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  • 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
  • Giller-Nominated Author, Shashi Bhat, Has Perfected the Art of Short Story Telling
  • “As You Like It Or The Land Acknowledgement” Offers a Brutally Honest Take on Land Acknowledgments
  • An Evening with A.R Rahman at VIFF: Over-Promised, Under-Delivered
  • More Fringe 2024 Reviews!
  • Agrimony Captures Majestic Intricacies of Anthropocene Societies via Animalistic Ritualization
  • Fringe 2024 Reviews
  • Early Music Festival: Bach Motets and Bach & Mandolin
  • Early Music Festival 2024: Monteverdi’s Vespers of 1610
  • Bard on the Beach: Twelfth Night and Hamlet Bring the Summer Heat
  • ITSAZOO’s Sunrise Betties: Rewarding Watch for Thriller and History Buffs Alike
  • 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
  • “Snow White” by Carousel Theatre for Young People Dazzles with Brechtian Brilliance
  • VIFF 2023 Wrap Up
  • Heart of the City Festival highlights community resilience in Vancouver’s DTES
  • Pippa Mackie’s “Hurricane Mona” Counters Climate Anxiety with Radical Humor
  • 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: I Used to be Funny
  • VIFF Live: 32 Sounds
  • VIFF Live: Machine Folklore Fails to Impress
  • VIFF 2023: Richelieu
  • Vancouver Fringe 2023 Platforms a Plethora of Transformative Artistic Expressions
  • 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
  • Zahida Rahemtulla’s The Wrong Bashir tackles cultural amnesia using Ismaili humor
  • 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
  • Angel’s Bone at Indiefest : Shining Light on a Darker Side of Society
  • Indiefest 2022 Reimagines Performance Arts by Highlighting Vancouver’s Cultural Diversity
  • Overture/s: Ballet BC is Back with Fearless Choreography by Sharon Eyal, Gai Behar, Medhi Walerski and Dutch stars, Imre and Marne van Opstal
  • 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!
  • Despite Virtual Setting, Vancouver International Burlesque Festival 2021 Titillated Body and Mind
  • VIFF 2020: “Frida Kahlo” AKA Dollar Sign Dollar Sign Dollar Sign
  • Why Ian Williams is the Canadian Author We Stan

The East Van Panto’s Vancouverised Wizard of Oz is Witty and Clever

East Van Panto-Wizard of Oz _ production image13 _ credit Emily Cooper
December 2, 2018
vanlovesart

This being the sixth time for the East Van Panto, it was predictably an astounding success! The production brought audiences from all walks and stages of their lives- children. entire families enjoying this as a holiday affair, the elderly, and

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“Miss Bennet Christmas at Pemberley” is the Perfect Holiday Gift for Jane Austen Fans

miss-bennet-66
November 29, 2018
vanlovesart

My dearest Vancouver Arts Review reader, It is with much alacrity that I write to tell you about the recent developments at the great house of Pemberley. It’s been two years since Fitzwilliam Darcy and Elizabeth Bennet put aside their pride

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Sarah Henstra on the Process Behind her Governor General Award-Winning Novel “The Red Word”

sarahhenstra
November 29, 2018November 29, 2018
vanlovesart

When I sat down with Sarah Henstra at the cosy, chandelier-lit “Wallflower” in Parkdale, it became apparent to me early on that everything about Sarah- her stories, her job, her life, have been shaped by love for literature. This fall

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“Being and Nothingness” is an Elegant Study of Existential Angst and “The Dream” is a Delicious Sensory Fairy Tale

AA_NBoC_MixNov_1735
November 23, 2018
vanlovesart

When I entered Toronto’s Four Seasons Theatre the cold was climbing, and when I left, the streets were coated with a fresh dusting of powder. But for the time that I was watching this ballet, I was wrapped in a

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“We Keep Coming Back” Explores the Intricacies of Trauma through Autobiography, Multimedia and the Trope of the Road Trip

Michael Rubenfeld, Mary Berchard (back) and Katka Reszke in WE KEEP COMING BACK-photo Jeremy Mimnagh
November 19, 2018
vanlovesart

After a rigorous two weeks of apartment hunting in Toronto, my partner and I found ourselves signing the lease on a snug one bedroom on the border of Roncesvalles and Parkdale, a historically Polish neighbourhood. We had just missed the

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Vancouver Men’s Chorus presents “Making Spirits Bright”

VMC-MarkBurnhamphotography-135
November 18, 2018
vanlovesart

Kick off the festive season with a lyrical Christmas vacation courtesy of the Vancouver Men’s Chorus, as they return with this year’s “Making Spirits Bright” concert (8th-15th Dec St Paul’s Anglican Church). Following the rollicking fun had at the summer show, we

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Normalizing New Frontiers in “Public and Private”

Dumb Instrument Dance, Eileen Kage & Erika Mitsuhashi – David Cooper Photography- 1 6x8
November 17, 2018
vanlovesart

There is nothing ordinary about this performance though it seeks to normalize things we might not otherwise see in public spheres. “Public and Private”, as the name suggests, pushes the audience to question and look beyond the superficial. The diverse

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