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Created by: Ralph Escamillan (FAKENOT) and Milton Lim
New Media by: Milton Lim New Media Assistance by: Kanon Hewitt Performed by: Ralph Escamillan (FAKENOT) Presentations:
Written by: Tetsuro Shigematsu
Directed by: Amiel Gladstone Produced by: Vancouver Asian Canadian Theatre Performers: John Ng, Manami Hara, Kanon Hewitt, Lou Ticzon, Donna Soares Maya is hikikomori—an extreme recluse—who has spent the last six years in her bedroom exploring Virtual Reality. Until one day, she meets a mysterious player online who challenges her to the ultimate quest: saving her own father’s life. How? By visiting the scariest place IRL, Suicide Forest. A world premiere from Tetsuro Shigematsu, the acclaimed creator behind Empire of the Son and 1 Hour Photo, and directed by Amiel Gladstone, director and co-creator of the smash hit musical, Onegin. Nominated for nine 2020 Jessie Richardson Theatre Awards including Best Production, Outstanding Original Script, Best Actor in a Supporting Role, Best Direction, Best Set Design, Best Lighting Design, Best Costume Design, Best Sound Design, and Critic's Choice Innovation Award. Presentations:
Produced by: Little Onion Puppet Company
Written by: Randi Edmundson, Jess Amy Shead, and Shizuka Kai Projection design by: Nita Bowerman and Kanon Hewitt (as part of Chimerik Collective) Sound design by: Malcolm Dow Otosan is based on Shizuka Kai’s real life experience of trying to connect with her father, a dedicated wildlife documentary videographer. Spirited Shizu and her serious father struggle to appreciate each other in their day-to-day lives — that is, until the day little Shizu hides in her father’s suitcase and travels secretly to his most dangerous destination…The North. At first, Shizu is nothing but a nuisance to her gruff, no-nonsense father. But, as they encounter grizzly bears, snowy owls, white wolves and other Arctic critters, the pair is forced to face challenges together, and come closer to a mutual understanding. We see the difficult reality of building a relationship with a parent who is physically and emotionally far away. This production features puppets, real wildlife footage projections, highly physical storytelling and an original score. Presentations:
 Created, written, and performed by: Kanon Hewitt and Julia Siedlanowksa
With support from: Toronto Young People's Theatre Presented by: The King Matt Theatre (a division of the Vancouver Polish Theatre) Presentations:
Parade of Lost Souls: Altar Ego (Vancouver, 2017)
Mainstage VJ: Kanon Hewitt Produced by: Killjoy Theatre
Written by: Kanon Hewitt Directed by: Tricia Trinh Dramaturgy by: Manami Hara Featuring: Mason Temple, Brent Hirose, Rae Takei, and Laara Ong. Stage Management by: Sony Tsai Projection Design by: Mily Mumford Lighting Design by: Harika Xu Set and Props Design by: Kimira Bhikum Costume Design by: Melicia Zaini Sound Design by: CJ McGillivray Fireflies is a dystopian sci-fi drama set in the conflict zone between the traditional and the futuristic. Amika, a mixed-race Japanese non-binary youth, escapes a fertility centre in Japan to avoid execution for being "mixed-blood". They are forced to leave behind their mother, Yui, a notorious Japanese rebel who gave birth to Amika in hiding after violating mandatory entry into the national fertility program. Amika encounters Suzuki in the forest, a youth who fled his military training camp after questioning its nationalist curriculum. Realizing they have more similarities than differences, they become unlikely allies, working together to free Yui. Fireflies was selected as one of the works for Boca del Lupo’s 3.7% Showcase, a night of curated works from female-identified artists of colour. Produced by: Théâtre la Seizième
Written by: Simon Boulerice Directed by: Cory Haas Performed by: Benoit Trudel Set and Costume Design by: Shizuka Kai Sound Design by: Malcolm Dow Video Design by: Milton Lim and Kanon Hewitt Choreography by: Marisa Gold Stage Management by: Aidan Hammond Simon tries his utmost to stand out, and to liven up the boredom of his daily existence. He wants to sing, but his voice isn’t good enough: he wants to dance, but he got signed up for hockey instead. Nothing turns out as expected: his faith breaks, his voice breaks, his heart breaks… yet in spite of it all, amid all the turmoil of adolescence, he learns to love himself the way he is. Chronicling Simon’s inward journey from awkward kid to Prince Charming with great tenderness and humour, Simon a toujours aimé danser is about the importance of expressing yourself and achieving your potential through your passions in life. The play draws on a wide range of cultural references, bridging the gap between Nobel Prize-winning authors and Disney movies, between classical and pop, between ballet and music videos.  Photo: Natalie Purschwitz Choreographers, Directors: Delia Brett and Daelik
Stage Management: Kanon Hewitt Sound Artist: Nancy Tam Visual Artist, Designer: Natalie Purschwitz Lighting Designer: Conor Moore Architectural Collaborators: Peeroj Thakre and Henning Knoetzele Architect, Author Consultant: Juhani Pallasmaa Dancer Collaborators: Maria Autio, Minna Karttunen, Kelly McInnes, Diego Romero, Olivia Shaffer, Rianne Svelnis, Lexi Vajda PRESENTED WITH ANVIL CENTRE Inspired by world-renowned Finnish theorist and architect Juhani Pallasmaa’s writings on architecture and the sensing body, MACHiNENOiSY’s most ambitious work to date is a site-specific, 360-degree contemporary dance performance tailored specifically for New Westminster’s iconic Anvil Centre. This adventurous piece brings together architecture; sound, visual and lighting design; and a team of extraordinary dancers from both Canada and Finland—all to stunning effect. Audience members accompany the artists as the performance moves between various locations throughout the Centre. As the piece unfolds, it evolves into an interplay between the architecture and one’s embodied perception of it. The sensorial, social and political aspects of the space intermingle to redefine the performers, the audience and the place itself. The result is a revelatory dance experience—immersive, radical and utterly unique. https://pushfestival.ca/shows/festival-2019/fragile-forms/ Phase 1 (2018)
Directed by: Julia Siedlanowska Written and Performed by: Caroline Hebert, Stephen Lytton, Kat Norris, Kaitlyn Pedersen, Sandra Pronteau, Terreane Derrick Set, Lighting, Projection Design by: Kanon Hewitt Sponsored by Kokoro Dance Theatre Society/KW Studios, presented as part of the Downtown Eastside Heart of the City Festival. Unsettled is an intergenerational multi-arts theatre project created with and performed by community artists who live with and experience disability(s). The presentational style blends poetry, narrative, song, stylized gesture, movement, live drumming and incorporates ASL interpretation. Phase 2 (2019) Directed by: Julia Siedlanowska Written and Performed by: Caroline Hebert, Stephen Lytton, Kat Norris, Kaitlyn Pedersen, Sandra Pronteau Projection Design by: Kanon Hewitt Sound Design by: Matt Horrigan Lighting Design by: Keagan Elrick Listen to the pod-play: ŠXʷƛ̓ƏNƏQ SQUARE
https://www.phenomania.live/secret-city-robson-square/ Secret City is an audio adventure to discover the hidden side of a city. Inspired by true stories shared by residents and brought to life by local artists, each episode of Secret City is a play and a personal confession rolled into one. Look for the Secret City tent on Robson Street, next to the steps of the Vancouver Art Gallery. Bring your smart phone and your headphones, or borrow a listening device from us. Then, explore Robson Square & šxʷƛ̓ənəq Xwtl’e7énḵ Square while listening to original PodPlays based on true events that took place there! Secret City: Robson Square will features the memories of Jerry Young, Deb Pickman, Elder Jim Kew (Musqueam), C.E. Gatchalian, Taran Kootenhayoo, and Sharon Young. The artists creating for this edition of Secret City are: C. E. Gatchalian, Julie Hammond, Kanon Hewitt, Alison Jenkins, Taran Kootenhayoo, and Julia Siedlanowska. Secret City is conceived and curated by Heather Cant. Secret City is a free event that is 60 minutes long. Audio transcripts are available for the Deaf and hard of hearing and the space is mobility aid accessible. Presentations:
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