Directed by Alexander Offord and Featuring Renée Haché and Wesley J. Colford
"Everyone has been a teenager in love. Or will be." This tragi-comic examination of first love in small towns begins when Jon and Caitlin, two "mature young adults" from Cape Breton, are reunited in the park where their relationship bloomed and wilted. Is it possible to escape the container your community places you in? How do you create a unique identity in a world where labels and gossip move through cyberspace like lightning? When does love start to end?
Produced by Aim for the Tangent Theatre
"...vibrant and engaging... see it, think about it."
November 27, 28, 30 (no show on Nov 29)
December 3, 4, 5, 6, and 7 @ 8 p.m.
December 1 and 8 @ 2:30 p.m.
“Long before she died, my mother disappeared.
Inside herself. Into a fog of alcohol …”
What is it like to grow up as the son of a dynamic, successful, charismatic alcoholic? And after her death, to try to find her, to see her whole - perhaps for the first time - through the tangled labyrinths of story and memory? Part remembrance, part exorcism, part investigation, part celebration, this one-person show chronicles a man’s struggle to understand his mother’s life and death. Intimate, honest, and finally redemptive, it is a testament to the power of love between a mother and son. THE GIRL IN THE PICTURE TRIES TO HANG UP THE PHONE asks us to honestly examine what we think love is, and to imagine loving better.
Tickets are $20 each but Sunday December 1 is PWYC.
Tickets are available online via EventBrite at thegirlinthepicture.eventbrite.ca or by cash sale at the door.
“Baugh's performance was a riveting one” - Greg Burliuk, The Kingston Whig Standard
Expiating Stigmatic Guilt presents eight contemporary Radical Faeries and Sisters of Perpetual Indulgence screen works from the USA and Canada.
Since the modern movements for gay and lesbian visibility and liberation emerged in North America, there have been strong networks of counter-cultural expression. Families, lineages and queer traditions have thrived on the margins of the mainstream queer cultural consciousness, out of the spotlight.
Work created at Radical Faerie sanctuaries, queer pagan rural land projects scattered across the continent, will screen with work on the great traditional gay folk art of experimental drag. The program is crowned by Joe Balass' recent documentary Joy: Portrait of a Nun, honouring the life of one of the founders of the Sisters of Perpetual Indulgence.
Followed by a Q&A with directors in attendance.
Remixing found images, shapes and mediums, Benjamin Edelberg blurs the lines between collage, photography and film. In Magnificent Obsessions, Edelberg explores the themes and processes of mimicry and stealing. Inspired by Douglas Sirk’s 1954 masterpiece of false identity, blindness and desire, the works presented beg the viewer to read them in specific environment, context and history. Yet, Edelberg’s figures, their identities, genders and sexualities remain ambiguous while shapes refuse to be placed within any conventional context. In this way viewing Edelberg’s work becomes a fun game. Magnificent Obsessions will also feature a video installation, which is an assemblage of found and original footage with stop-motion animation where Edelberg further explores his printmaking making techniques and themes.
Benjamin Edelberg is a Toronto-based artist who has exhibited his work in the USA and Canada, most recently as ALL CAPS! Festival Artist in Residence.
"I'm wondering what you can tell me, about your birthdays, counting back from how old you are now, as far as you can remember..."
Last December Erin turned 33. Since then she's asked 33 people to talk about their birthdays. She's been making a home movie, to be screened at her birthday party, a year later, this December 18th at 9pm. You're invited.
Admission: Free. Cake: Welcome.
Erin Brubacher makes invitations, situations and images that interrupt and enter the everyday. Her work often explores unoccupied spaces between strangers.
Three workshop performances of shadow puppetry, projections and stop-motion storytelling
Written by Erin Fleck
Dramaturged and Directed by Maya Rabinovitch
Performed with members of Dutch Uncle Puppetry and friends! (including Daniel Briere, Erin Fleck, Sarah Fairlie)
If you’re looking for a fable, fairy tale, or thinly veiled metaphor to make you feel better about how life works sometimes…this isn't it. Enter the vivid, surreal world of acclaimed playwright/puppeteer Erin Fleck and Dutch Uncle Puppetry.
Sojourner-Truth Parsons will be in-residence developing a new video project. Parsons’ work in sculpture, craft, and installation explores themes of animism, ritual, the masking and unmasking of identity, and the queering of mythological tropes.
This four day screening series , featuring work by David Markey, Susan Seidelman, and Penelope Spheeris, celebrates cinema’s oft-neglected screen sirens: the ovarian cysters and the punk princesses . From the Fabulous Stains and The Lovedolls to Exene Cervenka and Alica Bag, this series is dedicated to women who made a scene. The fest will conclude with a night devoted to bizarro outsider director Jon Moritsugu and the Canadian premier of his newest film, Pig Death Machine, co-directed with longtime collaborator Amy Davis.
The Vector Game + Art Convergence Festival is a participative, not-for-profit, and community-oriented initiative dedicated to showcasing contemporary game-based artworks. The festival will be running at multiple venues over five days, from Feb 19 to 23 in Toronto, Canada. Vector 2014 will feature exhibitions, screenings, workshops, performances and round table discussions, all with the ambition to create a critical dialogue around the medium of games and its expressive potential as a contemporary art practice.
Videofag will be hosting one of Vector 2014's four exhibitions and will act as a venue for Vector's film and video screenings.
The exhibition It wasn’t supposed to be like this asks the question: what can be learned from failure? Works have been chosen from an open call requesting failed art projects. Embracing the messy, mistaken, or misshapen, It wasn’t supposed to be like this explores how we might learn more from the times when things didn’t work out, than from those times that they did.
Written by Margo MacDonald
Directed by Diana Fajrajsl
Performed by Margo MacDonald and Sarah Finn
Stage Managed by Hilary Nichol
This is a lost story. This is a true story.
In 1930s New York, at the height of her career, the English-born Queen of the American stage, Eva LeGallienne, is outed in the press as a lesbian. She escapes to a country retreat with her lover, Josephine Hutchison, only to be disfigured and nearly killed in a terrible explosion. The story slips back and forth in time as Eva struggles with art, disfigurement, alcoholism, sexuality, and acceptance. She battles with Broadway, critics, and her personal demons, while tormented by the overwhelming question: If her public and private battles destroy her happiness but nourish her art, will it have been worth it?
This multi-award winning play has been called “captivating and utterly convincing” by CBC Radio, and “sumptuous and gripping” by the Ottawa Citizen. It has sold out every performance to date. This is the first production of the show in Toronto.