Theatre Kingston’s newest production, I Said I, is proof that the parts really do make up the whole.

Science fiction has never been so raw and down to earth. When not playing for The Hidden Cameras orworkingonMaggieMcDonald’s musical The Rat King at the NYC Fringe Festival, Laura Barrett is busy exploring new frontiers, arming herself with the kalimba, an African thumb piano.

Walking into Modern Fuel Gallery’s One Dimensional Space, I experience a bit of a deer-in-the-headlights confusion. Upon entrance, I’m met with a series of groomed faces. All are unique faces, yet there is a certain element of banality.

Bottle Tree Production’s rendition of Twelfth Night takes place on a nautically themed set — appropriate given the play’s opening catastrophe is a shipwreck that separates twins, leaving each presuming the other dead. In true Shakespearean style, comedy ensues.

Name: Erin “Ivy Climber” Robinson, ArtSci ’08
Medium: Cartooning
Where you’ve seen her work: Golden Words, where she’s a senior staff writer and cartoonist; Independent Voice; Women’s Empowerment Committee art auction; www.livelyivy.com

As someone who has always filled his head with more Beatles than Dylan, I might be at a disadvantage when it comes to appreciating director Todd Hayne’s cerebral and bold project. This Bob Dylan “biopic” I’m Not There is no more a straight biopic than Julie Taymor’s Across the Universe is a documentary about the ’60s.

If there are two things Pat McGee wants you to know, it’s that Snickers needs to watch its quality control and he loves his band. Although he was feeling a bit discouraged from finding a sealed candy bar with a bite in it when I talked to him, McGee was still keen to discuss about his band of indie rock sweethearts Stars.

Allison Brown may be a dreamer, but she has plan—or rather—a list, for how to reach her dream. In her show A wee cob House and how to get there on exhibit at the Artel, Brown tells the story of a thought process that began with a dream—to live self-sufficiently on a homestead built from cob, a sustainable building material made from clay, sand, straw and water. That dream has taken her on a journey of both wisdom-gathering from others and questioning herself. Her tale’s told through lists, idea-maps and water-colour paintings with a simplicity that ensures effective communication. The exhibit’s largely text-based, and in one corner of the Artel’s gallery space hangs the summation of Brown’s exploration of her dream, handwritten in marker on brown craft paper.

This year’s Queen’s Feminist Review, with its retro-inspired cover art and spiral-bound notebook motif gives the reader the familiar feeling of flipping through old journals—if only my old journals were as insightful as these.

A tall, gown-clad woman amidst a field of blossoming flowers with a pensive Luther Wright in the background marks the entrance of the musician’s newest album, Man of Your Dreams.

The notion of home as a house—a nice sturdy structure within which lives develop and children grow up—is rarely questioned. But Parallel World: The Architecture of Survival, the latest exhibit on display at the Modern Fuel Artist-Run Centre, reminds us that homes are often anything but permanent.

Justin Rutledge is a big city boy with a small town soul. The 29-year-old country singer with a mellow voice and the rustic charm to go along with it hails from Toronto.
His latest album, The devil on a bench in Stanley Park, is nominated for the Roots and Traditional Album of the Year: Solo Juno award. He’s opening for Kathleen Stewart Tuesday at the Grad Club. His third album, Man Descending, is also scheduled for Canadian release April 8.

Ninelives’ risqué production of Edward Albee’s The Goat or, Who is Sylvia explores the taboo topic of bestiality in one of the more provocative pieces of theatre the Queen’s community has produced in a while.

There’s something inexplicably endearing about a classically trained vocalist who can appreciate the distorted, gritty sounds produced by a cheap keyboard. But with a musical history that includes singing in the Canadian Children’s Opera Choir and a stint in the late-’90s girl group, Galaxy, Katie Stelmanis isn’t your average former opera singer.

The goal of this year’s Vogt C producers was to challenge traditional theatre conventions. Unfortunately, only one of the four plays even remotely succeeded.
Nell Corrigan, ArtSci’08, oversaw all of the Vogt productions this year as one of the series’ producers. She said each play in the latest installment of Vogt takes a different approach to questioning these conventions.

Underplayed Theatre Company’s UnPilot, their first official production as an AMS-affiliated club, is a little underwhelming.
Television-themed, the show features an awkward pre-show, delving into the oft-unexplored realm of meta-sketch comedy as a few of the cast members mingle with the audience, cameramen and each other, presumably in an attempt to set a “before the camera rolls” atmosphere.

Care Failure, the dynamic front girl of the alternative rock band Die Mannequin, doesn’t have a degree to fall back on but doesn’t care—musical success is Failure’s only option.

It’s the dark and alluring Outwrite cover art that will draw you in to the publication’s fourth volume. It’s the exploration, at times conversely subtle and overt, of themes old, new, political and emotional that will hold youIt’s the dark and alluring Outwrite cover art that will draw you into the publication’s fourth volume. It’s the exploration, at times conversely subtle and overt, of themes old, new, political and emotional that will hold your attention and urge you to delve deeper into the work.
r attention and urge you to delve deeper into the work.