PuSh International Performing Arts Festival unveils live, globe-spanning program of genre-busting works, January 19 to February 5
Wildly imaginative dance, two circus-inspired shows, and a Faustian new work from Electric Theatre Company are just a few of the offerings
Finland’s O’DD
THIS & the last caribou
Ontroerend Goed’s Are we not drawn onward to a new erA
THE PUSH INTERNATIONAL PERFORMING Arts Festival will bring in shows from as far afield as Zimbabwe, Belgium, South Korea, Argentina, and Bulgaria from January 19 to February 5, 2023. The organization released the programming tonight for a full, live, 19th-anniversary edition, set to run at venues around town.
PuSh Passes and single tickets will be on sale starting at noon on November 23 at pushfestival.ca. Digital options for some shows are also on offer.
With 20 original productions, this marks the largest outing of PuSh since before the pandemic. The organization is under the new shared leadership of director of programming Gabrielle Martin; director of operations Keltie Forsyth; and director of Indigenous initiatives Dr. Margo Kane.
Amid the highlights are two circus works: the North American premiere of Finland’s O’DD (February 4 and 5 at the Vancouver Playhouse, as well as online), a sci-fi-tinged tale that follows an acrobatic man through the phases of existence; and Lontano + Instante, boldly reimagining the legendary Cyr wheel act. (The latter France/Argentina/Italy production that runs January 26 to 28 at the Scotiabank Dance Centre, with shows online, and presented with Inner Fish.)
Belgium’s theatre mavericks Ontroerend Goed return to the fest with Are we not drawn onward to a new erA in a copresentation with UBC Theatre & Film Department at the Frederic Wood Theatre from February 1 to 4; in a Canadian premiere, the play toys with the idea of the palindrome, presenting actions twice—and making a clever metaphor for the climate crisis.
Several local theatre companies see exciting world premieres at the fest. Among them, February 3 to 5, The Elbow Theatre unveils Soldiers of Tomorrow at the Roundhouse Performance Centre; it’s theatre artist Itai Erdal’s story of a Syrian-born musician and a former IDF soldier. February 1 to 4, Electric Company Theatre’s Jonathan Young cleverly reimagines the core themes of communication in Goethe’s Faust in the new An Undeveloped Sound; SFU Woodward’s Cultural Programs coproduces the show.
Other world premieres include Delinquent Theatre’s The Seventh Fire, an Anishnaabe “audio ceremony” with Lisa Cooke Ravensbergen, running at various times through the fest at the immersive Lobe Studio. Also main its debut in a copresentation with the Cultch is Rakesh Sukesh’s dancework because i love the diversity (this micro-attitude, we all have it), a solo performance using dance, music, and text to embody inner turmoil and to interrogate the political use of technology—specifically, racial profiling. Elsewhere in dance, Canada’s New Dance Horizons sees the world premiere of THIS & the last caribou. At the Annex January 25 and 26, it features a trio works exploring our place in relation to history and nature: a solitary figure adrift on a carpet of ice; waves and a candy-coloured clown; a caribou dancer and their shadow.
Dance, in fact, is noticeably plentiful at this year’s fest—in part due to the previously announced Dance Centre copresentation from France, Never Twenty One by Smaïl Kanouté / Compagnie Vivons! (January 19 to 21). January 20 to 22, PuSh presents Moya Michael’s wildly creative, multimedia, and interactive look at human politics and history, Coloured Swan 3: Harriet’s reMix by (in a South Africa/Belgium production) at the Annex. And Canada’s Alan Lake Factorie brings his fablelike Les cri des méduses to the Vancouver Playhouse on January 27 and 28.
Joby Burgess. Photo by Nick White
Among the music offerings, U.K. percussion star Joby Burgess bangs his way into the Annex in a coproduction with Music on Main, playing pieces inspired by sources as diverse as Saudi Arabian folklore and the writing of Michael Ondaatje. And did we mention the Canadian premiere of Bulgaria’s Selfie Concert , in which Ivo Dimchev won’t sing at his synth unless people are taing selfies with him? (It’s Left of Main February 2 and 3, presented with plastic orchid factory.)
Out at the Anvil Theatre, the Anvil and Touchstone Theatre copresent Okinum, February 2 to 3 (with online performances), in which interdisciplinary artist Émilie Monnet uses three languages to interpret a recurring dream and strives to reconnect with her Anishinaabe ancestry.
Elsewhere, Jaha Koo’s Lolling and Rolling is a multimedia work that melds video, music, and monologue that takes on a charged subject: the South Korean phenomenon of tongue-tie surgery, a procedure that makes it easier for patients to pronounce the English “r” sound. The South Korean-Belgian production hits Performance Works January 19 to 21.
There is much more, including three multimedia installations by Canada’s Adam Kinner and Christopher Willes (at the downtown Vancouver Public Library); Zimbabwe-American nora chipaumire (at the Roundhouse); and Vancouver’s own Boca del Lupo (whose Red Phone will be set up at Granville Island’s The Fishbowl).
This year, the fest’s intimate cabaret Club PuSh will feature three separate nights curated by different Vancouver collaborators: the frank theatre company, Talking Stick, and The Black Arts Centre.
And after two years of digital convening, the Industry Series is back and in-person, with workshops, artist talks, curated pitches, walks with local artists, and social events.
There is much, much more. Find the full list of shows, times, and dates here. And watch the trailer below for a quick glimpse at the discipline-crossing shows that will be on offer.
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