Wyrd brings a ‘musical unfairytale’ to the Yukon Arts Centre stage

Wyrd brings a ‘musical unfairytale’ to the Yukon Arts Centre stage

Half rock live performance, half musical, half cabaret, half un-fairytale; Wyrd has all of it, and Yukoners would be the first to take pleasure in it on the world premiere on March 16 on the Yukon Arts Centre.

The concept for the musical comedy and satire was first conceived in 2017, springing from a dialog between Angela Drainville and Katherine McCallum at their first assembly. In sharing tales of darkish experiences they’d survived, the pair discovered themselves laughing, bonding over the humour they present in these darkish locations, and popping out the opposite facet.

Whereas the subject material is darkish, the musical itself is a comedy. McCallum says that though the unique inspiration was that that they had endured abuse, the theatrical piece that has resulted from the years of labor after that preliminary assembly is definitely “delightfully humorous, and a bit bit darkish, and really subversive.”

Many individuals expertise some type of abuse, oppression or misogyny sooner or later of their life, and one of many principal elements of Wyrd is that universality, and the way we come via it to the opposite facet. Discovering the humanity in it, with the ability to make it humorous, is a type of catharsis, of therapeutic.

“Therapeutic via humour,” McCallum says, is a vital core facet of Wyrd. “It’s completely not a humorous topic. However I don’t assume individuals can actually heal or study except they’re in a position to sit again away from it a bit bit, and take it in on a stage that isn’t accusatory or too heavy.”

“Comedy is the Greek tragedy,” says Meg Braem, co-writer and dramaturge, concerning the juxtaposition, darkish material dealt with deftly via comedy. “You want that yin and yang, and also you want that steadiness. Typically one is a palate cleanser for the opposite.”

“Tips on how to remodel trauma via humor,” says Britt Small, director and co-creator, “[is] one of many first issues we did.”

It was essential to the creators that the crew be 100 per cent woman-identified or non-binary, in a big half as a result of nature of the subject material, and the shared experiences. Having underrepresented voices within the industries spotlighted was very a lot a purpose throughout the course of of making Wyrd.

“All of us got here in with the story of a lady we felt was underrepresented in historical past,” says Small. “Typically when group of ladies or non-binary individuals get collectively, typically it appears like a safer house to have the ability to say sure issues.”

“I believe due to the best way that facilitated the work, all people felt very secure, says Braem. “I believe individuals felt very revered. And I believe one of many massive issues was to go searching and go: ‘Oh my gosh, like each individual on this room has some sort of expertise with it sooner or later of their life’ and so even simply being in a spot the place you’ll be able to speak about it, I believe is neighborhood constructing.”

That commonality of expertise resonated with everybody concerned, say Braem, Small, and McCallum, which made for an unimaginable expertise, whereas additionally presenting challenges. It appeared as if everybody concerned with the mission, or hoping to be concerned, had a narrative to share, a story they needed advised. With such an enormous array, the good problem turned weaving these myriad tales collectively right into a cohesive complete.

“Everybody within the writers room, within the creation room, within the rehearsal room, we’ve all been there and suffered via it in varied levels,” says McCallum. “Everyone’s story is totally different, nevertheless it’s extremely cathartic and therapeutic. It’s been the most secure room I’ve ever been in, in a piece state of affairs. I believe that that’s part of what makes this mission so particular is that it’s simply been 100 per cent optimistic and reassuring and secure for individuals to specific themselves. I believe that everyone that’s been concerned on this mission has come out of it stronger, extra empowered, and supported in their very own lives in addition to their artwork, and it’s been simply phenomenal in that method. I nonetheless really feel like that is essentially the most unimaginable great mission that I’ve ever been concerned in.”

Collectively, the crew constructed a neighborhood, a secure place the place they may work collectively to share their tales, assist each other, and create this distinctive musical that hopes to shine a humourous gentle on a darkish topic, so audiences can chortle on the ridiculousness and absurdity of all of it, when it will possibly appear so inescapable on the time.

“We ended up with, for my part, a few of Canada’s funniest, most clever and proficient writers and theatre creators on this piece, and I’m simply blown away at how fortunate we bought,” says McCallum.

Braem agrees.

“It simply be[came] this complete wealth of expertise and voices and opinions and ideas and emotions and every part, however all working collectively in direction of the one purpose. It has been one of the vital nourishing processes I’ve ever been part of,” says Braem.

Weaving humour and wit via a story of swamps and hags and sketchy motels, the experiences of everybody concerned have been deftly spun into this musical comedy and satire, a wickedly humorous present for everybody to take pleasure in.

“It truly is a celebration,” says Braem. “Actually feeling such as you’re a part of one thing enjoyable and superb.”

“Hopefully the viewers can be having all of the enjoyable,” McCallum laughs. “That’s the entire level. Actually the entire thing from the very starting is about sharing this as broadly as attainable and entertaining individuals in a method that’s considerate and hopefully change-making.”

Wyrd can be on the Yukon Arts Heart March 16 to 19, with reveals in Dawson Metropolis March 31 and April 1, and in Haines Junction April 7. From there, the present strikes south to start out the subsequent leg on its cross-country tour on the Metro Theatre in Victoria, opening Could 18.

Storm Blakley is a contract author and poet primarily based in Whitehorse.

 

Wyrd brings a ‘musical unfairytale’ to the Yukon Arts Centre stage

Ashley Robyn is the co-composer and musical director of Wyrd. (Courtesy/Manu Keggenhoff)

Meg Braem is a co-writer, dramaturg and script editor of Wyrd. (Submitted)

Meg Braem is a co-writer, dramaturg and script editor of Wyrd. (Submitted)

Britt Small is a the director of Wyrd. (Submitted)

Britt Small is a the director of Wyrd. (Submitted)

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