving sets that create the illusion of palaces
and dream sequences.  While some of the acting and dancing appears
to be overwrought and simplistic, it is also highly stylistic too.

The
young Chun Yi, does a pas de deux dance with his mother, as she
prepares to leave him at the Monastery to learn Kung Fu.  The
young boy is reluctant and runs back repeatedly after his mother. 
Two young boys from the monastery come up and persuade Chun Yi to stay
and play with them, as they perform their own jumps and kicks, that
captures the newcomer's attention.

And
so it was in the audience.  During intermission, I talked with
friends in the audience who were amazed at the acrobatic feats, as well
as the Kung Fu fighting.  They had never before seen Cantonese
opera with its many gymnastic routines, or the Action-Musicals put on
by Dennis Law at the Centre in Vancouver for Performing Arts, such as
Terracotta Warriors, Heartbeat or Heaven and Earth.  And so my
cultural thoughts wondered at the possibilities that when China starts
allowing more of its martial artists, ballet dancers and artistic
directors, will we see an artistic revolution in the arts, as more and
more ideas are exchanged?  Could a traditional western opera be
staged with kung fu battles, Chinese gynmastics and dance.

“We are creating something new in Beijing. We're creating something new
for China and the world!” says
Cao Xiaoning, president of China Heaven Creation, the company behind creating this production in anticipation of cultural preparations for the 2008 Olympics, which will also include Martial Arts as an Olympic event.

While
the story is not completely literal, and the “dream” sequences where
Chun-Yi was tempted by a beautiful woman, it is easy to understand the
plot development.

By
seeing more productions like this in Vancouver, we can find artistic
and enjoyable ways to learn about one of the world's more interesting
and oldest cultures and traditional arts.  I know that I am
learning about more Chinese culture.

more later….


To view an 8-minute promo video: Click here.

Brigadoon lifts up the kilts and spirits at Gateway Theatre in Richmond

Brigadoon lifts up the kilts and spirits at Gateway Theatre in Richmond

Brigadoon
by Frederick Lowe & Alan Jay Lerner
Dec 9, 2005 to January 1, 2006
Gateway Theatre
Richmond, BC
Directed by David Adams


Vince Kanahoot
performs the sword dance with Jeremy Crittenden and Calvin Lee, while
Evelyn Thatcher, Dave Barton, Joe Mannion and Chelsey Yamasaki look on
– demonstrating the joys of colour-blind casting and seeing Asians
dancing in kilts – photo courtesy of Gateway Theatre

What happens when two Vancouverites go on a backpacking holiday to
Scotland and stumble upon a mystical magical town named Brigadoon,
which only appears once every one hundred years?

Many Vancouverites and Canadians can claim to have some Scottish blood
in their ancestry, and many more Vancouverites make attending Robbie
Burns Dinners an annual not-too-miss event.  This Lerner and Lowe
musical was first staged on Broadway in 1947 and ran for 581
performaces, before being made into a 1954 movie starring Gene Kelly,
Cyd Charisse and Van Johnson.

The town of Brigadoon was beset by evil from the outside world in 1705,
and a magic spell was put upon the town and its people to only reappear
for a single day, once every hundred years.  It is a story where
true love conquers all – but it must be a pure love because while one
of the hapful Vancourites, Tommy Albright, falls in love with resident
maiden Fiona MacLaren, Fiona's younger sister has a determined and
obsessive suitor who is determined not to enjoy her wedding day.

Mark Pawson and Evelyn Thatcher as Tommy Albright and Fiona MacLaren – photo courtesy of the Gateway Theatre.

Evelyn Thatcher is a wonderful Fiona, with a strong soprano singing
voice from an operatic background. Thatcher has a radiant presence
which makes it easy to see why all the town's people love her. 
Thatcher also delights with a sparkling Scottish accent, that reminded
me of my conversations with BBC Radio Scotland host Maggie Shiels of
the program “Scotland Licked!”

Mark Pawson plays Tommy Albright who must go through denial, then
self-doubt in order to discover his love for Fiona which he expresses
to his buddy Jeff Douglas, played wittingly by Leon Willey, when Pawson
sings the musical's signature song – “Almost Like Being in Love.”

Laura Jaszcz also provides great amusement as the bawdy man-hungry Meg
Brockie, who proves to be a strong match for Jeff's comic foil.

Jeremy Crittenden presents a wonderful Charlie Dalrymple, the character
who marries Fiona's sister Jean MacLaren played by Chelsea
Hochfilzer.  Crittenden shows off his ample skills by both dancing
and singing especially when performing “I'll Go Home With Bonnie Jean.”

While the musical is filled with stereotypes of Scottish culture –
the Gateway team has worked hard to bring in a feeling of
authenticity.  And
it all seems to fit perfectly natural in a mystical land filled with
mist,
where the townsfolk all gaily dance and sing.  There is great
cameraderie and chemistry in the cast and they really seem to be
enjoying themselves in this production and project it well to the
audience.

During intermission I heard many audience members stating how much they
were enjoying the production.  On opening night, there was many a
kilt to be seen, as this play surely touches the heart and the many
inner-Scots for BCers (myself included).

It was particularly interesting to see so many Asian cast members
playing the roles of the Brigadoon townsfolk.  This is due to the
Gateway's policy of colour blind casting.  Vince Kanahoot plays
the important role of Harry, Jean MacLaren's dejected suitor. 
Calvin Lee plays the town barkeep, Chelsey Yamasaki plays one of the
town maidens.  I was also delighted to meet Filipino-Canadian
Alexi Geronimo who is the dancing cousin of  musician Raphael
Geronimo – leader of the band Rumba Calzada.  It all adds up to a multicultural reflection of the
community. 

The next step might be to have one of the travelling Vancouverites be an Asian and
fall in love with one of the Scottish maidens… but maybe that will
happen soon.  I couldn't help but wonder what happens when
Brigadoon is staged in Hong Kong, Singapore or Shanghai? 
Everybody would be Asian then!  Asian Scots!?!?!? how absurd – but
not so really when Vancouver can boast resident poet Fiona Lam, born in
Scotland of Chinese ancestry, as well as many other Vancouverites born of both Scottish and Chinese heritage.

Other articles/reviews of Brigadoon:
Richmond News: Bring On Brigaoon by Michelle Hopkins.

Dialogues of the Carmelites: Not your ordinary opera – but extraordinary

Dialogues of the Carmelites: Not your ordinary opera – but extraordinary


By Francis Poulenc


Vancouver Opera


November 26, 29, December 1 & 3, 2005


All performances 7:30 pm  Queen Elizabeth Theatre




Conductor
                Jonathan Darlington


Director   
                Tazewell Thompson   



Blanche de la Force    Kathleen Brett



Prioress   
                Judith Forst



Madame Lidoine        Measha Brueggergosman


Marie
Mere                Claire
Primrose          



Constance                 Nathalie Paulin




I walked out of Vancouver Opera’s 2005 serving of Dialogues of the
Carmelites
simply amazed.  It was a production you either loved or
hated. It pushed buttons. It wasn’t traditional. It was inspiring. It
was beautiful. It made you think. There was no love story between a man
and a woman.




There were no familiar songs that would ever appear on Opera’s greatest
hits.  But it provided extraordinary showcase performances for
Judith Forst, Kathleen Brett, Measha Bruggergosman and Claire
Primrose.  How strange it is to see an opera where all the main
characters are women, and where men play only secondary and supporting
roles. But while there are no sexy tunes between men and women, there
are many arias that deal with the relationship of spirit and to
God. 


It is 1789, the dawn of the French Revolution.  After an incident
in which her carriage is surrounded by The by mobs fin the street, a
young agitated aristocratic woman named Blanch de la Force decides to
join the Carmelite Order seeking refuge from both her family and the
social turmoil happening in France. 

Blanche discovers an inner
journey that is challenged once again by inside forces when she
befriends a fellow initiate named Constance who shares with Blanche
that they will die together.  Blanche is again challenged
when  she is
present at the death of the Pioress, who wails that Death is ugly,
unforgiving and unspiritual. Soon after, outside forces come to play
when the
New French Republic orders that all Religious Orders become outlawed,
and the nuns are forced to leave their home. It is at this point that
Blanche flees the convent to find refuge as a servant in an
aristocratic house.


Judith Forst sings a knock-out performance as the Prioress,
while sitting in her death bed. 
Kathleen Brett readily
captured
the agitated psychological state of Blanche de la Force, although her
voice was weak at points – perhaps due to playing Blanche's weak state
of mind, because in Act 2 & 3, as Blanche matures psychologically
in her convictions, her voice becomes stronger.  Nathalie Paulin
provided a clear and calm
foil as Constance, to Brett’s Blanche.  And when finally
Measha
Bruggergosman
came on stage in the 2nd Act, her voice and movement had
so much presence it was hard not to be enthralled.



This is
not a “pretty opera” despite its beatific moments where the nuns pledge
themselves to martyrdom.  It is indeed a psychological drama that
questions our own relationship to spirit, heroism, totalitarianism,
religious order and self-sacrifice.  While watching I could not
help but compare the exiling of the nuns from their convent to the
internment of the Japanese-Canadians in 1942, which was nicely explored
in Vancouver Opera's production of
Naomi's Road
Nor could I not draw comparison to the Vancouver Opera's past
production of Beethoven's only opera Fidelio, also set during the
French Revolution.

The final climatic scene is difficult to tear one's eyes away
from.  Here is a spoiler – but good to know as the real story was
first published by Marie Mere as a memoir.  Despite first
suggesting martyrdom to her fellow nuns, it is she alone who somehow
survives the imprisionment of the nuns, and their final walk to the
guillotine.  Musically it is very powerful, as the cast sings
Salve Regina, each one walks up, across and finally off-stage,
one  by one, until you hear the metalic sound of a
guilotine.  The choir of voices becomes smaller one by one until
only Constance remains.  It is then that Blanche appears to hold
hands with her friend Constance and to fulfil Constance's vision that
they would die together.



Here was a modern opera written by Francis Poulenc, sung in French, set
during the French revolution, about Carmelite nuns – and directed by
African-American theatre and opera director
Tazewell Thompson.  As
a 9-year old boy, Thompson was sent by his grandparents to live in the
convent of the Sisters of St. Dominic, in Blauvelt, N.Y. where he spent
six years.  He says he learned Gregorian chants before he ever
knew pop, jazz, folk or opera music.  What an extraordinary
experience to learn and develop a relationship with a spiritual diety,
as well as evolving one’s own spiritual development!  It makes
sense that Thompson was asked to help create this particular production
first with Glimmerglass Opera and New York City Opera.

Poulenc's music is indeed both beautiful and spiritual. I was moved by
its thoughtful passages, and found myself humming Stravinsky's Infernal Dance of King Katschei
from the Firebird Suite.  As well, I found myself thinking of
Gershwin's American in Paris, and Porgy and Bess.  It was not a
surprise then to read in the progam notes that Poulenc named Stravinsky
as one of his greatest influences, as well as Gershwin.


Donald Eastman’s set design is beautiful in its simplicity.  A
simple wall, stands halfway back on the stage, creating the interior of
the Church.  Muted light enters through a high window.  At
scence changes the pillars come forward to become walls, and to create
individual rooms.  Later they recede, and the lighting changes to
create
and exterior scene.  The lighting changes again, and it is another
scene in the Church, this time the harsh early light of morning. 
The walls move again, and the nuns are in a prison cell.




Classical music has always been kind to colour-blind casting, as
opposed to theatre or film. Casting New Brunswick born Afro-Canadian
Measha Bruggergosman has absolutely no negative impact.  In fact,
I think it speaks loudly about the multicultural ease that opera moves
with.  The opera audience listens to French, German, Italian
easily, and there has even been an opera now in Cree.  The
settings are from around the world such as China in Vancouver Opera’s
production of
Turandot.  I look forward to the January 2007 production
of Mozart’s Magic Flute
reconstructed with a First Nations theme blending
western and First Nations traditions together and designed with a team of First Nations artists.


In the end, it is the inspiration of the performances that moves us.






check out these reviews and links


Dialogues of the Carmelites

Georgia Straight review by Jessica Werb

Divine inspiration behind Vancouver Opera's latest

Vancouver Courier Review by Louise Phillips


All Praise to the singing nuns

Globe & Mail review by Elissa Poole


Religious Reflections

Georgia Straight interview with director Tazewell Thompson by Colin Thomas




Vancouver Opera Insight Articles

Facing the World Inside the Walls

Notes on the production of Dialogues of the Carmelites
by Stage Director
Tazewell Thompson
Measha!
by Doug Tuck
Francis Poulenc, Graceful Composer

by Doug Tuck

Hearing the voice of Grace, Poulenc's Musical Style

by David Shefsiak

Sexy Black Men: a Vancouver guide to loving women and learning to love themselves

Sexy Black Men: a Vancouver guide to loving women and learning to love themselves

Peter John Prinsloo,  Awaovieyi Agie and Hayden
Thomas hamming it up – photo David Cooper


A Common Man's Guide to Loving Women

Firehall Arts Centre
November 11 to December 3, 2005
written by Andre Moodie
directed by Denis Simpson
starring Awaovieyi Agie, Kwesi Ameyaw, Peter John Prinsloo and Hayden Thomas


Where can you find four sexy black men, who are hip, urbane, and live
in Vancouver's trendy Yaletown neighborhood?  Well… believe it
or not – at the Firehall Arts Centre on the corner of Cordova St. and Gore St. in the Downtown Lower Eastside.

Denis Simpson directs the Andrew Moodie play “A Common Man's Guide to
Loving Women. Set designer Derek Butt has created a beautiful urbane
condominium that every person would want to live in.  A wide
screen tv with a kick-ass sound system, complimented by a very cool
dining set complete with clear acrylic chess set.  This is not
some “gangsta crib in the 'hood.”

Ontario playwright Andrew Moodie has created a wonderful play that
explores the lives of four Afro-Canadians, which Simpson has set in
Yaletown.  It sort of reminded me of a cross between Quebec
Afro-Canadian writer Dany Laferriere “How to Make Love to a Negro” and the Vancouver Asian Canadian Theatre's productions of “Sex in Vancouver.”

Yes, the black men talk about large penis size and basketball – but
their characters are developed into real sensitive people.  You
could almost substitute any ethnicity into this play, and the issues of
male bonding, sexual inequality, relationships, and sexual abuse will
still be substantial to carry the play.


Peter John Prinsloo and Hayden Thomas offer up some denial – photo David Cooper

As I watched the play, the characters slowly revealed their inner
secrets, while they talked about women and their relationships with
women.  All men can relate to these conversations, both
insecurities as well as sexual conquests.  Afterall it's a guy
thing.  I think that women will both be intrigued and shocked by
what these four men talk about.  It will be like being a fly on
the wall, as these men talk about what they like about women and how
they reveal both their frustrations and satisfactions about women.

The dialogue is witty and full of surprises.  There are scenes
which lull you into thinking that “this is reflective of black culture”
– the old school music, the basketball hoop, but the play always throws
a curve ball.  Nothing is really as it seems.

Some wonderful acting by Awaovieyu Agie (Chris), Kwesi Ameyaw (Wendle),
Peter John Prinsloo (Greg), and Hayden Thomas (Robin).  The
characters are friendly and real – you can almost imagine hanging out
with them on a weekend night.  They make references about going to
The Roxy and Skybar, as well as other Vancouver landmarks.


Kwesi Amyaw and Awaovieyi Agie “Show me the money or show me the door” on the path to a deeper friendship – photo David Cooper

As an Asian male, I am glad to see VACT's productions of Sex in
Vancouver, and other plays – it is nice to see Asian males protrayed as
simply cool urbane males instead of gang members, computer nerds,
waiters or coolies.  The same must be true for African Canadians
in Vancouver, where Hogan's Alley (Vancouver's original black
neighborhood) was pretty much destroyed to build the Georgia Viaduct.

This play is cool and it will push buttons and make you think about
your own relationships with women and male friends.  I remember
how Vancouver Theatre was all a-buzz when Talking Dirty came out at the
Arts Club. Tell your friends about this one.  Remember – “A Common
Man's Guide to Loving Women” at the Firehall Arts Centre…. who could resist?

REVIEW: Save Kogawa House Nov 12 Special Concert


REVIEW: Save Kogawa House Nov 12 Special Concert

The concert event went well today.  About 100 people in the Alice
Mackay Room, at the Vancouver Public Library + CTV coverage. 
Pretty good for very short notice.

The event started with Harry Aoki and Alison Nishihara playing
Pachabel's Canon on harmonica and piano. Then I welcomed everybody and
explained what the SAVE KOGAWA HOUSE committee was all about.  I
also told people that we were very grateful for the Vancouver Opera
Touring Ensemble
gifting us with a performance.  I had seen
excerpts at a Roy Miki lecture, the Vancouver Arts Awards, and still I
had tears in my eyes when I saw performances on opening weekend and
just last week at the library.

Harry Aoki next talked about some of his experiences during the war
years, and afterwards at the sugar beet farms in Alberta.  He next
played some pieces on his double bass that he wrote during that
time.  A surprise dance performance by Toronto
choreographer/dancer Andrea Nann brought a spellbinding tone to the
music.  Harry closed with a final piece on his harmonica that he
played while traveling in Romania and they asked for “Canadian music” –
a bit of a hoe-down.

Next up was artist Raymond Chow.  We introduced the acrylic
painting that he has done for limited edition reproduction to help
raise funds for SAVE KOGAWA HOUSE (see
www.kogawahouse.com).   This was the first day Joy had seen
the painting.  Raymond spoke about how he was inspired by “Naomi's
Road” and the pictures to paint the old house with a 6 year old Joy
standing in front.  I told how when Ann-Marie and I went to see
Raymond and the painting on Thursday that he had played us a short
rendition of a song based on the story.  He then played “House of
Joy” for the audience.

Introducing the Vancouver Opera Touring Ensemble, I told the audience
that they had just returned from Vancouver Island playing an amazling
show of Naomi's Road in Uculet, and also in Campbell River and other places + a
standing ovation on Denman Island.

The room filled with song from the voices of Jessica Cheung, Gina Oh,
Sam Chung and Sung Chung.  The audience sat rapt in attention, as
the story unfolded.  The singers coming up to their 30th
performance, as fresh and as exhuberant as each time I have seen
them.  I am getting familiar with the songs and story, and still –
I am amazed at the staging, the acting and the performance. 
Everybody does such as good job.

The applause was healthy and the cast was called back for more
bows.  I then told the audience that it was easy to see why if
Obasan was the book every Vancouverite should read, then Naomi's Road
was the book every Vancouverite should see.  The audience
responded very positively when I asked them “Do you  think every Canadian should see Naomi's Road?”  Again, I invited
people to tell all their friends about Naomi's Road, and about Kogawa
House, and that we were accepting donations at the back.

I invited the cast back as well as our earlier performers so that
Ann-Marie could give each person a gift.  I named them each –
Gina, Jessica, Sam, Sung, David, Angus, Harry, Andrea, Raymond and
Alison. Next, I invited Joy to say a few words.  There were tears
in her eyes, as she said “There are no words to describe how happy I am….  

To the Vancouver Opera Touring Ensemble, Joy said “Everytime I see you perform,  I am amazed.  It is so wonderful.”

She looked at Jessica, and said “You're e-mail mentioned how the opera
is healing for some people.  You're absolutely right….
Everything that is happening.  It is all so wonderful.”

People lined up to buy books at the back and have them
autographed.  People lined up to talk with the performers. 
One person came up and talked with Ann-Marie and myself about having
Naomi's Road staged at a Heritage Site and splitting 50/50 with the
Save Kogawa House campaign.

It was a good day.