One of my old professors posts frequently and publicly on Facebook and I read those posts without technically “following” him–that’s a thing non-stalkers do, right?–and the other day he mentioned OBIT at the Vancouver Fringe Festival.
B-cat took me to see it a couple of days ago. It’s a two-chuckle play for me, with tired (and at times homophobic) jokes from the script writers and disappointing acting from all except Marnie Mahannah, a real girl surrounded by line-reciting marionettes.
Only the elderly members of the audience, the ones holding glasses of wine, were laughing. Still, I held my tongue after the show until B-cat began talking about the fart joke-level of humour and wooden performances. He hadn’t known shows got into the Fringe by lottery rather than merit. In the end, it was his gentle mockery of OBIT that gave us a laughter-filled evening.
The Fringe has a million billion shows–try your luck!
Two weeks before that, I took B-cat to hear Rossini’s Barber of Seville at Bard on the Beach. Why is the Shakespeare festival putting on unrelated operas? Who knows? At least they do it better than Vancouver Opera.
The production features UBC opera students and Vancouver Opera Orchestra musicians. The stage is the one looking out onto the park–it’s almost as beautiful as the music. Everyone contributes to this sincere, delightful performance; Geoffrey Schellenberg’s Figaro, in particular, stands out with his humorous ways and strong voice, plastic wig be damned.
On our way out, we passed an attendee who was asking Schellenberg about his career. The latter said he was heading to Calgary Opera, which is pretty nice, even if Vancouver won’t have him. (It’s not eavesdropping if they’re loud, right?)