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Bringing New West history back from the dead — literally

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Alison Main Tourneur and Jacqollyne Keath share the stage in Body and Soul, running from now until October 29.

What happens when a person travels forward through time only to meet their own ghost? Playwright Elizabeth Elwood explores this possibility in her current production, Body and Soul.

Elwood spoke to The Peak a few days into the show’s run, and she said everything has been going well, aside from having to replace a couple of cast members. “Three and a half weeks ago our stage manager broke his arm, and his cameo role had to be replaced,” said Elwood. He is still managing the show, but wasn’t able to perform.

Only one week before the show, another cast member with a major part fell ill and had to be replaced. “It’s been a real challenge,” she said, “but they got it together for opening and it all went smoothly.” You might start thinking the show is haunted, but it’s not that kind of show — it’s actually a comedy.

The story follows Timothy Grey who leaves his job to write about the history of New Westminster. His friend decides it might be a good idea to bring back a resident ghost in order to ask the ghost about historic details for the book. When the ghost’s previous self ends up travelling through time and they come face to face with each other, things get complicated. “They end up bringing back the real person too, and it gets chaotic; they rewrite history,” said Elwood.

Set in a heritage home in the Queen’s Park neighbourhood of New Westminster, and shown in the Bernie Legge Theatre right in Queen’s Park, the show couldn’t be more local. Elwood explained that she wanted to include as many local references to New Westminster history as she could, and she also based her set design on Irving House to add historical accuracy.

Elwood’s idea of a ghost and the person that ghost used to be travelling through time first appeared in a marionette show she did called The Christmas Spirit. In that show there was a haunted, old fashioned manor house, and the ghost and its time-travelling double seemed to be a hit with audiences. This time, there are actors instead of marionettes, and the only thing that remains is that one plot device. Body and Soul was written over two summers in Pender Harbour, where Elwood does most of her writing.

“People always get a chuckle out of ghost stories,” said Elwood, and she thinks audiences will enjoy the element of romance and humour in this show. “It’s an upbeat, happy show. Not a slapstick farce, but more of a smile and a chuckle; it’s a witty and whimsical story.”


Body and Soul will be presented by the Vagabond Players at the Bernie Legge Theatre from October 6 to 29. http://www.vagabondplayers.ca/body-and-soul  

Acting out gaps in Cantonese culture

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SFU alumnus Milton Lim (left) shares the stage with Raugi Yu (centre) and Andrea Yu (right) in Gateway Theatre's production of King of the Yees.

SFU theatre alumnus Milton Lim has been busy over the past few years with his company Hong Kong Exile, creating and directing interdisciplinary works. He doesn’t often find himself acting in another company’s work, and he is very excited to be playing Danny Ma in King of the Yees at Gateway Theatre. He is also enjoying this role because he shares a cultural background with his character, which doesn’t often happen. “It’s satisfying to have that specificity.”

Playwright Lauren Yee based King of the Yees on her relationship with her own father, and the story follows Lauren as she embarks on a journey after the disappearance of her father in San Francisco’s Chinatown. Because the characters are based on real people, Lim said he did a considerable amount of research in order to properly represent his character. “But I didn’t have to dig deep about living as a young Chinese man; that research has been done,” he laughed. He did however have to learn a bit of Cantonese for his role.

Lim described the play as a very accurate representation of the gaps and deficiencies in knowledge that can occur between family members in Cantonese culture, allowing for a greater appreciation of the complexities of the culture. “For people of our generation, it’s parallel to Lauren Yee’s experience,” he said. He thinks all audience members, regardless of their cultural background, will relate to the father-daughter relationship, concerns about personal cultural history, and intergenerational gaps in knowledge. “I personally look forward to my parents and brother coming to see the show. I think it will be affectual; it will start a conversation.”

With fantastical elements and a lion dance, the play sounds like an entertaining ride with a strong, unpredictable plot. In a behind-the-scenes video produced by the Goodman Theatre in San Francisco, Lauren Yee described it as starting from a very realistic place and then exploding into a joyride.

There are other SFU folks involved with the show, including sound designer Stefan Smulovitz who is a music instructor in the School for the Contemporary Arts, and director Sherry Yoon who is an alumna.


King of the Yees will be presented at Gateway Theatre from October 13 to 22. https://www.gatewaytheatre.com/yees

Exploring the idiosyncrasies of elections with Fight Night

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Fight Night takes the concept of how voters can be influenced to the stage.

With the US presidential election looming, politics and democracy are on many people’s minds. Fight Night explores the way democracy works and how easy it can be to be influenced by a candidate.

On the phone from Belgium, Angelo Tijssens — the writer and cast member who plays the “ringmaster” role in the show — explained that making a show where the audience could vote was an idea that their artistic director, Alexander Devriendt, had on his bucket list for a while. “It was something he thought he’d like to do one day.”

After Belgium went through a period of having no government, they began talking more about the idea of creating the show. “We had no government for 540 days. No party could form a majority, so we started talking about doing the show.”

The audience is given a device to vote electronically for their choice of the five actors after each segment of the show — similar to a televised debate — and actors are eliminated along the way.

The actors are not representing themselves as politicians, but they use the same strategies to gain audience support such as portraying themselves as the underdog or appealing to emotions. Tijssens said, “We wanted to make a show about what happens when you get to the voting booth; how easy is it to be influenced?”

The actors may be on stage for one segment or for the entire show, and often compete with each other to see who will last the longest. “Some actors are in the dressing room for 75 percent of the show,” explained Tijssens. But they’ve learned how use audience appeal to their advantage. As Tijssens said, “There are subtle little ways to bend the rules we’ve made for ourselves.” They never know how the show will end and have to prepare for any eventuality. For example, one segment is set up as a talk show where they discuss what has happened so far, and this scene has 128 different versions.

“It’s a battle, of course,” said Tijssens about elections. From the way debates are set up as win or lose affairs, to the many war and sports analogies used to describe them, they are seen as a fight among the candidates. “Before we had democracy we had to fight to decide who would rule,” explained Tijssens. “It’s still a battle, but now it’s semantic warfare.”

Another concept they wanted to explore through this show is the tyranny of the majority: the idea that a majority of 50+ percent can have all of the power, and the rest of the public has no say. “History has shown us that there is no better system than democracy,” said Tijssens. He believes there are simple changes we could make to improve it, though, such as reducing the amount of money involved in an election. “Money buys you votes, votes get you power, and power gets you money,” said Tijssens. It’s a vicious cycle.

Tijssens has never been to Canada (“the better half of the continent,” as he described it), and he is looking forward to spending a couple of weeks in Vancouver, with plenty of time to sightsee during the day before taking the stage at night.


Fight Night will be presented at the Cultch from October 18 to 29. http://thecultch.com/events/fight-night-2/

Five banned books you might want to read

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Sometimes the greatest books are the ones we're told not to read.

“The books that the world calls immoral are books that show the world its own shame.”

Oscar Wilde’s quote is perfect for capturing the spirit of Banned Books Week. Occurring annually from September 25 to October 1, it’s about celebrating the freedom to read. It is an important event that highlights the role literature has in challenging our society. Here are five books that stand out from dozens of banned titles, to get you ready for next year’s event.

1984 by George Orwell

Banning a book about surveillance and oppressive state organizations seems more than a tad ironic. The American Library Association (ALA) notes it’s one of the most challenged and banned books of all time.

Orwell’s novel highlights issues like surveillance, privacy, and free will. It was banned and burned by Joseph Stalin for its negative portrayal of communism. During the Cold War, many American schools also banned the novel.

Though 1984 was published in the late-1940s, it still remains incredibly relevant today.

The Lorax by Dr. Seuss

Even children’s books can be scrutinized. Dr Seuss’ The Lorax aims to teach children about environmentalism and conservation using the fictional and fuzzy creature, who “speaks for the trees.”

This simple message of sustainability quickly became controversial in the small logging town of Laytonville, CA, due to concerns that children were being “brainwashed” by the book. The conflict escalated and became known both nationally and internationally, creating a large conversation around issues of environmentalism, as well as academic freedom.

Habibi by Craig Thompson

Not even the graphic novel is safe from criticism.

Thompson took seven years to create this novel about child slavery and young sexuality. Appearing at the eighth spot on the ALA’s 2015 most-challenged book list, Habibi has been challenged for its nudity, sexual explicitness, and unsuitable content for its young audience.

Thompson’s work has also been examined for its Islamic content, and some say that it does a disservice to Muslim culture, particularly Muslim men.

The Satanic Verses by Salman Rushdie

The Satanic Verses is a novel from 1988 that explores themes of faith, identity, and the immigrant experience.

The novel was incredibly controversial among Muslims, with many saying that it was blasphemous toward their faith. This resulted in Rushdie receiving death threats, and also caused riots. Due to tension the novel caused, several countries banned the novel, and many US bookstores stopped selling the book.

Rushdie lived in hiding for over a decade because of this novel.

Fahrenheit 451 by Ray Bradbury

Fahrenheit 451 is about burning books. Bradbury imagines a future in which books are systematically burned, leaving a population that is apathetic and lacking critical thought.

Bradbury’s novel has been challenged several times by schools in the US for indecent language, and resulted in expurgated copies being printed for high schools. Bradbury claimed that his novel is about censorship, but is also about his fear of an illiterate society.

FOOD FIGHT: Bao Bei presents problematic dining

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The experience is just as important as the food, and a confusing environment makes for a confusing experience.

Bao Bei is a modern Chinese restaurant on the outskirts of Chinatown, an accessible 10-minute walk from Main Street SkyTrain Station. It’s critically acclaimed, but might make you bitter.

Let me start by saying it is not student-budget friendly, but if you bring a couple friends to share dishes with, it is very well-worth a visit. It is a unique restaurant, as stated on its website — whether it be for the positives or the negatives.

The signage and exterior are a blatant symbolic representation of Chinatown, but the moment you walk in, the ambience is startlingly Gastown. What made me uncomfortable about this isn’t the clean-cut, hipster, Western ambience when you walk in, but that they try so desperately to facilitate the exotic and oriental elements of Chinese cuisine. It’s very strange and slightly offensive.

The bartenders clearly know what they are doing. Trust me, you want one of their signature cocktails. All the juices they use in their cocktails are freshly squeezed, and it makes all the difference. The harty paloma was absolutely beautiful — a delicate balance between sweet and tart. They also have a finely curated wine list, with descriptions that are actually helpful in choosing the right wine to enhance your dining experience.

The quality of the ingredients Bao Bei uses are something they pride themselves on. All of their animal products are ethically raised and sourced. They also offer several vegetarian and vegan options, as well as many menu items that can be made vegetarian.

My recommended vegetarian dishes are:

The sticky rice cake (just make sure to ask them to make it vegetarian!). It’s delicious, and can easily be shared between two people.

The bean curd skin, if you want to try something different but surprisingly delicious.

The vegetable potstickers. They are made in-house by a woman named Helen, and wow, this woman must be a goddess, because the potstickers are incredible. The texture and flavour are perfect and the spices are not overpowering.

I would be hesitant to recommend the shan tofu. It is a vegan dish, but the chickpea tofu is almost slimy in texture. Although the flavours from the accompanying yuzu, miso, portobello, and sake vinaigrette are incredible, the texture did not sit well with me.

If you are looking for a new restaurant scene to try and are in the “treat yourself” mood in terms of finance, consider giving Bao Bei a whirl. I personally couldn’t separate the slightly unpleasant gentrification and orientalization of the restaurant from my meal experience, and left not knowing if I would come back.

Five beers to warm your autumn nights

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Nothing says autumn like a delicious craft beer.

I will confess, my love of beer only just began over the summer. Since that first blush with a floral ale, I’ve delighted in sampling lagers, stouts, and wits. Now, a new season welcomes a new array of brews. Here are some of my favourite autumn bevs, to keep warm on chilly October nights.

Storm Brewing – Vanilla whiskey stout. I actually tried this beer over the summer, but it seems best-suited to fall and winter. It’s spicy and dark, and the whiskey undertones keep the vanilla from becoming a saccharine sweet. If, like me, you’re not a fan of hop-heavy beer, this might be a good intro to the dark side.

Phillips Beer – ”Crooked Tooth.” Of course there’s at least one pumpkin beer on this list. This ale is light and a little spicy, but not heavy on the nutmeg and cinnamon. Phillips generally makes solid brews, so if you like this one be sure to check out the “Toothless” and “Crookeder Tooth” versions.

Steamworks – Pumpkin ale. In case the last pumpkin ale wasn’t enough, here’s another gourd-geous option. This one struck me as a wee bit softer and warmer than the Phillips Beer version, but both are very drinkable. Neither is too heavy, so you can drink either one — or both — all night without feeling like you’re stowing an actual pumpkin in your belly.

Postmark  — ”Oktoberfest.” I’m a sucker for floral beer, and for beautiful packaging. Postmark’s “Oktoberfest” has both going for it. This one isn’t spicy or pumpkin-infused, but it’s a light lager that goes down easily. If you’re looking for a darker option, Postmark’s stout was the 2016 Gold Medal Winner of the Canadian Brewery Awards, and it also has a highly Instagrammable label. You know, if that matters to you too.

Raven – Cream ale. I’m not always a fan of chocolate beer. It never really tastes like chocolate, which is more of a betrayal than my tastebuds can bear. The worst chocolate beer that I ever had tasted like fancy hand soap. This beer — a cream ale with notes of chocolate — is the perfect take. It’s not trying to be a chocolate bar; it’s just nutty with a hint of sweetness.

Meet the musician who’s doing a PhD for fun

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Tom Krell (How to Dress Well) mixes experimental and ambient sound with the immediacy of a rock star.

When How to Dress Well, the stage name for Tom Krell, arrives in Vancouver for a show at the Biltmore Cabaret, he’ll find loads of friends and family, and a city that’s ready to party for the last show of his North American tour for his latest release, Care.

He spoke with The Peak before his show in Dallas about what makes his show worth going to, what German philosophy and nihilism have to do with his sound, and what music is all about for this American singer-songwriter.

Though he specializes in an ambient and experimental sound, with a sprinkling of pop, Krell’s voice sounds raspy and almost rocker-like while performing live. “The show is really, really unique insofar as it’s extremely beautiful moments paired with really energetic and fun, loud and dance-y moments. I don’t think there’s anything else like it on the road right now. It feels special.”

For Krell, how the music feels is everything.

“It’s fun to do the live show because some songs just feel amazing, just the way the vocal melody sits in my body, or the way the guitar sounds or the drums rock.

“It’s such a naïve, bodily, very free and playful thing — the music writing — whereas as an act, philosophy is a discipline. It’s a totally different kind of game.”

As for whether his doctoral pursuit influences his music, the simple answer is no. “I mean, obviously, there’s a common thread between music and the philosophy studies, and that’s me. But they’re extremely different kinds of acts. Like, I also play a lot of basketball, but that doesn’t really affect my sound either. It does give me a lot of bodily pleasure to do that, and so does singing, so there is some common ground, but not really.”

As for how he juggles his philosophical pursuits with his life as a musician? “The study is just like, it’s not a career or anything. It’s just something I’m doing for leisure.”

Despite Care having only come out last month, Krell’s already thinking to the future. “I’m always writing. I’ve done a few songs in the last few months that I’m extremely excited about [. . .] I’m always just following these songs around, thinking of what feels really good, and always writing.”

How to Dress Well also likes to switch things up on stage, to play with the set list and make each experience something special. “Lately, I feel like ‘The Ruins’ and ‘Made a Lifetime’ — we did them back to back last night (in New Orleans) and it felt so fucking sick.”

Krell will be here to play as much music as he can. “Sometimes, when you’re up there [on stage] you’re like, ‘Can we just do every song? Can we just stay out here forever?’ And then the venue’s like, we have to close. We need to clean up.”

How to Dress Well will be at the Biltmore Cabaret on October 20. Tickets are available on Timbre Concerts’ website.

Canada’s Human Rights Codes should address size-based discrimination

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Jon Gerrard, a Liberal MLA of Manitoba, recently introduced a private member’s bill aiming to “forbid discrimination based on a person’s ‘physical size and weight,’” according to The Huffington Post. But Gerrard doesn’t want to stop there. He wants Manitoba to pioneer an effort to get obesity covered under the Human Rights Codes of all Canadian provinces.

When we talk about human rights in our country, we’re thinking of freedom, access to food, education, and clean drinking water. Then there’s the laundry list of attributes that nobody should use to discriminate against others, such as race, religion, sexual orientation, and the like.

Essentially, we frame laws with the notion that while you can’t be faulted for being who you are, what you’ve become through the decisions you’ve made is fair game.

In other words, some might argue that while you have no control over the race or gender you are born with, obesity happens because of your choices. Should our laws really protect size and weight the same way they protect other traits?

While choice certainly plays a role in some cases, research partially ties obesity to genetics, as well as to medical conditions like thyroid disorders. Some actually have a higher propensity to put on weight later in life, beyond their control. This is reason enough to put it in the Human Rights Code.

The sheer number of people who are stigmatized for their weight makes doing so only practical. According to the Obesity in Canada report of 2016, roughly 25 percent of Canadians are obese and around 36 percent are overweight. Senators Art Eggleton and Kelvin Ogilvie, members of the committee that produced that report, stated in a special to The Globe and Mail that approximately two-thirds of adults and a third of the children in this country fall somewhere in that spectrum of obese to overweight.

These figures suggest that size-based prejudice just might affect more people than prejudice against anything else on the Human Rights Code does.

I concede that no legal action or symbolic act is likely to completely eradicate the name-calling, physical abuse, social exclusion, and the like that can come with one’s size. Tackling this requires the same earnestness and commitment from all stakeholders that fighting other social injustices does. But law can help fight the intolerance present in spheres of life such as employment, housing, or public institutions — spheres where cases of discrimination are numerous.

For instance, in 2010, a Quebec Human Rights Commission ruled in favour of a woman who alleged discrimination because she was denied a disabled parking spot by her condominium. More recently, Gerrard himself referred to cases of people “who should have had screening tests but didn’t, who should have had immunizations but didn’t, who didn’t get the kind of care they should have got,” reportedly due to their weight.

Several human rights commission rulings have sided with plaintiffs, due to those individuals’ obesity being considered a disability. While that might seem good enough, adding it to the Human Rights Code by itself (as opposed to a being a subsection of disability) might give current and future cases more legal gravitas.

Legally, obesity isn’t concretely classified under disability, which lengthens the process of seeking justice. Including obesity in the Human Rights Code would remove ambiguity as to who falls under it and what constitutes discrimination, while making judicial recourse quicker for victims.

Obesity exists worldwide, and policymakers need to take bold steps to help, but we must protect those struggling with it while we look for a solution. Their rights and their personalities aren’t defined by the tape measure or the weight scale, nor should they be.

ALBUM REVIEWS

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By: Tegan Gallilee-Lang, Courtney Miller, and Tessa Perkins

Remember Us to Life by Regina Spektor

You might know her as the voice behind Orange Is the New Black’s opening theme. I know her as my mom’s favourite singer-songwriter. Four years after What We Saw from the Cheap Seats, Regina Spektor has yet again cultivated an elegant and insightful gem.

While Spektor continues to rely on piano as her main instrument in her sixth studio album, she experiments with synth and peculiar percussive sounds. Fans of Spektor’s will continue to enjoy her signature quirky melodies and clear voice while getting to experience a new depth of sound.

The album artwork is representative of its theme: Spektor gazing back at the words and lives of old souls. Throughout the album a cinematic chorus of strings contribute to this nostalgic feeling. This album is the perfect soundtrack to the moment you look back and smile after a great adventure. – Tegan Gallilee-Lang

Revolution Radio by Green Day

The new Green Day album sounds like an old Green Day album. And that’s not a bad thing.

The band still has its knack for taking intelligent political commentary and making it palatable, pairing their thoughts with driving beats and urgent melodies. And Billie Joe Armstrong’s distinctive voice gives them away every time; it’s immediately obvious who you’re listening to.

This album is a good mix of fast-paced rock anthems and slightly more laid-back rock ballads. The title of the first single, “Bang Bang” — a commentary on the senseless violence of war — could be referring to gunfire or to the head-banging beat that makes you want to turn it up and jump around your house screaming the lyrics like you did in high school.

Less high-concept rock opera, more political punk rock brilliance, and a classic Green Day sound make this album as strong or stronger than any of their previous work. – Tessa Perkins

idina by Idina Menzel

Idina Menzel’s vocal range has not suffered throughout her absolutely stellar career. The vocals on idina are big, sweeping, and you can tell — even if you somehow haven’t heard of Menzel — that she comes from Broadway.

While the album is somewhat of a mixed bag, featuring ballads (“I See You” and “Everybody Knows”), electronic beats (“Like Lightning”), upbeat danceable tempos (“Queen of Swords”), and even a slight country lilt (“Small World”), it all works together to create an album that has a strong sense of musicality.  

This album oozes talent — not only Menzel’s but also the production team’s — making it an album that is pleasant to listen to at any time. – Courtney Miller

Passive aggressive gift ideas

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Being passive aggressive isn’t just a behaviour, it’s a lifestyle. It’s a delicate mixture of being clever and vindictive, delivered in a delightfully snarky way. If you’re looking to add more drama into your life, let this not-so-friendly gift list be your guide.

A stationery set for the asshole who never sent a thank-you card

No, really, it’s fine that you never sent a thank-you card. Truly, I only spent hours trying to figure out the perfect gift, and then paid for it with my own hard-earned money. Don’t worry about it. The fact that the set’s letterhead says “Thank You” at the top means nothing honestly.

A planner for the dickhead who forgot your dinner plans/birthday/anniversary/etc.

OK, so I’ve already written down every important event that has to do with me for the next month. Additionally, I’ve added weekly reminders all you have to do is read, and then show up on time. Do you think you can manage that?

An unloaded Starbucks card for the regular customer who doesn’t tip you

Not so fun seeing zeros when you expected money, is it now? Let’s see how much you like it when you can’t afford to treat yo’ self.

A pack of diapers for the friend who just won’t grow up

What do you mean you’re in your 20s? With the amount of whining you do, I could have sworn you were a toddler. You’re really not going to like the food I brought, then: it’s baby formula. Annnnnd now you’re crying. Do you see why I thought you were a literal infant?

A swift kick to the nuts for the misogynist in your life

Fuck you, my dude.