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  • “Khalil Khalil” at PuSh 2026: Art is Resistance for Palestinian Artists Creating Art Under Occupation

  • Talking Globalization, the Perception of the Indian Writer, and Having Faith in Writing with Author Kiran Desai

  • “Women of the Fur Trade” Subverts Colonial Historiography with Machiavellian Panache

  • Fringe 2025 Reviews
  • Smooth, Layered, Original: Maribou State Kick Off The “Hallucinating Love” Tour
  • Anosh Irani’s “Behind the Moon” Spotlights Immigrant Issues with Dramatic Flair
  • Abi Padilla’s “Grandma. Gangsta. Guerilla.” Offers a Well-Knit Story, Brimming with Action-Packed Levity
  • East Van Panto Robin Hood Is Giving Cozy, Festive, Political Roast
  • Dance In Vancouver: “Lossy” by Company 605 and “Croquis” by FakeKnot
  • VIFF 2024 Reviews
  • Katha-Keertana Chronicles Delivers a Didactic Discourse via Musical Story-Telling
  • Crystal Pite, Pierre Pontvianne, and Imre and Marne van Opstal Present Risk-Taking, Philosophical Works in DAWN
  • Strauss’ Die Fledermaus – A Halloween treat!
  • Tentacle Tribe’s “Prism” is a Gorgeous Storm of Modern Movement and Colour
  • “A Journalist’s Role is to Tell the Truth:” In Conversation with Tanya Talaga on Her New Book and Documentary Series, “The Knowing”
  • Lutalo Brings “The Academy” And Indie-Rock Driven Life Lessons To Vancouver
  • Agrimony Captures Majestic Intricacies of Anthropocene Societies via Animalistic Ritualization
  • Bard on the Beach: Twelfth Night and Hamlet Bring the Summer Heat
  • PuSH: because i love the diversity (this micro-attitude, we all have it) – A Yogic Meditation on Microaggressions
  • PuSH Festival: Ramanenjana by Tangaj Collective – An Artistic Critique of the Colonial Gaze
  • Heart of the City Festival highlights community resilience in Vancouver’s DTES
  • Silvia Moreno-Garcia Talks About Film, Genre, Writing, and her New Novel, “Silver Nitrate”
  • Kevin Chong’s Students Ask the Writer About his Giller Prize Shortlisted Novel “The Double Life of Benson Yu”
  • VIFF 2023: Sculpting the Giant
  • VIFF 2023: Richelieu
  • VIFF 2023: The Old Oak
  • Fallen from Heaven (Caída del Cielo) Showcases Rocío Molina’s Raw Power
  • Earthy Vancouver Folk Music Festival Returns With A Diverse Lineup
  • Roald Dahl’s Matilda The Musical by Theatre Under The Stars Captures the Euphoria of Youth Rebellion
  • Briefs Factory’s Dirty Laundry immerses you in queer joy
  • First Métis Man of Odesa – Love is the Antidote to War
  • The Lightning Thief – The Percy Jackson Musical Brings Local Talent to Light
  • Soldiers of Tomorrow injects moral clarity into dominant geopolitical discourse
  • Are we not drawn onward to new erA reverses the gaze on mankind’s history to imagine new futures
  • MANUAL is an immersive conversation with a public library
  • Soliloquio (I Woke Up and Hit My Head Against the Wall) is a Heart Wrenching Demonstration of Anti-Art
  • Colored Swan 3: Harriers Remix is a Metaphysical Journey Through Time and Space
  • In My Day – A Tribute to Vancouver’s History of HIV Activism
  • Indiefest 2022 Reimagines Performance Arts by Highlighting Vancouver’s Cultural Diversity
  • Hot Brown Honey – The Remix: a Sweet Taste of Activism
  • Summer Night Fun with Theatre Under the Stars: We Will Rock You and Something Rotten
  • “A Midsummer Night’s Dream”: Bard on the Beach Entrances Vancouver with Shakespeare’s Psychedelic Play
  • Vancouver Opera Returns with the Gothic Glamour and Romance of “Orfeo ed Euridice”
  • Medhi Walerski and BalletBC’s Return to the Stage with “Unfold + Give” Slaps!
  • Why Ian Williams is the Canadian Author We Stan
  • Neworld Theatre’s “Eyes of the Beast” Adapts “The Climate Disaster Project” for Community Dialogue
  • “Much Ado About Nothing” At Bard on the Beach is a Summer Treat
  • Theatre Under The Stars Returns With An Edible Dream: Roald Dahl’s Charlie and the Chocolate Factory, So Don’t Dally. Go Watch It!

Tentacle Tribe’s “Ghost” is the Creative Spirit of Montreal in Dance Form

February 18, 2020
vanlovesart
Uncategorized

When I was sitting in the audience of “Ghost” last week, and the dancers on stage had just settled into a deep-rooted rhythm, a voice in my head said, “This is SO Montreal.” Everything I love about Montreal lives and

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Ronnie Burkett’s “Forget Me Not” is a Haunting and Romantic Puppet Show For Adults

February 15, 2020
vanlovesart
Uncategorized

At first glance, a theatre show with a secret location may seem like an exclusionary practice rather than a way to build community. However, after descending into the theatre space, and entering the strange, slightly uncomfortable, but always thought-provoking world

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PuSh 2020: “Anywhere But Here” Creates Empathy Around Immigration With Effective Storytelling

February 15, 2020
vanlovesart
Uncategorized

From the minute we walked into the Vancouver Playhouse theatre for Carmen Aguirre’s new play, Anywhere But Here, we were already engrossed in the story. The set, a floor of sand with a backdrop of mountains, alluded to the desert

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“The Barber of Seville” is Familiar and Fun

February 15, 2020
vanlovesart
Uncategorized

A night of laughs and splendour, “The Barber of Seville”, is a familiar opera that never gets old. The artful direction by Ashlie Corcoran and impeccable music from the astute orchestra led by Nathan Brock gives life to a spectacle

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PuSh 2020: “Footnote Number 12” is Wordy, in a Good Way

February 11, 2020
vanlovesart
Uncategorized

“Footnote Number 12” is a contemporary theatre experience made by and for word-nerds. It’s a composition of speech. It questions the politics of language by deconstructing words, sentences, and writing styles. It explores the voice as an instrument, using various

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In “Unikkaaquat” Inuit Founding Myths Take On Spectacular Acrobatic Forms

February 2, 2020
vanlovesart
Uncategorized

“Unikkaaquat” is a wonderful circus show illustrating Inuit creation myths. What a privilege it was to watch this show – to have performers bring these stories to my hometown for me and other Vancouverites. From 1880 to 1951, Indigenous cultural

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“Kuroko” Tackles Social Implications of Technology With Emotion

January 28, 2020January 28, 2020
vanlovesart
Uncategorized

It is easy to see why “Kuroko” sold out its first week and the Cultch added an extra performance. The play is fun, emotional, and educational – everything you could want in a single show! I heard lots of laughter

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