WHAT IS IT?
The WORLD PREMIERE of THE ORBWEAVER, a play written by emerging Mexican playwright Paula Zelaya Cervantes, at the 2016 Vancouver Fringe Festival. Actually, the play was first performed in Vancouver in 2014 but it’s changed so much since that we’re calling it a WORLD PREMIERE anyway.
THE ORBWEAVER made it into the Vancouver Fringe’s International Mainstage selection, where it will have 6 performances at the Granville Island Revue Stage. Mexican companies rarely get to perform at the Fringe, so we need help to make this happen.
THE ORBWEAVER is a black comedy. It is also a fairy-tale gone wrong. Really wrong. It’s about a boy and a girl who fall in love. She loves bright, lively things like candles and starlight. He is Death’s very own personal assistant... Not your usual boy meets girl story: they can only be together when someone dies. Shadow puppets, story theatre, magic, starlight, and murder combine in this delightfully twisted play about the broken messy, patchwork parts of our personal fairy-tales and our attempts to flee them.
THE ORBWEAVER is an example of a new, innovative Latin American theatrical style that combines story theatre and unusual narrative modes with conventional theatrical dialogue in order to tell lively, unique stories that are bursting with poetry and magic. Originally written in English by emerging Mexican playwright and director, Paula Zelaya Cervantes, the play is performed by a bilingual cast of Mexican theatre artists. The result is a fascinating, one-of-a-kind, intercultural mixture between Canadian and Latin American theatrical narration styles, also blending drama, Clown, shadow puppetry, and story theatre.
The play has a touch of the Mexican light-hearted attitude towards Death and of the playful spirit of our Day of the Dead celebrations. The play was originally presented at the Vancouver CBC studios in 2014. After two years of re-re-rewrites, a creative team bursting with talent, and a gifted bilingual cast, THE ORBWEAVER will finally be presented in all its glory at the Vancouver Fringe. If you’re in Vancouver, you’ll want to see this show. If you’re not in Vancouver, you want this show to exist.
WHAT DO WE HAVE?
Paula (who’s in Mexico City) wrote a play. The play got into the Vancouver Fringe Festival’s International Mainstage category (so we have a Theatre). Matthew (who’s in Vancouver) said he’d produce it. Jimena from Once Once Producciones (in Mexico City) said she’d produce it too. Elana and Jason and their club, the UBC Player’s Club (Vancouver), said they’d help producing as well. Ana, Evan, and Marcos (in Mexico City) are acting in it. Elena (Mexico City) is stage-managing. Iker’s writing the music (in Mexico City). Manuel is doing the sound design (in Monterrey). Sara (Mexico City) is making costumes. David (Mexico City) is creating props. Matías (Mexico City) is designing everything else.
The only thing that’s missing is your help to take the show from Mexico to Vancouver!!
WHAT’S THE VANCOUVER FRINGE?
The Vancouver Fringe is a celebration of theatre for everyone, featuring more than 800 performances by over 90 artists over 11 days from September 8 to 18th 2016. Produced annually by the Frist Vancouver Theatrespace Society, with over 500 volunteers and attracting over 40,000 attendees, the Vancouver Fringe Festival is consistently voted Vancouver’s Best Arts Festival by Georgia Straight readers. In 2016, over 80 shows will be performing in just 11 days!
Vancouver Fringe Festival Mainstage shows feature some of Vancouver’s best venues including the Revue Stage, Performance Works, and the Waterfront Theatre, all situated on and around Granville Island. THE ORBWEAVER will be performed at the Revue Stage. This is a unique opportunity for young Mexican artists to be showcased internationally. It is also a unique opportunity for young Canadian producers to gain experience producing internationally.
WHAT DO WE NEED?
We need to get our playwright/director and cast up to Vancouver (Canada) from Mexico City to perform at the Fringe Festival in September (they’ll need food and somewhere to stay while they’re there). We also need to fund production costs (costumes, set, props). For example, we need a scrim (a screen we can shine light through to make magical shadow puppets). We need some really cool Tim Burtonesque costumes (designed by amazing Mexican costume designer, Sara Salomon). We need a bunch of stuff like ropes and crates and feathers that our super creative actors will transform onstage to create the world of the play. We need fake blood. And some knives.
In summary, we need this money for:
- Travel costs, food, and accommodation for our cast and playwright/director.
- Set construction.
- Props construction.
- Costumes construction
PAULA ZELAYA CERVANTES, Playwright and director :
Mexican playwright, dramaturge, director and producer, Paula graduated from the University of British Columbia (Vancouver, Canada) with a double major in Theatre and Honours English Literature (2014) and thanks to the support of the International Leader of Tomorrow Award scholarship.
Playwriting credits include, THE ORBWEAVER, presented as part of the Tales in Crux short play Festival (Quimera Theatre Collective) and The Dead of Night, presented at Festival Dionysia (2013). Her play THE ORBWEAVER was shortlisted for the Fringe New Play Prize (Vancouver Playwrights Theatre Centre) in November 2015. She has participated as dramaturge in various plays, festivals and workshops. More recently, Paula translated Margaret Edson’s Pulitzer-price winning play Wit for its Mexico City professional production at Teatro Milán (April 2015).
She is currently Senior Producer and dramaturge for Once Once Producciones (Mexico City) with which she has production coordinated numerous shows, such as Sucia y muy chingona historia de amor (Dirty Great Love Story by Richard Marsh and Katie Bonna) and Guerra: a Clown Play. In December 2015 she was part of The 24 Hour Plays Mexico, acting as Executive Producer for one of six plays written, directed, and performed in under 24 hours.
ANA GONZÁLEZ BELLO, Cast:
Ana studied acting at Bristol Old Vic Theatre School and Drama Centre London at Central Saint Martins, graduating with a Yat Malgrem scholarship.
She has participated in films such as Communion directed by Greg Hall and presented in film festivals in England and the US, including the New York Bootleg Film Festival. She acted in the BBC project Ghost Train and participated as guest actor in the British TV series Spy. El beso, which she co-stars, has been presented in festivals such as Cannes, GIF Morelia, Tribeca, and Wimbledon. She won Best Actress at the One Reeler International Short Film Competition for her work in this same short.
In theatre, recent acting credits include Greg MacArthur’s The Toxic Bus Incident directed by Hugo Arrevillaga (Mexico City, 2015), Duncan Macmillan’s Lungs directed by Alberto Lomnitz (Mexico City, 2015), The Poetics of Collapse by Xavier Villanova (Mexico City, 2016), and Sleepwalkers by Reynolds Robledo (Mexico City, 2016). She translated and adapted box-office hit Dirty Great Love Story by Richard Marsh and Katie Bonna (Mexico City, 2015/2016), which she also co-stars. She recently won the Georgi Markov prize for Most Promising Script at the BBC’s International Radio Playwriting Competition, and the Mexican Association of Theatre Critics’ “Best Newcomer Award” in 2016.
EVAN REGUEIRA , Cast
Evan graduated from Middlesex University with an undergraduate degree in Theatre and Drama. Theatre credits include: the operas Atzimba and Anita at Mexico’s Fine Arts Opera, Macbeth and Othello directed by Ricky Dukes and presented in London’s Blue Elephant Theatre, Hecuba at the New Diorama Theatre, Carmen at the London Royal Opera House, Blood Wedding directed by Lara Muth for the Bridewall Theatre, This is a Chair directed by Helen Broughton and presented at the Etcetera Theatre, Su Muerte Subjetiva directed by Mark Swetz for Tangram Theatre Company, Mucho Ruido y Pocas Nueces directed by Claudette Williamson and presented at Barons Court Theatre.
He has participated as Resident Director in the Mexico City premiere of Rajiv Joseph’s Gruesome Playground Injuries (Teatro López Tarso, 2016); and in Connecting People, directed by Hilkka-Liisa Livanainen (El Granero Theatre). Upcoming projects include resident-directing Rent in Mexico City’s Teatro Milán.
Recent film projects include: Carmen 3D directed by Julian Napier, Sons of God: The Seventh directed by Christine Edwards, Deadline directed by Patxi Gil Crenier, and Extranjero directed by Crinan Campbell and Dan Lumb, among others.
MARCOS RADOSH , Cast
Mexican actor and playwright. Marcos studied acting at Argos CasAzul in Mexico City. He has training in Clown, cabaret and playwriting.
He has acted in plays such as Puro Amor and Aloha Love, directed by Paloma Mozo; La Cena del Bicentenario directed by Antón Araiza (2014), Monstruo Feo directed by Miguel Santa Rita, Pocket Romeo and Juliet by Emiliano Dionsi; Instructions to Combat neurosis by Luis Ayhllón, which was presented as part of the first Alernative Venue Theatre Festival; Jean Genet’s The Maids (2015), and the operas Don Giovanni and The Rape of Lucrece.
Playwriting credits include A Ojos Cerrados, RE, ¿Quién es Gonzálo?, Yerevakayakan, and Este no es mi Baby Blue.
He has participated as a dancer in Rossana Filomarino’s No. No Idenitificado, Francisco Roja’s Joy of the Evident, and Danza al Filo, presented in the National Palace of Fine Arts and in the Guadalajara and Morelia Festivals.
MATTHEW WILLIS, Co-producer/dramaturg
Matthew Willis is an award-winning Canadian playwright as well as director, dramaturg, theatre critic, and producer of film and theatre. In 2009, he won 1st place in Prairie Theatre Exchange’s “InstaPlay” playwriting contest. He received an Bachelor of Arts Degree from the University of British Columbia in Theatre Honours and English Literature in 2013. In 2014, he was the Dramaturgy Intern at the Arts Club Theatre Company.
In 2015, Matthew joined Frostbite Pictures, a Vancouver-based film studio. Select Frostbite credits include: Producer of Unfiltered: Live, a live, streamed and Virtual-Reality comedy program, and Visual Effects Coordinator on the TV movie Cold Zone (2016).
In 2011, he co-founded the Quimera Theatre Collective. Matthew has performed freelance dramaturgical work with dozens of playwrights and with the Arts Club Theatre Company, UBC Theatre, Playwrights Theatre Centre, NOW! Theatre and, most recently, Once Once Producciones. He was a guest theatre critic for BeatRoute and Plank magazines in 2015.
Select producing credits include: The School for Scandal of Vancouver (2015), The Bald Soprano (2014), Tales in Crux: A Festival of Short Plays (2014), and several productions with the UBC Players Club.
ONCE ONCE PRODUCCIONES
Based on an interdisciplinary structure that brings together scenic artists, marketing specialists, financiers, and business administrators focused on the development and production of theatrical spectacles, Once Once Producciones’ aim is to have an impact on the development and professionalization of Mexican theatre.
Since its establishment, Once Once Producciones has divided its efforts between generating its own plays and projects, on the one hand; and “incubating”, supporting, and strengthening external projects, which have previously lacked the infrastructure and skills of a producer, on the other.
This twofold structure has allowed Once Once Producciones to grow rapidly. Some of our recent projects include Wit by Margaret Edson (Teatro Milán, 2015), which was awarded the 2014 EFITEATRO, Mexico’s Institute of Fine Arts’ most prestigious grant; Le Journal by Artus Chavez Novelo (Foro Shakespeare, 2014 and 2015), which was similarly awarded the EFITEATRO grant in 2015; Jueves de Risa, a comedy cycle created and designed to build audiences for Parque Interlomas Theatre; the box-office hit translation and adaptation of Dirty Great Love Story by Katie Bonna and Richard Marsh (La Teatrería Theatre, 2015 and 2016/ Banamex Theatre, 2015); and Lucero Trejo’s Hablar Flores, created with the support of the National Fund for Arts and Culture (FONCA), presented as a work in progress in 2016 (Círculo Teatral).
UBC PLAYERS' CLUB
The Players Club has been UBC’s number one campus resource for theatre since 1915. As the oldest club on campus, we take pride in having connected countless students, faculty, and community members through performance art of all kinds for nearly a century. With a vast and vibrant club history, ambitious ongoing projects, a committed executive body, and an array of talented Thespians young and old, we hope to soon welcome you to our show.
Risks and challenges
Producing theatre is a CHALLENGE. And producing theatre, putting it on a plane, flying it somewhere else, and then lighting candles and praying that people will buy tickets in this somewhere else, is an even GREATER CHALLENGE. Our greatest challenge is that audiences are hard to predict and we can never guarantee a full house, but we will do everything in our power to make this project known to everyone in Vancouver!
Through Once Once Producciones' Media and Publicity area and with the UBC Player's Club's help we will have solid coverage in print media in Vancouver, as well as in our social media. We will also flyer, poster, break dance and recite monologues in Spanglish all over Granville Island to get butts in seats ;)Learn about accountability on Kickstarter
- (30 days)