The biggest change for her here is that the production shifts the point of view to an audience member who moves through the space. The show both reflects our year of isolation at home, in our domestic spaces, and looks forward with hope to the new, changed world we’re stepping out into.Ĭollier says the seed for the project was being approached by Innovation Lighting, which, because of the pandemic, offered up its high-end lighting technologies because they weren’t being used in the usual conference, wedding, and concert settings.Ĭollier has experimented with light and projection design before.
A narrator (Maiko Yamamoto) leads you carefully through the environment, which takes over the entire building. Each space is animated by a mix of music, sound, projections, and stagecraft. “I got so excited when I tried to cast my mind to thinking of a form that could be a live experience for people-even if we were in lockdown-and I felt like it was something I had a calling to do,” she tells Stir in a phone interview.Ĭreated with site-specific-theatre innovator Kendra Fanconi, The Magic Hour invites viewers to walk one by one through 12 rooms at Presentation House. Premiering just over a year-and-a-half ago, it was the kind of show that, in these socially distanced times, seems right out of another era.Īnd so it is fascinating now to find Collier, well-known for ambitious spectacles right back to game-changing Electric works like Tear the Curtain! and Studies in Motion, staging a production for an audience of one.
Staged for the Electric Company Theatre at the Vancouver Playhouse, it featured a dream team of local actors performing amid 14 live-streaming cameras, dazzling prerecorded projections spreading across an ever-shifting set.
FILM INDONESIA MAGIC HOUR FULL
THE LAST SHOW that Siminovitch Prize-winning director Kim Collier helmed was the large-scale, film-stage hybrid The Full Light of Day.