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    • Music

    A Percussionist’s Songbook
    Explore this show
    Percussionist Joby Burgess performs his new album of “songs without words.” The virtuosity, range and creativity on display are downright thrilling.

    Presenting Partner

    • Music on Main

    Playing at Orpheum Annex

    Showing on Jan 25-26

    1. January 25 at
      1. 7:30
    2. January 26 at
      1. 7:30
    • Ace percussionist Joby Burgess performs his new album of “songs without words.” The specially commissioned pieces are inspired by sources as diverse as Saudi Arabian folklore and the prose of Michael Ondaatje, and the musical range on display is dizzying. Burgess moves through many different setups throughout the evening, chatting with the audience as he does so.
    • “With percussionist extraordinaire Joby Burgess… thunder and menace are offset by taps, rattles and delicate whispers redolent of an entire percussion section.” –BBC Music Magazine
    • Joby Burgess, who has short brown hair and dark clothing, pounds on a drum with shiny metal hardware using large white-tipped sticks. White dust particles rise dramatically in the air.
    • "...a prominent figure in the alt-classical scene … Joby Burgess, the soloist coaxed all manner of sounds from the oxlike instrument, often wielding multiple sticks in each hand and even using his fingers and elbows … the words athleticism and stamina come to mind.’ –The New York Times
    • A black and white scene where a standing person seen from behind plays the xylophone
    • "‘one of the best concertos written this century … Joby Burgess has made the Bass Drum Concerto his own, and the Ural Philharmonic under Alexei Bogorad clearly respond to the percussionists’s virtuoso treatment of an instrument that resided in the lower reaches of the orchestral hierarchy for far too long.’ –Gramophone
    • Joby Burgess, with short brown hair and dark clothing, plays a tall aluminum harp. He stands in shadow, with white-purple fog streaming in from the left.

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    • Music
    • Multimedia

    afternow
    Explore this show
    Loud, proud and militant, this installation features beautiful video portraits, contemporary opera and one booming stereo system.

    Presenting Partner

    • The Black Arts Centre

    Playing at Roundhouse Exhibition Hall

    Showing on Jan 28-Feb 5

    1. January 28 at
      1. Ongoing 12-7:30; Dub night 9-11:30
    2. January 29 at
      1. Ongoing 12-7:30
    3. January 31 at
      1. Ongoing 12-7:30
    4. February 1 at
      1. Ongoing 12-7:30; Dub night 9-11:30
    5. February 2 at
      1. Ongoing 12-7:30
    6. February 3 at
      1. Ongoing 12-7:30
    7. February 4 at
      1. Ongoing 12-7:30
    8. February 5 at
      1. Ongoing 12-7:30
    • Loud, proud and militant, this installation features three video portraits, one contemporary opera and one booming stereo system. From those ingredients, nora chipaumire builds a bridge between African spirituality and contemporary art forms. afternow is a model for resistance and reclamation.
    • A listening room lit in purple light with chairs, large speakers in wood cases, and projections of people on the walls
    • nora chipaumire, wearing a white and black-patterned jumpsuit, thick black necklaces, white and black head covering, and white sneakers, looks into the camera. she sits on top of a high stack of wood stereo speakers, feet resting on top of a black speaker.

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    • Theatre

    An Undeveloped Sound
    Explore this show
    This beguiling creation features four beleaguered spokespeople on a quest to express the inexpressible.

    Presenting Partners

    • Electric Company Theatre
    • SFU Woodward's Cultural Programs

    Playing at Fei and Milton Wong Experimental Theatre

    Showing on Jan 30-Feb 4

    1. January 30 at
      1. 7:30 (Preview)
    2. January 31 at
      1. 7:30 (Preview)
    3. February 1 at
      1. 7:30 (Show)
    4. February 2 at
      1. 7:30 (Show)
    5. February 3 at
      1. 7:30 (Show)
    6. February 4 at
      1. 7:30 (Show)
    • This beguiling creation features four spokespeople hired to represent a mysterious development. Using Goethe’s Faust as a loose template, writer-director Jonathon Young applies its core themes to the issue of communication itself: caught between the forces of development and destruction, the spokespeople are on a quest to say what can’t be said.
    • A woman picks up a misshapen, human-like infant form and a man watching turns and runs away. The scene changes to a small group of people standing in a circle on a dimly lit stage, arms raised.
    • Laara Sadiq, a woman with brown hair in a braid wearing a black blouse, black pants, and black shoes, kneels down and pleads to a mysterious character with the shape of a small child wearing a black parka jacket, gray gloves and gray socks. A pile of gray bricks and a gray bin are placed behind them.

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    • Theatre

    Are we not drawn onward to new erA
    Explore this show
    In this ingenious, provocative take on the climate crisis, we see and hear the same actions twice–with time inverted in each half of the show.

    Presenting Partner

    • UBC Theatre & Film

    Playing at Frederic Wood Theatre at UBC

    Showing on Feb 1-4

    1. February 1 at
      1. 7:30
    2. February 2 at
      1. 7:30
    3. February 3 at
      1. 7:30
    4. February 4 at
      1. 7:30
    • Short video clip of a person walking on stage into a smoke filled background while another person blows smoke from a hose.
    • The title is a palindrome, and so is the play itself: we see and hear the same actions twice, with time inverted in each section. It’s a marvel of technique, a wonder to behold, and a pointed metaphor for the climate crisis and how it can be understood.
    • “[A] serious and powerful piece of theatre about the future of our species… uses the company’s boundless inventiveness to sear its message into your soul.” –Time Out
    • “[A] show of extraordinary beauty… and of quite breathtaking ingenuity.” –The Scotsman
    • “Are we not drawn onward to new erA is a cleverly staged, visually sumptuous dream – technically, a fantastic achievement, and artistically, a truly beautiful show full of pensive sadness.” Dorothy Max Prior, Total Theatre Magazine
    • A figure wearing a salmon-coloured shirt and face mask holds up a red tube exhuming a large cloud of white smoke that envelops the room. On the ground are multicoloured pieces of crinkled plastic.

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    • Dance
    • Cancelled

    because i love the diversity (this micro-attitude, we all have it)
    Explore this show
    Deeply personal, but with wide-ranging implications, this explosive solo performance uses dance, music, and text to explore the dangers of surveillance technology.

    Presenting Partner

    • The Cultch

    Playing at Performance Works

    Showing on Jan 29-31

    1. January 29 at
      1. Cancelled
    2. January 30 at
      1. Cancelled
    3. January 31 at
      1. Cancelled
    • Rakesh Sukesh’s solo performance uses dance, music, and text to embody inner turmoil, and to interrogate the political use of technology. Sukesh’s explicit subject is racial profiling, but his movements, his rhythms, and his discourse have much wider implications. He uses provocation for political ends; in the unsettling truths he enacts lies a gesture toward liberation.
    • Blurred photograph of Rakesh Sukesh. His face and bare torso are painted with geometric black and white shapes. His right arm is raised in front of his face and left arm in front of his torso. The background is brown and grey fog.

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  • Club PuSh
    Explore this show
    If you’re looking to keep the festival vibes going into the night, this is the place to be. Club PuSh is a spot where you can enjoy drinks, connect with our artists, and party with your fellow PuSh-goers.

    Presenting Partners

    • Talking Stick
    • The Black Arts Centre
    • the frank theatre co.

    Playing at Performance Works

    Showing on Feb 2-4

    1. February 2 at
      1. 9:00pm-1:00am
    2. February 3 at
      1. 9:00pm-1:00am
    3. February 4 at
      1. 9:00pm-1:00am
    • If you’re looking to keep the festival vibes going into the night, this is the place to be. Club PuSh is a spot where you can enjoy drinks, connect with our artists, and party with your fellow PuSh-goers. It’s also the venue for fantastic performances in a relaxed, casual atmosphere. We’re thrilled to provide a convivial and comfortable setting for our audiences to gather, and we hope to see you here!

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    • Dance

    Coloured Swan 3: Harriet’s reMix
    Explore this show
    This fantastically creative show tackles politics, human history and the very nature of time, all the while maintaining the atmosphere of a carnival.

    Playing at Orpheum Annex

    Showing on Jan 20 - 22

    1. January 20 at
      1. 7:30
    2. January 21 at
      1. 7:30
    3. January 22 at
      1. 2:00
    • Moya Michael’s fantastically creative opus blends music, contemporary dance, digital projection, audience interaction and wild vocal effects for a futuristic meditation on time, politics and human history. Thematically, the performance is as rich as can be, but it wears its profundity lightly; you might call it a party for the mind.
    • A person dressed in many overlapping colourful textiles dances in circles
    • “Moya's work deviates from the traditional exposition of identity politics present in Europe at the moment. You can experience her work as a love letter to the right to interiority and opacity for people of colour, and the codes that are often only available to those who are part of the community." -Kopana Maroga
    • Onstage performance. In the foreground, a performer in a white tank top and holds a microphone; to the left, a dancer in orange pants does a headstand; on the right, a dark-clad figure holds a long piece of fabric. On the ground are neon-coloured tulle costumes. The stage is lit by blacklight, with figures in near darkness and neon colours glowing brightly.

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    • Dance

    Le cri des méduses
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    This dance performance, inspired by Géricault’s The Raft of Medusa, is haunting, seductive and dreamlike–a triumph of the imagination.

    Playing at Vancouver Playhouse

    Showing on Jan 27-28 (In-Person); Jan 27-30 (Online)

    1. January 27 at
      1. 7:30 +Online
    2. January 28 at
      1. 7:30 +Online
    3. January 29 at
      1. Online
    4. January 30 at
      1. Online
    • Powerful, seductive and ultimately unclassifiable, this performance is inspired by Géricault’s famous painting The Raft of Medusa. Choreographer Alan Lake has taken that painting’s beauty and pathos and transposed it to the stage, adding his own brilliance. Featuring ambient music, nine dancers and an ever-shifting scenography, this is a triumph of the imagination.
    • Two dancers covered in black paint sit shirtless, kissing, on top of a freestanding wood structure. A third, also covered in black paint, stands above them with their head in their hands, leaning against a paint-splattered wood wall.
    • "ll y a une beauté funeste, une sensualité qui se marient au macabre dans Le cri des méduses. Ne serait-ce que pour cela, la pièce vaut vraiment le détour." –La Presse
    • A group of people arranged in a heap burst out and away from each other
    • "De ce tableau sensationnel que construisent les danseurs d’Alan Lake sous nos yeux en répétition, une touche cinématographique se dégage." –Le Devoir
    • "Une mise en danse exceptionnelle. Pour les connaisseurs, il s’agit d’une autre dimension; pour le néophyte, une façon de s’intégrer au milieu de la danse contemporaine par la grande porte." –Séquences, la revue des cinémas pluriels

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    • Multimedia

    Lolling and Rolling
    Explore this show
    With subversive wit, Jaha Koo explores the practice of tongue-tie surgery, which some South Koreans undergo so that they’ll be better able to pronounce the English “r” sound

    Playing at Performance Works

    Showing on Jan 19-21 (In-person); Jan 19-22 (Online)

    1. January 19 at
      1. 7:30 +Online
    2. January 20 at
      1. 7:30 +Online
    3. January 21 at
      1. 7:30 +Online
    4. January 22 at
      1. Online
    • Video, music and monologue come together as Jaha Koo takes on linguistic imperialism. The main subject is the South Korean phenomenon of tongue-tie surgery, a procedure that makes it easier for patients to pronounce the English “r” sound. Mixing music as he holds forth, Jaha Koo shines a light on cultural oppression and the loss of identity it entails.
    • Jaha Koo, who has short black hair and is wearing glasses and a black T-shirt, DJs in a dark room. Behind are two video screens; the left depicts several plans in the sky; the right shows a black-and-white photo of a boy with the text “Et ils ont désigné l’anglais comme langue / And they proclaimed English”.
    • A montage of a person using a soundboard, computer animated objects, and video
    • "[Koo] intimates to us that there are indeed forms of beauty in language which only our own mother tongue(s) can make available. Defying history, poetry remains a space of resistance." –Tanzquartier Wien

    • Article

      Review by Freda Fiala | Tanzquartier Wien

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    • Dance
    • Circus

    LONTANO + INSTANTE
    Explore this show
    In each of these dazzling shows, an acrobatic dancer teams up with a large, round circus ring for an experiment in perpetual motion.

    Presenting Partners

    • Inner Fish
    • Living Things

    Playing at Scotiabank Dance Centre

    Showing on Jan 26-28 (In-person); Jan 26-29 (Online)

    1. January 26 at
      1. 8:00 +Online
    2. January 27 at
      1. 8:00 +Online
    3. January 28 at
      1. 8:00 +Online
    4. January 29 at
      1. Online
    • These dazzling shows feature the Cyr wheel, a large metal ring made for perpetual motion. The acrobatic performers spin the wheel for all it’s worth, each enacting a pas de deux between human and object. The results are as thrilling as they are hypnotic.
    • Lontano performance: Marica Marinoni, who has wavy dark hair and is wearing red pants, is suspended in the air. She holds onto a cyr wheel spinning against the ground amid a room filled with fog.
    • A man wearing a jacket and no shirt moves an illuminated hula hoop around his head

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    • Interactive
    • Sold Out

    MANUAL
    Explore this show
    Participants are paired with a guide and led on a sensory journey through public space. It’s an adventure in sight, sound and text–one that will renew your sense of possibility.

    Presenting Partner

    • Vancouver Public Library

    Playing at Vancouver Public Library, Central Branch

    Showing on Jan 28-Feb 1

    1. January 28 at
      1. 11:40-6 (every 20 mins)
    2. January 29 at
      1. 11:40-6 (every 20 mins)
    3. January 30 at
      1. 11:40-6 (every 20 mins)
    4. January 31 at
      1. 11:40-6 (every 20 mins)
    5. February 1 at
      1. 11:40-6 (every 20 mins)
    • In this one-on-one experience, participants are guided through a sensory journey in a public library via written notes and immersive audio. What MANUAL offers, besides an exciting adventure, is an usual experience of listening and looking––a chance to renew your senses.
    • Hands placed on an open book, and one hand turns upward and then the other hand does the same
    • "Transcending individual experience, MANUAL is about the intimacy shared between performer and spectator in the reading encounter. The book becomes a vector of interaction, instilling a level of presence that is essential to listening to others. Willes and Kinner have designed a manual for slowing down and relearning how to spend time together after two years of social distancing." –Emmanuelle Jetté, Festival TransAmériques
    • "I am reminded by MANUAL that a library truly is an everyday miracle in action." –Jenn Stephenson, play/PLAY: dramaturgies of participation
    • Partial rear shot of two people looking at a stack of open books on a table. The right figure, with grey hair, a face mask and gold watch, rests their hands against the pages of two large books depicting black and white photographs.

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    • Dance
    • Sold Out

    Never Twenty One
    Explore this show
    Through evocative, urban-inflected movements, three dancers pay tribute to Black men who have lost their lives to gun violence.

    Presenting Partner

    • The Dance Centre

    Playing at Scotiabank Dance Centre

    Showing on Jan 19-21

    1. January 19 at
      1. 8:00
    2. January 20 at
      1. 8:00
    3. January 21 at
      1. 8:00
    • Smaïl Kanouté’s production is a lament, a tribute and a protest. Through evocative, urban-inflected movements, three dancers pay homage to Black men who have lost their lives in New York, Rio de Janeiro and Johannesburg. The show has both a heartbreaking specificity and a global significance.
    • Three men, shirtless with words painted on their bodies, stand on a black background making gestures
    • Three shirtless dancers wearing black pants stand facing each other onstage, with bare torsos covered in white-painted testimonials of the families of young Black men who have been victims of gun violence. Two figures on the left face the one on the right, who is lunging and looking up with eyes closed. Beads of sweat are visible under the stage lights.

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    • Circus

    O’DD
    Explore this show
    This mesmerizing circus performance features brilliant design, a beautiful score and astonishing acrobatics.

    Playing at Vancouver Playhouse

    Showing on Feb 4-5 (In-person); Feb 2-5 (Online)

    1. February 2 at
      1. Online
    2. February 3 at
      1. Online
    3. February 4 at
      1. 7:30 +Online
    4. February 5 at
      1. 2:00 +Online
    • This mesmerizing circus performance begins with an evocation of birth and follows an acrobatic man through phases of existence. There’s a strong sci-fi edge to the show, with both man and objects given symbolic weight. Brilliantly designed, beautifully scored and full of superb acrobatics, O’DD is true poetry in motion.
    • “[C]reates a compellingly enigmatic experience where visuals lead the story… sets out to redefine the boundaries of physical expression.” –Broadway Baby
    • “[A] magical show, hypnotic in its design… a bold, innovative addition to the sci-fi theatre genre.” –Theatre Full Stop
    • Dramatically lit image of a performer, barefoot and wearing a jumpsuit, jumping midair and against a blue-lit background. The figure is bathed in red light and below are large round fabric structures in purple, green, and blue.
    • “Rauli Dahlberg’s brilliant cosmos is sparkling - The soundscape-space-odyssey with sound artist Miro Mantere is a monolith of skill and play. [...] O’DD is a deeply thought and well executed performance, that [...] represents visionary circus art, which is luminous as well as credible in many ways.” –Kaleva
    • A man wrapped in plastic bounces on a trampoline, and then on a large exercise ball

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    • Theatre

    Okinum
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    Émilie Monnet interprets a recurring dream and attempts to reclaim her Anishinaabe ancestry in this hypnotic monologue performance.

    Presenting Partners

    • Anvil Theatre
    • Touchstone Theatre

    Playing at Anvil Theatre

    Showing on Feb 2-3 (In-person); Feb 2-5 (Online)

    1. February 2 at
      1. 7:30 +Online
    2. February 3 at
      1. 7:30 +Online
    3. February 4 at
      1. Online
    4. February 5 at
      1. Online
    • Speaking three languages, Émilie Monnet interprets a recurring dream and transmits a message of empowerment to the audience. This monologue performance, scored live by Jackie Gallant, portrays Monnet’s quest to reconnect with her Anishinaabe ancestry and language. Making creative use of live sound and visual storytelling techniques, this is a hypnotic, cathartic experience.
    • “It’s hard not to be moved by this piece as an act of cultural reclamation and as a harmonization of body and spirit.” –Le Devoir
    • “Okinum speaks to the importance of transmission to the new generation, but also openness to others.” –Mon Théâtre
    • Émilie Monnet, dressed in dark clothing, sits onstage holding a cylinder of bark. On the wall behind is a video of an older woman with bangs holding a similar item. Monet is bathed in green light from above with flower-shaped spots of light projected onto the ground.
    • A distorted dreamlike image of a pond in the woods, a figure cloaked in white stands up.
    • Émilie Monnet, dressed in dark clothing, is onstage on one knee. Wispy smoke emerges from a light-filled pentagram outline on the ground amid a dark room.

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    • Immersive Theatre Installation

    Red Phone
    Explore this show
    Step inside a phone booth, and imagine yourself in a new life, acting out evocative discussions, reading aloud conversations with a fellow audience member.

    Playing at The Fishbowl

    Showing on Jan 29-31, Feb 2-4

    1. January 29 at
      1. Ongoing 3:00-7:00
    2. January 30 at
      1. Ongoing 3:00-7:00
    3. January 31 at
      1. Ongoing 3:00-7:00
    4. February 2 at
      1. Ongoing 3:00-9:00
    5. February 3 at
      1. Ongoing 3:00-9:00
    6. February 4 at
      1. Ongoing 3:00-9:00
    • Red Phone is an audience-to-audience performance that takes place between two hand-crafted, fully enclosed phone booths, and utilizes the intimacy of a phone call and the technology of a teleprompter. This is a work that democratizes theatre and collapses the boundary between artist and audience.
    • A red telephone with a screen above it that says @bocadellupo #redphone inside of a wooden, handcrafted phone booth

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    • Music

    Selfie Concert
    Explore this show
    Camp crooner Ivo Dimchev skips over the boundary between artist and audience, gathering listeners around him for an evening of song and selfie-snapping.

    Presenting Partner

    • Plastic Orchid Factory

    Playing at Left of Main

    Showing on Feb 2-3

    1. February 2 at
      1. 8:00
    2. February 3 at
      1. 8:00
    • The concept is simple: no stage, no hierarchy and no performance from camp crooner Ivo Dimchev unless people are taking selfies with him. The singer-songwriter comes equipped with a synth, an ethereal voice, and a desire to spread communion. You may come for the beautiful ballads and stay for the selfies, or vice versa; either way, this concert is revelatory.
    • “Dimchev is a first-rate lyricist, profound even when plain… As a performer, he slides effortlessly between masculine and feminine modes; his vocal range is equally protean, moving from a low baritone to a soprano embellished with theremin-like vibratos.” –The New Yorker
    • “Dimchev understands ‘performance’ in the largest possible terms… It consists of whatever you do to feel alive.” –Financial Times

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    • Theatre

    Soldiers of Tomorrow
    Explore this show
    A former IDF soldier explores his personal culpability in the face of complex geopolitical forces in his former country, a place that he loves “with a broken heart”.

    Playing at Roundhouse Performance Centre

    Showing on Feb 3-5

    1. February 3 at
      1. 7:30
    2. February 4 at
      1. 7:30
    3. February 5 at
      1. 2:00
    • Alongside a Syrian-born musician, a former IDF soldier relates his actions in the army, exploring his personal culpability in the face of complex geopolitical forces in his former country–a place that he loves “with a broken heart”.
    • “Itai’s stories are personal, intimate, open and brave; they have a sensitive tone and turn to the very essence of human condition, namely history, family, cultural background, social and political constraints.” –Art Vanguard
    • “Erdal balances humor, beauty, and tragedy with the expertise of a tightrope walker.” –Aaron Scott, Slant Magazine
    • Duotone purple and beige photograph of two male figures, both with short hair and wearing military uniforms. Both are looking towards the camera, but the face in the foreground is pixelated. In the background are desert hills and partial views of other figures.

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    • Performance Lecture

    Soliloquio (I woke up and hit my head against the wall)
    Explore this show
    This powerful, insightful performance examines economic, racial and institutional oppression in Argentina and, by extension, elsewhere as well.

    Presenting Partner

    • the frank theatre co.

    Playing at Roundhouse Performance Centre

    Showing on Jan 27-29

    1. January 27 at
      1. 7:30
    2. January 28 at
      1. 7:30
    3. January 29 at
      1. 2:00
    • Digital Theatre

    The Café
    Explore this show
    This critically lauded live production has now added an immersive online experience. Eavesdrop and explore in-person or from home.

    Presenting Partner

    • The Cultch

    Playing at multiple locations

    Showing on Jan 27-29 (In-Person); Feb 2-5 (Digital)

    1. January 27 at
      1. 7:00
    2. January 28 at
      1. 7:00, 9:00
    3. January 29 at
      1. 7:00, 9:00
    4. February 2 at
      1. Digital
    5. February 3 at
      1. Digital
    6. February 4 at
      1. Digital
    7. February 5 at
      1. Digital
    • Two people at a cafe have a heated discussion
    • The Café invites audiences to explore seven vignettes by nine playwrights of various ethnicities, ages, beliefs, sexual orientations and gender identities. This sold-out, critically lauded live production has also been transformed into an online immersive experience that allows audience members to watch and wander in-person or from home via a web browser.
    • “It’s magical!” –Colin Thomas

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    • Audio Performance

    The Seventh Fire
    Explore this show
    Take a journey into the realm of Anishinaabe tradition with this immersive audio ceremony.

    Presenting Partner

    • Talking Stick Festival

    Playing at Lobe Studio

    Showing on Jan 25-Feb 5

    1. January 25 at
      1. 6:00; 8:00
    2. January 26 at
      1. 6:00; 8:00
    3. January 27 at
      1. 6:00; 8:00
    4. January 28 at
      1. 2:00; 4:00; 6:00; 8:00
    5. January 29 at
      1. 2:00; 4:00; 6:00; 8:00
    6. January 30 at
      1. 8:00
    7. February 1 at
      1. 6:00; 8:00
    8. February 2 at
      1. 4:00; 6:00; 8:00
    9. February 3 at
      1. 4:00; 6:00; 8:00
    10. February 4 at
      1. 12:00; 2:00; 4:00; 6:00; 8:00
    11. February 5 at
      1. 2:00; 4:00; 6:00; 8:00
    • Woodland style painting by Niiwin Binesi of two stylized figures outlined in black facing each other. They have red skin with bodies composed of yellow, blue, and pink outlined shapes. A black line connects their mouths. Above is a blue moon and owl. The background has red dots and a red border.
    • The Seventh Fire is an immersive audio performance inspired by ceremony and created by Lisa Cooke Ravensbergen that sources traditional, oral Anishinaabe stories as a way to evoke ceremony in the everyday. Cooke Ravenbergen’s creation blurs time and space, bringing emotional and ancestral connection into being through deep collaboration with sound designer Mishelle Cuttler and a matriarchal creative team.

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    • Dance

    THIS & the last caribou
    Explore this show
    A series of three works: each of them is poetic and meditative, and each of them explores humanity’s relationship with history and nature.

    Playing at Orpheum Annex

    Showing on Feb 2-4

    1. February 2 at
      1. 7:30
    2. February 3 at
      1. 7:30
    3. February 4 at
      1. 2:30
    • THIS & the last caribou is a series of three works, each of which explores 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–all this and more comprise a poetic, meditative experience.

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