Photo by David Cooper
If all the world’s a stage, a number of theatre and arts groups in Vancouver want to see their diverse cultural stories under the spotlight. The Vancouver Asian Canadian Theatre (VACT), the Firehall Arts Centre and Full Circle are three Vancouver theatre organizations that seek to engage audiences through honest and creative stories, ones that showcase an accurate view of diversity and acceptance.
“It’s one thing to talk the talk, change is where things happen – you got to walk the walk,” says Andrea Yu, who is part of an emerging group of Asian actors and writers telling their stories on stage. Yu, artistic associate at VACT, says the theatre aims to provide better representation and opportunities for Asian performers, dispelling racial stereotypes and allowing performers a chance to master their craft. “We want to showcase Canada as Canada is: all races,” says Yu. For the upcoming 2014–2015 season, two VACT features demonstrate Asian diversity. Empire of the Son is an autobiographical story that showcases the talent of Tetsuro Shigematsu as an emerging leader in Asian theatre, while VACT’s annual MSG Theatre Labs offers play readings by Asian-Canadian playwrights – a good opportunity to experience the work of emerging actors and writers, says Yu. A graduate of the acting program at Studio 58, Yu grew up with little moral support from her parents, who migrated to Canada from Hong Kong. Yu says a person’s cultural upbringing deeply affects their work; many immigrant children grow up hearing their parents’ native language and playing witness to different cultural mannerisms. “My parents came from an environment of survival – you have to go out there, be competitive. That’s what we inherit,” says Yu.
Past and present – on the stage
Donna Spencer, artistic producer of the Firehall Arts Center, supports artists like Yu. “I find it exciting that there [are] certainly more [minority theatre companies] than before, VACT for example,” says Spencer, who adds that it can be risky for some people to pursue the arts – especially those from non-white Anglo-Saxon backgrounds. Spencer has been involved in the arts for over 40 years in Vancouver and is one of the founders of the Firehall Arts Centre.She credits herself as lucky to have a career doing what she loves.
Tantoo Cardinal & Michael Kopsa in God and the Indian | Photo by Emily Cooper
“When I first started, it was iffy whether one can make it [or not],” says Spencer. She says that although the job market remains competitive for actors, creating opportunities is the key to success. This includes joining a local community theatre and encouraging more writers from different cultures. “You have to build a resume, regardless of what society or family and friends think. You can make it happen,” she says. One of Spencer’s goals in founding and working with the Firehall Arts Centre has been to producea more inclusive kind of Canadian theatre. The company aims to tell stories from every heritage – something it has strived to do since its inception in 1985. Although the Firehall Arts Center showcases more modern plays, Spencer aims to connect classical works with contemporary ones. She says the theatre experience is unique and must tell stories which people can relate to – universal themes will bring people in the door. Among the plays the Firehall Arts Center will produce this season is Urinetown, an adaptation of a New York Broadway play where everyone has to pay to use the bathroom, which features a diverse cast including a Squamish First Nation actress in one of the leading roles. Another highlight is God and the Indian, a comedy-drama of a First Nations woman who tries to contact the priest who abused her. Post Secret features a multicultural cast and deals with the online phenomena of people posting their secrets on the internet. Spencer says all three plays have actors from a variety of cultural backgrounds and the storylines are all current issues, reflecting a cultural diversity which strives to include everybody. “That makes our city interesting and makes the art more engaged and involved,” she says.
A continuous journey and a complete picture
For Full Circle, a First Nations arts and performance group, engaging communities and gathering people together is an important part of their mission. Embracing the concepts of inclusiveness, wholeness and full gathering, the organization aims to train actors in understanding cultural sensitivity surrounding Aboriginal issues, create a range of opportunities for Aboriginal actors and engage and educate the public on these issues.
Kuei Ming Lin as Juliet and Yvon Chartrant as Romeo in DTES Romeo and Juliet | Photo Courtesy of Vancouver Moving Theatre
“In a world that at once fetishizes Aboriginal people and traditions, and/or keeps them relegated to a people of the past, Full Circle challenges us to see our collective history now, not just for Aboriginal and First Nations, but our shared history as people on Earth,” says Justin Neal, Full Circle marketing manager. Highlights from Full Circle this year include the annual Talking Stick Festival, which features artistic work by First Nations groups within Canada and abroad, as well as workshops and discussions about inclusion and diversity. The Raven Meets the Monkey King tells the story of Chinese and Aboriginal traditions coming together and discusses acceptance, cultural understanding and shared values. Margo Kane, artistic managing director of Full Circle, says she wants to surprise and intrigue the audience in a way that they never realized live performance could, through respecting the individual voice and honouring the Aboriginal practice of gathering and sharing collectively. She also wants Aboriginal people, along with all other people, to feel included and empowered by their engagement in Full Circle’s work. “I want them to know that they are not just idle witnesses, that their voices are welcome, important and should be heard,” says Kane.
