PTC has worked with some of Vancouver’s most risk-taking theatre makers.
Our Company Collaborations begin with a conversation with the lead artist, and culminate in the larger conversations with audiences. From early research through remounts, our dramaturgs – AED Heidi Taylor; the Dramaturg, Public Engagement, Davey Calderon; and Dramaturg, Creative Engagement, Joanna Garfinkel –are key collaborators, developing new practices to support new theatrical visions.
Inspired by events surrounding the ongoing pro-democracy protests in Hong Kong, Yellow Objects weaves together lifetimes of inter-generational trauma, historical helplessness, and persistent defiance. This play is a collection of what was, what has been, what is, and what could be. This play is a rally for the ones who are still risking their lives out there. This play is written in remembrance of those who cannot be there anymore. This play is a lament of families broken and loves lost. This play is a warning for anyone who would listen, and for those who would not. Or, maybe, this play is just a feeble protest in face of inevitability. Whatever it is, I hope this play is not too late. Yesterday seems so long ago, and yet tomorrow is farther away still. GFHK, SDGM.
PTC and rice & beans theatre have declared a company collaboration for 2018-19 or more as Derek Chan and Pedro Chamale develop their newest projects. Derek and Pedro will continue to work with each other dramaturgically in addition to each writing his own work. Heidi and Kathleen will provide dramaturgical and process design consultation and assistance in developing a structured company creation practice for rice & beans.
Where does our food come from? Who grows it? Who is nourished by it?
Where does our food come from? Who grows it? Who is nourished by it? Made in Canada: an agricultural operetta is an exploration through text and song of just who it is that works the farms that supply our markets, their journeys getting here, what awaits them once they get here, and what it takes for them to stay. The play brings temporary foreign farm workers centre stage – the unseen people who plant, tend, and harvest Canada’s produce. Using their words, news articles, and exploring the legal text surrounding the Seasonal Workers Agricultural Program, Made in Canada weaves together a play that reveals some of the hidden links in Canada’s agricultural sector. It may be local and farm-to-table, but do you really know who picks your produce?
Made in Canada: an agricultural operetta is a new work written by Pedro Chamale with music by Mishelle Cuttler.
A rice & beans theatre production
In collaboration with Playwrights Theatre Centre
Presented in partnership with Boca del Lupo at Performance Works
Made in Canada had a reading at the Heart of the City Festival at DTES Neighbourhood House on November 3, 2018
The premiere of Made in Canada, originally scheduled for May 8 -23, 2020, has been postponed due to ongoing concerns about COVID-19.
The creation of How to Say Goodbye began in the fall of 2019. Since the pandemic of COVID-19, the themes of absence, the passing of time, memory and the inability to leave a space and/or relationship has taken on a whole new urgency.
During the early summer of 2020, the company decided to conduct their next rehearsal process over five weeks via Zoom with support of the City of Vancouver. The Solo Series is being developed from this experience. Three different solos will be developed based on the online rehearsal process. Already, as we embark in this process, there is a longing for all of us to be together in the same room. This longing and absence will be the driving force behind The Solo Series of How to Say Goodbye.
How to Say Goodbye (The Solo Series) will be presented at the Shadbolt Centre for the Arts
Choreography and Direction: Amber Funk Barton
Solo #1 (October 28): Isak Enquist
Solo #2 (November 4): Katie Cassady
Solo #3 (November 18): Josh Martin
deep co-creation, slow process & social handcraft
Mermaid Spring is a new work of interdisciplinary music theatre by Public Swoon, loosely inspired by Weeki Wachee Springs, Florida – a real-life natural attraction where since 1947, women have donned mermaid tails to perform underwater shows. Set between Weeki Wachee and a Gulf Island in the Coast Salish sea, the story follows professional mermaids and tourism workers hustling to hold on to their dream jobs in natural landscapes that are threatened by development.
Equal parts pleasure and panic, investigating Florida helps us ask: how is our enjoyment of a place complicit in its destruction?
Premiere: In view of the global pandemic, the ‘final’ show has been delayed until spring/summer 2022. In the meantime, Public Swoon is focusing on Social Handcraft and curating a series of short artist responses to their project, with a wide community of collaborators. Here’s a taste of what they’ve made so far.
Volunteer crafters working in our network and beyond are using crochet to create abstract, fantastic vegetation inspired by Weeki Wachee, Florida and our own bioregion – Pacific Northwest/Cascadia/Coast Salish territory. Whatever is shared will be used to create part of the stage environment of Mermaid Spring.
As much as a working and crafting collective, Public Swoon imagines Social Handcraft as a listening, reading and observation group, a place for people to find companionship and social connection – thought and feeling. They are using thrifted and salvaged yarn, and working with excellent sponsors like Baaad Anna’s to gather donations of second-hand yarn to share.
Right now, they want to offer crochet as a stress-relieving activity to keep us connected during distanced times. Their bigger vision is to respond to the global climate crisis by looking for alternative ways to produce creative projects. They want to help create solidarity between human labour and the labour of the environment. They see sustainability as a shared cause between art workers and land.
More about Social Handcraft here.
Get Involved at thepublicswoon.org
Resources Page
Yarn Matchmaking Quiz
