SEE SEVEN: TYING THE KNOT
Screaming Flea presents Tying the Knot
Apr 25-29, 2006
Waterfront Theatre 1412 Cartwright Street, Granville Island Vancouver 604.685.1731
Sat matinee, 2PM 2-for-1 Wed
tickets: $18/15
Festival Box Office: 604.257.0366
written and performed by Screaming Flea
Heather Lindsay, Billy Marchenski, Paulo Ribeiro, Paul Ternes, Derek Whidden
Tying the Knot is a broad comedy that satirizes modern media practices, with its particular focus on two families living in a culture of fear, and two children’s attempts to exorcise the effects of their smothering social conditioning. Knot uses human marionettes, drag elements and various types of restrainers to further illustrate the absurd conditions under which its four characters live.
Devised to satisfy the appetites of a group of writers, actors and directors, the Flea has since explored different models of theatre creation in an attempt to challenge the ensemble and their notion of practice. Our projects, like our name, begin with small ideas proposed from a memberÂ’s singular obsession: a play, literary text, new piece of writing, political or scientific thought, an infamous character. The crucible of that small thing is whether it can become a group obsession, whether it will infest our imaginations, scream at us.
Apr 25-29, 2006
Waterfront Theatre 1412 Cartwright Street, Granville Island Vancouver 604.685.1731
Sat matinee, 2PM 2-for-1 Wed
tickets: $18/15
Festival Box Office: 604.257.0366
written and performed by Screaming Flea
Heather Lindsay, Billy Marchenski, Paulo Ribeiro, Paul Ternes, Derek Whidden
Tying the Knot is a broad comedy that satirizes modern media practices, with its particular focus on two families living in a culture of fear, and two children’s attempts to exorcise the effects of their smothering social conditioning. Knot uses human marionettes, drag elements and various types of restrainers to further illustrate the absurd conditions under which its four characters live.
Devised to satisfy the appetites of a group of writers, actors and directors, the Flea has since explored different models of theatre creation in an attempt to challenge the ensemble and their notion of practice. Our projects, like our name, begin with small ideas proposed from a memberÂ’s singular obsession: a play, literary text, new piece of writing, political or scientific thought, an infamous character. The crucible of that small thing is whether it can become a group obsession, whether it will infest our imaginations, scream at us.
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