Much Ado about Much Ado about Nothing

The Georgia Straight said, “This is Shakespeare at its sharpest and most satisfying.”

Bard on the Beach‘s 2017 production of Much Ado About Nothing is visually spectacular and very well acted. Director John Murphy adapted this 1598 Shakespearean comedy and set it in 1950s Italy where the characters are glamorous film stars wearing tailored suits with skinny neckties or lacy cocktail dresses dangling cigarettes from their lips and riding off on Vespas.

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Waiting for the show to begin

The costumes and setting alone make this play a delight. Daringly minimalist, it features a few director’s chairs, boom mics, movie camera, and a large pair of “Studio B” doors as the backdrop that opens and closes to reveal slices of Vancouver scenery. The first act plays out in black and white, and gradually more colour is introduced “when love enters the picture” according to Pam Johnson, the scenery designer.

As with many of Shakespeare’s comedies, the dialogue is witty and quick, but I particularly found the language harder to follow in this one than other Bard plays. Luckily the visuals largely make up for this, but I still would have liked to catch more than 50-60%!

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Bard on the Beach tents in Vancouver

There are basically two strands to the plot: 1) Beatrice and Benedick, both stubbornly single and opinionated, take every opportunity to insult each other. Their friends hatch an elaborate plan to matchmake them. 2) Benedick’s friend Claudio falls in love with Beatrice’s cousin Hero and the two are set to be married.

Where’s the tension that moves the plot forward? That’s the part that confused me. It comes from the villain Dona Johnna, sister to Don Pedro, a famous film director. The synopsis in the program guide says she is a journalist and wannabe filmmaker, but that doesn’t explain why she devises her own elaborate plan to ruin Hero’s honour and break up her wedding to Claudio. I caught that she is jealous of her brother but how is interfering in Hero and Claudio’s relationship revenge for her brother’s success? Apparently my friend and I aren’t the only ones wondering about her motivation—Marsha Lederman in The Globe and Mail comments on this too. Again, is this because we couldn’t understand the Elizabethan English or because the plot is weak?

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Members of the cast in the Bard on the Beach production of Much Ado About Nothing. Photo by David Blue.

While Much Ado About Nothing is a lot of fun, it has more of a darker side to it than I expected from a Shakespearean comedy. A fiance disgraces his lover and a father renounces his daughter. A character is believed to be dead. Another character asks someone to murder a friend.

While all turns to happiness and dancing in the end, it certainly isn’t the uproarious and easily accessible comedy that last year’s Merry Wives of Windsor was.

Much Ado About Nothing is playing at Bard on the Beach in Vancouver until September 23.

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The Conditional Figure

I had just heard Said the Whale talk about their new album As Long As Your Eyes Are Wide at CBC’s Musical Nooners. Stephen Quinn asked frontman Tyler Bancroft about the inspiration behind this noticeably darker album that deals with the deaths of friends, neighbours, and babies. Tyler said something like, “After turning 30, life gets a lot more difficult. There are many beautiful things too, but it comes with a bunch of rough stuff.”

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As a recent 30-year-old, this concert me in a contemplative mood as I wandered downtown on my way to the HSBC building to see David Robinson‘s sculptures at the Pendulum Gallery.

I had seen Robinson’s work previously—in his Parker Street studio during the Eastside Culture Crawl and at Regent College.

The works command attention in the high-ceilinged, glass-covered atrium, as if the lines and angles of his sculptures play off the architecture.

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There is usually an element of tension in his works, whether it be balancing precariously while blindfolded, falling out of a safety net, or pushing and pulling against larger-than-life forces.

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David Robinson, Chair (2013), mixed media. 67 x 33 x 74 inches.

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David Robinson, Draped Figure (2009), paper, resin, 31 x 44 x 15 inches.

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David Robinson, Dead Reckoning (2017), ed. 5. Sitka spruce, Baltic birch, polymer-gypsum, bronze, 96 x 64 x 11 inches.

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David Robinson, Departure (2015), bronze/Douglas fir, 27 x 33 x 9 inches.

The way curator Chris Keatley wrote about this exhibit, aptly named The Conditional Figure, seemed to piggyback on what Said the Whale had just talked about.

This exhibition presents large-scale sculptural works that consider the figure as a conditional entity, created to exist in a dynamic, rather than a static state. Figures are split and penetrated, surfaces are textured and rough. The idea of the unassailable body, strong, solid and resolute, is brought into question, bringing forward the view of ourselves as systems in flux, constantly changing and evolving in time and space. In some works, the figures themselves retain a solidity of form, and it is their extended bodies – boats, planes, wings, ladders etc. – that suggest the fragile nature of both structures and beliefs in which we wrap ourselves.

How has my view of self changed as I’ve aged? What do other people see and what do I see when I look in the mirror? Has the blindfold come off? Am I as secure as I think I am? Am I paddling alone? Against the current? What load am I pulling?

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David Robinson, Binary Vision (2003), ed. 6, polymer-gypsum, glass steel, 90.5 x 45 x 20.5 inches.

I view David Robinson’s sculptures as poetry in space. They ask the tough questions about existence. The vast white walls serving as the background to many of the works create breathing room to consider these questions in a gentle, unhurried way that almost feels too bare.

This exhibit complemented the permanent public artwork in the atrium by Alan Storey I’ve been meaning to see for a while now. Talk about balance and tension. This 1600 kg aluminum pendulum swings back and forth from the roof about 6 metres out, aligning with its base briefly before departing again.

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If you’re downtown, I highly recommend you see Robinson’s exhibit before it closes today!

Cycling the Arbutus Greenway

I had seen others doing it and it looked like fun. So today was the day I finally hopped on the Arbutus Greenway for myself.

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This former railway track was recently converted into a paved pathway, connecting Marpole to Granville Island. It provides a designated north-south route for cyclists and walkers to get from one end of the City to another, something sorely lacking up until now.

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I loved it. It was so convenient to hop on 70th Avenue in Marpole and ride to 41st and onto Southwest Marine Drive to meet up with some friends at UBC. On my way home, I took 16th Avenue back to the Greenway so I could cover most of the path. It’s 8.5 km long—here’s a map.

These vibrant poppies and purple wildflowers near 70th were a delight to see as I started out.

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Community gardens line the right side of the path as you’re heading north. Someone had fun with these scarecrows.

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I loved seeing parts of the City I hadn’t seen before. I was riding slowly up Vancouver’s spine, admiring houses that belong in a fairy tale, smiling at strangers standing in gardens with a hose in hand, and breathing in the scent of wildflowers spilling onto the pavement.

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It was a leisurely ride devoid of traffic and steep hills! Most of the intersections had helpful signage that indicated to cross with pedestrians at the light, like you can see these cyclists doing at Arbutus and 16th.

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Benches and portable toilets were available along the way. The biggest hill from this point riding south was winding through the Quilchena neighbourhood. But it provided some fabulous new lookout points, including slices of ocean.

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Something to note is that there aren’t many trees along the trail so shade isn’t an option, which you really notice on hot days like today.

Between Nanton Road and Quilchena Park, these colourful rocks stopped me in my tracks. Their messages and the conversations they inspired were my favourite experiences along the route.

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Painted all colours of the rainbow, they are as diverse as the people I saw using the path: cyclists, walkers, joggers, seniors, kids, families, rollerbladers, people in wheelchairs, skateboarders, you name it.

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“Pretty cool, eh?” An oldish man spoke to me from the walking side of the path and I said, “Totally cool.” He pointed a little further down where a plaque explained this public artwork done by York House Grade 2 students, a Vancouver Biennale project.

I told him this was my first time on the path and he said he walks parts of it almost every day. “So it’s well used?” I asked. “Oh yeah,” he replied. He said it’s packed on the weekends and he’s particularly encouraged to see a lot of seniors walking with canes on it. He said many seniors don’t feel safe navigating heavy intersections, so this designated route gets more people out enjoying nature and the city who wouldn’t otherwise. I completely get that as a cyclist who doesn’t love riding on busy streets!

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Near the sign, I spoke with another man who was admiring the rocks. He said this Greenway really was a case of “build it, and they will come.” Apparently it’s just a temporary path though with plans to make it into “a destination that fosters both movement and rich social interaction – inspired by nature and the stories of the places it connects” (from the City website). I kind of like it just as it is though, with the exception of adding more public art and trees.

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I ended up having a third conversation with someone along the Greenway when I stopped at 57th Avenue to pick up a few things from Choices Markets. One of the Rainbow Rocks said “Make community” and these friendly encounters with strangers seemed to affirm the spirit of that message already, an experience I don’t take for granted in Vancouver.

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Snaps of Summer

A holiday Monday with sunshine like this called me downtown to walk Stanley Park with a friend. The Rose Garden was in bloom so I snapped some pics of that as well.

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Afterwards, I explored Robson Street and enjoyed this patch of public space set up with picnic tables and an outdoor piano at the intersection of Robson and Bute. Great for people watching!

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Here’s a piece of public art at Robson and Jervis called Jasper.

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From the Vancouver Biennale website:

Jasper is a whimsical sculpture by Brooklyn-based artist John Clement. His trademark steel spirals with bold primary colours invite children to touch and play. The turns and loops of Jasper challenge the inherent properties of rigid tubular steel and the result is an implied movement with the sense of twisting right out of the ground.

Whenever I walk by this sculpture it reminds me of balloon animals popular at children’s birthday parties. Or my coil bike lock. No one was playing on it at the time but I like public art you’re invited to touch. If public art is meant to bring art where people are (because not everyone goes to art galleries), I appreciate works that call for different forms of engagement rather than the traditional “looking only”/observer-observed relationship. That being said, some public art provokes more thought than others and while the form is fun, I find the content strongly lacking in this piece. I think good public art brings form and content together in striking ways. What about you?

Hope everyone is enjoying the Canada Day long weekend!

Maudie: A Marriage of Misfits

I am Canadian, work at an art gallery, but had never heard of Nova Scotia folk painter Maud Lewis before.

That changed when I saw Maudie, and I am really grateful to this beautiful movie for introducing me to her (it was filmed in Newfoundland though).

I saw it around the time my own artist-husband and I celebrated a wedding anniversary and it got me thinking about Maud and Everett’s unconventional marriage.

As much as the movie shows Maud painting her charming scenes of rural life in her 13.5 by 12.5-foot house, the story is more about two misfits stumbling their way towards happiness together.

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The artist opening her house covered in paintings (Mongrel Media)

Maud Lewis was born in 1903, tinier than everyone else and with almost no chin. She suffered from juvenile arthritis that worsened as she grew older and made it incredibly difficult for her to hold a paintbrush. In the movie version, brilliantly played by Sally Hawkins, she walks with a limp and keeps her chin tucked in, her body more and more bent as time goes on.

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Typical look on Everett’s face (Mongrel Media)

Everett is an irascible fish peddler with little to no social skills (Ethan Hawke also gives a great performance). That’s why it’s rather funny that when he puts up an ad for a housekeeper and Maud answers it, he takes convincing to accept it.

He reluctantly makes space for Maud in his house, yet doesn’t know what to do with this woman who, despite so much pain in her past (and far from just physical), exudes an infectious joy. She is also very witty.

Everett and Maud eventually get married but they enter into it without ideals. A man Everett works with and his partner are the only witnesses, and he says to the newlywed couple, “I don’t know whether to offer you congratulations or condolences.” Early in the story, he had seen Everett hit Maud.

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Just married (Mongrel Media)

There are definitely times when Everett and Maud’s relationship made me uneasy. As my sister pointed out, their complicated love story is not surprising given they are two hurting people coming together. (My one criticism of the movie is that we don’t know anything of Everett’s past to connect with his pain in the same way we get to with Maud). And yet we see a softer side to Everett as he and Maud spend more time together as husband and wife. Kate Taylor in her Globe & Mail review sums up how I felt watching his character:

Hawke’s precise performance manages to make the plight of an illiterate, insecure and occasionally abusive man deeply sympathetic, inducing pity rather than anger.

When Everett and Maud return home after their wedding, she puts her stocking feet on his dress shoes and they hold each other like they are dancing. She says, “We’re like a pair of odd socks.” He tells her he is an old grey one, all bent and misshapen, while she is a cotton sock, canary yellow. They continue to dance. He says he’s sure to say something cantankerous in the morning again. She smiles.

This was such a tender scene to witness. It showed a choice, an acceptance, to love someone as they are. After living and working together so closely, Maud and Everett didn’t seem to have any illusions about each other. Maud changed Everett to a certain extent, but in other ways, not really. He was still a grumpy, reclusive man who didn’t know what to do with emotion. Do I think they found happiness together? At least the way the film portrayed it, yes. A dying aunt tells Maudie she is probably the only family member who ended up happy. And she certainly looked it, despite her failing body. And she certainly painted it.

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Maud Lewis poses with one of her paintings in front of her home in Marshalltown, Nova Scotia (Courtesy AGNS)

Gold Creek Coincidence

While I wait for the BC election results, here are some pics from a beautiful hike along Gold Creek in Golden Ears Provincial Park on Sunday.

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Cool story: After we saw the waterfall, the Artist and I ate lunch on a stretch of beach below the main trail and stayed there for a while so he could fly fish and I could read. Out of the bushes, bounding towards us from the main trail was a dog that looked an awful lot like Scarlett, my brother and sister-in-law’s Nova Scotia Duck Toller. She was the very definition of a happy dog with her wagging tail and allowed me to pet her for a second before bounding right back up the path to her owner(s). I was pretty sure it was Scarlett though the Artist highly doubted the probability of it. We went on with our fishing and reading. But later that afternoon, back at the parking lot, we saw my brother and sister-in-law and turns out it was Scarlett! Since we had been completely invisible from the path, she must have sniffed us out with that impressive nose of hers. Needless to say, that canine encounter made my day!

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