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Low Vision Accessibility

PRIORITY SEATING:

If you have Low Vision and require priority seating, please let our Front of House volunteers know. Our venues open 15 minutes prior to show time, and they will provide you with priority access to the venue.

 

“LOW VISION FRIENDLY” SHOWS:

Shows listed as “Low Vision Friendly” were identified in consultation with the Blind/Low Vision community. We invited the artists to provide notes about their show that may add to your experience and enjoyment. These are included below. For full show descriptions and tickets, click the show title.

 

PERFORMANCE WORKS

A Side of Rice 

Hi, I’m Nicholas Rice. But please feel free to call me Nick. And my show, which I hope you’ll enjoy, is A Side of Rice. 

I started acting in high-school in Winnipeg, then I continued at UBC, and I’ve been professional since May 1975. It’s a long time! Now, as I approach seventy (if all goes well, I’ll hit the big seven-0 in October), the jobs aren’t as plentiful as they once were. The folks who used to call me out of the blue to offer me work are now retiring or passing away. And this is to be expected. So now it’s up to me to make my own work. Over time a lot has happened to me and I’ve got a ton of stories I want to tell. A Side of Rice is my collection of some of them. 

It’s just me, alone on stage, telling my stories to you. I have no special costume. As I have a very pale complexion, I wear something dark, something to set off my face.  

There are no props.  

Aside from the fact that I roam the stage to try to connect with my listeners – and aside from the fact that at one point I demonstrate a few seconds of The Twist – there are no major actions. 

I try to speak clearly too. After all, as someone who has spent most of a career on the stage without a mic, I want to be understood. Not only that, but between my acting gigs, I work as a substitute teacher – so again it’s vitally important that I be understood. 

As part of A Side of Rice, I want to greet my audience as they come into the theatre. Perhaps I say a few words of farewell to them as they leave. If you get a chance, please say hello to me – don’t be shy, I’m probably the least frightening soul you’ll ever meet and I would love to meet you. 

That’s it. Enjoy my show.  

Till you do, I wish you all the best during the Fringe, and through the rest of the year and beyond. Stay safe, be well – and please accept my deepest thanks. 

Nick

A Toast to Prohibition

The stage is set up with a vintage-style microphone on a straight stand to the right, with a small table beside it. On the left of the stage is a bar setup with a large wooden cabinet filled with vintage bottles and glasses slightly behind, and a table in front with other bottles, as well as glasses and a recipe card for a drink titled “Three mile limit.”

There is a sign on the bar showing a cartoon sparrow wearing pearls and a hat and holding a martini glass. The top section of the wooden cabinet contains a stuffed pig, which is revealed later in the show.

During the show, the singing takes place at the microphone, and the talking occurs centre stage and at the bar area.

The costume is a dark blue dress, covered in beads. It is knee-length and is reminiscent of a flapper dress. There is also a long pearl necklace, black fishnet stockings, and silver heeled shoes. The costume also has a bright green headpiece, with two feathers and a beaded decoration.

The show is easy to understand without the visuals, as it is primarily a singing show. At one point when a hatchet is mentioned, there is a hatchet prop, and when the temperance movement is discussed, a sash with the words: “Ban Demon Rum” are added to the costume. There is also a vintage stethoscope which is revealed during the segment which discusses doctors.

Thank you so much for coming to the show, and enjoy!

REVUE STAGE

A Bard Buffet

I will perform about 10 speeches by Shakespeare while telling my lifelong journey with the Bard, great actors I have worked with, and memorable moment from my 7 Stratford seasons.

Everybody Knows 

Everybody Knows is a one-woman show performed to 10 Leonard Cohen Songs (the songs / medley are recorded by Swedish folk indie duo First Aid Kit). 

As a performer, I will be emoting out the lyrics both using my body language and voice. Each song will have a different feeling or theme set by the tone and my interpretation. The set is simple – a yellow modern kitchen chair, a green end table with a door, an antique wooded headboard with a blue blanket on the mattress to make a bed. On the table there is a vintage yellow rotary phone. 

  1. The Great Event: the theatre will be blacked out for this short intro.
  2. Everybody Knows: I will smugly strut on stage wearing cropped wide legged yellow pants, a blue/black/red/white/yellow striped bandeau top, and a red blazer over my shoulder. Kind of like an 80’s supermodel meets captain of a ship. My movements are small gestures that escalate into grandiose Broadway style! I exit stage wearing a Captains hat I find in the green end table. 
  3. Who By Fire: I return on stage wearing a 1950’s inspired yellow dress with a collar and buttons down the front. I am carrying a green suitcase, which I lay on the bed. I move the yellow chair downstage and sit in it. I am cautious here in this room, and my movements are drawn towards the rotary phone. I dance with the phone. It’s melodramatic. 
  4. The Future: I unbutton my yellow dress and I am wearing a white GUNS N ROSES band oversized T-shirt underneath. I sit in the chair, slide around a little disturbed. I return the chair to the back of the stage. 
  5. You Want It Darker: this is where the more real dancing comes in. I take off the T-shirt (revealing a nude bodysuit underneath) and change into a gothic black sheer dress. The dancing here aspires to be inspired by modern ballet, Krump and other staccato types of movement. 
  6. If It Be Your Will: exasperated, I take off the black dress and lie on the bed. I move the mattress downstage and begin to dance a sad moody contemporary dance with reaching and releasing and collapsing.  
  7. The Asthmatic: I am wrapped in the blue blanket and slowing succumbing to anxiety. The blue blanket with me under it looks like a lump moving. I “fall asleep” in the bed. The stage will be black and I make a quick costume change. 
  8. Famous Blue Raincoat: Dream / nightmare song. There is a mannequin head with a long ombré pastel blue-violet wig. She is sleeping in the bed. I appear onstage in 7inch silver mirrored platform shoes and move around like a devious long legged spider. I am wearing the nude body suit and my hair is tied up with a red bandana. I put on a blue Kway rain jacket (ahem, the famous blue raincoat), and then waltz around and speak to the mannequin head, as though she was a real person. Loosely inspired by Hamlet and the Skull for “to be or not to be”… I end up falling asleep in the bed with the mannequin head, “Jane”. 
  9. Hallelujah: I “wake up”, wearing a nude colored satin nightgown dress. I am confident and looking at my room like what just happened. I put on the yellow dress unbuttoned. The crescendo of movements build up with the song and the dancing is huge and virtuosic! I bow and exit with the green suitcase. 
  10. You’d Sing Too: this is the epilogue, I enter the stage wearing a disco-sparkle rainbow dress and the Captains hat. I look smug. 

Dance styles performed will be big sweeping traveling moves, subtle clowning, hip hop and contemporary influenced. 

PICNIC PAVILION

Cooking for Grief

Cooking for Grief is a show based on storytelling. The props, and set are minimal (set consists of four chairs placed within the centre of the Picnic Pavilion at Granville Island. The audience will sit around the four actors), our costumes will be specific to each character, each costume unique in its own authentic way. In addition to this, we will be working with body language, gestures and some movement for the duration of the play.

To speak specifically to certain moments in the play, when the characters Rob and Jerome begin to role-play, the two will be standing and acting with gestures of being in Rob’s home, while Rob works on fixing an imaginary window. To further clarify, these gestures are everyday gesture– not abstract–, ie. the way our hands might move whilst in conversation with someone; head shakes, nods, etc.

Because this play is a cross between drama and docu-drama, the actors do spend a good portion of time in and around their designated seats (as done in some group therapy rooms).

Character Costumes include:

TORI: Light blue sleeveless top, dark pants

JEROME: Burgundy shirt that rolls up at the sleeves and a white tee shirt underneath, dark pants

ROB: Light Green Tee shirt, blue jeans

MONIQUE: Peach blouse/tee shirt, light pants

TRUTH or DARE

The Play starts with a live song named “Enjoy As You’re Alive” by our singer/actress while the audience finds their seats.

The stage is occupied with the other team members, all in black with red pieces of accessories on their costume. They are guiding the audience and singing some part of the song along with the singer.

The leader of the team who is also the character “Stranger” tears a piece of paper in shreds and spreads them out on the ground. Then he holds the singer’s hand and takes her to her seat in the dark.

Now it is completely empty except for those little pieces of papers and three cardboard signs on the wall that say “NO MASK”. The general lights switch to just a spotlight at the middle of the stage.

The Man one who is in all black walks in, wearing a cloth mask, with a piece of paper in his hand, looking for someone to ask for the address. After a few seconds he falls into a conversation with a disembodied voice. They keep talking ‘til the time he has to take his face off in the game of truth or dare.

Meantime, we see a bottle of wine thrown on the floor by The Voice and three pieces of contemporary dance along with the songs. The dances are all by The Man with a kind of Persian/Eastern theme in only two and half minutes.

The Celebration Dance is after a deal between The Man and The Voice, which is happy and energetic. By the end of this dance, he falls down, drunk and tired.

The Second Dance is along with the poem “Look what I have earned from the world”. It is a deep and slower dance. All the moves are choreographed to express the meaninglessness of the world that the main character has been in.

The third dance is more epic and intense with a kind of fast and hard moves. In this dance the character tries to take his real mask off.

After he takes his mask off, he falls down and dies. Here that Stranger or (The Voice) walks in. He finds the man’s paper and tears it in shreds and spreads out on the ground. Then The Man wakes up.

The general lights turn on when the Stranger snaps his finger and says “Welcome to the show”.

Here The Man finds his first love (the singer) in the audience. After some dialogue he again looks for his paper and finally gets it back from the Stranger, and then runs away.

After he leaves the stage, the woman (the singer) starts singing the beginning song again.

Wings Over Water- A Diasporic Bird Play

 

FRINGE ONLINE

A Pair of Shoes

A slide on the opening screen reads:

“DWELL ON THE BEAUTY OF LIFE. WATCH THE STARS, AND SEE YOURSELF RUNNING WITH THEM”

-MARCHU AURELIUS, MEDITATIONS

In A PAIR OF SHOES,

(running time approx. 18 minutes)

Professor Ted Blake, a distinguished looking man with dark skin, glasses and a neatly trimmed beard, sits at his office desk wearing his tie, and holds a Zoom lecture for his History 114: The Graeco-Roman Experience class. He discusses Edward Gibbon’s The Decline and Fall of The Roman Empire — and explores why it matters today.

Throughout the lecture there are photo inserted referencing the subject being spoken about which include: busts, statues, carvings, artifacts and portraits. All look like photos from museums or maybe even history books.

Text on the end slide reads: A PAIR OF SHOES

CREDITS:

Doctor Ted Blake: Maduka Steady

Written by: Richard Byrne

Produced by: Laura Schlachtmeyer

Composed and Directed by: Andrew Bellware

Cross Country : A Self-Help Concert Performance

Cross Country is told from three points of view. We have the Narrator, the omnipotent troubadour who tells the story through song. He along with the Guitarist are up stage center, watching as the story unfolds. Then we have HIM and HER. HIM begins his story on the right side of the stage, dressed for a funeral. HER begins her story on the left side of the stage, she is casual. As their stories progress, we see each of them prepare and begin a road trip across the country. HIM has a knapsack and his deceased uncle’s glasses. HER has a colorful wheelie suitcase. Their cars are simple folding chairs with a steering wheel attached to a mic stand. This is where they live out the first half of their journeys. During the song ‘Everyday Journey’ we see HIM and HER check into a hotel at different times to rest. After the song, kismet strikes and for the briefest of moments their paths cross at check out. Now, HIM is on stage left and HER on stage right. They are closer to their goals. During ‘California Calling’ we see HIM and HER celebrating and discovering their new cities. In our final song ‘Shining Like the Sun’ the stage is clear, just our Narrator and Guitarist are on stage. Halfway through the song HIM and HER re-enter and sit to enjoy the song, happy in their new lives.

Neechie-Itas

Opening Slide, Title: Neechie Itas

(running time approx. 1 hour 8 minutes)

“Neechie Itas” was filmed 100% online using virtual backgrounds, sound effects, 2- traditional songs and other media to tell the story. Virtual backgrounds enhance the visual locations in the story and include:

In the opening scene: the exterior of a brick apartment building, and once inside, Spencer sits on her couch in her designer ball gown wedding dress gorging on snacks and watching TV.

Jail bars that appear behind each of the women after they are arrested.

The women are dressed up for a night out, and encounter a cop in jail that is in his traditional uniform.

While it can be difficult to distinguish the voices of each woman, the dialogue tells the story. It feels like the perspective is of the women as a “collective”.

There are a few cutaway shots of character’s facial expressions, responses to things other characters have said, reactions, or close-ups of certain objects, like the cop’s keys.

Some details here and there may be lost because they are not described – but there is a great storytelling vibe to this piece. There are two Indigenous traditional songs and sound effects used throughout this digital production.

CREDITS:

Neechie-Itas

by Jo MacDonald (Anishinaabe)

Directed by Sarah dAngelo (Mohawk)

Filmed and Edited by Daniel Leeman Smith (Choctaw)

Stage Managed by Kateri Daffron (Wichita/Kiowa/Comanche)

Dramaturgy by Carolyn Dunn (Cherokee/Choctaw/Creek/Tunica-Biloxi)

CHARACTERS

Spencer Houle ………………. Carolyn Dunn (Cherokee/Choctaw/Creek/Tunica-Biloxi

Maggie Dunning …….. Summer Wesley (Choctaw)

Carm Tadoule ………. Summer Rae Morgan (Kiowa/Apache/Pima)

Linda Shepard ……….. Maya Torralba (Wichita/Kiowa/Comanche)

Officer Bradburn ……. Thomas Cummings (Muskogee Creek)

Officer Lenna ….. Matthew Cross (Kiowa)

Special Thanks to: President Michael Burgess and the Pawnee Nation Community College; the Kiowa Language Program; the Muskogee Little Theatre; and Izzy Llama.

The Gathering Song by The Mankillers Drum Group

The Red Road written & performed by Carolyn Dunn

© Oklahoma Indigenous Theatre Company 2021 All Rights Reserved