A Funny Story from Dubomedy

Dubomedy launched a new mixed comedy event series this weekend, at its now regular venue, Fraiche Cafe and Bistro in JLT. Held as it was in the early evening at a cafe, the first event of this "It's a Funny Story!" series had a significant youth demographic in attendance. Also, a nice raised stage.

The evening began with stand-up, as the lineup of comedians narrated humorous tales that may or may not be entirely true. I only got there in time for the last few, but well in time to see sets from some of my favorite Dubai comedians.

And after the interval, several definitely made-up funny stories were created by Dubomedy's Improv Revolution troupe in primarily short-form WLIIA-style improv games, including a couple of fun games I had not previously seen from the troupe. Mainly thanks to the more experienced actors, it was a generally enjoyable and engaging show.

Grassroots Revue Dubai

Dubai community theater The Courtyard Playhouse held another Grassroots Revue event this season to showcase local talent -- a mixed-form potpourri of performances, introducing audiences to arts and artists to which they might not otherwise have been exposed.

A double feature of poetry was on the bill, with Zeina Hashem Beck (left) reading from her new book, To Live in Autumn, and Frank Dullaghan reading his series of poignant poems about a missing child incident.

Comedy also took center-stage, with well-received performances from the likes of Luke Haecker (top left) and Sameer Abdul Rehman (top right), and local improv troupe Improv Anonymous (bottom) playing short-form scenes and games (including attempts at musical improv) across two slots.

Musicians galore too, as the programme was peppered with four acoustic guitar instrumental or singing performances -- including classical guitarist Valentin Spasov and David Beats Goliath frontman George Driscoll -- and closed on a violin note.

A Valentine special Maestro improv

An ominous-looking Highlander-styled poster announced the first Maestro improv games in the Middle East and Africa this weekend at Courtyard Playhouse. Competing with Valentine's Day, two music festivals, and a short play festival, and with an entry charge for the first time, our improv group still managed to pack the venue to capacity on both nights.

Despite the risk of being booted out early, playing Maestro brought with it the opportunity to perform in more diverse combinations than in Theatresports. It was our first time performing in public with this format, so it was not quite technically perfected yet --- we literally had hearts dropping at one point.

The Valentine's Day timing also made it into many scene themes, including one in which improvisers acted out an audience couple's account of their relationship history. Congratulations to Salman and Eric for winning the Maestro title (and the grand prize of AED 5) on the 13th and 14th, respectively.

Courtyard Playhouse inaugurated with first ever MENA Theatresports

The Courtyard Playhouse, Dubai's landmark community theater and studio space, has been a venue for rehearsals and workshops for months. Those of us who took part in these activities saw floors, ceilings, walls, partitions, seats, fittings, lights and flats appear, one by one, week on week, as artists and donors* contributed their time and money* towards putting the place together.

Don't it look swankayyy?

This weekend, the Playhouse finally opened its doors to the public with a double act, double show, double night theater event. Most aptly, this event happened to be the first ever Theatresports event in the MENA region, put on by the first ever recognized Theatresports member organization in the MENA region - Drama Dubai.

Why, yes, that is me on the left

I and six other live improv neophytes, followed by six of the more experienced troupe members, competed with each other in teams of three to four, hoping to win the audience's favor and the coveted shrub of glory (no, really, it was a shrub) with our improvised games and scene work. I was fortunate to be part of a great team, which, win or lose, made the experience as fun for me as I hope it was for the audience.

(photo credit: Tiffany Schultz Art and Photography)

With our grand entrances and costumes, good-natured rivalry, and outrageous scenarios in mundane settings, we had ourselves a whale of a time.

(photo credit: Tiffany Schultz Art and Photography)

So did the successive full or near-full houses of cheering, yelling, laughing and otherwise involved audience members, it would seem. Technically, almost everything went much smoother than I would have expected for a first-time run of back-to-back unscripted shows.

The rest of the cast during the techs

I'm so proud to have been a part of this; it was history in the making that we witnessed over the last couple of nights, and it's only the beginning.

* The Drama Dubai team has thrown herculean effort behind getting the space working well enough and looking good enough, starting from practically scratch, so patrons could enjoy the experience of a real theater in the heart of Al Quoz. Because of all the resources that went into making it look and feel good at the audience-facing end, there are still a few things to finish backstage, which is where we still need a little more financial assistance. Click here to see how you can help, and to see the neat rewards donors can receive.

This theatre ain't gonna finish itself

We talk a lot about how Dubai needs to have this or that. We want to "do something", until we realize what that entails. But what if "doing something" was neatly packaged and presented to you with someone else taking care of the paperwork and logistics? Drama Dubai is offering just such an opportunity, by opening their new community theater, The Courtyard Playhouse, to crowd-funding on the Aflamnah platform.

I walked out of the venue of their Desert Monologues course showcase last night, impressed once again by how they mold and focus the stage skills of their course attendees, as they did with me almost two years ago. I try to attend this showcase every season, because I know this is one of the major founts/magnets of talent in local performing arts, and that, at the very least, I will be blown away by what many of these everyday people can do under stage lights.

As confirmed by the diverse cast on stage last night, Drama Dubai has been accepting of all kinds of people, always willing to work hard with those willing to work with them, while at the same time holding themselves and those they train to high standards. From the improv arc I have been following under their guidance since over a year ago, I know that they are professionals who take themselves absolutely seriously: supplementing our rehearsals with visits by experienced guest performers, sharing books, videos and other material with us, and getting our troupe recognition from Theatresports International (making us, by the way, the only such troupe in the MENA region).

And it's not even the theater itself that needs building; they and their partners have already invested heavily in the completion of the actual theater close to the heart of the Al Quoz arts district, complete with plush bleacher seating, a tech booth, and ample stage space. They just need help with the finishing touches: lights, changing rooms and washrooms. As per the aforementioned high standards, Drama Dubai has been working patiently and tirelessly to put everything together just right. They want this to look like the real deal, and so should we, because this will benefit all theater-lovers in the country. They are even offering seat naming rights, tickets, courses, and other generous rewards for donors.

If you have the means, and you love the arts, there is no excuse. Visit http://www.aflamnah.com/en/play-your-part-the-courtyard-playhouse/ and throw in your support now.

KR&JP 2013 Travelogue Day 15: Kamakura, Noh and improv

Nope, still foggy. But at least now I could get a view of the Imperial Palace moat (left top), on the west bank of which my hotel was located. Just as well that there was a fog around, because my busy schedule on my last day in Japan meant I had no time to enjoy morning views. Grabbing a canned coffee (center bottom) on the my way to the intercity train station (bottom left), I took a south-bound, skipping more touristy Yokohama to disembark at Kamakura Station (bottom).

Kamakura is a relatively quiet and small city today. About 8 centuries ago, however, it was the seat of power for the Minamoto clan's shogunate -- the first time the shoguns took paramount power and reduced the emperor to a figurehead. Their shogunate lasted less than one and a half centuries, and actual Minamoto control of it only lasted two generations, but it sent the precedent for the next 7 centuries of pretty much uninterrupted military rule by the samurai class.

Exiting the station, I walked up the long gravel, sakura-lined path (top right) between the roads of the city's axial avenue, passing through the torii (top left) at each end. On the way, I stopped by a senbei shop (bottom left) to try one of Kamakura's famous senbei i.e. rice crackers (bottom center). It is indeed worthy of fame, with a delicious flavor-laden glazing baked on a crisp cracker base. I also tried a local candied fruit lollipop (bottom right).

At the northern end of the path, I arrived at Tsurugaoka Hachiman-Gu. This shrine is dedicated to the Shinto war patron kami Hachiman, who is a deification of the Japanese emperor Ojin. Hachiman is also the patron kami of the samurai in general, and of the Minamoto clan in particular, so it made sense that the shogunate's founder built the shrine in the kami's honor, to celebrate his clan's triumph. Said emperor's mother, Empress (regnant, to boot) Jingu, is also enshrined here.

Ranked in the second tier under national purview, the shrine complex is centered around a hill. At the foot are a number of satellite buildings, including subordinate shrines and an ablution pool. I also noticed a wedding taking place in one of them. There's a lot of symbolism in the layout of the shrine complex, which is constructed in post-Buddhist architectural style. 

Ascending the hill by stairs takes one to the main shrine, the door to which is flanked by ni-o guardian warriors in glass cases. From here, one can get a good, high view of the surrounding area and the lower part of the complex. A small museum of Minamoto-era artifacts is perched next to it. The complex also contains a special Minamoto shrine (bottom right) and the Kamakura Museum of National Treasures, containing another stash of Kamakura and Ashikaga/Muromachi artifacts.

In recognition of the Minamoto contribution to Kamakura's history, the clan's sasarindo crest has been adopted as the city emblem, and can be found on many public works.

On my way out, I passed by a variety of demo-sized Japanese gardens.

A short eastward walk took me to the site of the tomb of Minamoto no Yoritomo, the founder of the shogunate, and pretty much the main reason for my coming here. Thanks to him and his brother, Yoshitsune, the Minamoto clan was not only brought back from near-extinction, but became the ruling clan of Japan. The Buddhist-style tomb (bottom left) is located at the end of a flight of stairs (top left) leading up a hill. The foot platform is marked with stelae (top right), and includes what appears to be a Shinto shrine (bottom right).

A little further east stands Kamakura-gu, the shrine to Prince Morinaga. This imperial prince (note the Chrysanthemum crest) was appointed shogun by his father, Emperor Go-Daigo, who united the courts and seized power from the Kamakura shoguns in the short-lived Kemmu Restoration. Morinaga was imprisoned and executed here by the Ashikaga, who stamped out the restoration attempt and established themselves as rulers of a new shogunate. After the Meiji Restoration, the Meiji Emperor, in a show of reestablished imperial authority, built the shrine to honor the martyr of his ancestral lineage.

I made lunch of a delicious Japanese beef curry plate at a small local pub, which I found among the quaint and quiet streets near the shrine/tomb area. I also enjoyed a chat with my bartender-server, who could speak English.

Despite being a small-ish city, Kamakura has a decent-sized museum of modern art, at which I spent about an hour checking out the exhibitions of works of Kano Mitsuo and other artists, and enjoying the view over the trees from the balcony cafe.

On my way back to the train station, I passed through one of the city's shopping streets, and sampled another one of Kamakura's specialties: croquettes.

Back in Tokyo, and knowing Japanese punctuality, I had to make good on arrival time for my two evening agenda points in Shibuya. I was literally running around in the light rain -- first to locate the Kanze Nohgakudo theater and buy my ticket, then to locate the Crocodile and tell them to hold my reservation, then to dash back to the theater in time for the Noh show (haha, see what I did there?).

Having watched Theatre Mitu's cross-cultural NYU Abu Dhabi performance of Athur Miller's Death of a Salesman, which included Noh/Kyogen theatre styles, I could not go to Japan and miss a Noh show (haha, see what I ... never mind). The theater was capacious and comfortable, most of the attendees were elderly, and all were Japanese. On a simple but beautiful L-shaped stage setup, hauntingly masked and gloriously costumed Noh actors and singers performed their hypnotic art. It's a very, um, slow performance to watch, but part of the beauty is in how everyone takes their time and is yet exactly on time, and the methodical ritual to every move and every word.

Ironic for me, because as soon as it was over, I thundered downhill through Shibuya, making it to Crocodile minutes before showtime. As I waited for the improv to begin, I ordered their house brew (bottom left) and alligator meat plate (bottom right). As expected, the latter tasted like chicken.

Tokyo's centerpiece of English-language improv, Improvazilla, gave us a show to remember. Apart from the games with which my own improv experience has familiarized me, they also played the blind variation of freeze tag, which was way more exciting than regular freeze tag.

About mid-way through the show, they performed a promotional collaboration with some drama performers, having the latter first act out a scene from their play, and then keeping one of the actors onstage to stick to his scripted lines while two impovvers joined him to improvise a scene around said lines based on an audience shout-out. This turned out to be my suggestion -- a pirate ship. What ensued was belly-hurting hilarity, as the drama actor acted out his rather philosophical script lines, while the improvvers played really confused pirates.

They were also fortunate to have a really good pianist to provide music and cues to complement the troupe's amazing musical improv skills. It was a most brilliant show, and even more so for an improv actor and fan.

For my final meal in Japan, I saved a visit to a proper sushi place: Sushi Daidokoya, also in Shibuya. Apart from a regular sushi sampler (top), I also ordered a couple of more exotic items, like sea urchin and horse meat nigiri (bottom left), to complete my experience of a real Japanese sushi bar.

With the heavy-in-the-gut feeling that typically accompanies the final day of a vacation, I took the express train to Narita airport the next morning, to fly back to Dubai via Seoul. Through the early stages of post-travel depression, I was quite pleased at how much of two countries I was able to squeeze into just two weeks -- covering history, art, and modern life, and even improvising and discovering along the way, without missing too many agenda points. All thanks to good planning, good research, discipline, and a bit of luck.

Aaaaand final notes:

(top left) Parking elevator files cars into high-demand parking blocks
(top right) Well, that's a slightly useless "pass"
(center right) Good way to save paper
(bottom right) I had no idea that 7-Eleven was also into banking
(bottom left) Damn right, if you're carrying a lighter of that size

Drama Dubai improv workshop with Anne McMaster

Drama Dubai's Dubai Improv series has been going on for almost a year now, and it's accumulated a fair horde of regular improvvers. The project looks like it's coming into its own; the Dearly Deported troupe has been performing at festivals, and there's a proper theater rehearsal/performance space for us at The Courtyard Playhouse . Most recently, and much to our collective glee, approval from International Theatresports has come through, making Dubai Improv the first (and for now, the only) licensed league of International Theatresports in the whole Middle East.

McMaster setting up the town and chairs game

And on top of all this, we had on Friday a special workshop run by Anne McMaster, a Canadian improv comedian living in Abu Dhabi (trained at Second City, no less). Somehow having maintained her sanity in a place relatively deficient in theater and practically devoid of improv theater, she ably and cheerfully put us through many of the games we had already played (some of which had different Canuckistani names), as well as some new ones, like Hitchhiker.

Feedback

We also spent a good deal of time on characters, especially status. McMaster started by gradually introducing and closely analyzing status signals in body language, followed by various status and character games.

McMaster and Kemsley Dickinson, our regular trainer

While many of the games we played were known to us, we paused more often and for longer intervals for feedback and dissection of our technique. Even though this meant disrupting the improvvers' stage energy - which eventually took its toll over the four-hour workshop - it also meant learning a lot, and from a fresh perspective.

Whose Line Is It Anyway: Three-Headed Broadway Star

One of the greatest shows on yesteryears TV. And in my opinion, the greatest comedy show on TV.

One of the best games on it was the "three-headed broadway star", which really defined the kind of creativity and spontaneity that characterized this improv show. Here are three of my favorite acts, which still get me everytime I watch them.

 

Colin: "He stole my 'you!'"

 

Wayne: "I'm going way over the 'abyss' limit."

 

Wiggling ... FREEEEEE!