Working for HIVE 3 has taken me to an unknown creative place. Although the collaborative factor is always present when producing theatre, my work in this project has expanded my understanding of what that word means.

About a month ago, none of us had a clear idea of what the piece was going to become. As a first step, our Director took us to the space in order to experience out what it conveyed in its vibration and architecture.  We all got together later on to talk about what each one of us saw through it and started developing a general concept to the piece.

Working as a group together with performers from very early stages in the process has been one of the most interesting aspects of this project for me.

While sometimes the idea of embracing the “not-knowing” (as Richard Wolfe well describes it) can make me nervous, learning to let the play become what it wants to be and to see it change directions at any given moment has been fascinating. I am very grateful to Pi Theatre and my sponsors through Prime Placements for this opportunity that no doubt, has pushed me beyond my own boundaries.

This year, we’re thrilled to announce several sponsors who have come on board to support the work of these artists.

Carmen Alatorre, Costume Designer, sponsored by Theatre at UBC and VancouverPlays.com
Jacqueline Blackwell, Dancer, sponsored by Casting Workbook
Roxana Chapela, Set Designer, sponsored by Ian Forsyth
Lois Dawson, Assistant Stage Manager, sponsored by Pi Theatre
Carmen Hung, Lighting Designer, sponsored by Alan Brodie
Stacy Sherlock, Technical Director, sponsored by Theatre at UBC

The Prime Placement program is also generously supported by Max Reimer and one anonymous supporter.

These sponsors recognize the importance of giving these emerging artists an opportunity to gain professional experience and mentorship. Prime Placements provides a much-needed bridge between training and professional status. Our audiences gain the opportunity to discover their talent, and our professional artistic associates are challenged and invigorated by new energy and ways of working.

We are very grateful for their support. Three cheers for our sponsors!

There is a reason why a theatre piece is called a “play.” In the end, isn’t the theatre just like a playground for us to enjoy and explore?

The creation process of HIVE 3 with Pi Theatre is very novel to me. I couldn’t agree with Jacqueline more: it is like an adventure. Most of my previous theatre productions have a very similar production schedule - 1-2 months of rehearsal, 1-2 weeks for load-in and tech, and 1-2 weeks run — and the text of the production is usually decided long before the rehearsal process. Yet for HIVE 3 we have condensed the whole creation, rehearsal, and technical process into a total of a week and a half, where everything starts from scratch. As a lighting designer, such production timeline is fascinating but also immensely challenging.

The stress comes from the uncertainty and the evolving nature of the piece. Many theatre companies like to hire lighting designers at the very last stage for similar reasons: it is difficult, though not impossible, for one to make lighting decisions without knowing what the final piece would look like. Say, noting where the performers would pause, or stand, or sit on stage, I could put a couple lighting instruments for that area to highlight the dramatic moment. But without knowing where the performers would be, or what they would do, a lighting designer needs to adapt to any new changes of the piece very quickly in order to achieve similar lighting effects.

But these are all about conventions; and for HIVE 3, there are none. This is where the fun and play comes in.

As much as I admit that this is a challenging process, HIVE 3 is also one of the most fun productions I have collaborated in. It is very rare for a lighting designer to be able to participate in the creation process from Day 1, and I enjoyed it so much that I would much prefer spending more time in rehearsals then simply lighting a show without being able to witness the progression of the piece. True, this requires a lot more human resources and time investment — for the crew, technical director, and the designers. But this also makes me realize how fluid and experimental theatre could be and, perhaps, should be.

I love how Colin Thomas from Georgia Straight sums up The Draw for HIVE 3:

“The companies give themselves permission to fail, which is exhilarating for all of us.”

Permission to fail — what a great way to put it. This is about process and this is about exploration. What is intriguing about live theatre is the fact that it is not static; no two performances could be the same. But what I also found interesting is that the process of HIVE 3 is very similar to what Robert Lepage proposes as theatre without picture lock. HIVE 3 is a living experiment of what creativity and theatre could be. We have the space and the resources — now just play and see what comes out in a week and a half. Looking at the creation process of HIVE 3, where there have been moments when we thought we have nailed down the piece but then we went back to the beginning and reinvented the piece, this is incredibly fascinating to see how much fun we could have just by taking risks and embracing opportunities and new ideas. All of us in the Pi team are like riding a roller coaster that we know not where the end-point would be. But one thing is for sure: all of us are having fun, and this is what a “play” should be.

So it is our first day off from rehearsal since we started this adventure. Wow! Time is going fast! I use the word adventure, because that is what this process has been. Meeting and working with the cast and crew as a unit towards making this piece has taken me to many different places. In exploring our possibilities we have gone from one side of the spectrum to the other, to somewhere where we didn’t think we would or could go and then back to something more concrete. I shouldn’t really say concrete as what we are creating morphs and changes and grows everyday we visit it. But it seems now that we have quite a solid grasp on what it is we want to send out into the universe.

It has been a lot of playing and trying new things. Finding what works and what doesn’t, and then finding what we thought worked didn’t and finding something way more on target for what we wanted to express. It really has been a different process then what I am used to. As we don’t have a script, there is much more time spent conversing about what we feel about the piece and what we want to say with it and such. With a script, most of that is done for you and you just add to it and style it to what you want. This is just everybody working on a different level and getting the opportunity to explore and create.

Speaking of opportunity, it has been a fantastic opportunity to come onto this project. Especially as a Prime Placement! I said before this is different then anything I have done, and it is nice to get a break from the usual Musical Theatre that I do. I also have the opportunity to work with some fantastic individuals. Everyone involved is so special and unique. I know that sounds sappy and cliché but it’s true! Everyone brings something different to the table (literally sometimes when we work at the table up in the kitchen) and we are able to use one person’s idea and flow with it into another as the piece expands and grows. I am very lucky and happy to be a part of this adventure!

I also have to say that the set and the costumes rock! We don’t have all the lighting elements in yet, but I know that those are gonna rock too. Everyone is so passionate about what they are doing. Now it is time to work out all the little bits. Another few days and we will be inviting you all over for a visit!

You can read more about Lois here.

8 late nights. 12 hot theatre installations. 10 hot bands. One big party.

“The buzz was right — [HIVE 2] is the hottest ticket in town… some absolutely dazzling little displays of theatrical innovations.” — Peter Birnie, Vancouver Sun

For more info, visit our HIVE page. See you at the HIVE!

“It was great to be acting with my mom!  All the adults were so kind and funny!! I enjoyed it a lot.”

“I enjoyed creating my character, Sala and playing her.  But I don’t like screaming every night…….I don’t want to hurt the audience’s ears!”

This is Leina playing Sala:

Her costume is the school uniform her aunt wore as a child. Here’s a photo of her aunt Keiko in 1987 at Tokyo Disneyland!

“after the quake is an absolute delight…deservedly the hit of the late fall season.” - Jerry Wasserman, Vancouver Plays

“One of the best plays I’ve seen this year” - Ed Farolan, Review Vancouver

“I’ve never seen anything like it. And I loved every minute of it.” - Jo Ledingham, Vancouver Courier

“after the quake is a stunning piece of theatre. It is rare to experience a show where all these elements integrate so well and are so delicious to watch…A delicate feast for the senses…exquisite…Subtle, tender, and beautiful. I loved it, go see it.” - Rachel Scott, Plank Magazine

“Wildly original and warm without ever lapsing into sentimentality, after the quake is both a great ride and a testament to the healing powers of imagination…It’s the stuff of dreams.” - Kathleen Oliver, Georgia Straight

“Murakami should be pleased” - Patron

“after the quake bursts the clouds and reminds me exactly why I love theatre so deeply. This is a perfectly balanced play. You should see after the quake.” - Simon Ogden, The Next Stage

“The show is a must-see for anyone feeling that need to reach out, looking for a connection with some one. And fans of Murakami will feel like they’re experiencing his work for the first time while watching after the quake. Which is quite the treat, indeed.” - Trevor Record, Ubyssey

“after the quake isn’t just good live theatre — it’s excellent, delicate, surreal, hilarious, and thought-provoking” - Jake Tobin Garrett, BeyondRobson.com

Last show December 5!Studio 16, 1545 West 7th Avenue, at Granville Street 

Tickets on sale now through vancouvertix.com or call 604.629.VTIX (8849)