Author: Laurent Pitre

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World Press Photo exhibition opens in Montreal

3—Gumda, Nepal. Saturday, May 09, 2015: Nepalese villagers look on as they watch a helicopter picking up a medical team, dropping aid at the edge of a makeshift landing zone on May 9, 2015 in the village of Gumda, Nepal. On the 25th of April, just before noon local time, as farmers were out in fields and people at home or work, a devastating earthquake struck Nepal, killing over 8,000 people and injuring more than 21,000 according to the United Nations Office for the Coordination of Humanitarian Affairs. Homes, buildings and temples in Kathmandu were destroyed in the 7.8 magnitude quake, which left over 2.8 million people homeless, but it was the mountainous districts away from the capital that were the hardest hit. Villagers pulled the bodies of their loved ones from the rubble by hand and the wails of grieving families echoed through the mountains, as mothers were left to bury their own children. Over the following weeks and months, villagers picked through ruins desperate to recover whatever personal possessions they could find and salvage any building materials that could be reused. Despite relief teams arriving from all over the world in the days after the quake hit, thousands of residents living in remote hillside villages were left to fend for themselves, as rescuers struggled to reach all those affected. Multiple aftershocks, widespread damage and fear kept tourists away from the country known for its searing Himalayan peaks, damaging a vital climbing and trekking industry and compounding the recovery effort in the face of a disaster from which the people of Nepal continue to battle to recover.

Displaying the best photos of the year, the World Press Photo exhibit returns for its 11th edition

Open since August 31, the World Press Photo exhibition captures the most remarkable major events of 2015. The 11th edition of the exhibition displays photos of events such as the November Paris terrorist attacks and the devastating earthquake in Nepal.

The exhibition of award-winning photos is showcased across 100 cities in 45 countries reaching a global audience of four million people each year, according to the World Press Photo website.

“The Montreal edition is one of the most popular amongst the hundred presented around the world,” said Matthieu Rytz, president of the Montreal event, during the media opening on August 30. “Our privileged relationship with our visitors speaks volumes about the Montreal community’s curiosity and level of involvement in the evolution of our societies.”

The image Hope for a New Life won the 2016 World Press Photo of the Year. The black and white photo of a Syrian man passing a baby through the sharp razor wire frontier between Serbia and Hungary was taken by Australian photographer Warren Richardson.“The jury chose this image for its simplicity, power and symbolism,” said Francis Kohn, Agence France-Presse (AFP) Photography Director and Jury President. “[AFP] believe[s] it contains almost all the components that define the refugee situation. At once somber and timeless, it defines reality classically, in the most noble terms. This photo speaks to us of anguish, vulnerability and hope.”

Like all images, it tells a story. It was taken at night, the only time the group of refugees could attempt the dangerous crossing into the next country—this is the story behind the blurriness of the photo, Kohn explained.“He couldn’t use the flash,” said Kohn. “He did what any professional would do. Indeed, technique is also adapting to the circumstances.” Kohn said the photograph was never sold or published. The full story of the man or the baby is not known, however, Kohn said Warren Richardson was still in contact with the group and had been informed that they had made it safely to Germany.

The World Press Photo exhibit features photos of protests in Paris. Photo by Corentin Fohlen.

A picture that truly stopped me in my tracks was the image of a young girl, gripping the cold metal bars of a fence in a Serbian refugee camp, her face covered by a thin film of floating plastic, staring into space. Another child in the background stares unapologetically at the camera, at us, and then, we are confronted with the truth behind the gaze of both children. This photograph was taken by freelance Slovenian photojournalist Matic Zorman and won the first prize single in the people category. It made me think of a child playing and making the best of her situation. Over the course of their dangerous journey towards an uncertain future, they have seen, felt and experienced everlasting traumas. I was captured by this image, struggling to define it between comedy and tragedy. The story behind the image left me hoping for the family’s safe passage to a better home, but fearing that as news coverage of the refugee crisis decreased, so do the chances of a better life for these children.

The eight categories of the World Press Photo exhibition are spot news, general news, contemporary issues, daily life, nature, people, sports and long-term projects. Depending on the category, entries could be single shots or multi-image projects.

On the upper level of the venue four complementary exhibits reveal diverse stories, some of which have unique ties to our city.  I am not from outer space tells the stories of newly-arrived Syrian families in Montreal, while In Search of Billions Lost, Oxfam-Québec addresses the issue of tax havens. Viewers can witness daily work of foreign correspondents, detailed by the ICI RDI – Quoi qu’il arrive. The Festival du Nouveau Cinéma’s Cartes blanches series supports six to eight film directors in the free expression of a topic of their choice.

Founded in 1955, World Press Photo is a non-profit organization with headquarters in Amsterdam. According to their website, the foundation is committed to developing and encouraging the highest standards in photojournalism and documentaries worldwide.

The World Press Photo exhibit will be showcased at Marché Bonsecours until Oct. 2, 2016. For more information visit their website.

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Arts

A journey to heal, to grow and to forgive

The Nisei and the Narnauks whimsically tackles difficult historical themes

Kimiko (Stefanie Nakamura) travels from an internment camp across British Columbia.

I trudge through the land of ice and snow: Montreal. I arrive at the point promised: the Maison des arts interculturels (MAI). I sit in the front row of a theatre full of people, eyes fixed on a scene which will unfold. As the lights fade we—the usher beside me, the actors on stage, the director in the back row—all fall into the dreamworld of this play. In the dark, a pact is made. We suspend our disbelief. We believe. We dream.

 

We are introduced to a young girl on a quest to tell the story of her grandmother’s journey home from a World War II Japanese-Canadian internment camp. As Kimiko relives a time of great hardship, injustice and strife, we follow her hopeful young soul on a magical voyage through the mysterious Canadian woods to return to her sick grandmother. Along the way, she meets a valiant and funny sidekick, Raven: a “Narnauk” or magic spirit. Together they face impossible odds, defeat misunderstood rabbit-eating villains and even make a few friends. The rest? You will have to go see for yourselves!

 

The show is impeccably presented, joining theatre, music, song, dance and puppetry. Altogether it weaves a story-telling tapestry that we, story-listeners, crave like a warm campfire in a winter storm. Each puppeteer sacrifices body and soul (but mostly body, as the actors tell me) to breathe life into every moment of the beautifully crafted puppets’ roles in the play. Eventually, the line between puppet and actor is so blurred that we believe in talking ravens, wolves and magic spirits.

 

I recommend this show for story-listeners of all ages and walks of life. It opens up the discussion of a long-forgotten dirty secret of Canadian history and leaves hope for future forgiveness. If you want to warm your hearts, minds, bodies and souls, head down to the MAI for The Nisei and the Narnauks by Paul Van Dyck until Feb. 22.

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Arts

Puppets make light of Canada’s dirty little secrets

The Nisei & The Narnauks uses captivating visuals to illustrate difficult themes.

Paul van Dyck’s latest offering tackles the reality of Japanese internment camps

The Nisei & The Narnauks is an outlandish play set in a historical Canadian context. In the guise of an Alice in Wonderland-like coming-of-age adventure story, this play examines the distressing treatment of Japanese Canadians during World War II and juxtaposes it with the overall treatment of First Nations people.

Rising playwright and director Paul Van Dyck states that the idea for the play came during his exploration of Canada’s “real” history.

“In school I was taught that Canada was a ‘melting pot,’ a happy multicultural utopia. I was lied to. When I later learned about the internment of Japanese Canadians, the treatment of First Nations, and the ever present racism in my own community, I was perplexed and angered. I wondered how this could happen in my own country. But mostly I was afraid at how easily these events could be swept under the rug, for when our mistakes are forgotten, that’s when they’re repeated,” he said.

However, this play is a guaranteed pleasure for all ages and all walks of life. Life-like puppets (sometimes giant-sized), live music, lively actors and a magical storytelling experience will captivate you, move you and transport you to a fantastical land where a young girl makes sense of her world.

The Nisei & The Narnauks uses captivating visuals to illustrate difficult themes.

“I believe this will be an important play. I think it will educate a lot of people, and it will do so in a delightfully subversive way. It will take them on a journey of magic, and beauty, and adventure. And at the end of it all hopefully they won’t want to put their heads back in the sand. They may even want to know more and demand more of the country we live in,” he continued.

And at the very least, Van Dyck says that if you’re not learning anything, you will still be very entertained!

Persephone, once again, has given opportunities to emerging artists. The play features four young, energetic and vibrant actors playing multiple parts through mask and puppets, while also providing all the live sound effects and music. Dawson College alumna Stefanie Nakamura plays young Kimiko. From John Abbott, Michael Briganti takes on the role of Kimiko’s side kick, Raven. Concordia University gives us the final two actors in Jimmy Blais and Brefny Caribou.

Blais tackles the physicality, the voice and the focused performance of a     myriad of characters, ranging from princes to wolves. He said that the experience is an “opportunity to tie down to his native roots,” and that the puppets form a bridge that allow the audience to enter the story, while the engaging use of live music helps to tell “a multi-layered show,” allowing this mythical story to be “carried along.”

On the production side, Peter Vatsis provides designs for both set and lighting, while Melanie Michaud takes on costume design. Persephone welcomes the chance to work with puppet and mask maker Zach Fraser. Assisting Van Dyck with direction is Sara Rodriguez, all under the helm of stage manager, Isabel Quintero Faia.

The MAI (Montréal, arts interculturels) presents, in collaboration with Persephone Productions, The Nisei and The Narnauks by Paul Van Dyck from Feb. 5 to 22.

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Arts

Spring Awakening: The Musical revamps a classic

ere are Zachary Creatchman as Melchior and Gab Lubin as Wendla performing on stage. Photo by Joseph Ste-Marie

Singing about what it is like to be different

Spring Awakening: The Musical hit all the right notes, both literally and figuratively. From the talented actors to the musicality of this unconventional musical. It is currently presented at the Centaur Theater as part of the Brave New Looks program.  Christopher Moore and Gabrielle Soskin directed this adaption of the 2006 Tony Award winning musical based on the play by Frank Wedekind first premiered in 1906.

ere are Zachary Creatchman as Melchior and Gab Lubin as Wendla performing on stage. Photo by Joseph Ste-Marie

Spring Awakening: The Musical is a coming-of-age story in the shadows of a late nineteenth century German society that squeezes life out of the living. Two young friends, Melchior and Moritz, are faced with the pressures of becoming men, while Wendla and her friends navigate a world ruled by dangerous men and impulsive boys. Melchior and Wendla are grabbed by youthful love, while Melchior finds himself trapped in the confusion of growing up. Mistakes are made and decisions are taken, changing the lives of both the young and the old forever. The play deals with issues that were censored from public discourse in the past and are often scarcely tackled in an intelligible way in modern society, such as homosexuality, teenage sexuality and physical abuse. Although this material can be difficult to watch and will surely incite strong emotional reactions, Spring Awakening: The Musical talks about issues that are relevant to an inter-generational and widely diverse Montreal population.

Persephone’s revamped production takes this classic musical to new heights. The live music, the interplay of the lights, the energy of the cast, everything in this show makes you want to see it again. The audience can unmistakably feel the collaborative spirit of the ensemble throughout the play. Each actor can take us from sadness to hilarity in a heartbeat. Having seen the play before with almost the same cast, it was refreshing to see that the show was not at all a recycling of past success. This version was a huge development on an already strong foundation. Actors seemed really comfortable in their characters and the stories, lending a remarkable authenticity to the performance.

This is an excellent play for students of all ages and walks of life, particularly in our day and age. The play makes it easy for everyone to identify with the young souls seeking to understand the world around them, to feel love, to live life, to leave their mark. This musical leaves you with a feeling of hope for the future, a whole lot of relief from expelling welled-up emotions and a belly full of laughter for all the comedic genius behind what these young actors craft on the stage.

Spring Awakening: The Musical runs until Oct. 11 at the Centaur Theatre. Regular tickets are $35, student/senior tickets are $27. For more information, call 514-288-1229 or visit centaurtheatre.com.

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Arts

Break a leg Mrs. Robinson

The Segal centre kicked off their new season on Sunday with it’s premiere of The Graduate. The play is an adaptation by Terry Johnson based on the novel by Charles Webb and the iconic motion picture screenplay by Calder Williams and Buck Henry.  As you may know, it is the story of Benjamin Braddock, a young man that, after graduation, finds himself in the middle of what will end up being one of the most defining moments of his young adult life. This sad, precarious and very significant moment involves being entangled in a dangerous love triangle and being torn between the mother and daughter of his father’s business partner. Seduced by the magnetism of experience, but mesmerized by a hopeful future, Benjamin is caught in a tidal wave of events that will shape the course of his life.

The play is dropping the audience directly into the universe of the ‘60s. In this era of social, political and cultural transformation, the young brave baby boomers seek to break from the old monotony and the plastic facade of happiness of the post-war Silent Generation. From its kitschy-looking carpeted floors to it’s glamorous jungle-like dresses, The Graduate evokes this liberated generation. It also portrays an earlier world surfing on beautiful revolutions and personal discoveries which successfully relate to today’s issues. A stellar cast and crew are included in the play, notably Stratford’s young leading man Luke Humphrey as Benjamin and Shaw Festival’s favourite Brigitte Robinson as Mrs. Robinson. Also, an original score of live music composed by Matthew Barber and Justin Rutledge and inspired by Simon and Garfunkel’s soundtrack of the famous motion picture will surely charm the audience. Andrew Shaver’s direction also gives the play a promising value.

The Graduate will be presented from Aug. 31 to Sept. 21 at the Segal Center for Performing Arts. Also, for you theatre lovers out there, on Aug. 31 at 11 a.m., the Segal Theatre will be hosting Sunday-@-The Segal: Talkin’ ’bout my generation The Graduate, with guests Andrew Shaver, Justin Rutledge and Matthew Barber. Furthermore, you should check out Class Act Theatre Club, Sept. 3 at 7 p.m., a pre-show conversation with Andrew Shaver, and Monday Night Talkbacks, Sept. 8 and 15 after the 7 p.m. performances, with members of the cast.

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