The Arts Club Theatre Company’s production of A DOLLS HOUSEis a reimagining of Henrik Ibsen’s classic – adapted by acclaimed playwright Amy Herzog and presented in partnership with Theatre Calgary. I just watched it Thursday night with my friend Rosa.
With happy children, a pristine house, and a husband secure in a lucrative job, beautiful Nora Helmer appears to have it all. But a secret is bubbling under the surface that threatens to alter her reality.
Herzog’s take brings a contemporary edge to Ibsen’s 1879 drama, sharpening its themes of autonomy, societal pressure, and personal awakening.
The set design is a minimal and whimsical pastel-toned dollhouse. The main character Nora (played by a feisty Alexandra Lainfiesta) evokes a Barbie-like figure trapped in a surreal domestic space. Her portrayal anchors the emotional weight of the production.
Photo courtesy of The Arts Club Theatre.
Ibsen’s original play was revolutionary for its time, challenging gender roles and societal expectations. This Arts Club production honours that legacy with its reinvention.
Directed by Anita Rochon, the staging doesn’t soften the play’s iconic ending with Nora’s dramatic exit which still lands with liberating and intense force, nearly 150 years after it first shocked audiences.
Here’s something interesting I just learned about: A Doll’s House, Part 2 by Lucas Hnath, premiered in 2017 at the South Coast Repertory before transferring to Broadway. It imagines Nora returning years later, confronting the consequences of her departure. The tone, language, and pacing are starkly different from Ibsen’s original, but that rupture is the point – it forces us to reckon with how far (or not) society has come.
In my opinion, the flow suffers, but the thematic resonance of freedom, independence and societal roles is amplified and relevant.
When a reinvention doesn’t “flow,” it might not be a flaw – it could be a deliberate choice to provoke, unsettle, or reframe. I had to sit with it for a while. The audience had mixed reviews.
The Arts Club Theatre Company’s opening night of CASEY and DIANA was last night – May 30th, 2025. The playwright, the director and many media types were among the audience members. I attended with my friend Megan.
Lindsey Angell as Diana Damien Atkins as Thomas Photo: courtesy of Arts Club Theatre Company.
There was a bit of confusion as to what this play was all about. Especially if you didn’t read up about it beforehand. From the name alone you can imagine it being about a married couple or a comedic team or anything else. All I knew was that it was about the aids pandemic (yes; that’s what they’re referring to it as now) and a visit from Princess Diana to Casey House; a specialty hospital based in Toronto that cares for people living with and at risk of HIV.
The play is based on true events. In a hospice where men are certain to die of this terrible disease sooner than later, the only uplifting thing they have to hang on to is hope; that quiet but persistent belief that things can get better, even when the present feels uncertain or difficult. And right now they hope to meet a visiting princess where, if only for a few minutes, will make them feel seen and uplift their spirits. They want to hang on for that moment – only seven days away. Which feels like forever in their situation.
Alen Dominguez as Andre & Nora McLellan as Marjorie. Photo: Courtesy of Arts Club Theatre Company.
The actors do a magnificent job of creating a quiet desperation of uncertainty while trying to maintain some dignity.
Princess Diana’s visit to Casey House in Toronto, on October 25, 1991, was groundbreaking and deeply impactful in reducing stigma around HIV/AIDS. She spent time with all 13 residents, staff, and caregivers, staying longer than planned and making a powerful statement by physically touching patients.
Her visit provided hope and dignity to those affected by the disease, and her compassion resonated worldwide. The moment was so significant that it has been immortalized in plays like this one, which explores the lasting effect of her kindness. But it also explores what it’s like living with the disease.
Until May 25, 2025 at the Stanley Industrial Alliance Stage (2750 Granville Street).
I saw this excellent one-woman show last night about taking risks and enjoying the small moments in life and the ride along the way. It’s about the journey in general and our strong striving for some form of connection.
Photo courtesy of Arts Club Theatre.
It resonated with me in the sense that it made me think about the difference between attachment and connection. The main character’s name is Dorothy (played by Susinn McFarlen). Dorothy’s story is based on the playwright’s mother’s life. After losing her husband, she decides to take their RV on the road trip of his retirement dreams: she’s going to Burning Man. After all, it’s only a 21-hour drive to a weeklong culture festival and party with no plumbing in the middle of a desert—how hard can it be? Burning Mom is a stirring odyssey of self-discovery and tale of how art, everlasting roads, and human connection propel her along the way. McFarlen did a wonderful job of entertaining us with stories for over two hours, with one set/costume change after a short intermission.
With Lisa (my sister) celebrating her birthday at SANDBAR before the show. FYI – Sandbar offers 15% off the bill if you’re going to the Arts Club. THAT was a nice surprise! Tisha (our amazing server) took this photo.
My question is – is everyone always trying to find themselves? Are we trying to carve a path that will make us feel whole or make sense out of living? At times, I believe so.
I, myself, have never had a burning (pun intended) desire to go to this festival. It’s not that I’m not curious about Burning Man, and probably once there I’d enjoy it for what it is…but it’s not on my bucket list. Luckily, I’ve crossed a lot of stuff off my personal bucket list. And it’s not a great idea to live someone else’s dream. Although I did live my late mother’s dream trip of going on safari. With my sister no less. What a bittersweet experience that was.
Getting back to the play; the only connection I have to this play is that my late husband had a Eurovan Camper that he loved and that we used a lot. I didn’t love it as much but I ended up enjoying his enjoyment of it. There were many special places we ended up discovering with that little camper. However, after he passed, I tried to keep it and learn how to drive stick shift which didn’t work out so well in the end. I had some similar parking experiences as the performer in this play. Some funny; some not. I ended up selling it. So in essence I was hanging on to it because of his (not my) love of camping. Hanging on to someone else’s love of something is a form of attachment.
Anyway, I was recently discussing the difference between attachment and connection with a friend. The difference lies in their nature and depth. Although I must say that I feel both an attachment and a connection to my dogs.
Attachment often stems from a need or dependency. It can involve clinging to someone or something for comfort, security, or emotional support. While attachment can feel strong, it may be rooted in fear—fear of loss, change, or being alone. It can sometimes create unhealthy dynamics if it becomes possessive or overly dependent.
Connection, on the other hand, is more about mutual understanding, resonance, and genuine presence. It doesn’t rely on need or fear but instead arises from shared experiences, values, and emotional attunement. A connection feels freeing, nurturing, and balanced—it’s about being with someone, not needing to hold on tightly.
Interesting, no? How many things are you attached to and how many are you connected to?
PRIMARY TRUST is much more than a simple stage play set in a little town half an hour east of Rochester, New York. This play was the winner of the 2024 Pulitzer Prize for Best Drama – By Eboni Booth. From February 6th – March 2nd, 2025 at the Arts Club Theatre-Granville Island Stage. Go to bottom of page for ticket info.
Unfortunately, I was unable to attend the Canadian Premiere. This review was written by PaulLeMay; a professional writer, on my behalf. It’s difficult to condense a whole play into a few paragraphs for a multitude of reasons – from monologues that are rich in dialogue to complexity of plot, themes and messages. I think he did a great job in narrowing the story down so that you still get the message without knowing everything. I believe this story will resonate with many.
It’s more than the simple story of a young black man who suddenly loses his job in a family-owned bookstore after working there for over twenty years. It’s about a man forced to confront the mind-numbing self-comforting of his near daily routine of drinking many a Mai-Tai during Happy Hour at Wally’s Tiki-bar with his best friend Bert.
Photo courtesy of Arts Club.
Though the play draws its name from the bank where Kenneth eventually finds a new job as a teller, Primary Trust is about what it means to leave one’s own protective inner shell to confront one’s own early life traumatic losses. But allowing others to help us navigate that very delicate terrain to discover the healthier person we are beyond the trauma is also part of this story. So despite the surface-level simplicity of this light comedic play’s story premise, it’s one that proves able to dial into the proverbial emotional vulnerability found at the centre of each of us, and in so doing, it is more than enough to hit home in a meaningful manner. Don’t be surprised if tears rise to the surface when an inner recognition of this fact comes about, proving once again why theatre can often be both cathartic and healing for so many in attendance.
The performances of all the cast members were outstanding. The principal character Kenneth played by Andrew Broderick was convincing in his ability to convey the measure of innocence needed for this role. Broadus Mattison asKenneth’s friend Bert exemplified a powerful steadying mentorship presence that his deep gravitas voice instantlycommunicated. Andrew Wheeler was comedic in his portrayal of two of his quirkier characters, while also soberly convincing in his portrayal as the book store owner. And Celia Aloma was a veritable chameleon in her ability to almost instantly morph into a half dozen different characters as the script demanded throughout the course of the play.
Photo courtesy of Arts Club.
And the music was never overly intrusive, but usefully supportive. In short, each cast member was an amazing credit to the successful staging of this play. Bravo!
Primary Trust – winner of the 2024 Pulitzer Prize for Best Drama – By Eboni Booth
Canadian Première – Arts Club Theatre Company, Vancouver Granville Island Stage, Feb 6-Mar 2, 2025
Cast:
Celia Aloma (Corrina/Wally’s Tiki Bar Waitress /Bank Customers)
Andrew Broderick (Kenneth – main character)
Anton Lipovetsky (Musician)
Broadus Mattison (Bert, Kenneth’s best friend)
Andrew Wheeler (Clay the Bookstore owner /Sam/ Waiter @ Le Pousselet)
I finally got to see HAMLET last night with my friend Rosa at Vancouver’s “Bard on the Beach.”
This one tops the list as being Shakespeare’s most performed, and greatest play of all. Its soliloquies are also the most famous compared to the other tragedies.
So happy that I read the synopsis before the play started, if only to refresh myself with the story outline. I was surprised to find out that the infamous line “to be or not…..blah, blah you know the rest was mentioned in the opening few minutes. Rosa, on the other hand; had a teacher in high school in Mexico, very well versed with Shakespeare and taught her students in-depth details about the plays. So much so, that Rosa remembered almost everything about the play. She should really be the one writing this review. However, this is not so much a review, as an overview of the evening.
Nadeem Phillip Umar Khitab as Hamlet, Photo by Tim Matheson.
No play by Shakespeare has more meaningfully captivated us than Hamlet. A young prince returns home to mourn the death of his father only to uncover a dark secret he can’t ignore. His struggle to move forward with purpose awakens deep questions about life, existence, and if it’s better “To be or not to be.” As he attempts to make sense of a world that has shifted beneath him, we are invited to see ourselves in Hamlet and to consider the blurry lines around loyalty, self, and all the things that are in heaven and earth. – (this paragraph taken from the website).
Munish Sharma as Claudius, Jennifer Clement as Gertrude, Christine Quintana as Osric, Photo by Tim Matheson.
Vancouver’s “Bard on the Beach” has a very talented cast and crew. We’re so lucky to have them. What they tend to do is take a classic (such as this one) and put a modern twist on it, so that it’s a lot more relatable to today’s audience. Don’t forget, this was written somewhere between 1599 and 1602; towards the end of Queen Elizabeth’s rule when the English people were nervous about succession. Queen Elizabeth’s long reign represented a time of peace after lengthy turmoil. So this play probably hit home much harder at that time.
Nadeem Umar Phillip Khitab as Hamlet, Kate Besworth as Ophelia, Photo by Tim Matheson.
Hamlet is significant because it embodies the complexities of human psychology. His internal struggles, including grief, anger, and indecision, serve as a study in the human condition. We can learn about the consequences of overthinking and the importance of taking action.
Nadeem Phillip Umar Khitab as Hamlet, Jennifer Clement as Gertrude, Photo by Tim Matheson.
We were really impressed by the talented cast and set design. It takes a village (literally) to put something like this together.
Aidan Correia as Rosencrantz, Nadeem Phillip Umar Khitab Ivy Charles as Guildenstern, Photo by Tim Matheson.
Below is the story – taken from the Bard booklet. For tickets see bottom of page.
THE STORY
“ADIEU, ADIEU, HAMLET. REMEMBER ME”
Hamlet, Prince of Denmark, has returned home to Elsinore for his father’s funeral, only to learn that his mother, Gertrude, has married his uncle Claudius—and that Claudius is now King of Denmark. Disturbed by this turn of events, a melancholic Hamlet continues to mourn the loss of his father, much to the concern of King Claudius and Queen Gertrude.
When his friend Horatio brings news of a ghost that resembles the late King Hamlet wandering the grounds of Elsinore, Hamlet starts to realize that things may not be exactly as they seem. Hamlet resolves to try and catch a glimpse of the ghost for himself.
Elsewhere, Laertes, the son of Polonius, speaks with his sister Ophelia while preparing to return to France. He warns Ophelia to steer clear of Hamlet’s affections, and when Polonius overhears this and learns that Hamlet has been courting his daughter, he forbids Ophelia from spending any more time with Hamlet.
That evening, Hamlet, Horatio, and the watchman Marcellus wait outside, where the ghost reveals himself to Hamlet as his father’s spirit. He tells Hamlet that he was not killed in an accident, but rather, murdered by his brother Claudius, and asks Hamlet to avenge his death. Hamlet vows to seek revenge on Claudius and advises Horatio and Marcellus that he will “put on an antic disposition” and feign madness while he carries out his plan.
“MADNESS IN GREAT ONES MUST NOT UNWATCHED GO”
The next day, Hamlet’s two former school friends Rosencrantz and Guildenstern arrive at Elsinore. Claudius has sent for them so that they can watch over Hamlet, whose strange behaviour has been noted by both Claudius and Gertrude, as well as by Ophelia and Polonius. Almost immediately, a group of musicians also arrive at Elsinore and Hamlet sees an opportunity to set his plan in motion. Hamlet asks the musicians to perform a song that mimics the events of his father’s murder, so he can watch Claudius’ reaction. When Claudius storms out in the middle of the performance, Hamlet believes that he has all the proof he needs of his uncle’s guilt.
What happens next is a tragic saga of betrayal, murder, political intrigue, and revenge that has captivated audiences for generations.
The play takes place until September 20th. For tickets:
A good friend of mine saw this play (a made up Tom Stoppard extension of Hamlet) at the Stratford Festival in Ontario and gave it rave reviews:
Rosencrantz and Guildenstern Are Dead is an absurdist, existential tragicomedy by Tom Stoppard, first staged at the Edinburgh Festival Fringe in 1966. The play expands upon the exploits of two minor characters from Shakespeare’s Hamlet, the courtiers Rosencrantz and Guildenstern, and the main setting is Denmark.
Last Wednesday was the opening of Shakespeare’s “Twelfth Night” at Vancouver’s “Bard on the Beach.”
Charlie Gallant as Sebastian Olivia Hutt as Olivia, Photo by Tim Matheson
I walk my dogs around the area where the tents are assembled and it’s always amazing to see how far they’ve come from having absolutely nothing there to the remarkable display that becomes the epicentre for our Shakespeare festival. It’s nothing short of a hell of a lot of work to put this together; and then you have the gorgeous sets, rehearsals and finally the crowds. Then we know that summer has arrived.
Photo: Tim MathesonWith the very tall premier of British Columbia; David Eby. I’m wearing my “As You Like It” t-shirt purchased from the Bard Boutique last season (they still have some left).The boutique offers a lot of fun souveniers.
I must admit that it’s always a bit of a challenge to review Shakespeare. The characters always portray profound insights into the human condition, delving into the complexities of human nature. The plays are infused with poetic language, universal truths and a touch (in some cases more than a touch) of whimsy. The classic play explores themes of love, power, ambition and betrayal. Some resonate with me more than others.
“Twelfth Night” is a comedy filled with mistaken identities, love triangles, and witty wordplay.
The Company of Twelfth Night, Photo by Tim Matheson
Most critics consider it to be one of his greatest comedies, along with “As You Like It,” “Much Ado About Nothing,” and “A Midsummer Night’s Dream.” My favourite so far has been “As You Like It” but it’s all personal and William Shakespeare is known to be the greatest playwright of all time.
It follows the story of Viola, who disguises herself as a man named Cesario, leading to romantic entanglements and humorous confusion. This play explores themes of love, desire, and self-discovery amidst a backdrop of elaborate schemes and mischievous pranks. It takes place in Illyria; a made up land of misrule. The land is a bright and brilliant carnival of confusion, where music is truly “the food of love.” And as usual, follow along because things happen fast.
Dawn Petten as Malvolia, Photo by Tim Matheson
The execution of this play is very well done and the players (accomplished actors who can sing) are excellent. I’m always impressed by them and their range of talent.
Olivia Hutt as Olivia, Photo by Tim Matheson
Need I say more? I don’t want to ruin the suspense or surprise. And quite frankly, I think you need to see it yourself to really understand what’s going on because there’s a lot going on and I prefer to keep my posts fairly brief and not to give too too much away. Let me know what you think.
The tents are up and the shows have begun. We can gather once more as a community with world class theatre in the park. Vancouver welcomes Bard’s 33rd season with three new productions.
I cannot tell you how sad it was walking by the Vanier Park location with my dog for two long summers of darkness. By that I mean no tents to be seen during the pandemic shut down period. But now the Bard is Back and stronger than ever!
Photo: d. king
I attended the opening night of “A Midsummer Night’s Dream” – an appropriate production to start off this beloved Shakespeare Festival as the story is all about love, magic and dreams. With that comes fairies, goblins, misunderstandings, confusion, egos, love gone wrong – and finally made right. Kind of like life itself but with a Shakespearian twist.
Elyza Samson, Carly Street, Polina Olshevska, Kate Besworth & Anna Wang-Albini in the magical fairy woods A Midsummer Night’s Dream, 2022 Photo: Tim Matheson
Shakespeare’s comic masterpiece follows four young lovers and a troupe of stumbling actors through enchanted woods, on a journey of discovery to find out who they are, whom they love, and why it matters. Beginning in a world in disrepair, the story moves to the forest, where the natural and supernatural have merged and elves, goblins, and talking trees guide the way.
Heidi Damayo, Emily Dallas, Christopher Allen & Olivia Hutt play a quartet of magically manipulated lovers in A Midsummer Night’s Dream, 2022 Photo: Tim Matheson
If you like slapstick comedy with a Shakespearean silliness, you’ll love this production. The costumes and sets are outstanding.
Directed by veteran Bard director and actor Scott Bellis (director – The Two Gentlemen of Verona, 2017; Bottom – A Midsummer Night’s Dream, 2014). Onstage from June 8 – September 24.
Vancouver’s Shakespeare Festival “Bard on the Beach” is back with a 2022 lineup filled with laughter, suspense and excitement.
(A Midsummer Night’s Dream).
Why do people refer to Shakespeare as “the Bard?”
Since the word “bard” means poet, we’re essentially calling Shakespeare “the Poet” when we refer to him as “the Bard.” Since centuries upon centuries of poetry enthusiasts concur that he’s one of the greatest poets that has ever lived, it’s only fitting we call him “the Poet.” Thank you Google.
Our Bard Village is where festival goers from home and around the world can enjoy world-class plays, special events from light opera and VSO evenings to wine tastings with food & fireworks. Something that was certainly missed over the past two years. Luckily for me I can walk there in minutes.
I’m looking forward to attending the opening night of “A Midsummer Night’s Dream.”
Synopsis:
Shakespeare’s comic masterpiece follows four young lovers and a troupe of stumbling actors through enchanted woods, on a journey of discovery to find out who they are, whom they love, and why it matters. Beginning in a world in disrepair, the story moves to the forest, where the natural and supernatural have merged and elves, goblins, and talking trees guide the way. It’s time again to enter a place of love, laughter and magic!
“I adore this play – it’s full of joy, magic and love. This is my tenth (Dream) production and I can’t wait to see it onstage again!” – Christopher Gaze, Bard Artistic Director
Directed by veteran Bard director and actor Scott Bellis (director – The Two Gentlemen of Verona, 2017; Bottom – A Midsummer Night’s Dream, 2014). Onstage from June 8 – September 24.
Vancouver Symphony OrchestraFireworks and Barbeque Night
Have you been?
Upcoming Plays:
Harlem Duet: This Governor-General’s Award-winning drama explores the complicated relationship of a Black couple in three key periods in the American Black experience: 1860, before the US Emancipation Proclamation; 1928, during New York’s Harlem Renaissance; and in post-civil rights 1997. Each setting reframes the story of the woman, her deep love for her partner, and her sacrifices – and resilience – in the face of his betrayal. With connections to Othello, Harlem Duet explores important contemporary questions about race, privilege and relationships.
Romeo + Juliet: Shakespeare spins a tragic and timeless story of two young people who fall deeply in love, in spite of a bitter feud that divides their families. Their passion – and Juliet’s courage – never fail to move and inspire us. And today more than ever, the play’s “two households alike in dignity” are a powerful reminder that with love, even the world’s greatest wounds can be healed. This production, in a classical setting, casts new light on Juliet’s experience.
For tickets from $29 – https://artsclub.com/shows/2025-2026/a-dolls-house
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